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The Many Worlds of Vicente Martin y Soler

Valencia, 14-18 November 2006


The study of late 18th-century opera buffa in the last 30 years has
incorporated a number of new or reformulated approaches and concepts --
the history of reception, the non-congruence of words, action, and music,
the examination of conventions concerning the meanings of meter, rhythm
and tempo, the interaction with opera seria, and several more. The main
focus of this new research, however, has been, as always, the figure of
Mozart, central to the appreciation of our musical tradition, but not
nearly as important as a paradigmatic composer within the genre.

In fact, the two-centuries-old neglect of the main figures of opera buffa
has only been partially offset through a few important studies on
Paisiello and Salieri. Moreover the dearth of basic studies (catalogues of
works, biographies, overviews of musical production) about masters other
than Mozart hinders the application of recent musicological approaches.
Most of the main centers of opera-buffa production are still in need of
comprehensive studies about institutions, audiences and musical practices.

Vicente Martin y Soler, the 200th anniversary of whose death is
commemorated this year, provides an excellent thread for the examination
of the worlds of opera buffa in the Classical period: an outstanding
figure, whose operas were performed and liked everywhere, he led an
itinerant life that took him from his native Valencia through Madrid,
Naples, Northern Italy, Vienna, and London to his final appointment in the
Tsar's capital, St Petersburg. In these major operatic centers he
interacted, competed, and collaborated with first- and second-rate
composers, wrote for internationally acclaimed singers and dancers as well
as for amateur noblemen, haggled with impresarios, received support from
or treated with contempt by the most powerful noble patrons -- the
music-loving Joseph II of Austria and the music-hating Catherine of
Russia.

We welcome contributions that offer glimpses into these worlds. Although
the congress is centered on Martin y Soler, we will also be glad to
receive papers on other players in the operatic game whose careers in some
way intersected with that of the Spaniard.

The Congress, hosted by the Institut de la Musica Valencia, the
Universitat de Valencia and the Instituto Complutense de Ciencias
Musicales, will be held in Valencia 14-18 November 2006. There will be
sessions on:

Opera in Spain
Naples and opera seria
Opera buffa in Italy
Opera buffa in Vienna
Italian opera in London
Russian, French and Italian opera in St Petersburg
Ballet music

The following scholars have confirmed their attendance as invited
participants: Suzanne Aspden, Oxford University; Felicity Baker,
University College, London; Otto Biba, Gesellschaft der Musikfreunde,
Vienna; Andrea Bombi, University of Valencia; Margaret Butler, University
of Alabama; Emilio Casares Rodicio, Complutense University, Madrid ;
Stefano Castelvecchi, Cambridge University; Annarita Colturato, University
of Turin; Anthony Deldonna, Georgetown University; Dinko Fabris,
University of Basilicata ; Ingrid Fuchs, Gesellschaft der Musikfreunde,
Vienna; Rainer Kleinertz, Regensburg University; Larisa Kostiukhina,
Moscow; Irina Kriazheva, Chaikovski Conservatory, Moscow; Michael
Malkievicz, University of Salzburg; Christine Martin, Neue
Schubert-Ausgabe, Tübingen; Pierpaolo Polzonetti, University of N.
Carolina, Greensboro; Angela Romagnoli University of Pavia; Francesco
Paolo Russo, University of Calabria; Maria Shcherbakova, Library of
Mariinsky Theatre, St. Petersburg; Gian Giacomo Stiffoni, University of La
Rioja.

Contributions in English, Spanish or Italian are solicited under two
categories:
1) 10-minute communications (approx. five double-spaced A-4 pages). These
may involve new pieces of information not subject to extensive
interpretation, or partial reports of work in progress.
2) 20-minute papers (approx. ten double-spaced A-4 pages).

Proposals should be submitted by 30 May in the form of a brief (300-word)
summary. A longer (2-page) abstract, or the full text should be submitted
before 15 September. These will be screened as they arrive, and their
acceptance communicated promptly in order to facilitate early travel
arrangements.

Submissions and inquiries about academic matters should be made to either
of the directors of the Congress:

Dorothea Link:     dlink@uga.edu
Leonardo Waisman:  ljwaisman@yahoo.com

For registration, travel and local arrangements information, please address:
Inmaculada Rodriguez:  martinysoler@ivm.gva.es

Dorothea Link
Hugh Hodgson School of Music
University of Georgia
250 River Rd
Athens, GA 30602
USA
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