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Eighth Biennial Conference on Baroque Music
Exeter, July 1998


Eighth Biennial Conference on Baroque Music
University of Exeter
9-12 July 1998

Provisional Programme


Thursday 9 July

11.30 am onwards 	Registration (St Luke's College, Heavitree Road,
			Exeter)
12.45-1.30 pm     	Lunch
2.00-2.30 pm      	Introductory Session


2.30 -3.30 pm

Session 1a:  		Restoration

Robert Shay (Arkansas)	Copyists, composers and the sacred repertory in
			Restoration London
Keri Dexter (London)  	A seventeenth-century Windsor copyist: "Thomas
			Tudway" unmasked

Session  1b:  		Bach

Michael Talbot (Liverpool)  Purpose and peculiarities of the Brandenburg
			Concertos
Yo Tomita (Belfast)  	Hitherto unknown musical transcription of Psalms in
			Bach's Well-Tempered Clavier, Book II?  The old
			question revisited

3.30-4.00 pm    Tea
4.00-5.00 pm

Session  2a

Wendy Grant (Victoria, Canada)  Purcell's introductory symphonies:
			anticipations of the eighteenth century symphonic
			overture?
Graydon Beeks (Claremont)   Handel in the highlands: Mr John Smith of
			Aberdeen and the genesis of the Littleton Collection

Session 2b: 		Bach (continued)

Anne Leahy (Maynooth)  	The opening movement of BWV 78, Jesu, der du meine
			Seele, yet another demonstration of Bach's
			preoccupation with matters soteriological
Peter Wollny (Leipzig)  A newly discovered Bach autograph from the Weimar
			period

5.15 pm	        	Address:  Curtis Price (Principal, Royal Academy of
			Music)
6.15 pm         	Sherry Reception
6.45-7.30  pm   	Dinner

8.00-9.00 pm

Session 3a: 		Suite

Metoda Kokole (Ljubljana)	Early 17th-century music for dancing: Isaac
			Posch's instrumental suites of 1618
Paul Whitehead (Philadelphia)  	Germany, the seventeenth-century suite and
			the printed medium

Session 3b

Peter Allsop (Exeter)  Corelli Reappraised
Joyce Z. Lindorff (Philadelphia)  Corelli's China connection

Friday 10 July

9.00-10.30 am

Session 4a      Round Table discussion:  Contextualizing watermarks

Miguel Angel Marín (London)
Donald Burrows (Milton Keynes)
Robert Thompson

Session 4b:  	Instruments and Performance Practice

Gregory Barnett (Bethesda)  When a violoncello is not a cello:  The
		violoncello da spalla
Marianne Rônez (Innsbruck)   Some remarks on the early use of the viola 
		d'amore
Samantha Owens (Wellington, NZ)  Hautboisten at the Württemberg court,
		1700-1750

10.30-11.00 am  Coffee

11.00 am-12.30 pm

Session 5a:  	Keyboard

Janet Pollack (North Carolina)  A compendium of seventeenth-century
		keyboard practice
Peter Janson (Alberta)  The Variite Choräle für die Orgel by Johann
		Christoph Oley
Ernst Kubitschek (Innsbruck)  A newly discovered manuscript containing
		South-German keyboard music from the time around 1700

Session 5b:	Instruments and Performance practice

Jeffrey Kurtzman (St. Louis)  Trumpets in Venetian processions and
		ceremonies in the 16th and 17th centuries
Gregory Johnston  (Toronto)   By grace of variation: Praetorius and
		performance practices in Heinrich Schütz's Psalmen Davids
		(1619)
Charlotte Leonard (Ontario)  The role of Affekt of the trombone in the
		Lutheran church music of seventeenth-century Saxony and
		Thuringia: trombone timbre as an enhancer of mood and text

12.45-1.30 pm   Lunch

2.00-3.30 pm

Session 6a:  	Theory

Joy Barker (Newcastle)  Dancing to the Music of Time: Iconographical
		evidence of musical theory in Rome c. 1635
Bella Brover-Lubovsky (Jerusalem) Vivaldi and contemporary German music theory
Piero Gargiulo (Florence)  La "Professione Armonica": Sul lessico musicale
		nei trattati di Angelo Berardi (1681-1693)

Session 6b:  	Instruments and Performance practice

Frederick K. Gable (California)  Alternatim praxis and 17th-century German
		organ magnificats
Eleanor McCrickard(North Carolina) "Blank" places in Baroque sonatas:
		improvisation at its best?
Charles Gower Price (Pennsylvania) Early printed sources of Italian style
		graces in eighteenth-century England

3.30-4.00 pm    Tea
4.00-5.00 pm

Session 7a:	Theory

Álvaro Torrente (London)  The Valls controversy and the genesis of the Mapa
		Armónico
Christopher Wilson (Reading)  Campion's music theory: Post Renaissance or
		new Baroque?

Session 7b:  	Instruments and Performance practice

Dorottya Fabian (Sydney)  Bach recordings as a chronicle of performance
		style: in search of analytical tools for a critical assessment
Roberto Giuliani (Rome)  Relationship between editions, performance
		practices and sound sources in the study of diffusion and
		reception of madrigalistic repertoire

5.30 pm   	Concert
7.15 pm 	Conference Dinner

Saturday 11 July

9.00-10.30 am

Session 8a:  	France

Jonathan Le Cocq (Northampton, UK)  The early Air de Cour and the continuo
		principle in France
George Torres (Ithaca)  Some manifestations of French lyricism in pièce de
		luth repertoire
Peter Bennet (London)  Sacred vocal and instrumental music in France 
		(1640-63) and the origins of the grand-motet

Session 8b:  	Italy

Tim Carter (London) New light on Monteverdi's Ballo delle ingrate (Mantua,
		1608)
Edmond Strainchamps (Buffalo) Marco da Gagliano in 1608: Choices, decisions
		and consequences
Paola Besutti (Parma)  The "Sala degli Specchi" and other musical places in
		the Gonzaga palace of Mantua

10.30-11.00 am  Coffee
11.00 am-12.30 pm

Session 9a:	France

Greer Garden (Wellington, NZ)  Precursors of the French Cantata:
		Jean-Baptiste de Bousset's Eglogues and Louis de La Coste's
		Idylle en Musique
John S. Powell (Tulsa)  "Pourquoi toujours des bergers?":  Molière, Lully,
		and the pastoral divertissement
Hermann Jung  (Mannheim) Orpheus in France: Marc-Antoine Charpentier's La
		Descente d'Orphée aux Enfers (1686/8) and the tradition of
		chamber opera

Session 9b:	Italy

Luca Mazzucco (New York)  Parody techniques in the Masses of Costanzo
		Antegnati (1548-1624)
Linda Maria Koldau (Bonn)  Experimentalism and exegesis: Monteverdi's
		Venetian church music
Noel O'Regan (Edinburgh)  Ludovico da Viadana, Asprilio Pacelli and the
		Roman concerto ecclesiastico around 1600

12.45-1.30 pm   Lunch
2.00-3.30 pm

Session 10a:  	Spain/New World

Andrea Bombi (Valencia)  From stage to church, from church to cities: on
		the dissemination of the stile rappresentativo in XVIIth
		Century Spain
Louise K. Stein (Michigan)  Lo que por acá se ofrece: New World
		contributions to understanding the politics of baroque music
		and musical thought
Pablo-L. Rodriguez (Zaragoza)   Music and the devotion for the Forty Hours
		in the Spanish royal chapel during the seventeenth century


Session 10b:	Italy

Murray C. Bradshaw (Los Angeles)  Right thinking, spirituality, and the
		"Representation of Soul and Body"
Victor Crowther (Loughborough)  Oratorios for local consumption
Jonathan E. Glixon (Kentucky)  Politicians and the muse:  The Marcello
		brothers and Gerolemo Venier, patrician composers in
		18th-century Venice
3.30-4.00 pm    Tea

4.00-5.30 pm

Session 11a:  	Germany

Barbara Reul  (Zerbst)  Music and worship at the court chapel of
		Anhalt-Zerbst during the eighteenth century
Nigel Springthorpe (Hertfordshire)  Towards a thematic catalogue of the
		works of Johann Georg Röllig (1710-1790),  Kapellmeister at
		the Court of Anhalt-Zerbst
Barbara Wiermann (Leipzig)  Large-scale vocal music in the time of the
		Thirty Years' War: the early compositions of Thomas Selle

Session 11b:  	Theatre

Barbara Coeyman (Texas)  Sources of French and Italian Baroque musical
		theater in Stockholm: Transmission of a multi-media genre to
		the Swedish Court
José-Máximo Leza (Salamanca)  Adaptions of Metastasio in the Madrilinean
		public theatres in the 1730s
Virginia McGill (Sydney)  An Orpheus opera in late seventeenth-century Venice

6.30-7.15 pm    Dinner
7.30-8.30 pm

Session 12a: (Germany)

Janice B. Stockigt (Melbourne)  Two Zelenka masses in J. S. Bach's Nachlass?
Dorothea Hofmann (Munich)  The musical emblemata in the
		Frauenzimmergesprächspiele by Georg Philip Harsdörffer

Session 12b:  	Voice

Alberto Colzani (Como)  Presupposti teorici della vocalità secentesca
Michael E. Lutz (Salzburg)  The "musical texts" for a male castrato and a
		female soprano in the Baroque Opera.  Is there any difference?

Sunday 12 July

9.00-10.30 am

Session 13:	Theatre

Colleen Reardon (New York)  Alla città ritorna: The Chigi and the opera in
		Siena, 1669-1686
Mary Térey-Smith  (Washington)  Two eighteenth-century Portuguese puppet
		operas; who composed the music to Antonio José da Silva's
		plays?
Vassilis Vavoulis (Oxford)  Virtuosity of the sources and the literary
		genesis of a Venetian dramma per musica, Giacomo Francesco
		Bussani's Antonino e Pompeiano (Venice, 1676-77)

10.30-11.00 am  Coffee
11.00 am-12.30 pm

Session 14

Claire Fontijn (Wellesley)  A tender tune for "El Niño": First-person
		narratives of the Virgin Mary in seventeenth-century song
Maurizio Padoan (Como)  Virtuosissimo vocale ed amplificazione
		retorico-gestuale nel primo Barocco
Cathyn Dew (York)  Passion and Persuasion in Fontana's Sonata seconda

12.45-1.30 pm	Lunch: Conference Ends