Women and Music in the Early Modern Age




Queluz National Palace

July 2nd – 4th, 2021

Organization: Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal 

Scientific Committee:

Cristina Fernandes, Giuseppina Raggi, Iskrena Yordanova,

Ricardo Bernardes, José Camões, Francesco Cotticelli, Paologiovanni Maione

The 9th international conference at the Queluz National Palace organized by DS-CEMSP aims to investigate the role of women in the musical and theatrical worlds of the early modern age, with special reference to the 17th and 18th centuries.

Theatrical practices favoured opportunities and emancipation processes which played significant roles in the imagery of and the stage production themselves. It is equally important to mention the patronage and the encouragement given to the performing arts by female sovereigns and nobles, who intended to promote the dialogue and the reflection between different contexts. Differences can be found in the educational methods, distinctions amid theory and practice or between the amateur and the professional milieu, yet they often merged to produce events destined to leave their mark on history.

The conference promotes research into the careers of women as impresarios, singers, actresses, composers, no matter how resounding their activity was in their heydays. Emphasis is also placed on their travels, contacts, and repertoires, and on the strategies adopted by female patronage in order to support the organization (and the memory) of theatrical and musical events throughout the continent.


  • Female performers: singers, instrumentalists, dancers and impresarios. Their roles and repertoires.
  • Female composers, librettists and choreographers.
  • The feminine in music: women as subjects in the musical literature.
  • Women as music and theatre patrons. Political uses of female musical patronage.
  • The importance of music in the education of aristocratic and royal women.
  • The female public.  
  • Women as music collectors.
  • Women and music sociabilities.

Scholars are invited to submit individual proposals. Each paper shall not exceed 20 minutes. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30. 

A selection of the presented papers will be published in our book series Cadernos de Queluz by Hollitzer Verlag (Vienna). (http://www.hollitzer.at/de/programm/uebersicht/programm/specula-spectacula.html?no_cache=1&cHash=a9c950cc42d1315a1187701f3685723c)

Official languages of the conference are Portuguese, English, Italian, Spanish, and French.

Abstracts in Word format (.doc), should not exceed 300 words.

Please enclose in the same file a brief curriculum vitae of 150 words max., providing your name and surname, postal address, e-mail and telephone number, as well as your institutional affiliation. Please indicate to which topic your proposal belongs. 

Deadline for sending abstracts is March 1st, 2021

E-mail: cemsp@sapo.pt The scientific board will examine all the abstracts by March 15th, 2021 and contributors will be informed immediately thereafter.

Bach Network Dialogue Meeting 2019

The ninth Bach Network Dialogue Meeting will be held at the historic house of Madingley Hall, Cambridge, from Monday 8 to Saturday morning 13 July 2019, with the formal programme running from the afternoon of Tuesday 9 to Thursday evening 11 July. By popular request we have again included a day before and after the formal programme, to facilitate networking, research discussions and the practicalities of travel.

The full programme can be accessed here.

The programme will feature sessions on a range of current topics, including the Bach 333 project, Bach and materiality, the Art of Fugue, Bach’s chorale pedagogy, musical authorship, and Bach’s contemporaries, as well as our ever-popular Early Career Forum and Flash Announcement session. Presenters and panellists will include Christine Blanken, Isabella van Elferen, Nicholas Kenyon, Kevin Korsyn, Michael Marissen, Paul Moseley, Derek K. Remeš, Barbara M. Reul, Stephen Roe, Stephen Rose, Joel Speerstra, Ruth Tatlow, Bettina Varwig, Christoph Wolff and Steven Zohn. In addition, we are delighted to welcome renowned harpsichordist Mahan Esfahani for an evening lecture recital, and director Paul Spicer to lead a choral singing session.

The schedule is designed with generous open discussion time, to give every delegate an opportunity to engage with the subjects. Every registered delegate is invited to speak for five minutes about their current research at the Flash Announcement Session. We encourage doctoral and post-doctoral students to present a short summary of their research topic at the Early Career Forum. There will also be time over meals and in the wonderful gardens to continue discussions informally.

Please register at www.bach2019.eventbrite.com

Contact: Mark Seow, Administrator of Bach Network Dialogue Meeting 2019

Opera as Institution: Networks and Professions (1700–1914)

An international conference jointly organized by the Universities of Graz and Salzburg 

November 23–24 2018
Department of Musicology, University of Graz, Meerscheinschlössl, Mozartgasse 3, A-8010 Graz

Conference BoardDaniel Brandenburg (University of Salzburg), Cristina Scuderi (University of Graz), Michael Walter (University of Graz), Ingeborg Zechner (University of Graz)

The performance of opera as musical genre demands specific institutional surroundings in order to provide the means for scenic and musical representation. Indeed operatic history, ranging from its beginnings in seventeenth-century Venice to today’s globalized opera industry, is intimately bound to the history of institutions. This conference aims to gather internationally renowned musicologists whose research focuses on the institutional histories of European opera from the eighteenth to the end of the “long nineteenth century”. The intention of the conference is not to understand operatic institutions as locally distinct and isolated organizations, but rather perceive them as part of a transnational operatic network. The specific design of the conference enables to bring historical developments and shifts into account, and will lead to a deeper understanding of transnational operatic practices throughout the centuries. In addition, it will facilitate an international scholarly exchange on a complex and multifaceted topic in music history.

Conference papers will cover French, Italian, English and German operatic institutions in Europe from the eighteenth to the “long nineteenth century” and address topics such as:

  • Production systems of French, Italian, English and German opera
  • Political, legal, economic and sociocultural surroundings influencing the institution of the opera and its international exchange
  • Professions in the business of opera (composers, singers, agents, impresari, orchestra musicians, dancers, stage designers, librettists, …)
  • Networks of exchange between operatic institutions and their protagonists


Participation in the conference is free of charge. For passive conference participants no advance registration is required.

For further information on the program see the conference website: http://www.institutionopera.sbg.ac.at

Principles of Music Composing: ratio versus intuitio

17th International Music Theory Conference

November 8th – 10th 2017

Vilnius, Lithuania

The aim of the annual conference ‘Principles of Music Composing’ is to foster theoretical thought that is essential for compositional practice and education of composers. Sixteen conferences of this series have already been held in Vilnius. The 17th conference draws attention to the phenomena of rationality and intuition, which are considered to be contrasting yet complementary poles in the compositional process. Intuition often alters the realization of rational scheme, model or archetype chosen by the composer. Meanwhile rational revision may improve intuitive improvisation, sonorous vision, or the artistic idea.

The topic of the conference could be divided into suggested subtopics:

  1. Rational processes of composition and aural intuition (theoretical insights, definition, conceptions, typology)
  2. Musical work as the result of rational and intuitive creative activity (theoretical, historical and aesthetical aspects)
  3. Adaptation of interdisciplinary ideas in the compositional practice based on rational and intuitive origin
  4. Rational and intuitive qualities in new musical resources and techniques (sonorism, microchromatics, extended techniques, aleatory, electronics, etc.)
  5. ‘Rational’ and ‘Intuitive’ composers: features of their works and the creative process
  6. Phenomena of rationality and intuition in the contemporary compositional practice
  7. Lithuanian composers: between rationality and intuition

Paper proposals (abstract and a short biography) should be sent by email pmc@lmta.lt . The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

 The main language of the conference is English.

The deadline for proposal submissions is August 20th 2017. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the beginning of September 2017.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.


Theater spaces for music in 18th century Europe

Call for Papers

International Conference

Theater spaces for music in 18th century Europe

Queluz National Palace, Portugal

(June 30th -July 2nd, 2017)


Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal (DS-CEMSP)

Scientific Board:

Manuel Carlos de Brito, Paologiovanni Maione, Iskrena Yordanova,

Francesco Cotticelli, Cristina Fernandes, Giuseppina Raggi


Maria Ida Biggi (Università Ca’ Foscari, Fondazione Cini, Italy)

Luis Soares Carneiro (Universidade do Porto, Portugal)

DS-CEMSP is organizing from June 30th through July 2nd 2017 an International Conference at the National Palace of Queluz (Portugal) dedicated to the Theater spaces for the music in 18th century Europe.
The conference aims to promote a multidisciplinary dialogue around the specificity and the heterogeneity of spaces for opera during the 18th century, calling for the participation of researchers of various areas related to this subject.
Cases concerning the dense network of court and public theaters (including the ephemeral ones), the multiple aspects of theater presentations in different architectonic spaces, the contexts and the occasions of social life and representativity, will be admitted.

Scholars are invited to submit individual proposals with the maximum length of 20 minutes per paper. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30.

Official languages of the conference are Portuguese, Italian, English and Spanish.

Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max. Please provide your name and surname, postal address, e-mail and telephone number, as well as you institutional affiliation.

Deadline for sending abstracts is April 1st 2017

E-mail: cemsp@sapo.pt

Web: http://cemsp.blogspot.pt/

The scientific board will examine all abstracts by April 15th 2017, and contributors will be informed immediately thereafter.

Handel and His Eighteenth-Century Performers

The Handel Institute
‘Handel and His Eighteenth-Century Performers’
21—22 November 2015

The next Handel Institute conference, on the theme of Handel and His Eighteenth-Century Performers, will take place at the Foundling Museum, 40 Brunswick Square, London, WC1N 1AZ, on 21–22 November 2015. Proposals of up to 300 words for papers lasting up to thirty minutes should be sent to c.r.timms@bham.ac.uk or Colin Timms, Department of Music, University of Birmingham, Edgbaston, Birmingham, B15 2TT, UK, by 1 May 2015.

The Staatskapelle Berlin at 450 – A Review

The Development of Court Music from the Ensemble of the Elector of Brandenburg to the Court Orchestra of the First King of Prussia

Venue:           Staatsoper im Schiller Theater

Date:              16th– 18th October 2015

Call for Papers:

Deadline: 28th February 2015


The Staatskapelle Berlin celebrates its 450th anniversary in 2020, thus making it one of the oldest orchestras in the world. In advance of this occasion, the Staatsoper is holding a series of annual symposia devoted to the history of the Staatskapelle Berlin and its international significance. The symposia will go beyond considering the Staatskapelle as an institution in itself to looking at its position within the musical life of Berlin and comparing it to that of orchestras from other European cities.

The first symposium in October 2015 traces the development of the orchestra from its founding in 1570 under Elector Joachim 2nd of Brandenburg (1505-1571) until the accession of King Friedrich Wilhelm 1st of Prussia (1688-1740) in 1713. Björn Priebe has described the reorganisation of the Prussian court orchestra under King Friedrich 1st of Prussia (1657-1713) as a ‘turning point in the music history of Brandenburg-Prussia’[1]. There has, however, been little research on the orchestra thus far, aside from Curt Sachs’ 1910 monograph Music and Opera at the Electoral Brandenburg Court. [2]

In light of this, fundamental questions about the music of the Brandenburg-Prussian court need to be raised and discussed anew. We would especially welcome proposals for presentations on the following topics:


  • Musical precedents and influences on the development of the orchestra at the Electoral Brandenburg and Royal Prussian courts
  • The responsibilities of the orchestra at court
  • The impact of the orchestra at court and its involvement with the city of Berlin
  • Individual singers, instrumentalists, choirs, composers or works of relevance (e.g. Johannes Wesalius, Elias Göttling, Johan de Vaulx, Johann Eccard, William Brade, Jean-Baptsiste Volumier, Reinhard Stricker)
  • The significance of the English mode of instrumental playing for the orchestra in the 17th century
  • The extension of the orchestra under Elector Johann Sigismund
  • The Great Elector and his personal interest in music
  • The influence of Queen Sophie Charlotte’s network of musicians on the Prussian court orchestra and its repertoire
  • The repertoire at the Brandenburg-Prussian court in comparison to other German and/or European courts


Abstracts (max. 2000 characters) for 20 minute papers along with the technical requirements for the talk and a short CV with contact details should be sent by 28th February 2015 to Lena van der Hoven (Hoven@staatsoper-berlin.de). Contributions from both the humanities and social sciences are welcome (Musicology, Theatre Studies, History, Cultural Studies, Sociology). Early career researchers in particular are encouraged to contribute. The chosen speakers will be informed by 1st May 2015 and the conference programme published online at http://www.staatskapelle-berlin.de.





[1] Priebe, Björn (1996): Die Musik am Hofe Friedrichs III. Ein Beitrag zur Berlin-Brandenburg. Musikgeschichte. In: Musikwissenschaftl. Lehr- u. Forschungsmaterialien d. Uni. Potsdam, Band 2,2, S. 1–51, hier S.11.

[2] Sachs, Curt [1977 (1910)]: Musik und Oper am kurbrandenburgischen Hof. Nachdr. d. Ausg. Berlin 1910. Hildesheim u.a.: Olms.


Napoleon’s Last Stand: Popular Reactions and State Responses to the One Hundred Days

Napoleon’s Last Stand:Popular Reactions and State Responses to the One Hundred Days

Tuesday 7 July 2015, University of Warwick, UK

Sponsored by the European History Research Centre and the AHRC-funded project ‘French Theatre of the Napoleonic Era’ at the University of Warwick.

When Napoleon escaped from Elba and landed in France in February 1815, he did so by presenting himself not as an autocrat, but as a popular hero: one who could, as Balzac later put it, ‘gain an empire simply by showing his hat! ’. In representing himself as epitomising the sovereignty of the French people, Napoleon also linked his cause to a liberal reading of the principles of the French Revolution. This representation proved unsustainable under the Allies’ rejection of his claim to power and the resumption of military conflict, but it encapsulated, in dramatic terms, the opposition between state legitimacy as a function of popular support and consent, and state legitimacy as something awarded by the autocratic decisions of the Congress of Vienna and the Courts of Europe. While by 1814, most of Europe thought the radicalism of the French Revolution had finally been contained, the 100 Days revealed the fragility of the Great Power politics that had sought to contain France as both a military and an ideological force.

This conference will explore reactions to Napoleon’s return within Europe and beyond, and examine the extent to which these reactions chimed with or departed from the behaviour of the statesmen who ordered and managed the military responses to Napoleon. What evidence is there of people across Europe identifying with Napoleon’s return? How far – and by whom – was his return perceived as a return to French revolutionary principles, as an opportunity for the adoption of such principles in other states, or as fundamentally anathema to the order, stability, and peace? While some of these questions are most applicable to Austria, Russia, Prussia, and Britain, they also have relevance for states such as the Netherlands, Ireland, Spain, Italy and Portugal: that is, those marked by revolutionary or Napoleonic experience but, by 1815, supposedly reordered by the Great Power diktat at the Congress of Vienna. And was there a wider global reaction to his return, in Egypt, the Americas, the Ottoman world, and the Balkans?

The 100 Days is usually discussed largely in military terms. The purpose of this conference is to turn attention to popular responses to this dramatic period, and to consider its implications for the self-understanding of states and peoples in the post-revolutionary European and world order. We invite proposals for 20-minute papers that engage with these issues from the perspective of cultural, social and political history, taking in sources from the spheres of literature, music, theatre and visual art as well as journalism and political commentary. Abstracts of 500 words should be emailed to 100days@warwick.ac.uk by January 31, 2015. We aim to review applications quickly and will notify applicants of our decisions by the end of February at the latest. It is envisaged that selected conference papers will be published as a collection of essays.

The conference language is English.

Forte / Piano: A Festival Celebrating Pianos in History

How have the practices of composition, performance, improvisation, and listening been informed by the piano in its long history? How have the concepts, designs, materials, and sonorous resources of pianos been entwined with musical thought and affect across time and space? Specifically, how might we resituate eighteenth-century pianos in relation to harpsichords and clavichords, account for the rapid evolution of nineteenth-century pianism, and explain (or challenge) Steinway’s perceived hegemony in the twentieth century?

The Westfield Center for Historical Keyboard Studies invites proposals for recitals, talks and innovative presentations from performers, scholars, organologists, builders, and technicians for an international festival to be held at Cornell University on August 5–9, 2015. We particularly encourage individual and collaborative proposals that combine insights drawn from scholarship, performance, and organology and examine the ways in which pianos have generated, reflected, and modulated musical thought and behavior.

Proposals may focus on composers, performance traditions, improvisatory methods, and geographical centers of influence. Potential topics include Haydn’s keyboard music; Brahms’s piano music; the piano in early twentieth-century Paris; the piano in late eighteenth-century London; the improvisation of cadenzas, fantasias, and preludes; the standardization of piano manufacture in the context of industrialization; pedagogical institutions; the piano, bodily techniques, and the performance of gender.

The festival will feature a number of leading performers, including Tom Beghin, Kris Bezuidenhout, Malcolm Bilson, David Breitman, Penelope Crawford, Alexei Lubimov, and Andrew Willis among many others. The festival will focus on an array of historical instruments and replicas built by prominent builders. We encourage proposals that will take advantage of the opportunities these instruments afford, and will provide more specific information on request. Potential presentation formats include (but are not limited to) traditional conference papers, lecture-recitals, lecture-demonstrations, and discussion panels.

Proposals should include a 250-word description and a CV, and for performers, a sound or video recording of at least 30 minutes. The submission deadline is September 15, 2014. Proposals may be submitted online at www.westfield.org/festival

Celebrating the Tercentenary of C. P. E. Bach

Sensation and Sensibility at the Keyboard in the Late Eighteenth Century: Celebrating the Tercentenary of C. P. E. Bach
Conference and festival
October 2-4, 2014
Cornell University, Ithaca, NY

Revered across Europe during his lifetime, C. P. E. Bach was the unparalleled master of intimate expression at his favorite instrument, the clavichord; yet his stature also rested on vivid choral and orchestral masterpieces. In all genres, Bach’s highly affective music cast new light on, and was heard in terms of, contemporary theories of sentiment and the sublime.

This conference and festival explores the constellation of philosophical and aesthetic ideas, and the conditions of musical production and reception, clustered around concepts of sentiment, feeling, and sensation in the late 18th century. Celebrating the richness of late eighteenth-century keyboard culture (and C. P. E. Bach’s contribution to it), performances will feature clavichord, fortepiano, harpsichord, and organ.

The conference features contributions by Yonatan Bar-Yoshafat, Tom Beghin, Emily Dolan, Matthew Head, Nicholas Mathew, Pierpaolo Polzonetti, Annette Richards, David Schulenberg, with keynote addresses by Richard Kramer and James Kennaway.

Tom Beghin, Matthew Dirst with Ars Lyrica Houston, Matthew Hall with the Cornell Baroque Orchestra, Lucy Fitz Gibbon, Dennis James, Sarah Mesko, Annette Richards, Peter Sykes, Andrew Willis, and David Yearsley will appear in programs of music from C. P. E. Bach’s oeuvre for solo keyboard, concertos for fortepiano and organ, symphonies and vocal music, including “Klopstocks Morgengesang am Schöpfungsfeste,” as well as music by other Bach sons (including “Die Amerikanerin” by J. C. F. Bach) and the cantata “L’Harmonica” by J. A. Hasse.

The conference is co-sponsored by the Westfield Center for Historical Keyboard Studies and Cornell University, and features the Fall 2014 Atkinson Forum in American Studies.

Registration is available at http://www.westfield.org/cpebach