Church Music and Musicians in Britain 1660-1900: “Between the Chapel and the Tavern”

A Conference sponsored jointly by Canterbury Christ Church University and Canterbury Cathedral for performers and scholars to discuss new research and practice.

20th-23rd June 2017

Call for Papers

The deadline for receipt of abstracts (see below) is Monday 31 October 2016; selection will be made by Monday 28th November 2016.

All presentations must be given in English. The programme committee invites proposals related to one or more of the following key themes:

  • Music: new scholarship on composers, performers and repertoire in Britain 1660-1900.
  • Performance Practice: Music & Liturgy; vocal and instrumental forces.
  • Socio-historical perspectives: senses of identity and community; patronage, subscription, & freelance incomes; class and culture in church & cathedral music; social and musical mobility; cross-fertilisation between sacred and secular music-making.
  • Church and cathedral music in the provinces: local narratives, connections, cultures and legacies (especially Canterbury-related).
  • Aesthetics, philosophy and theology of church music 1660-1900.
  • Interdisciplinarity and performativity: liturgical music, drama and dance; singers and instrumentalists in liturgical contexts; music and sacred space.
  • Training and education: pedagogy, philosophy, function.
  • Written music: manuscript, printing, publishing and copyright studies.
  • Sacred and secular: intersections/exchanges; church music and politics; civic and sacred performances; local, national, colonial and post-colonial issues.
  • Reception: criticism, regard and neglect.

Abstracts for individual papers (of 20 minutes’ duration) of approximately 250 words should be preceded by the following information: name; institution (as appropriate); postal address; phone; email address; title.

Abstracts should be emailed to:

Conference features

  • Keynote Speaker: Prof. Rachel Cowgill, University of Huddersfield.
  • Accommodation in the International Study Centre (in the Precincts of the Cathedral).
  • Conference Dinner in the Claggett Auditorium, ISC.
  • An evening with the Canterbury Catch Club: excellent food, drink and convivial song (participation welcomed, though not compulsory) in the timbered upper room of a 15th-century local hostelry.
  • A Conference Concert reflecting the dual nature of the music and musicians under discussion in the superb chamber music space of St Gregory’s Centre for Music, CCCU, given by Cathedral musicians.
  • Free access for Conference Delegates to Cathedral, Precincts, Library, and Archives.
  • Cathedral Evensongs integrated into the Conference schedule.

Programme Committee:

  • Chris Price (co-chair): Senior Lecturer, Canterbury Christ Church University & Tenor Lay Clerk, Canterbury Cathedral.
  • Dr David Newsholme (co-chair): Assistant Organist & Director of the Cathedral Girls Choir, Canterbury Cathedral.
  • Canon Chris Irvine: Canon Librarian, Canterbury Cathedral.
  • Christopher Gower, FRCO, FCM: former Organist of Peterborough Cathedral.

Any queries should be addressed to

Performing Knowledge Conference

25-26 April 2016

Emmanuel College, Cambridge

Call for Papers

Bringing together performing musicians engaging in practice-led research, ethnographers of Western art music, and psychologists specialising in tacit knowledge research, this two-day conference will explore performers’ interpretative processes and their uses of tacit knowledge (also called implicit, procedural, or embodied knowledge) in understanding the explicit knowledge presented in historical documents, analyses, and performance treatises.

Keynote participants include Professor Tom Beghin (fortepianist), Margaret Faultless (violinist), Professor Christopher Page (guitarist), Chris Maene (instrument builder), Professor Tina K. Ramnarine (musician and anthropologist), Dr Satinder Gill (experimental psychologist), and Professor John Rink (Director, Cambridge Centre for Musical Performance Studies).

Belgian-Canadian fortepianist Tom Beghin (Orpheus Institute/McGill University) will perform a keynote recital featuring Beethoven’s last three piano sonatas, to be presented on a replica of Beethoven’s Broadwood piano built by master instrument builder Chris Maene.

Margaret Faultless (Cambridge University/RAM) will present an open rehearsal discussing interpretative decision-making processes within conductor-less orchestras. Her presentation will be followed by a performance with the Cambridge University Collegium Musicum.

Keynote papers will be presented by:

  • Professor Christopher Page: Performance, Imagination and the Early-Romantic Guitar
  • Professor Tina K. Ramnarine: Performance, Storytelling and the Politics of Musical Knowledge
  • Dr Satinder Gill: Knowing-How and Knowing-When: researching performers’ musical timing

Proposals are invited for 20-minute papers, 30-minute lecture-recitals (each will be followed by 10 minutes of discussion), and posters. The conference language is English. Presentations that engage critically with theories and methodologies of researching performers’ tacit knowledge, such as the use of ethnographic techniques, practice-led research, or the analysis of recorded audio and audio-visual performance, are especially welcome. Interdisciplinary perspectives are also invited, for example, papers that draw on opera or dance studies, material studies, or cognitive studies in music in discussing the theme of the conference. Topics may include:

  • Performers’ creative engagement with historical documents and objects, extending beyond the conventional remit of historically-informed performance practice studies.
  • The influence of instrument affordances on performers’ interpretative choices.
  • How musicians communicate through gesture and/or vocalisation.
  • The challenges and potentials of self-reflexive research in performance.
  • The influence of tradition on performers’ interpretative ideas.
  • The dynamics of performers’ interpretative decision-making processes in practice, rehearsals, and/or public performance (both solo and in ensemble).

Please submit proposals by Friday, 5 February 2016 including:

  • Name and institutional affiliation (if applicable).
  • Curriculum Vitae and 100-word biography.
  • Title and abstract of presentation, max. 450 words. For lecture-recitals, please include programme details of any repertoire to be performed (details are excluded from the word count).
  • A list of technical requirements (computer projection and a Steinway grand piano will be available).

Proposals will be assessed by the conference committee and applicants will be notified of the outcome by 15 February. The registration fee for delegates (whether presenting or observing) will be £90 (full) and £50 (students). Early-bird registration (by 19 February) and RMA member rates are £80 (full) and £40 (students). Registration fee includes all concerts, meals (excluding breakfast), and refreshments. Additional tickets (if required) for Tom Beghin’s recital may be booked through ADC Ticketing for £25 / £15.

Proposals should be emailed to Please send any enquires to this address also.

Web Page:

Facebook Event Page:

‘Das Serail’ (c. 1779) by Joseph Friebert in historical, socio-political and cultural context(s)

International Interdisciplinary Symposium

of Don Juan Archiv Wien, University Mozarteum Salzburg/ Mozart Opera Studies Institute, Salzburg Global Seminar



Salzburg, 19–21 May 2016

Call for Papers

Don Juan Archiv Wien, as the tenant of the only existing copy of the manuscript of newly-discovered Singspiel Das Serail (c. 1779) by Joseph Friebert (1724, Gnadendorf, Niederösterreich–1799, Passau), in cooperation with University Mozarteum Salzburg/ Mozart Opera Studies Institute and Salzburg Global Seminar invites you to attend the International Interdisciplinary Symposium on May 19–21, 2016, at the Castle Frohnburg in Salzburg, Austria. In the framework of the symposium, the concert of the Mozart Opera Studies Institute will be held at the Leopoldskron Castle in Salzburg on May 19, 2016.

The focus of the consideration is Josef Friebert and his life and work in the wider context of his time. Having received his education in music at the Melk Abbey (1743–1745), Friebert moved to Vienna and continued studying with Giuseppe (Joseph) Bonno. He first became a successful tenor in the 1750s, with the operas of Christoph Willibald Gluck (Le cinesi, 1754; La danza, 1755) and from 1755 to 1764 he was engaged as a singer at the Vienna Burgtheater and the Kärntnertortheater. As an influential Hofkapellmeister at the prince archbishop’s court in Passau (1763–1796), Friebert was also a composer. His career as a performer is mainly known through to his engagements as a singer and his contributions to the Passau’s musical life, which include his stage works (six lost Italian operas performed between 1764 and1774: Angelica e Medoro, Dafne vendicata, Il componimento, Il natale di Giove, La Galatea and La Zenobia, in part obviously after libretti by Pietro Metastasio) and the 1789 German-language premieres of W. A. Mozart’s operas Le nozze di Figaro (1786) and Don Giovanni (1787). Friebert also composed Singspiele, although most probably not for the Passau stage. However, except for his vocal arrangement of Joseph Haydn’s instrumental Die Sieben letzten Worte unseres Erlösers am Kreuze (1787), Friebert’s compositional output remained almost unknown, his numerous works lost.

With the discovery of the only existing eighteenth-century manuscripts-copies of his three Singspiele – Das Serail (c. 1779), as well as Nanerl bey Hof (c. 1774) and partly Adelstan und Röschen (c. 1774), all three in the possession of the Don Juan Archiv Wien – it is possible to open an important chapter in the history of Austrian/Southern German music, concerning the production, performance and perception of these compositions; Friebert’s activities and his opus; performance history in his time and the perception of his Singspiele in the context of musical life in Vienna, Passau and elsewhere. As the compositional and performance practice were closely related, with composers writing music for certain singers, the activities of itinerant music troupes (journeys, repertoire, members) and their directors are especially recommended as a research topic. Friebert’s Singspiel Das Serail was a model for Mozart’s early stage works in the German language (Zaide, 1780; Die Entführung aus dem Serail, 1782). Stage works of these composers can also be (re)considered in the context of both ideological (philosophical and aesthetical treatises, essays and criticism) and technical (compositional procedures and musical means, mainly defined by stylistic topoi) models of semiotically defined music discourse.

On the broad basis of the defined thematic circles, the following subjects, formulated from the focus to the context, are welcome:

I. Joseph Friebert: Life and work

1) Biographical coordinates:

* the life and work of Joseph Friebert in the light of newly accomplished archival research;

* the family history, especially the activities of his brother Carl Friebert;

2) Singer and conductor:

* Friebert’s contribution to the musical life of Vienna and Passau, and the perception of his work as a singer and a Hofkapellmeister and conductor;

* mapping music theatre life in the second half of the eighteenth century for the cities related to Friebert’s studies and professional activities (Melk; Burgtheater and the Kärntnertortheater in Vienna; Passau);

* itinerant music theatre troupes (repertoire, journeys, members-singers, directors);

3) Composer:

* reconstruction of the historical context based on the results of recent archival research, which should provide a correction of the incomplete or inaccurate data about Friebert’s Singspiele in literature (list and dating of works, performance history);

II. The Singspiel Das Serail in focus

Analysis of libretto and music; performance history (reconstruction of known or possible performances in Passau, Mainz, Erlangen, Nuremberg, Wels and so on); children’s itinerant theatre troupes led by Franz Joseph Sebastiani and Felix Berner; perception of the stage work;

1) Libretto studies:

* comparison and study of three versions of the libretto text: Das Serail. Oder: Die unvermuthete Zusammenkunft in der Sclaverey zwischen Vater, Tochter und Sohn (Bozen 1779) by Franz Joseph Sebastiani, Arien welche gesungen werden in der Opera genannt Das Seraile, in zwey Aufzügen aufgeführt von den jungen Schauspielern unter der Direction des Herrn Felix Berner. Die Musik ist von Herrn Fribert, s. l. [Nürnberg] 1778), and the version provided in the manuscript copy from 1779;

* sources of the plot: the story of abducted Christian European girls, their stay in a harem and their liberation through different embodiments of deus ex machina, leading always to a conventional happy ending, inspired numerous eighteenth-century librettists and composers to create their own versions in different languages; these constructed imaginative depiction of „Oriental“ were immensely popular (Alain René Lesage and d’Orneval, Voltaire and, among others, Michael Haydn, Louis Dancourt and C. W. Gluck; Carl Frieberth and Joseph Haydn; J. A. Schachtner and W. A. Mozart, to name only some of the librettists and composers); the immense popularity of these constructed, imaginative “Oriental” depictions;

* language and dramaturgy of libretto, political context, constructed image of the Orient, characterization of personage;

* analysis of conventional topoi: abduction to serail, liberation from the harem, the category of the unexpected in the eighteenth-century theatre narrative (especially unexpected encounters), hint of incest, merciful rulers and others.

2) Music research:

* musical dramaturgy, conventional style topoi and specific elements, musical image of the Orient, “authentic” Austrian self-representation, musical characterization of the protagonists, instrumentation, performance practice of the work;

* instrumentation: specific instrumental ensemble from Friebert’s Singspiel Das Serail was used earlier by Haydn and Mozart in their early symphonies of the 1750s and 1760s, as well as by other composers;

* comparative analysis of Friebert’s Das Serail with W. A. Mozart’s Singspiele Zaide (1780), Die Entführung aus dem Serail (1782) as well as with the opera Le nozze di Figaro (1786);

* critical edition of an eighteenth-century stage work in the light of the edition of Friebert’s Singspiel in preparation: methodological questions.

Papers should be based on original research and should not have already been presented elsewhere. Paper presentation should not extent beyond thirty minutes, including audio and audio-visual materials, and will be followed by a ten-minute discussion. The official languages of the symposium are German, English and Italian.

Musicologists, theatre and literary scholars as well as linguists are encouraged to submit proposals of up to 200 words to the e-mail address <office(at)donjuanarchiv(dot)at>. Proposals for panel presentations are also welcome.

The deadline for submission of all proposals is January 31, 2016.

The Program Committee will inform the authors of submissions about their decision by February 25. The participants, whose papers are chosen, by taking part in the conference, assume the obligation of submitting their papers in the language of the presentation by September 30, 2016 in accordance to the style sheet of the Hollitzer Wissenschaftsverlag.



Conference venue. The seventeenth-century Frohnburg castle, known as a location featured in the movie The Sound of Music, is a ten-minute bus ride on public transport from the city center.

Concert venue. The palace Leopoldskron is only a short walk from the old town of Salzburg.


Program Committee

Reinhard Eisendle

Michael Hüttler

Tatjana Marković

Hans Ernst Weidinger

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 or Colin Timms, Department of Music, University of Birmingham, Edgbaston, Birmingham, B15 2TT, UK, by 1 May 2015.

2015 Conference of the Historical Keyboard Society of North America (HKSNA): French Connections – Networks of Influence and Modes of Transmission of French Baroque Keyboard Music

2015 International Conference of the Historical Keyboard Society of North America

May 21-24, 2015

The Schulich School of Music of McGill University, Montreal, Canada


The Historical Keyboard Society of North America (HKSNA) and the Schulich School of Music of McGill University (Montreal, Canada) are pleased to invite submissions of proposals for the Fourth Annual Meeting of HKSNA:

“French Connections: Networks of Influence and Modes of Transmission of French Baroque Keyboard Music”

The conference will be held at the Schulich School of Music, McGill University, from May 21 to 24, 2015.

Details of the Event and Requirements for Presenters:

The conference aims to deepen understanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms ‘baroque’ and ‘classical’ are used interchangeably in relation to both the repertoire and instruments of the period.

A special section of the conference is dedicated to the internationally-renowned organist and pedagogue, John Grew, Professor Emeritus at McGill University and an expert of the French baroque organ and harpsichord repertoires.Concerts by guest keyboard performers will also be offered to conference participants and the general public, and master classes will be open to qualified students and participants.

The programme committee encourages submissions of individual papers, round-table discussions, group sessions, lecture-recitals, mini-recitals, and multimedia demonstrations on the following topics as they relate to French baroque keyboard music and historical keyboards:

  • Networks of influence within and beyond France;
  • Pedagogical treatises and other sources of transmission;
  • Legacies and influence of composers or groups of composers and performers;
  • Repertoires, genres, and contexts of performance;
  • Connections with other media such as literature and art;
  • Instruments and builders;
  • Patronage and politics;
  • New perspectives or insights into le goût français.

Although the principal theme for this year’s international conference is French baroque keyboard music, proposals of presentations outside or peripheral to this theme, including contemporary repertoires and issues for historic keyboard instruments, are also welcome and will be accommodated if possible.

Available instruments include single- and double-manual harpsichords by Yves Beaupré, Willard Martin, Frank Hubbard and William Post Ross, clavichords and a fortepiano, and, on May 21 only, the French-classical organ by Hellmuth Wolff in Redpath Hall.

Submission procedure. Abstracts of no more than 400 words excluding titles must be received by 5 p.m. EST on 30 September, 2014. Only one proposal per presenter or group of presenters can be chosen.

Lecture-recital, mini-recital, and multimedia demonstration proposals must also include a sample recording, provided via internet link or as an attached MP3 file.

All proposals, whether they be for papers, lecture-recitals, mini-recitals, multimedia demonstrations, round tables or group sessions, must include short biographical statements for all presenters. Presentations should last no longer than 25 minutes.

  • Presenters must be members of HKSNA. Presenters must also register for the conference and cover their own travel and other expenses.

Presenters whose proposals are chosen will be invited to revise their abstracts for the conference program. Results will be transmitted to presenters by 30 October, 2014. Please send your proposal abstracts directly to

Programme Committee:
Frances Conover Fitch

Hank Knox

Sonia Lee

Rachelle Taylor

Lena Weman

Of special note: This year, HKSNA hosts the Ninth Aliénor International Harpsichord Composition Competition. For more details:

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

American Bach Society, Biennial Meeting 2014

“Johann Sebastian Bach and His Sons”
Kenyon College
Gambier, OH
May 1–4, 2014

The 2014 meeting will be held on the hilltop campus of Kenyon College, situated in the central Ohio countryside one hour northeast of Columbus (transportation to and from the Columbus Airport will be provided by Kenyon College).

The topic of the conference, “Johann Sebastian Bach and His Sons,” was chosen in part because 2014 marks the tercentenary of the birth of Carl Philipp Emanuel Bach. The program will include a keynote address, papers, and concerts in Brandi Recital Hall, Rosse Concert Hall, and the Church of the Holy Spirit. Founded in 1824, Kenyon is the oldest private college in Ohio and was recently named one of the world’s most beautiful campuses by Forbes Magazine.

The American Bach Society hereby invites paper proposals. Submissions focusing on the conference topic will be given preference, although every aspect of Bach studies will be considered.

Proposals (250 words) should be sent as an e-mail attachment by October 1, 2013, to the chair of the program committee: Markus Rathey ( The committee’s decisions will be announced by the middle of November 2013.