Students at Royal Holloway,
University of London Royal Holloway,
University of London

Fourteenth International Conference on Nineteenth-Century Music

University of Manchester, 4-7 July 2006

The University of Manchester is pleased to confirm dates for the 14th
Biennial Conference on Nineteenth-Century Music. The conference will be
held from Tuesday 4 July to Friday 7 July at the Martin Harris Centre for
Music and Drama, University of Manchester.

The keynote speaker will be Professor Kofi Agawu (Princeton University).

During the conference, on Thursday 6 July 2006, there will be a Society
for Music Analysis Study Day on Late Schumann, to include a morning paper
session, a lunchtime recital and an afternoon roundtable on the late

Programme committee

James Garratt		
Laura Tunbridge	
Katharine Ellis
Roger Parker
Derek Scott



10.30		Registration and coffee		Room G16
11.30		Introduction Cosmo Rodewald	Concert Hall
11.45-1.15 	Session 1: Selling Carmen: Spanishness and popular culture in
		the late 19th century 		Concert Hall

Kerry Murphy (University of Melbourne) 
The real and imagined Spanishness of Carmen: Paris 1875 

Elizabeth Kertesz (University of Melbourne) 
Selling Spanishness to the Spaniards: re-authenticating Bizet's Carmen 

Michael Christoforidis and Kenneth Murray (University of Melbourne) 
Carmen and her stepdaughters: reworking Bizet and Mérimée for the
fin-de-siècle London stage

11.45-1.15 	Session 2: Choral fantasies and musical communities
		John Thaw Studio Theatre

Ana Maria Liberal (University of Minho, Braga)
Music societies in Oporto in the second half of the 19th century 

Ryan Minor (Stony Brook University)
Choral fantasies: Beethoven, von Schwind, and the aesthetics of choral

Suzanne Cole (University of Melbourne) 
Going to Rome: R. R. Terry and the history of English music

1.15-2.15 	Lunch
2.15-3.45	Session 3: Mesmerising divas and other musical icons
		Concert Hall

Katherine Syer (University of Illinois at Urbana-Champaign)
Senta's maladies: animal magnetism and Wagner's formal breakthrough 

Donna Parsons (University of Iowa)
The daughter of Wotan: the Wagnerian soprano in George Moore's Evelyn
Innes and Sister Teresa 

Phyllis Weliver (Wilkes University)
The nationalist icon of the female harpist in Sandra Belloni

2.15-3.45 	Session 4: Symphonic landscapes: Bruckner and Mahler
		Studio Theatre

Nicholas Attfield (University of Oxford) 
Bruckner's 'Farewell to Life': Auflösung and the absolute in Ernst Kurth's
reading of the Adagio of the Ninth Symphony 

Richard Giarusso (Harvard University) 
The Adagio of Bruckner's Seventh Symphony and the reification of the
aesthetic of musical slowness in the late nineteenth century 

Thomas Peattie (Boston University) 
Mahler's symphonic panoramas: landscape, technology and the Finale of the
Seventh Symphony

3.45-4.10 	Tea 				Room G16

4.10-5.40 	Session 5: Noises off: operatic voices from the margins
		Concert Hall

Hilary Poriss (University of Cincinnati) 
An aria speaks 

Susan Rutherford (University of Manchester) 
'Crime and Punishment': tales of the opera chorus in nineteenth-century 

Clair Rowden
Decentralisation and colonisation at the Théâtre des Arts, Rouen,

4.10-5.40	Session 6: Parallel worlds of musical modernity
		Studio Theatre

Andrew Deruchie (McGill University)
Mahler's farewell or The Song of the Earth? Death in Vienna, orientalism,
and 'Der Abschied' 

Michael Puri (University of Virginia)
'Être sublime avec interruption': Ravel's dandyism in his vision of
musical modernity 

Peter Lamothe (University of North Carolina at Chapel Hill) 
The music of Ubi Roi: Claude Terrasse's parallel world of absurdity

6.00-7.00 	Dinner

7.00-8.45 	Concert 		Concert Hall

8.45-10.00	Reception		Room G16


9.30-11.00	Session 7: Text and intertext 	Concert Hall

Heath Lees (University of Auckland) 
Music as text, intertext and anti-text: Stéphane Mallarmé's 'repossession'
of music on behalf of poetic language 

Naomi Waltham-Smith (King's College, London) 
Experimentum linguae : giving Voice to late Beethoven 

Laura Watson (Trinity College, Dublin) 
L'Apprenti Sorcier as discourse: musical manifestation of Dukas's critical

9.30-11.00	Session 8: Music and nationalism in central Europe
Studio Theatre

Jonathan Bellman (University of Northern Colorado) 
Chopin's Polish Ballade 

Meirion Hughes 
Men of the future': nationalism in Liszt's Chopin 

Wendy Wong (University of Hong Kong) 
Containing the German within: the Fantasiestücke of Ernö Dohnányi 

11.00-11.30	Coffee Room G16

11.30-12.30	Session 9: Redefining the canon in the 20th century
		Bragg Lecture Theatre

Elaine Kelly (University of Edinburgh) 
A socialist heritage? Reinterpreting the 19th-century canon in the German
Democratic Republic 

John J. Sheinbaum (University of Denver)
Interpretation and performance at the fulcrum of Mahler reception

11.30-12.30	Session 10: Teacher-student relationships
		Studio Theatre

Georg Predota (University of Hong Kong) 
Leading the past into the future: Johannes Brahms and the petrification of
the editorial process 

Siegwart Reichwald (Converse College, Spartanburg) 
The cantor's last lesson: 'Colour outside the lines!' Fanny Hensel's Piano
Trio Op. 11 and Felix Mendelssohn's String Quartet Op. 80

12.30-1.15	Lunch

1.20		Recital: Dillon Parmer (University of Ottawa)
		Concert Hall
Wandering in the 19th century (lieder by Schubert, Schumann, Mendelssohn,
Brahms, Wolf and Strauss) 

2.20-3.50	Session 11: Interpreting Liszt		Concert Hall

Victoria Llort-Llopart (University of Paris IV-Sorbonne)
The sublime: from aesthetics to music 

Reeves Shulstad (Salem College) 
Franz Liszt's Orpheus: a new interpretation 

Jonathan Kregor (Harvard University) 
Franz Liszt's late transcriptions and the lure of history

2.20-4.20	Session 12: Global musical encounters
		Bragg Lecture Theatre

Inge van Rij (Victoria University of Wellington)
Exotic facts and fictions in Berlioz's 'The adventures of Vincent Wallace
in New Zealand' 

Marianne Betz (Hochschule für Musik und Theater, Leipzig) 
Transatlantic passages: the musical grand tour 

Brian Thompson (Chinese University of Hong Kong)
After the storm: Gustave Smith, Jacques Oliveira, and music in 1860s New

Norton Dudeque ( Federal University of Parana-Brazil) 
Alberto Nepomuceno (1864-1920): the search for modern expression and
nationalism in Brazilian music

4.20-5.50	Session 13: Singing, publishing and criticism in late
		19th-century France		Concert Hall
Annegret Fauser (University of North Carolina at Chapel Hill) 
Lucienne Bréval  'l'éminente tragédienne lyrique' 

Hugh Macdonald (Washington University, St Louis) 
Georges Hartmann, the 'ideal publisher' 

Bérengère de L'Epine (Paris Conservatoire) and Pauline Girard (French
National Library)
Mechanisms of criticism in the reception of Léo Delibes's Jean de Nivelle

4.20-5.50	Session 14: Analysing Schubert		Bragg Lecture Theatre

Ohran Noh (University of Saskatchewan) 
Authentic pedal and dynamic markings in Franz Schubert's Piano Sonata in A
minor D. 784: the relationship between sordino and soft dynamic markings
in the delineation of structural dimensions in the Andante 

David Bretherton (University of Oxford) 
Flat-VI and the representation of sleep in three Schubert songs 

Xavier Hascher (University of Strasbourg II-Marc Bloch) 
Temporal alteration, obsession, and loss of reality in Schubert's Heine

6.00		Keynote lecture: Kofi Agawu

7.45		Conference banquet


9.30-11.30	Session 15: Voice and the visual in Italian opera
		Concert Hall

Francesco Izzo (East Carolina University)
Acting opera buffa: music and the visual in Luigi Ricci's Il nuovo Figaro 

Andreas Giger (Louisiana State University) 
Staging and form in Giuseppe Verdi's Otello 

Denise P. Gallo (Library of Congress) 
Falstaff 's sonnet and the Petrarchan voice 

Roberta Montemorra Marvin (University of Iowa)
Emanuele Muzio's Giovanna la pazza and Giuseppe Verdi's Rigoletto 

9.30-11.30	Session 16: Transcending tradition: sonata deformation
		Studio Theatre

Steven Vande Moortele (University of Leuven)
Novel ways of organizing sonata form expositions in the 19th century:
Beethoven's 'Tempest' Sonata and its consequences 

Dillon R. Parmer (University of Ottawa) and Nicole Grimes (Trinity
College, Dublin) 
Come, rise to higher spheres! Tradition transcended in Brahms's Violin
Sonata in G Op. 78 

William Marvin (Eastman School of Music) 
Thème libre and sonata form in three organ works by César Franck 

Scott Warfield (University of Central Florida)
Form and deformation in Richard Strauss's Macbeth

12.00		Lunch


11.00 		Society for Music Analysis Annual General Meeting Room SU14

12.00 		Registration/lunch

1.10 		Recital: Charlotte Stephenson (mezzo) Concert Hall
Schumann's Lenau lieder Op. 90, Maria Stuart lieder, and a selection from
Op. 107

2.15 	Jon W. Finson (UNC) 
Schumann's 'Dresden style': the Sechs Gedichte Op. 90, and the analysis of
his late songs

2.45	Harald Krebs (University of Victoria)
Expressive hypermetre in Robert Schumann's late songs

3.15	Ulrich Mahlert (University of Arts, Berlin)
Sechs Gesänge Op 107 in the transcription for soprano and string quartet 
by Aribert Reimann

3.45	Tea

4.15	Robert Samuels (Open University)
Title tbc

4.45	Nicholas Marston (King's College, Cambridge)
Scene and heard: Raphael, Schumann, Faust

5.15	Roe-Min Kok (McGill University)
A hero's tale? Pictorial narratives in Märchenbilder Op. 113

6.15	Lecture-recital: Michael Struck (Johannes Brahms Gesamtausgabe,
Forschungsstelle Kiel, Musikwissenschaftliches Institut, University of
Gesänge der Frühe with and without Diotima: Poetic inspiration, 
title(s) and structure in Schumann's last piano cycle

7.00-8.00	Dinner


9.30-11.00	Session 17: Virtuosity and the solo recital
		Concert Hall

William Weber (California State University, Long Beach) 
The Early History of the Solo Piano Recital in England, 1840-1865 

Alicia Levin (University of North Carolina at Chapel Hill) 
Exploiting 'Le Petit Sorcier': strategy in Liszt's Parisian debut 

Thomas Kabisch (Hochschule für Musik, Trossingen) 
Liszt's virtuosity as paradigm of non-discursive music

9.30-11.00	Session 18: Centres and margins: national and regional
		identities 		Studio Theatre

David Brodbeck (University of California, Irvine)
'Was ist deutsch?' Dvorák and late 19th-century Viennese criticism 

Marie Sumner Lott (Eastman School of Music) 
Must Louise Farrenc's chamber music be French? The Piano Quintets Opp. 30
and 31 

Jan Dewilde (Royal Flemish Conservatory)
Peter Benoit: composer searching for the Flemish identity

11.00-11.30		Coffee
11.30-1.00 		Session 19: German Romanticism and its Northern

Balázs Mikusi (Cornell University)
Schumann's 'Danish manner'? 

Sarah Clemmens (Yale University) 
The Scottish muse and the Italian siren: North and South in German 
Romantic music

11.30-1.00		Session 20: Johann Herbeck

Crawford Howie (University of Manchester)
Johann Ritter von Herbeck: an important link between Schubert and Bruckner 

William E. Hettrick (Hofstra University)
Johann Herbeck's association with the Wiener Männergesang-Verein and his
music for men's chorus

For more information on the conference, please contact:
James Garratt (
Laura Tunbridge (
Sinéad Dempsey (

The conference webpage can be found at

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