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CfP: Editing, Performing and Re-Composing the Musical Past – The Emergence of French Neoclassicism (1870–)

The French Music Research Hub at the Royal Birmingham Conservatoire, Birmingham City University, is very pleased to announce this international conference, to take place in the Recital Hall of the new Conservatoire across 5–7 September 2018. The conference forms part of the culminating phase of the major AHRC-funded project: ‘Accenting the Classics: Durand’s Édition classique (c. 1915–25) as a French Prism on the Musical Past’.

We are delighted to confirm that there will be an international keynote address delivered by Professor Steven Huebner (James McGill Professor, McGill University, Montreal), together with a public piano recital presented by senior Conservatoire performers. The languages of the conference will be English and French. We welcome a full range of scholarly approaches: musicological, editorial, analytical, critical and performance-based.

Proposals are invited from established scholars and research students for individual papers (20 minutes, plus 10 minutes for questions); lecture-recital format (30 minutes, plus 10 minutes for questions); or panel sessions (3 or 4 x 20-minute papers, each with 10 minutes of discussion/questions). Proposals are welcome on any relevant topic, but we are especially interested in the following themes and questions:

 

  • The later 19th-and early 20th-centuries witnessed a wealth of French and other Francophone editions (e.g. Heugel, d’Indy’s Nouvelle Édition française, Henry Expert) of European music by composers including Bach, Couperin, Rameau, Mozart, through to Berlioz, Schumann and Liszt. How do music editions of this kind represent the past or create a dialogue with it, whether nationally or transnationally?
  • Which composers and periods proved of special interest to French editors and why?
  • How might we explore the notion of the ‘classic’, as employed in many editions?
  • What are the performance implications of such music editions, in relation to early and mid-20th-century recordings, or for performance today?
  • How did individual French composers of the late 19th- or early 20th-century engage with earlier music for their own compositional purposes?
  • What roles do ‘classical’ models (e.g. pavanes, menuets) play in late 19th- or early 20th-century French composition, from Fauré and Saint-Saëns through to Debussy and Ravel?
  • What are the relationships between an increased interest in the musical past in fin-de-siècle France and the acknowledged rise of neoclassicism in the early 20th century?

Abstracts (max. 300 words), together with a short biography (max. 150 words), accompanied by an introductory rationale for panel proposals (max. 300 words), should be submitted by email to Deborah.Mawer@bcu.ac.uk by the deadline of Friday, 29 December 2017.

Programme Committee: Profs. Deborah Mawer, Graham Sadler and Dr Rachel Moore (Royal Birmingham Conservatoire, Birmingham City University), Prof. Barbara Kelly (Royal Northern College of Music, Manchester), Prof. Denis Herlin (IReMus, CNRS, Paris).

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CFP: London Stage and the 19th-Century World II

Call for Papers 

London Stage and the Nineteenth-Century World II

5-7 April 2018, New College, Oxford

Following the success of the 2016 London Stage conference, we welcome contributions on all aspects and forms of drama and theatrical practice in 19th-century London, from plays and operas to pantomime and puppetry.

More details can be found here: http://www.new.ox.ac.uk/london-stage-and-nineteenth-century-world-ii-2018

Michael Burden (New College, Oxford)

Jonathan Hicks (Newcastle University)

CFP: Mapping the Musical City

Mapping the Musical City – a historically savvy symposium

Friday 2 February 2018, Institute of Musical Research, Senate House, London

Proposals due: Wednesday 13 December 2017, 1200 GMT

Keynote speaker: Samuel Llano (University of Manchester)

 

CALL FOR PAPERS

This symposium, in association with the School of Advanced Studies, addresses mapping as both an object and method of musicological enquiry. Inspired in part by the “spatial turn” in the humanities at large and fuelled by the increasing accessibility of Geographic Information Systems software, musicologists can now visualize and analyse complicated trends across time and place with greater ease than ever before. Yet, the ideological and epistemological implications of different mapping tools and techniques remain underexplored. The aim of this symposium is to situate recent projects within a longer history of cartographic practice in music studies.

 

By taking a historical perspective on the mapping of musical cities this symposium will raise questions on two fronts. Firstly, it will acknowledge cartography as a factor in past musical practice, asking, for instance: how the active “zoning” of civic space regulated performers’ livelihoods; how tour guides and travel writing predetermined listening experiences; and how the policing of bodily display and alcoholic consumption have made entertainment venues a focus for surveillance and control. The second set of questions relates to the mapping techniques available to music studies today: we will ask what is at stake in converting affective, interpersonal musical experiences into machine-readable spatial coordinates; how the problems of mapping the performing arts differ from those of mapping literary or visual culture; and how the current fascination with urban centres emerged from earlier work at the scale of the region or nation.

 

Please send proposals (300 words) for individual papers or panels to Jonathan Hicks (Newcastle University) at jonathan.hicks@newcastle.ac.uk. If you have an alternative format suggestion (including, say, demonstrations of current projects or discussions of cartographic texts) feel free to get in touch to discuss your ideas.

 

Proposals from early career scholars are particularly encouraged. Thanks to sponsorship from Nick Baker there is a modest fund to support travel to the event, particularly for anyone attending from overseas; if you are interested in this support, please say so in your application.

 

Finally, please note the quick turnaround for this call: the deadline for proposals is Wednesday 13 December 2017, 1200 GMT and decisions will be made later that week.

Ralph Vaughan Williams and the Church: an RMA Study Day

4th June 2018, Durham University

Conference Website

The organising committee for Ralph Vaughan Williams and the Church and the Centre for Nineteenth-Century Studies invite proposals for this RMA Study Day to be held at Durham University on the 4 June 2018.

We invite researchers to submit proposals engaging with perspectives on the relationship between Ralph Vaughan Williams and the church. PhD students are especially welcome to submit presentations. Proposals may address, but need not be limited to, the following topics:

  • Vaughan Williams and hymnody
  • Vaughan Williams and science, especially evolutionary thought
  • Vaughan Williams, revealed and natural theologies
  • Vaughan Williams and the liturgy
  • Analytical approaches to Vaughan William’s church music
  • Vaughan William’s church music and the long nineteenth century
  • Vaughan Williams, sacralisation of the secular
  • Vaughan Williams, legacies today

 

Individual Proposal: Abstracts for a single speaker (20 minutes + 10 discussion) should be 350 words and clearly describe the argument, evidence, and research findings, situate the work in relation to previous scholarship, and articulate how the research contributes to research into Victorian interdisciplinarity

Panel Proposal: Abstracts for 3 speakers (1 ½ hours) or 4 speakers (2 hours) should be 350 words and provide an outline of the main argument, evidence, and research findings of the panel, as well as situating the panel’s work in relation to previous scholarship and articulating how the research contributes to research into Victorian interdisciplinary. The panel organiser should also include an individual proposal abstract for each paper following the guidelines for Individual Proposals, along with each panelist’s contact information. Panel Proposals will be considered only as a whole, the session’s coherence being an essential part of the evaluation process.

Submission information: Please send your proposals as Word documents to cncs@durham.ac.uk no later than 26 January 2018. The following format should be used:

  • Name, affiliation (if applicable) and contact details (postal address, email and phone)
  • Type of presentation (individual or panel)
  • Abstract title
  • Audio-visual and other requirements (the following are available: Data projector or large plasma screen; Desktop PC; VGA, HDMI and 3.5mm audio inputs; CD player; DVD player; Visualiser; Piano)
  • Brief biography (150 words)

Music & The Moving Image Conference: Call for Papers

MUSIC & THE MOVING IMAGE CONFERENCE XIII
Conference at NYU Steinhardt: Thursday May 24th – Sunday May 27th
The annual conference, Music and the Moving Image, encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, video games, iPhone, computer, and live performances) and that of music and sound through paper presentations. The Keynote Speaker is TBA. 
 
 Abstracts or synopses of papers (250 words) should be submitted by no later than December 15th, 2017. You can submit via Google Forms by clicking this link:  https://goo.gl/forms/NiczqCeHoaqSThI32
 
 The program committee includes Brooke McCorkle of SUNY-Geneseo (Co-author of Japan’s Green Monsters: Environmental Commentary in Kaijū Cinema, McFarland), Nathan Platte of University of Iowa (Making Music in Selznick’s Hollywood, Oxford University Press), and Ben Winters of The Open University (Music, Performance, and the Realities of Film, Routledge), and co-editors of Music and the Moving ImageGillian B. Anderson (Rosita at the Venice Film Festival, Composing for the Cinema, Music for Silent Film 1892-1929: A Guide); and Assoc. Professor, Director & Chair, Ron Sadoff (The Moon and the Son / Co-Editor Routledge Companion to Screen Music and Sound). 
 
This year’s conference will run for four days, from Thursday May 24th – Sunday May 28th with sessions until Sunday evening. On Friday evening May 25th, at the Museum of Modern Art, there will be the first American screening of the MoMA restored Rosita (Lubitsch, 1923) with the reconstructed original score performed live by Cinemusica Viva. The conference will run prior to the NYU Film Scoring Workshop in Memory of Buddy Baker (May 29th – June 9, 2018).
 
MaMI Conference website: http://steinhardt.nyu.edu/music/scoring/conference/
E-mail mamicon2018 at gmail.com for more information.

Fifth International Conference on Analytical Approaches to World Music (AAWM 2018)

International Conference. June 26–29, 2018, Thessaloniki, Aristotle University of Thessaloniki, Greece

The rich musical heritage of the world is receiving increasing attention in ethnomusicology, music theory and analysis, music history, music psychology, and music informatics. Analytical Approaches to World Music 2018 is the fifth in a series of conferences that bring together scholars to explore the panoply of global musical traditions, both past and present, that lie outside the purview of Western Art Music, from the broadest possible array of theoretical, cultural, historical and analytical perspectives, in order to foster interdisciplinary and cross-cultural dialogue and promote new approaches and methods. It will meet jointly with the 8th International Workshop on Folk Music Analysis (FMA 2018).

AAWM 2018 welcomes submissions that examine world musical traditions from any analytical and theoretical angles, including (but not limited to) ethnographic, historical, formal, computational, and cognitive perspectives. Submission formats include papers, posters, special sessions, lecture-recitals, and workshops.

Graduate students and scholars within five years of receiving the PhD will be considered for the Rob Schultz Junior Scholar Award, established in 2016 to honor the memory of the co-founder of the Analytical Approaches to World Music journal and conference series. The best paper presented by a junior scholar will be published in the journal, and the author will also receive a modest cash award.

Please see below for information on conference organization and submission guidelines for AAWM 2018. The FMA Workshop has a separate submission process.

Conference web site: http://aawmconference.com

Organizing Committee

Lawrence Shuster (SUNY Purchase, USA), Panayotis Mavromatis (New York University, USA), Jay Rahn (York University, Canada), Yannis Rammos

Local Arrangements Committee

Costas Tsougras and Emilios Cambouropoulos (Aristotle University of Thessaloniki, Greece)

Keynote Speakers

John Roeder (University of British Columbia, Canada) Martin Stokes (King’s College London, UK)

Program Committee Co-Chairs

Michael Tenzer and John Roeder (University of British Columbia, Canada)

Submission Guidelines

Papers: Proposals for spoken papers should include a short abstract of no more than 200 words, and a full proposal in extended abstract format with customary headings (e.g., Introduction, Analysis, Conclusions). The recommended length for the full proposal is 500-700 words, including footnotes but not counting examples and bibliography. Supporting media files can also be submitted. Accepted papers will be allotted 30 minutes for presentation plus 15 minutes for discussion.

Posters: Poster proposals should follow the same format as spoken paper proposals. Authors may submit a given proposal as a paper, a poster, or both. The program committee will make a final recommendation on the presentation format, taking the author’s request into consideration. Abstracts and full proposals of the accepted papers and posters will be published online.

Special Sessions: Authors of papers that share a common theme may propose to deliver them in a special session. Each paper should be submitted separately, and will be reviewed following the same process as that for spoken papers. In addition, a separate submission should be entered for the session as a whole, including a 200-word abstract and a full proposal of 500-700 words.

Workshops / Lecture Recitals / Alternative Formats: Proposals for workshops or other alternative formats should also be submitted as a 200-word abstract and 500-700-word full proposal. They should give as many details as possible about the precise format they will employ, how many participants can attend, and the size and type of space they will require. We welcome presentations that involve music performance, as long as they include a substantial original analytical or theoretical component consistent with the call for papers.

Submission process: All proposals should be submitted electronically using the following link:

https://easychair.org/conferences/?conf=aawm2018

Initial submission deadline: December 1, 2017 Final submission deadline: December 15, 2017

Initial submissions should consist of a title, short abstract (200 words), and a list of keywords. Once these have been submitted, authors have until the final deadline to submit the full proposal (400-700 words, plus supporting materials).

Notification of acceptance will be sent via email by early February 2018.

Additional Information

For additional information regarding the conference, including venue, transportation, and accommodations, please check the conference website:

http://aawmconference.com

Updated information will be posted there as soon as it becomes available. Please direct all remaining questions to: aawm2018@gmail.com

Musical Culture in the Wars of Religion, 1550-1650

 

Conference Dates:

17-18 March 2018

 

Location:

St Catharine’s College, University of Cambridge

Trumpington Street

Cambridge

CB2 1RL

 

Organisers:

Edward Wickham, Tom Hamilton, Alex Robinson

Conference Description

Talks by:

Peter Bennett (Case Western Reserve), Marie-Alexis Colin (Brussels), Tom Hamilton (Cambridge), Kat Hill (Birkbeck), Melinda Latour (Tufts), David van der Linden (Groningen), Margaret McGowan (Sussex), Emilie Murphy (York), David Potter (Kent), Alex Robinson (Cambridge), John Romey (Case Western Reserve), Daniel Trocmé Latter (Cambridge),

and featuring a lecture-recital by Edward Wickham (Cambridge) and the Choir of St Catharine’s College, Cambridge on Claude Le Jeune’s Dodecacorde (1598).

 

Conference Outline:

 

Music was a crucial battleground during the age of the Wars of Religion. In spite of this, historians and musicologists have rarely combined their approaches to try and understand the full significance that music had in the civil wars. Historians, for example, have primarily studied how music shaped confessional identities, such as when Protestants sang the Psalms together in worship or on the battlefield to express their solidarity and take comfort in their faith (despite the threat of persecution). Musicologists, on the other hand, have tended to concentrate on the most important composers from this time (such as Eustache Du Caurroy or Pierre Guédron), the genres in which they wrote (like ballets or airs de cour), or certain issues arising from the performance of this repertoire.

This conference brings together historians and musicologists with the aim of overcoming the boundaries that still remain between these scholarly disciplines. It focuses on the various contexts within which music was used and considers its impact in the Wars of Religion. Who sang music and for what aims? What was the relationship (if any) between the performance of music in elite circles versus the use of this art form among the wider public? Did music solidify or traverse confessional divisions? Lastly, how far can modern performers recreate the soundscapes of the sixteenth and seventeenth centuries?

Treating the age of the Wars of Religion across a whole century (1550-1650) and using France as a focal point for making wider comparisons, this conference will comprise twelve papers given by speakers from the UK, continental Europe and the USA. These papers will explore the role of music across all sectors of society, from the royal courts to the city streets, as well as from both Protestant and Catholic perspectives; in addition, they will demonstrate how people from both sides of the confessional divide engaged with a common musical tradition. The Psalms, in particular, could be sung to express a desire for peace as well as continued religious war.

Alongside the twelve papers, the conference will include a public lecture-recital of Claude Le Jeune’s Dodecacorde (1598) given by Edward Wickham and the choir of St Catharine’s College, Cambridge. Le Jeune’s career and compositions perfectly encapsulate the themes of this conference. As a protestant sympathiser during the early phase of the civil wars, he was also associated with the Catholic Académie de musique et de poésie at the royal court in the 1570s, and he later served as a musician in the household of Henri IV (1589-1610). Le Jeune moved between Protestant and Catholic circles, travelled across France, and mixed with the highest levels of courtly society; in addition, he composed major (and still oft-neglected) pieces that combine confessional solidarity with a desire for peace after decades of bloody civil war.

For more information on this event, and to book tickets, see https://www.eventbrite.co.uk/e/conference-musical-culture-in-the-wars-of-religion-tickets-38480325690

Maximising student compositional and performance creativity within Higher Popular Music Education (HPME) courses: Symposium

Bath Spa University

10.00am – 4.00pm 24 February, 2018

CFP: deadline for submissions 15 December, 2017

Keynote Speakers: Cliff Jones (BIMM, Gay Dad, Radiophonic Workshop); Dr Louise Jackson (Trinity Laban), Drew Morgan (BIMM, Halo 4, Davidge, Modulus iii)

Overview:
‘As a relatively new HE discipline, and the (largely) orally transmitted nature of the music, the teaching is still, I feel, being explored and developed.’ (Respondent cited in Cloonan and Hulstedt, 2012)

Since the amalgamation of new universities in 1992 the development of Higher Popular Music Education courses has increasingly expanded, with there now being 47 institutes or universities that have undergraduate popular music courses (Cloonan and Hulstedt, 2012). There has been research centered around creative pedagogies within Higher Popular Music Education (Burnard,2012; Haddon et al, 2016; Parkinson and Smith, 2015) and this is an opportunity to collate and collect practices that have influenced the development of student musicians within Universities and Institutes which teach popular music. With the rise in student fees and constant changes to the current popular music industry, it now seems more vital than ever to look at pedagogical practices and philosophies, to see if student creativity is being maximised. Are the Universities and Institutes that deliver HPME helping to develop popular musicians who will make a creative impact on the current popular music industry?

This symposium aims to discuss practices and research around pedagogical philosophies and techniques, utilised within current HPME. It would also be pertinent to see if there are practices from other disciplines that could be utilised to aid development of the new breed of musicians. The event is aimed at discussing reflections from students and lecturers on their experiences and research around the creative development of artists within popular music study. There will be presentations, live classroom re-enactment, a roundtable discussion, and music performances. This event will be situated in the Michael Tippett Centre at Bath Spa University.

The keynote speakers are all professional popular musicians who have developed progressive and inclusive music education practices, aimed at maximising student creative practice.

Themes

The development of innovative composition and band practices in HPME
The utilisation of Improvisation in HPME
Pedagogical philosophies and practices from other disciplines such as art, literature, dance etc..
Curriculum development within HPME aimed at enhancing student compositional and performance creativity

 

CALL FOR PARTICIPATION
20-minute papers (plus 10 minutes for questions) are invited on any aspect relevant to the theme of the Symposium.

Proposals for panels of 3–4 papers (1.5–2 hours) on a closely related topic are also warmly welcomed, as are proposals for roundtables (3–5 participants, 1 hour duration). The latter should be thematically integrated and dialogue-based rather than simply a series of unconnected mini-papers.

Note that papers will be expected to offer some critical self-reflection on method, and not merely to set out ground covered in an individual’s own practice. Those that adopt non-traditional formats, or incorporate a practice as research component, will be warmly welcomed.

Abstracts of no more than 300 words should be e-mailed by 15th December, 2018 to Simon Strange, simon.strange16@bathspa.ac.uk (enquiries to the same address). Decisions will be communicated to speakers by 20th January 2018

Organising Committee: Simon Strange (Bath Spa University, Chair), Dr Tom Parkinson(University of Kent)

Symposium Supporters: International Association for the Study of Popular Music (IASPM) and Bath Spa University

Further information:  simon.strange16@bathspa.ac.uk

Event Details:
Location – Michael Tippett Centre, Bath Spa University, Newton St Loe, BA2 9BN
Date – 24.2.2018
Refreshments provided but lunch extra
Fee – free


Simon Strange SFHEA
PhD Researcher
Institute for Education
Bath Spa University
Ground Floor, Newton Park Library

 

Thirty-third Annual Conference on MUSIC IN EIGHTEENTH-CENTURY BRITAIN

THE FOUNDLING MUSEUM

40 BRUNSWICK SQUARE, LONDON, WC1N 1AZ

FRIDAY 24 NOVEMBER 2017

CHAIRS – Ann van Allen-Russell, Colin Timms

10.00 Coffee and registration

10.15 Cheryll Duncan (RNCM) – Musical life in the King’s Bench Prison circa 1760:

new evidence from the Courts of Common Pleas and Exchequer

10.45 Colin Timms (Birmingham) – First and Last: Steffani and the Academy of

Ancient Music

11.15-11.45 Coffee / Reports (from 11.30)

11.45 Douglas MacMillan (Guildford) and Isobel Clarke  (RCM) – A musical enigma: the bass         recorder in the long eighteenth century

12.15 Catherine Crisp (Emsworth) – The clarinet in London’s popular culture

(circa 1760 -circa 1810)

12.45 Amanda Babington (Manchester) – The ‘other’ Scottish pipes: Bonnie Prince

Charlie’s Musette

13.15-14.00 Lunch

14.00 Roya Stuart-Rees (Royal Holloway) – Music for the Marine Society

14.30 Micah Anne Neale (Royal Holloway) – Erddig’s Servants: Music, Space, Status

15.00 Sally Drage (Congleton) – ‘Vital spark’: music and musicians in eighteenth-

century Liverpool

 

15.30-16.00 Tea

16.00 Olive Baldwin and Thelma Wilson (Chelmsford) – New light on the Baroness

16.30 Randall Scotting (RCM) – Influencing perceptions: Senesino in Bononcini’s

La Griselda of 1722

 

17.00 Conference ends

REGISTRATION FEE, including lunch and refreshments, and

admission to The Foundling Museum between 10am and 5pm, payable in advance, £17 (£21 on the day)

By cheque payable to ‘The Foundling Museum’ – please send to:

GCHC, The Foundling Museum, 40 Brunswick Square, London, WC1N 1AZ

By card: https://foundlingmuseum.cloudvenue.co.uk/musiceighteenthcenturybritain (booking fee applies)

Organised by Claire Sharpe, Katharine Hogg and Colin Coleman

Cheryll Duncan – Musical life in the King’s Bench Prison circa 1760: new evidence from the Courts of Common Pleas and Exchequer

Lewis Christian Austin Granom’s Plain and easy instructions for playing on the German flute (1766) is significant in being the earliest work on the pedagogy of the flute by a named English author. The treatise, however, had an extraordinary genesis, being largely the product of the many lessons Granom gave to its dedicatee, John Bourke Esq., a wealthy Irish landowner who was incarcerated for debt in the King’s Bench Prison at the time. Recently discovered documents among the legal records held by The National Archives at Kew in London show that teacher and pupil, after an initial period of close friendship, quarrelled over money, in particular, unpaid fees due for the flute lessons that Granom gave Bourke daily (except Sundays) over a period of about fourteen months in 1766-67; other issues included the cost of writing and printing the Plain and easy instructions, and the price charged by Granom for copying and transposing various songs, and arranging them for the flute. Their relationship broke down irreparably on 21 October 1767 when Granom paid Bourke a social call in his apartments in prison, where he was given so much wine to drink that he became intoxicated; in the course of the evening he was also persuaded to play backgammon, with disastrous consequences. Next day he was informed that he had gambled away £95, which Bourke insisted should be deducted from the unpaid bill for his flute lessons. Granom then wrote to Bourke accusing him of ungentlemanly conduct and resigning as his teacher. The litigation, involving both the common law (Court of Common Pleas) and equity (Court of Exchequer), gives a fascinating insight into the patron/composer relationship, their musical tastes and views regarding Handel’s posthumous reputation, the sources used to compile the Instructions, the cultural and social life of one of London’s more salubrious gaols, and the cost of music lessons, copying and other related expenses.

 

Colin Timms – First and Last: Steffani and the Academy of Ancient Music

It is well known that Steffani was elected president of the Academy of Ancient (at that time ‘Vocal’) Music, that he sent the academy copies of his existing works and that he composed some new pieces for its meetings. Nevertheless, there are some unanswered questions. He sent his madrigal ‘Gettano i re dal soglio’ in December 1726, before he had heard about the academy from his London-based friend Giuseppe Riva, so who first told him about the institution, and when? The madrigal is generally assumed to be the first new piece he sent, but it may have been preceded, as this paper points out, by a hitherto neglected, anonymous vocal duet that was meant as a kind of joke.  The last piece he sent the academy is his ‘Stabat Mater’, but a detail in the part-writing suggests that the work was not originally conceived for the instruments listed in the eighteenth-century English manuscripts, the only early sources to survive. This paper therefore speculates on the origins and compositional history of Steffani’s somewhat puzzling ‘masterpiece’.

Isobel Clarke and Douglas MacMillan – A musical enigma: the bass recorder in the long eighteenth century

 

The bass recorder, or ‘bassett’, is most commonly associated with the consort music of the sixteen and early seventeenth centuries. The instruments used in this period conformed to the Renaissance and transitional styles of recorder building, and there are several examples still in existence today. However, a recent study of collection checklists and indices has revealed that many Baroque-style bass recorders from the very late seventeenth and eighteenth centuries have also survived. Conversely, a study of contemporary compositions suggests that the assigned repertoire for these instruments was exceedingly small. In an attempt to reconcile this apparent contradiction, our paper will examine the organology of the bass recorder (particularly those by Bressan) as used in the eighteenth century, and its assigned repertoire. We will make brief comments on the minimal evidence for the existence of ‘great bass’ recorders in the English baroque era.

The practice of bass recorder performance and the sociality of this practice (in both amateur and professional environments) will also be discussed. Particular attention will be given to its possible use as a continuo instrument, proposed as a common practice by several authors. We will explore the reasons for and against this hypothesis, drawing on an examination of the attributes required of continuo instruments in eighteenth-century practice, and discuss the suitability for the bass recorder in this role. More than 100 bass recorders dating from the late seventeenth to early nineteenth centuries survive: it is the aim of our paper to present a comprehensive — and at times speculative —review of these instruments, their repertoire and usage, little of which has hitherto been presented in organological or musicological literature. The paper will be illustrated with musical examples.

Catherine Crisp – The clarinet in London’s popular culture (circa 1760-circa 1810)

 

Eighteenth-century London was a centre of diverse entertainments and music played a vital role in a myriad of events attended by differing levels of London society. The prevalence of music in London’s culture at this time offered an ideal showcase to present the newest woodwind instrument, the clarinet, to a variety of audiences.

This paper will examine references to the increasing appearance of clarinets at a variety of entertainments in 18th-century London, drawing on a selection of previously undocumented source material.  The entertainments considered will include circuses, fairs, the smaller pleasure gardens, debating societies and river parties, demonstrating the growing employment of the instrument in London at this time.

This paper will also provide an insight into how contemporary audiences responded to both the newest woodwind instrument and clarinettists in performance, using reviews and letters to interpret how the instrument was perceived in this centre.

In order to discuss the growing presence of clarinets in London’s popular culture, I will explore research questions such as:

  • Which events and entertainments featured clarinets and in what capacity?
  • To what extent was the clarinet known and recognized by London audiences and by different classes?
  • What contemporary reviews and reports exist of performances including clarinets given at these events?
  • Are extant reviews of these performances favourable? Amanda Babington – The ‘other’ Scottish pipes: Bonnie Prince Charlie’s MusetteIn the West Highland Museum there exists a rather worn-looking Musette attached to which there is a plaque that reads ‘Charles Edward Stuart, last PRINCE of the Royal House of Stuart’. Also known as the Young Pretender, Charles Edward Stuart was born and raised in the Stuart court in exile in Rome. However, his father, James Francis Edward had previously held court in Avignon and had been brought up at the Stuart court in exile at the Chateau de Saint-Germain-en-Laye. There, the Stuarts had enjoyed the support and protection of Louis XIV, himself an enthusiastic Musette player and possibly even the source of the instrument bearing Bonnie Prince Charlie’s name. The Musette in the West Highland Museum was bought by I Skene of Rubislaw (an estate near Aberdeen) in Rome in 1802, supporting its alleged connection to the Stuart court in exile. But what evidence is there of the Musette being played in Scotland during the 18th Century? Did Bonnie Prince Charlie while away the long hours of travel during his 1745 campaign perhaps entertaining himself on the Musette? Or perhaps he entertained his guests on the Grand Tour with his skills on this little-known instrument? Perhaps it became yet another piece of code for Jacobite supporters? An unashamedly speculative investigation, this recital-paper seeks to uncover any evidence of this secretive instrument, examining whether there is any evidence to suggest that 18th century audiences might have heard it on UK soil or during their travels.
  •  
  • This paper will display the growing use of newest woodwind instrument in 18th-century London, offering fresh insight into the extent to which the clarinet was known and recognized by a wide cross-section of London society.

Roya Stuart-Rees – Music for the Marine Society

The Marine Society was one of the most prominent charitable institutions in eighteenth-century London. Founded in 1756 by the philanthropist and merchant Jonas Hanway, its object was to tackle the dwindling numbers in the Royal Navy by recruiting destitute men and boys to serve on ships, and providing them with clothing and transport. Although the Society, given its purposes, might seem a surprising subject for musicological research, this paper reveals the multifarious ways in which the Society used music – in the theatre, in concert, in church services, and at celebratory dinners – to display and celebrate its accomplishments, enhance its public profile, and solicit donations. As the minute books document, committee members exploited their social connections to solicit the services of figures such as Handel, Arne, and David Garrick for benefit performances at Drury Lane and Ranelagh, and the Society also hosted anniversary dinners, at which Benjamin Cooke and the Westminster Abbey choristers under his care performed. These dinners were often preceded by thanksgiving sermons, featuring the performance of anthems (some specially commissioned), and processions through the City streets accompanied by drums and fifes. The minutes shed light on the planning, management, and success (or otherwise) of such performances, and vividly reveal the manner in which a group consisting largely of merchants fostered connections to – and engaged with – London’s musical life.

Micah Anne Neale – Erddig’s Servants: Music, Space, Status

 

The unusually complete records of Erddig House near Wrexham produce a considerably deeper insight into musicmaking among eighteenth-century domestic servants than is possible from most provincial sources. Not only has the house’s layout remained basically unchanged since the late eighteenth century, the Yorke family kept a large number of account books, letters and miscellaneous records. I have found a number of references to musical events across these sources, as well as a great deal of evidence of servants’ economic and social lives. Synthesising these, together with the limited direct evidence of servant musicmaking – a Black coachboy playing the horn, servants enjoying opera tunes in the servants’ hall – allows a compelling image to emerge of musical life for eighteenth-century domestic servants.

In tandem with other, well-trodden sources of information on provincial musical life in the eighteenth century, the picture which emerges is one of largely self-motivated entertainment. Detailed records of payments made to servants bear witness to a culture of consumption and sociality, confirming some aspects of servants’ behaviour depicted in contemporary fiction, memoirs and diaries. My paper outlines the decisive role of servants in the processes by which ‘elite’ musics become more widely known, and used, among the general population. Also made clearer are the ways in which servants engaged with eighteenth-century consumer entertainments and commercial music. The house itself, too, makes the spaces and places of servant musicmaking at Erddig eloquent and revealing.

Sally Drage – ‘Vital spark: music and musicians in eighteenth-century Liverpool

 

During the eighteenth century, Liverpool became England’s main slave trading port and, as its population grew, there was an increasing demand for cultural entertainment. This paper will discuss the development of secular and sacred music in Georgian Liverpool with particular reference to the contributions of two families, the Wainwrights and the Harwoods. It will also attempt to explain the unprecedented growth in popularity of a funeral piece composed by Edward Harwood, The Dying Christian to his Soul, more commonly known by the opening words of its text, ‘Vital spark’.

Robert and Richard Wainwright were both, in turn, organist at St Peter’s, the most fashionable church in Liverpool. Soon after his appointment in 1775, Robert directed an ambitious four-day music festival. His compositions were performed locally and he also organised subscription concerts. After his early death in 1782 at the age of 33, he was succeeded at St Peter’s by his brother, Richard, who had a longer but less illustrious career, although his three-part glee, ‘Life’s a bumper’ was well known.

Mary and Edward Harwood performed music by Robert Wainwright at Liverpool concerts and were part of the northwest contingent who sang at the Handel Commemoration in 1784. Mary became one of the best Handelian singers of the period but, like Robert Wainwright, Edward died young, at just 31. He composed two books of church music and six secular songs but he is remembered for only one work, ‘Vital spark’. It became one of the top ten psalmody pieces in America and it was even sung at the funeral of a Polynesian prince. If time allows, it is hoped that ‘Vital spark’ will be performed by all delegates as part of this paper.

Olive Baldwin & Thelma Wilson – New light on the Baroness

The Baroness was the most mysterious of the four female singing stars to appear on the London stage in the first decade of the 18th century, when all-sung opera was becoming established in England.   (The other three were the ‘first British prima donna’ Catheriine Tofts, Margherita de l’Epine and Maria Gallia.)   One advertisement, in January 1703, named her as  ‘the Famous Signiora Joanna Maria Lindehleim’, but this surname never appeared again.  In March 1706 she sang the role of Lavinia in the English version of Bononcini’s Camilla; the first collection of songs from the opera named her as ‘the Barr.ns’, and she was called the Baroness for the rest of her career.  She settled in London, became the partner or wife of Nicola Francesco Haym, and when she died in 1724 was buried as ‘The Right Hon.ble Mary Baroness of Linchenham’.  In the fifth edition of Grove’s Dictionary the name was given conjecturally as Lindelheim and this spelling became generally accepted.  But what was her correct married name, and why did she call herself the Baroness?  We have recently been looking at documents that clarify matters a little, tell of the births of her children and throw more light on her career and her early relationship with Haym.

Randall Scotting Influencing perceptions: Senesino in Bononcini’s La Griselda of 1722

When he joined the Royal Academy of Music in 1720, the famed castrato Francesco Bernardi (known as Senesino) contrived to shape a favourable persona against gossip that had preceded him to London. In 1715 he was labelled a ‘conceited eunuch’ with ‘no respect for anyone’ and in 1719 he drew attention for ripping a score to pieces in a hot-headed rage. Desiring to combat unfavourable perceptions off stage, Senesino realised he could influence his reception by considerately constructing the characters he portrayed on stage.  To that end, the singer wielded influence to shape Muzio Scevola, Crispo, and especially La Griselda to best suit his talents and enhance his characters’ status.  The adjustments were successful, the Earl of Egmont imagined Senesino to be a ‘Man of excellent Sense’ based on his stage persona.

This talk demonstrates how Senesino favourably influenced his off-stage reception by modifying elements of music and drama in Bononcini’s London operas from 1720-1723. La Griselda presents a typical example of this mediation from Senesino: the number of arias for his role was nearly doubled and a pathos-filled scene playing to his strengths was added. Senesino modelled his fame-crafting intervention on observations of the castrato Nicolini in Italy and the prima donna Anastasia Robinson in London.  Finally, a comparison of Crispo and La Griselda illustrates that a seventeenth-century theatrical convention was employed whereby Senesino’s dramatic prowess was showcased in his alternating depiction of differing character types in these paired operas.