Biennial 19th-Century Conference
Egham, June/July 2000
Royal Holloway University of London INTERNATIONAL CONFERENCE ON NINETEENTH-CENTURY MUSIC 29 June to 2 July 2000 Information and Booking FormThe Music Department at Royal Holloway, University of London will host the eleventh International Conference on Nineteenth-Century Music from 29 June to 2 July 2000. The Conference will be held on the College's campus in Egham, Surrey, which is 35 minutes by train from London and a short journey from Heathrow and Gatwick airports. Programme: The conference will begin at lunchtime on Thursday 29 June and end after lunch on Sunday 2 July. There will be sessions on the following topics: Music, Literature and the Arts; Italian Studies; Nationalism; The Victorian Era; Music as Commodity; Paris: Decadence, Eroticism and the Grotesque; Lieder; Homage and Appropriation; Performing Traditions; The Beethoven Influence; Ethnomusicology in the Nineteenth Century; Popular Musics; Politics and the State; Women's History; Gender Studies; Editing Opera; Mozart's Legacy; and Issues in Theory and Analysis. Professor Hermann Danuser (Humboldt Universität, Berlin) will deliver the Keynote Paper on 'Specificity in Musicology', and there will be a special round-table session chaired by John Daverio (Boston University) on 'Romanticism and the Historical Consciousness'. On Friday 30 June Kenneth Hamilton (University of Birmingham) will give a recital on a Erard piano from 1851, and Cambridge University Press will host a reception. On Saturday 1 July the internationally acclaimed Florestan Trio (Susan Tomes, Anthony Marwood and Richard Lester) will perform in Royal Holloway's Picture Gallery. --------------------------------------------------------------------------- INTERNATIONAL CONFERENCE ON NINETEENTH-CENTURY MUSIC Programme as of 20 January 2000 THURSDAY 29 JUNE 2000 MUSIC, LITERATURE AND THE ARTS (afternoon) Ingrid Sykes Honoré de Balzac and the Organ: Towards a Closer Definition of Absolute Music Charlotte Purkis Fin-de-siècle Fantasy as Performative Memoir in Gertrude Hudson and Constance Smedley's Writings on Music Sabine Lichtenstein Thomas Mann's Bells: A Polyphonic Farewell to the Romantic Art of Music Mary Davis Rethinking the 'Static Sound Décor': Satie and Puvis de Chavannes Leslie Kearney From Symbolism to Abstraction: The Art of Memory ITALIAN STUDIES (afternoon) Francesco Izzo Laughter Between Two Revolutions: Comic Opera and the Risorgimento, 1831-1848 Helen Greenwald Defining Verdi's Comic Vision: Towards a Theory of Comedy for the Late Nineteenth Century Emanuele Senici 'Cantando un madrigale': Verdi's Falstaff and the Uses of Mimesis Roberta Marvin Rossini's Petite Messe solennelle: Its Journey to Italy Gundula Kreutzer Oper im Kirchengewande: Verdi's Requiem and the Topos of 'Italian Music' in Late Nineteenth-Century Germany NATIONALISM (evening) Halina Goldberg 'Remembering that Tale of Grief': The Prophetic Voice in Chopin's Music Ingrid Loe Dalaker T. D. A. Tellefsen: Too French for the Norwegian National Movement? Maria McHale The (Un)Englishness of Elgar's Gerontius: Issues of Reception and National Identity Daniel Grimley Archaism and Baroque Modelling in the Music of Carl Nielsen THE VICTORIAN ERA (evening) Therese Ellsworth The Performance and Reception of J. S. Bach's Keyboard Concertos in Nineteenth-Century London David Knight Coronation Music: Handel in Nineteenth-Century England Monika Hennemann Much Ado About The Tempest: Mendelssohn's Last Opera Projects for England Helga Perry and The Reward of Merit? An Examination of the Suppressed Bruce Miller 'De Belville' Song in Gilbert and Sullivan's Iolanthe ********************************************FRIDAY 30 JUNE 2000 MUSIC AS COMMODITY (morning) Orly Leah Krasner Birds of a Feather: The Marketing of a Coloratura Roe-Min Kok Childhood as Musical Commodity: Evaluating Robert Schumann's Music 'für die Jugend' James Deaville Publishing Paraphrases and Creating Collectors: Friedrich Hofmeister, Franz Liszt and the Technology of Popularity Simon McVeigh Music and the Consumer Society: London's West End Concerts in the 1890s Scott Warfield 'Reveal Nothing to Him of His Market Value': The Publication of Strauss's First Three Tone Poems PARIS: DECADENCE, EROTICISM AND THE GROTESQUE (morning) Sarah Hibberd 'L'Homme imparfait': Depictions of the Grotesque in 1820s Paris Clair Rowden Dreams of Decadence: Thaïs and Caricature Julie McQuinn Time Warping in Debussy's Chansons de Bilitis: Memories of Bilitis and the Minds of Her Creators LIEDER (morning) Susan Youens Ego, Ehrgeiz and the Lied: Schubert and his Pyrker Songs Amanda Glauert 'Laß die Saiten rasch erklingen, und dann sieh ins Buch hinein': Understanding the Aesthetics of Musical Response in Goethe's Lyrical Poetry LECTURE-RECITAL BY KENNETH HAMILTON ON ERARD PIANO (1851) HOMAGE AND APPROPRIATION (afternoon) John Phillips Ferdinand Loewe's Version of Bruckner's Ninth Symphony (1903), or, How to Earn a Place in the Canon Nicholas Baragwanath Alban Berg, Mahler's Ninth Symphony and Wagner's Parsifal Alexander Rehding Beethoven's Ninth at 165 Gabriella Dideriksen Mozart's Operas Recast: Instrumental Responses of the Nineteenth Century Christopher Gibbs Encrypting Beethoven: The Secret Programme of Schubert's E-flat Piano Trio PERFORMING TRADITIONS (afternoon) William Weber From 'Miscellany' to 'Homogeneity' in Concert Programming Naomi André Haunting Legacies: The Castrato in the Early Nineteenth Century Matti Huttunen The Performer as a National Hero Laura Tunbridge 'These Shew'd His Signs Among Them': Schumann, Handel and the Pictorial Imagination Jonathan Bellman Alla Zingarese: Early Recordings and the Preservation of a Popular Performance Style RECEPTION SPONSORED BY CAMBRIDGE UNIVERSITY PRESS ROUND-TABLE: ROMANTICISM AND THE HISTORICAL CONSCIOUSNESS (evening) Speakers include Marshall Brown, Susan Bernstein, and Katherine Kolb; chaired by John Daverio ********************************************SATURDAY 1 JULY 2000 ROUND-TABLE: THE BEETHOVEN INFLUENCE (morning) Speakers include Thomas Sipe, K. M. Knittel, Sanna Pederson, John Deathridge and Nicholas Marston; chaired by Daniel Chua ETHNOMUSICOLOGY IN THE NINETEENTH CENTURY (morning) Martin Clayton Charles Samuel Myers: A Forgotten Pioneer of Ethnomusicology Gerry Farrell Colonialism and Music Education in Nineteenth-Century India: The Case of S. W. Fallon Bennett Zon Savage Time/Civilised Time: Progress in Early British Ethnomusicology POPULAR MUSICS (morning) Peter Van der Merwe Classical, Popular and Folk: Cross-Currents in Late Nineteenth-Century Music Derek Scott No Smoke Without Water: The Incoherent Message of Montmartre Cabaret TOUR OF ROYAL HOLLOWAY PICTURE GALLERY POLITICS AND THE STATE (afternoon) Karl Kügle Historicism as Political Tool: The Case of Mid-Nineteenth-Century Germany Diana Hallman Of French Patriotism and Franco-British Relations: 'L'Affaire ministérielle de Charles VI', 1843 Michael Strasser 'The Good Takes Hold of Us': The Impact of the Franco-Prussian War on Parisian Concert Life Jann Pasler State Politics and the French Aesthetics of Prix-de-Rome Cantatas, 1870-1900 WOMEN'S HISTORY (afternoon) Brigitte Hoeft 'That Marvellous and Only Real Home of Music': Nineteenth-Century American Women Musicians in Germany Angeline Brasier Pauline Viardot-Garcia as Composer: Evocations of the Spanish Musical Past GENDER STUDIES (afternoon) Donna Parsons The Dream of Musical Opportunities: The New Woman and the Realities of Professional Musicianship Alexandra Wilson Male Medusas: Gender and Nationalism in Italian Puccini Reception KEYNOTE PAPER (afternoon) Hermann Danuser Specificity in Musicology CONCERT BY THE FLORESTAN TRIO, ROYAL HOLLOWAY PICTURE GALLERY (evening) ********************************************SUNDAY 2 JULY 2000 ROUND-TABLE: EDITING OPERA (morning) Speakers include Richard Langham Smith, Hugh Macdonald, David Grayson, Roger Parker and Peter Owens; chaired by Richard Langham Smith MOZART'S LEGACY (morning) Keith Chapin Naive and Sentimental Counterpoint: Mozart, Schumann and the stile antico Mark Everist Enshrining Mozart: Don Giovanni and the Viardot Circle, 1830-1892 ISSUES IN THEORY AND ANALYSIS (morning) Julian Horton and Theory and Practice in Nineteenth-Century Sonata Form Paul Wingfield Zohar Eitan Musical Gesture and the Ethos of the Appassionata Poundie Burstein Devil's Castles and Reminiscence in Schubert Danae Stefanou Temporality in Liszt: The Non-Linear Aspect Geoffrey Chew Dvorák's Minor Concerns: Aesthetic and Technical Aspects of his Use of Tonality --------------------------------------------------------------------------- BOOKING FORM Please complete section 1 OR section 2 below, and provide full details at the bottom of this page and overleaf. Then detach this sheet and return as soon as possible with 10% nonreturnable deposit or payment in full to: Dr Katharine Ellis, International Conference on Nineteenth-Century Music, Department of Music, Royal Holloway, University of London, Egham TW20 0EX, England. SECTION 1: CONFERENCE PACKAGE - PRIORITY BOOKING Includes three nights' accommodation; all meals (including morning/afternoon coffee and tea) from lunch on Thursday 29 June to lunch on Sunday 2 July; Florestan Trio recital; and discounted registration fee of £35: Conference package £ 199.00 _______ (saving £15.80 over itemised bookings) SECTION 2: ITEMISED BOOKINGS THURSDAY 29 JUNE Lunch £ 7.00 _______ Afternoon tea/coffee 1.30 _______ Dinner 9.00 _______ Bed and Breakfast 35.00 _______ FRIDAY 30 JUNE Morning coffee/tea £ 1.30 _______ Lunch 7.00 _______ Afternoon tea/coffee 1.30 _______ Dinner 9.00 _______ Bed and Breakfast 35.00 _______ SATURDAY 1 JULY Morning coffee/tea £ 1.30 _______ Lunch 7.00 _______ Afternoon tea/coffee 1.30 _______ Dinner 9.00 _______ Florestan Trio recital 10.00 _______ Bed and Breakfast 35.00 _______ SUNDAY 2 JULY Morning coffee/tea £ 1.30 _______ Lunch 7.00 _______ REGISTRATION FEES -- payable on all itemised bookings: Half days -- £7.00 each (Thursday afternoon/ evening; Friday morning or afternoon/evening; Saturday morning or afternoon/evening; Sunday morning) ___ @ £ 7.00 _______ Full days -- £12.00 each (Friday and Saturday only) ___ @ £ 12.00 _______ TOTAL _______ 10% NONRETURNABLE DEPOSIT _______ BALANCE PAYABLE BY 15 JUNE 2000 _______ LATE PAYMENT SURCHARGE Add 10% for payments received after 15 June 2000 _______ FORMS OF PAYMENT: All payments must be made in pounds sterling. Cheques or international money orders drawn on a UK bank and payable to RHBNC are acceptable. Unfortunately, owing to problems with fraud, payment cannot be accepted by credit card. The balance can be paid at the conference itself, but any payment received after 15 June will attract a 10% surcharge. CANCELLATION/REFUNDS POLICY: Delegates are liable for all bookings made unless notification of cancellation is received in writing. Refunds (net of deposit) will be made as follows: notification received before 1 June, 100%; between 1 June and 10 June, 50%; between 10 June and 20 June, 25%; after 20 June, no refund. STUDENTS: We are pleased to offer undergraduate and postgraduate university music students reduced registration fees of £20 (entire conference), £7 (full days) and £4 (half days). Proof of current student status (e.g., photocopied ID card) should accompany the booking form. PERSONAL DETAILS (block capitals, in black ink) Name/Title .............................................................. Institution .............................................................. Address .............................................................. .......................................................................... .......................................................................... Email Address ............................................................ Contact Telephone/Fax .................................................... Please tick if you require vegetarian meals ......... PATRONS We are particularly indebted to Grove Dictionaries of Music and the Music & Letters Trust for their generous support. SPONSORS The Conference gratefully acknowledges the financial assistance of Ashgate Publishing, Cambridge University Press, Oxford University Press Journals, and the University of Birmingham Music Department.