19th biennial international nineteenth-century …2016/06/23 · welcome to the faculty of music,...

19thBiennialInternationalNineteenth-CenturyMusicConference

11-13July2016

ContentsWelcomeSchedule

11July 12July

13JulyAbstracts 11July 11am-1pm

Session1A:DenisArnoldHall:RethinkingRomanticForm:Mendelssohn’sInstrumentalMusicSession1B:LectureRoomA:TalesoftheVillage:NewPerspectivesontheSourcesandCulturalContextsofAntonínDvořák’soperasJakobínandČertaKáča

Session1C:CommitteeRoom:Transatlantics2pm-4pm

Session2A:DenisArnoldHall:East-West Session2B:LectureRoomA:SongsandStages

Session2C:CommitteeRoom:LibrettiandHistoricism5pm Keynote1:T.S.EliotTheatre,MertonCollege

12July

9.30am-11am Session3A:DenisArnoldHall:Time,Space,Form

Session3B:LectureRoomA:C.1800 Session3C:CommitteeRoom:TheatricalIllumination

11.30am-1pmSession4A:DenisArnoldHall:On(re)hearingDelius:Contexts,Legacies,andTraditions

Session4B:LectureRoomA:Vienna Session4C:CommitteeRoom:FrenchTheatre

2.30pm-4.30pm Session5A:LectureRoomA:OperainTranslation

Session5B:DenisArnoldHall:NewApproachestoOperaandCharacter

Session5C:CommitteeRoom:Historiographies5pm Keynote2:T.S.EliotTheatre,MertonCollege

13July

9.30am-11am

Session6A:DenisArnoldHall:Recreations Session6B:LectureRoomA:Gender,Identity,Trauma

Session6C:CommitteeRoom:AroundOpera11.30am-1.30pm

Session7A:DenisArnoldHall:OperaandMedicalExperimentationintheNineteenthCentury

Session7B:LectureRoomA:WritingandEncoding Session7C:CommitteeRoom:Class

2.30pm-4.30pm Session8A:DenisArnoldHall:GiuseppeVerdiinContext

Session8B:LectureRoomA:Colonialism Session8C:CommitteeRoom:Morals,Ethics,Physiologies

Usefulinformation Localandemergencycontactnumbers PlacestoeatSponsorsOxfordmap

Welcomemessage WelcometotheFacultyofMusic,UniversityofOxford.Wearedelightedtobehostingthe19thBiennialInternationalConferenceonNineteenth-CenturyMusic,whichwehopeyouwillfindenjoyableandstimulating,bothacademicallyandsocially.Manythankstothepeoplewhohavehelpedwiththeorganisationoftheconference:theProgrammeCommittee;PhilipBullock,BarbaraEichner,DanielGrimley,AnnaStollKnecht,LauraTunbridge,andBenjaminWalton;CatherineLiebenandChristopherWaitefromtheadministrativeteamattheFacultyofMusic;DanielHulmeandMarioBaptisteforcreatingourwebpageandofferingtechnicalsupport;ourconferenceadministrator,EmilyTan;thestudenthelpers,LaurenBraithwaite,TimothyCoombes,ChristieFranke,EleanorHicks,EmmaKavanagh,DaniellePadley,FrankiePerry,andMauraValenti;MertonCollege,forhostingthekeynotetalks,conferencedinner,andwinereception;A&JCatering;RegencyMarquees;thesessionchairs;andourkeynotespeakers,DanielChuaandJessicaGienow-Hecht.WearealsogratefulforfinancialsupportfromtheFacultyofMusic,JohnFellOxfordUniversityPress(OUP)ResearchFund;StCatherine'sCollegeFellows&Master’sResearchFund;MertonCollege,Oxford;theOxfordSongNetwork(TORCH);TheOperaQuarterly,andtheCentreforNineteenth-CenturyStudiesatDurhamUniversity.

Monday,11July10am-11am:Registration,FacultyofMusic11am-1pm:Sessions1A-CSession1A,DenisArnoldHallPanel-RethinkingRomanticForm:Mendelssohn’sInstrumentalMusicChair:BenedictTaylor(UniversityofEdinburgh)

BenedictTaylor(UniversityofEdinburgh):MendelssohnandSonataForm:TheCaseofOp.44No.2

JulianHorton(DurhamUniversity):Mendelssohn’sPianoTrioOp.66andtheAnalysisofRomanticForm

StevenVandeMoortele(UniversityofToronto):ExpansionandRecompositioninMendelssohn'sSymphonicForms

ThomasSchmidt(UniversityofManchester):FormthroughSound:KlangfarbeandtextureinMendelssohn'sinstrumentalcompositions

Session1B,LectureRoomAPanel:TalesoftheVillage:NewPerspectivesontheSourcesandCultural

ContextsofAntonínDvořák’soperasJakobínandČertaKáčaChair:TamsinAlexander(Goldsmiths,UniversityofLondon)

EvaMyslivcová(CharlesUniversity,Prague):Dvořák’sKrálauhlířEmmaParker(UniversityofCalifornia,SantaBarbara):DvořákandJakobín’slibrettist,

MarieČervinková-Riegrová.ChristopherBowen(UniversityofNorthCarolinaatChapelHill):Theculturalcontextof

ČertaKáčaEvaBranda(WesternUniversityCanada):DebatingDimitrij:CzechCriticalPerspectives

onDvořákasOperaComposer

Session1C,CommitteeRoomTransatlanticsChair:AlexandraWilson(OxfordBrookesUniversity)

CharlotteBentley(UniversityofCambridge):Thechallengesoftransatlanticopera:theThéâtred’Orléanscompanyinnineteenth-centuryNewOrleans

JoshuaNavon(ColumbiaUniversity,NYC):‘ItisNecessarytogotoEuropeforInstruction’:TransmittingMusicPedagogyfromGermanytotheUS,1840-1875

CésarLeal(Sewanee:TheUniversityoftheSouth):ConstructingInternationalAesthetic

Identities:Trans-Atlanticculturalexchanges,entrepreneurship,culturalmediation,andJewishsponsorshipinParisduringfin-de-siècle.

JoséManuelIzquierdoKönig(UniversityofCambridge):Theearlynineteenth-centuryLatinAmericansymphony:problemsandperspectivesofanunknownrepertoireandatransatlanticgenre.

1pm-2pm:Lunch

2pm-4pm:Sessions2A-CSession2A,DenisArnoldHallEast-WestChair:PhilipBullock(UniversityofOxford)

MicaelaBaranello(SmithCollege):Zigeuneroperette:Austro-HungarianOperettaandAuthenticityReconsidered

JonathanD.Bellman(UniversityofNorthernColorado):PicturesoftheWest:RobertSchumann’sBilderausOstenReconsidered

AnneMarieWeaver(UniversityofRochester):Glinka’sFarewelltoSt.PetersburgandRussianCosmopolitanism

DavidBrodbeck(UniversityofCalifornia,Irvine):HeimatIsWheretheHeartIs;or,HowHungarianwasGoldmark?

Session2B,LectureRoomASongsandStagesChair:LauraTunbridge(UniversityofOxford)

OskarCox-Jensen(King’sCollege,London):‘TrueCourage’:ASonginStagesKatyHamilton(Independent):NataliaMacfarrenandtheEnglishGermanLiedKatherineGray(UniversityofCalifornia,Berkeley):Wagner’svocaltechniquesNatashaLoges(RoyalCollegeofMusic):Tellingwomen’sstories,sellingwomen’ssongs:

thecreativerelationshipofPaulHeyseandJohannesBrahms

Session2C,CommitteeRoomLibrettiandhistoricismChair:SusanRutherford(UniversityofManchester)

DaniilZavlunov(StetsonUniversity):Censoringthemuses:operaandcensorshipduringthereignofNicholasI(1825-1855)

EdwardJacobson(UniversityofCalifornia,Berkeley):Donizetti’sHistoricism

AlessandraA.Jones(UniversityofCalifornia,Berkeley):‘TheTheoryoftheDagger’:

Verdi’sUnballoinmascheraandDiscoursesofRegicideClaudioVellutini(UniversityofBritishColumbia,Vancouver):FannyTacchinardi-

Persiani,CarloBalocchino,andItalianOperaBusinessinVienna,Paris,andLondon,1837-1845

4pm-5pm:Tea5pm-6pm:Keynote1,T.S.EliotTheatre,MertonCollege

JessicaGienow-Hecht(FreieUniversitätBerlin):Music&nationbrandingin19th-centuryinternationalrelations

6pm:Winereception,MertonCollegeTuesday,12July9.30am-11am:Sessions3A-CSession3A,DenisArnoldHallTime,Space,FormChair:BenedictTaylor(UniversityofEdinburgh)

CarloCaballero(UniversityofColorado):Chopin’sMeditationonTime:Bells,ClocksandSubjectivityinthePrelude,op.28,inA-flatMajor

ChairatChongvattanakij(UniversityofToronto):InvertingtheSublime:Franck’sVariationssymphoniquesasaComicNarrative

SebastianWedler(UniversityofOxford):TonalPairingasaStrategyofLyricalTime:AntonWebern’sLangsamerSatz(1905)

Session3B,LectureRoomAC.1800Chair:JulianHorton(DurhamUniversity)

ShaenaWeitz(CityUniversity,NewYork):ExcavatingthePotpourriKatherineHambridge(DurhamUniversity):GenreConsciousnessintheNapoleonic

TheatreAnneliesAndries(YaleUniversity):Dreaming"OpéradeLuxe":SpectacleinLeSueur's

Ossianoulesbardes

Session3C,CommitteeRoomTheatricalIlluminationChair:AdelineMueller(BrownUniversity)

Feng-ShuLee(TunghaiUniversity):IllusoryReality:ShadowinRomanticMusicandArtsTamsinAlexander(Goldsmiths,UniversityofLondon):IlluminatingSpectacle:Lightand

illusioninGustavustheThird(1833)TommasoSabbatini(UniversityofChicago):MusicfortheParisianpopularstage:the

caseof(andthecasefor)latenineteenth-centuryféerie11am-11-30amCoffee

11.30am-1pm:Sessions4A-CSession4A,DenisArnoldHallPanel-On(re)hearingDelius:Contexts,Legacies,andTraditionsChair:BenedictTaylor(UniversityofEdinburgh)

DanielGrimley(UniversityofOxford):‘UntoBriggFair’:Cosmopolitanism,Delius,andtheIdentitiesofPlace

JoannaBullivant(UniversityofOxford):‘“Mymusichasneverbeenplayedaswellbyanyoneelse:”SirThomasBeechamandDeliusinPerformance’

SarahCollins(UniversityofNewSouthWales):‘The“ZarathustraMood”:Delius,anti-intellectualismandtheproblemofmusicalNietzscheism’

Session4B,LectureRoomAViennaChair:SusanWollenberg(UniversityofOxford)

AnneHyland(UniversityofManchester):TheStringQuartetinSchubert’sViennaEricaBuurman(CanterburyChristChurchUniversity):TheVienneseMinuetafter1814SamGirling(UniversityofAuckland):FromtheJanissariesto'WoodenLaughter':the

useofunconventionalpercussioninstrumentsattheViennesecourtduringtheearlynineteenthcentury

Session4C,CommitteeRoomFrenchTheatreChair:LauraProtano-Biggs(JohnHopkinsUniversity)

SarahHibberd(UniversityofNottingham):‘Strandedinthepresent’:temporalexpressioninRobertlediable

DianaR.Hallman(UniversityofKentucky):AutombeauattheParisOpéra:ExplorationsofTimbreandSpaceinHalévy’sGuidoetGinevra

SarahGutsche-Miller(UniversityofToronto):LiberatedWomenandTravestyFetishes:MixedGenderMessagesinParisianMusic-HallBallet

1pm-2.30pm:Lunch

2.30pm-4pm/4.30pm:Sessions5A-CSession5A,LectureRoomAOperainTranslationChair:MarkEverist(UniversityofSouthampton)

MichelleMeinhart(Durham/MartinMethodistCollege):Wagner,AntebellumNostalgia,andPost-WarGraduation:TheReconstructionoftheSouthernBelleattheAthenaeumGirls’SchoolinColumbia,Tennessee,1865-88

FrancescaVella(UniversityofCambridge):Lohengrin’s1871TourLauraStokes(IndianaUniversity)Prussia,Nationalism,andIntegrationinMeyerbeer’s

EinFeldlagerinSchlesien

Session5B,DenisArnoldHallPanel:NewApproachestoOperaandCharacter

Speakers: KirstenPaige(UniversityofCalifornia,Berkeley)*

DanWang(UniversityofChicago)*NinaPenner(McGillUniversity)JohnKapusta(UniversityofCalifornia,Berkeley)AdelineMueller(MountHolyokeCollege)

*Chairs

Session5C,CommitteeRoomHistoriographiesChair:JonathanD.Bellman(UniversityofNorthernColorado)

KarenLeistra-Jones(Franklin&MarshallCollege):HansvonBülowandtheConfessionalizationofKunstreligion

KatherineFry(King’sCollege,London):MusicalIdealisminVictorianCulture:GeorgeEliotasMusicCriticandTranslator

JamesGrande(King’sCollege,London):TheNaturalHistoryofGermanMusic:GeorgeEliot,Dissent,Cosmopolitanism

4.30pm-5pm:Tea

5pm-6pm:Keynote2,T.S.EliotTheatre,MertonCollege

DanielChua(UniversityofHongKong):De-secularizingBeethoven

7pm:ConferencedinnerWednesday,13July9.30am-11am:Sessions6A-CSession6A,DenisArnoldHallRecreationsChair:AndrewHolden(OxfordBrookesUniversity)

SarahKirby(UniversityofMelbourne):Songsatthe1851GreatExhibitionIanMaxwell(UniversityofCambridge):TheChamberMusicClubsintheBritish

UniversitiesduringtheNineteenthCenturyErinJohnson-Williams(TrinityLaban):DisciplinesofDevelopment:PhysicalEconomies

ofVictorianMusicandStateEducationSession6B,LectureRoomAGender,Identity,TraumaChair:SarahCollins(UniversityofNewSouthWales)

SarahGerk(BinghamtonUniversity):ASongofFamineandWar:IrishMusicalMethodsofExpressingUSCivilWarTrauma

BrianThompson(TheChineseUniversityofHongKong):TheCritic,thePublicandthe‘Femme’Fatale

MyronGray(HaverfordCollege):TransnationalLocalismintheAnglophoneReceptionofDerFreischütz

Session6C,CommitteeRoomAroundOpera

Chair:DanielM.Grimley(UniversityofOxford)

LauraProtano-Biggs(JohnsHopkinsUniversity):FalstaffandtheResonantSoundscape:Verdi’sExperimentswithSound

FloraWillson(King’sCollege,London):‘Musiqueduplein-air’?OperaticrealismandCharpentier’sLouise

GabrielleCornish(EastmanSchoolofMusic):Liza'sTransmigration:UrbanDecayandFin-de-SiècleSuicideinChaikovsky'sTheQueenofSpades

11am-11-30amCoffee

11.30am-1pm/1.30pm:Sessions7A-CSession7A,DenisArnoldHallPanel–OperaandMedicalExperimentationintheNineteenthCenturyChair:SarahHibberd(UniversityofNottingham)

CarmelRaz(ColumbiaUniversity):OperaticFantasiesinEarlyNineteenth-CenturyPsychiatry

ChloeValenti(UniversityofCambridge):Pitchedbattles?VocalHealthandtheEnglishPitchDebate

CelineFrigauManning(UniversitéParis-8):Opera,Hypnosis,andAutosuggestion.AMedicalTheorisationofIdentificationfortheActor-Singer

Session7B,LectureRoomAWritingandEncodingChair:ThomasSchmidt

FrederickReece(HarvardUniversity):ForgingSchubert’s‘Gastein’:TheCold-WarQuestforTruthinaRomanticFantasy

JacobOlley(WestfälischeWilhelms-UniversitätMünster):Orality,Historyand(Ethno)Musicology:PreparingaCriticalEditionofNineteenth-CenturyOttomanMusic

RobertEshbach(UniversityofNewHampshire):‘Iwouldliketomakeaviolinconcertoforyou…’:FerdinandDavidandtheMendelssohnViolinConcerto

DitlevRindom(UniversityofCambridge):ListeningwithSchumann:ThePhantasieop.17and1830sSonicCulture

Session7C,CommitteeRoomClassChair:DerekB.Scott(UniversityofLeeds)

JamesDeaville(CarletonUniversity):TheWell-ManneredAuditor:ListeningintheDomestic-PublicSphereofthe19thCentury

WiebkeRademacher(UniversityofCologne):BeyondConcertHalls.PerformanceandReceptionofClassicalMusicinNon-BourgeoisContexts1860-1914,LondonandBerlin

KatrinaFaulds(UniversityofSouthampton)andPenelopeCave(UniversityofSouthampton):‘MyharppresentsitsbestTonestoyou’:reflectionsonmusicintheJerninghamfamilycorrespondence

1.30pm-2.30pm:Lunch

2.30pm-4pm/4.30pm:Sessions8A-CSession8A,DenisArnoldHall

Panel:GiuseppeVerdiinContextChair:StefanoCastelvecchi(UniversityofCambridge)

HelenGreenwald(NewEnglandConservatory):WhichVerdi,How,andWhy?FrancescoIzzo(UniversityofSouthampton):TheVerdieditionandperiodization:Some

methodologicalquestionsMarkEverist(UniversityofSouthampton):TamingVerdi’sBullLindaB.Fairtile(UniversityofRichmond):EditingLateVerdiandEarlyPuccini:

CorrespondencesandContrastsStefanoCastelvecchi(UniversityofCambridge):RESPONSE

Session8B,LectureRoomAColonialismChair:BenjaminWalton(UniversityofCambridge)

JonathanHicks(King’sCollege,London):PerformingTourismin1850sLondon:AlbertSmith’sAscentofMontBlanc

GavinWilliams(UniversityofCambridge):Sound,Colony,andtheMultinational:TheGramophoneinSingaporeca.1900

KerryMurphy(MelbourneConservatoriumofMusic):HenriKowalski(1841-1916):AFrenchMusicianinColonialAustralia

Session8C,CommitteeRoom

Morals,Ethics,PhysiologiesChair:JamesDavies(UniversityofCalifornia,Berkeley)

BennettZon(DurhamUniversity):AnimalMusicandtheGreatChainofBeing

MarkA.Pottinger(ManhattanCollege):PhysiologyandtheScienceofHysteriainLuciadiLammermoor

CatherineSchwartz(McGillUniversity):ClaireCroizaandtheArtoftheSelf4.30pm:Endofconference

MONDAY11JulySession1A

11am-1pm(4panelpapers)

Panel:RethinkingRomanticForm:Mendelssohn'sInstrumentalMusic

BriefOverviewoftheSessionRunning likea red thread throughacenturyandahalfofMendelssohnreception is theimageofthecomposerasa‘classicist’whosemusicwas—forbetterorworse—deeplyrootedinearlierformsandstyles.Thisoldclichégainsnewsignificanceinlightoftherecentforaysmadeintomusicofthenineteenthcenturybythe‘newFormenlehre’—thebranchoftheoryandanalysisinspiredmainlybytheworkofWilliamE.Caplin(1998)andJamesHepokoskiandWarren Darcy (2006). Mendelssohn’s music has become emblematic of that of a wholegeneration: as the first major composer to engage with sonata form in the decadesimmediately following Beethoven his instrumental repertoire assumes fundamentalimportance for any account of the development of sonata form in the Romantic era (cf.Horton and Wingfield 2012). However, Mendelssohn’s major contribution to thedevelopment of Romantic form is still critically unexamined, with little analytical workundertakenevenwithinspecialistMendelssohncircles.Theaimsofthispanelarethustoreviseandrefineourtheoreticalunderstandingoflarge-scale Romantic form in general by examining the specific case of Mendelssohn’s sonatamovements—and as a valuable corollary, to deepen our analytical appreciation ofMendelssohn’s instrumentalmusic.Speaker1’sopeningpaper introduces the topicby re-examiningthesonatamovementconsideredparadigmaticinthemostimportantearlierstudyofMendelssohn’smusic,revisingthereadingofMendelssohn’spracticeinlightofmoderntheoriesandofferinghistoricalreflectionsonthecontingencyofearlieraccountsofhismusic.Analyticalthemesidentifiedherearedeepenedinthesubsequenttwopapers[Speakers2&3].Enteringintocriticaldialoguewithexistingtheoriesofclassicalform,bothpapersexaminein detail how Mendelssohn’s characteristic procedures of phrase expansion, cadentialdeferral and structural elision interact with wider formal issues, thus offering powerfulcorrectivestotheearlierreceivedviewofthiscomposer’sstyle.Finally,Speaker4’spaperopens up thediscussion to include a parameter unusually neglected inmusic theory: theimportance of Klang and sonority in Mendelssohn’s articulation of musical structure,providingstimulatingnewinsightsintothenatureofRomanticform.BenedictTaylor(UniversityofEdinburgh)MendelssohnandSonataForm:TheCaseofOp.44No.2

InagroundbreakingpaperpublishedinCarlDahlhaus’s1974DasProblemMendelssohn,theGerman musicologist Friedhelm Krummacher offered a series of ‘theses’ concerningMendelssohn’smaturesonatastyle,usingtheopeningmovementoftheStringQuartetinEminor,Op.44No.2 (1837),ashisparadigmaticexample. ForKrummacher,Op.44No.2exemplifiedtheessenceofMendelssohn’smaturesonataidiomandwasthusaperfectsourcefor offering a revisionist perspective on the composer’s misunderstood later music. In a

succession of detailed analytical points, Krummacher took issuewith earlier, often highlysuperficialcharacterisationsofMendelssohn’ssonatapractice,reflectingtheauthor’sdeepknowledgeofMendelssohn’schambermusicandworkingmethods.YetforallKrummacher’srevisionaryzealandundoubtedscholarlyacumen,whatismostconspicuousonrereadinghispapertodayishowthoseelementsthatwouldappeartomanymodern Anglo-American theorists as crucial to this movement’s design—the continualharmonic duplicity over the move to the secondary theme and the harmonically andthematically desynchronised point of recapitulation—are passed over with little or noconsideration.Suchaturnofeventsmightcauseustoreflectonthehistoricalcontingencyofnotjustourownbutanyanalysisthatmightbegiventotheseworks.InthispaperIofferbothaconcisenewanalysisofMendelssohn’sparadigmaticquartetmovementandaself-reflexivecritiqueofthehistoricalcontingencyofthemethodsofanysuchanalyticalmethodin trying to come to an understanding of this composer’smusic. The concluding sectionoffers, in turn, my own brief latter-day theses concerningMendelssohn’s mature sonatapractice,foreshadowingthefollowingpapersinthesession.Ultimately,Iargueforthefutureneed forscholars toproduceanewaccountofMendelssohn’s instrumentalmusic for thetwenty-firstcentury.JulianHorton(DurhamUniversity)Mendelssohn'sPianoTrioOp.66andtheAnalysisofRomanticForm

OfMendelssohn’stwopianotrios,Op.66haslivedintheshadowofitseldersiblingOp.49formuch of its reception history. The lion’s share of analytical attention thatOp. 49 hasgarnered(asarecentexampleseeSchmalfeldt2011)hasperhapscausedscholarstooverlooktheattractionsofOp.66,especiallyasavehicleforformalanalysis (asoneexception,seeWingfieldandHorton2012).Payingcloseattentiontothe firstmovementandFinale, thispaperdevelopstheclaimthatMendelssohn’spivotalinnovationintherealmofinstrumentalformliesinhisstrikinglypost-classicalresponsetotherelationshipbetweenformandsyntax.Opus 66 reveals a rich array of syntactic habits, which depart fundamentally from high-classical precedent. Expositionalmain-themegroupsbetray ‘loosening’ techniques (Caplin1998 and 2013), which greatly enlarge their dimensions; conversely, main-themerecapitulations are subjected to rigorous truncation. In between, functional elisions andcadentialdeferrals,achievedbythemaintenanceofactivebassprogressionsacrossformaldivisions,promoteadegreeofcontinuitythatproblematizeslate-eighteenth-centurynotionsofformaldemarcation.ThesetechniquesunseatMendelssohn’sregressivelyclassicistimage:inOp.66, themusic’sMozartian facilitymasksa technical radicalism,which isoneof thedefiningcontributionstothedevelopmentofRomanticform.StevenVandeMoortele(UniversityofToronto)ExpansionandRecompositioninMendelssohn'sSymphonicForms

Sincecurrent theoriesofmusical formarebasedonmusic in theVienneseClassical style,using them to analyze instrumental music of the post-Beethovenian nineteenth centuryunavoidablymeansmeasuringthatmusicagainst(andthussuggestingadependenceon)theconventionsandexpectationsofarepertoirethatisexternaltoit.Thediscourseofclassical‘norm’ and romantic ‘deformation’ is a hallmark of Hepokoski and Darcy’s sonata theory

(2006),butitisequallyimportant(althoughlessexplicit)inSchmalfeldt’sadaptation(2011)ofCaplin’stheoryofformalfunctionsfornineteenth-centurymusic.InthispaperIrethinkMendelssohn’spositionvis-à-visthenewFormenlehrebyfocusingonstructuralexpansionandrecompositioninthesubordinatethemegroupsofhissymphonicsonataforms.ArecurringstrategyMendelssohnusesintheexpositionoftheseworksistopresent a short and tight-knit theme that is then repeated and progressively expanded,significantlydelayingthearrivalofthecadencethatconcludesthesubordinatethemegroup.This process of expansion in the exposition subsequently forms the startingpoint for therecomposition of the subordinate theme group in the recapitulation. The individualtechniquesMendelssohnusestoexpandhisthemesarerarelynew;inthatsense,itwouldbemisguidedtoignoretheextenttowhichhismusicis“indialogue”withaspectsoftheclassicalstyle.Atthesametime,thespecificconstellationsinwhichthesetechniquesappear,andtheway inwhich they forge connectionsbetween theexpositionand recapitulation, is highlycharacteristic of Mendelssohn’s symphonic style. Drawing examples from the firstmovementsofthe‘Reformation’andthe‘Italian’SymphoniesaswellasfromtheoverturesDieHebridenandRuyBlas,mypapernotonlyseekstoofferamorebalancedaccountoftherelationbetweentheoldandthenewinMendelssohn’ssymphonicmusic,butalsotousethat music as a locus of theory formation—rather than just an object of analysis—thatcontributestoadefinitionofwhatconstitutes‘romantic’form.ThomasSchmidt(UniversityofManchester)FormthroughSound:KlangfarbeandtextureinMendelssohn'sinstrumentalcompositions

Mendelssohn’spioneeringroleinexploringinstrumentalcoloursandtextureshasneverbeenindoubt.However,theseaspectsofhiscompositionalpracticehavenotundergoneanalyticalscrutinyinthestrictsense,ratherhavingbeenreadfromanaestheticorprogrammaticpointofview:asamanifestationof thecomposer’spenchant forevocativemoodpainting.The‘elfintone’ofthescherzosfromMidsummerNight’sDreamandtheOctetcometomindaswellasthe‘Nordictone’oftheHebridesOvertureorthe‘Scottish’Symphony.ButthereismoretoMendelssohn’sgeniusinwritingforinstrumentsthanindividualisedtopicsdeployedwith poetic intent. As much as and perhaps more so than in many other 19th-centurycomposers, his ‘sound’ is unmistakeable across all genres, whether piano, chamber ororchestral. This paper forms the first attempt to analyse in a systematic way howMendelssohnactuallyachievesthis‘sound’(orthese‘sounds’)—howdoeshemanage,byandlargeonthesamematerialbasisandusingthesameensembletypesashiscontemporaries,to create something that sounds so unmistakeably his own? In a second step, Iwill thendemonstratehowthecomposer,ratherthandeployingdevicesoftextureandKlangfarbeaslocalised programmatic devices, uses them to articulate or indeed generate instrumentalform—thusprovidingyetmoreevidencehowMendelssohnpursuedanalternative to thefamiliarBeethovenianteleologicalparadigm.

Session1B

11am-1pm(3panelpapers+1individual)

Panel:TalesoftheVillage:NewPerspectivesontheSourcesandCulturalContextsofAntonínDvořák’sOperasTheruralvillagewasacentralfixtureoftheculturalandartisticlandscapeofBohemia,especiallyinthelaternineteenthcentury.Operasofthistimefrequentlydrewonimageryandthemesassociatedwithvillagelife,andwhileBedřichSmetana’sProdanánevěstamaybythedominantexample,othercomposersattemptedtoforgenewpathstodepictingtheBohemiancountrysideontheoperaticstage.AntonínDvořákwasnoexceptiontothis,andhisoperasKrálauhlíř,JakobínandČertaKáčadrawonthetraditionofusingruralimagerybutalsoexpanditininnovativeways.Usingwide-rangingsourcesandmethodologies,thispanelpresentsnewperspectivesonthesourcesoftheseoperas,therelationshipsbetweenthecomposerandhislibrettists,andtheculturalcontextoftheseoperasinlatenineteenth-centuryPrague.TheideaoftheruralvillagewasnotonlyrelevanttooperaticlifeinPrague,butinawholehostofEuropeancitiesinthelaternineteenthcentury,asisevidentfrom,amongotherthings,theinternationalpopularityofverismo.Byfocusingonrareandunderutilizedarchivalsources,thispanelexpandsnotonlydiscussionsofAntonínDvořák’sfrequentlyoverlookedcontributionstotheoperaticrepertoire,butalsocontextualizesCzechoperawithinitswiderEuropeanmilieu.Insodoingitdeemphasizesthenationalistparticularityof“Czechopera”asatermandfocusesontheconnectionsoflargertransnationalnetworksofoperaticproduction,whichhadadecisivebearingbothonthecompositionsofDvořákandontheliteraryworkofhislibrettists.EvaMyslivcová(CharlesUniversity,Prague)Dvořák’sKrálauhlířInvestigatesthesourcessurroundingDvořák’sKrálauhlíř(KingandCharcoalBurner),especiallyintermsofitsgenesisthroughvariousrevisionsandversions.Thispaperthusplacestheprocessoftheopera’scompositioninthecontextofDvořák’slifeandwork.EmmaParker(UniversityofCalifornia,SantaBarbara)DvořákandJakobín’slibrettist,MarieČervinková-Riegrová

Examines the relationship between Dvořák and Jakobín’s librettist, Marie Červinková-Riegrová.Indoingsoitexploresthesourcesfortheopera,theirrelationshiptothelargerideaofthevillage,andthegenderimplicationsofthecomposer-librettistdynamic.ChristopherBowen(UniversityofNorthCarolinaatChapelHill)TheculturalcontextofČertaKáča

AnalyzestheculturalcontextofČertaKáčaandhowitincorporatesvillageimageryalongside

elements of fairy tale. This investigation speaks to the issues of post-Wagnerianopera inEuropemorebroadlyandthegenderedexpectationsofvillageoperas.

EvaBranda(WesternUniversity,Canada)CzechCriticalPerspectivesonDvořákThe Cunning Peasant’s disastrous showing at the Vienna Hofopera in 1885 reinvigorateddebates in theCzechpress aboutAntonínDvořákasopera composer.WhileCzech criticsreferred to the event as an obvious case of Viennese prejudice, many of them werenonethelessconvincedthatthescandalmighthavebeenprevented,ifDvořák’smorerecentoperaDimitrij had been performed instead. “[Dimitrij] would have surprised [audiences],giventheimmensepovertyofoperaproduction[intheAustriancapital],”statesonewriterfor the newspaper Národní Listy, “and from Vienna, it would have made its way to allEuropeanstages,pushingDvořáktothefirstranksofoperaticcomposers.”Indeed, during the 1880s,Dimitrij was quickly becoming one of the most frequentlyperformed non-comic Czech operas in Prague (Smaczny, 2003). Undoubtedly, EduardHanslick’searlypraiseof theworkboosted its reputation,and itwasselectedasoneofahandful of representative “Czech” operas to be showcased by members of the PragueNationalTheatreattheInternationaleAusstellunginViennain1892(Brodbeck,2009).Yet,criticalopinionsonDimitrijwerenotunanimousinPrague.Infact,OtakarHostinský,whosetthecity’saestheticagenda,consideredthisoperatobeDvořák’sweakest,anditlayatthecentreofHostinský’scontroversial1901article,whicheffectivelykick-startedtheinfamous“Dvořakbattles”oftheearlytwentiethcentury.This paper investigates the complex Czech reception of Dimitrij, demonstrating thatcompetingpressures frommultiplecriticsultimatelyhelpedDvořákclarifyhisownartisticvisionintherealmofopera.

Session1C

11am-1pm(4individualpapers)

Translatlantics

CharlotteBentley(UniversityofCambridge)Thechallengesoftransatlanticopera:theThéâtred’Orléanscompanyinnineteenth-centuryNewOrleansFrom1819until1859,theThéâtred’Orléanswasatthecentreofsociallifeforawidecross-sectionofNewOrleans’spopulation.Itwaswellknownforthegenerallyhighqualityofitsoperaticproductions,itsunusuallywell-behavedaudiences,andforthefactthatitstroupewasrecruitedfromEuropeeachyear.Itwasthefirst(and,foralongtime,theonly)permanentoperacompanyinNorthAmerica,anditsinfluencewaswideranging.Throughaseriesofsummertours,thecompanyplayeda

keyroleintransmittingFrenchoperatotheeasternseaboardoftheUnitedStates.Existingscholarship,however,hastypicallyobservedonlythatthecompanybrought itsmusicandperformersfromParis,withoutgivingfurtherthoughttothedetailsorwiderimplicationsofthisprocessorthewaysinwhichnewaudiencesunderstoodFrenchopera.My paper will, therefore, take a closer look at the processes of cultural transfer in themovementofFrenchoperafromEuropetoNewOrleans.Itwillexplorethevitalroleofhumanagency inoperaticglobalisation, inordertoarguethatthenetworksofpeopleandplaceswerebynomeansasstraightforwardastypicallyassumed.Nor, Iwillsuggest,weretheseprocessesofculturaltransferasunidirectionalasgenerallyportrayed. Instead, Iwillarguethatsuchastudycompelsustore-evaluateaspectsoftheEuropeanoperaticindustry,andrevealsanentanglementoflocal,nationalandtransnationalconcernsthatwasvitaltothedevelopmentofaglobaloperaticculture.JoshuaNavon(Columbia,NYC)“ItisNecessarytogotoEuropeforInstruction”:TransmittingMusicPedagogyfromGermanytotheUS,1840-1875

During the mid-nineteenth century, a flurry of discourse appeared in American musicperiodicalsconcerningthecontrastingpedagogicalapparatusesoftheUSandGermany.Aselite musicians like Lowell Mason perceived, there were no significant sites for theinstitutionalizedtrainingofmusiciansintheUS,whileinGermany,prominentconservatoriesalready existed in Leipzig, Berlin, and elsewhere. In this paper, I trace several shifts inAmerican musical discourse on this transatlantic relationship. Publishing especially inDwight’sJournalofMusic,AmericanmusiciansinitiallypraisedGermanconservatories,evenencouragingyoungAmericanstudentstoattendthemforstudy.Later,however,theybegantoquestionGermany’shegemonyoverinstitutionalizedmusicaltraining,incitingcallsfortheestablishmentoftheirownmusic-educationalinstitutions.

RecentscholarshiponthespreadofGermanmusicalKulturacross theAtlantichasfocused on the roles of German immigrants, “emotional crossings,” and processes ofcanonization(Gienow-Hecht2009).Takingadifferentpath,andechoingmyhistoricalactors,Isuggestthatthewestwarddisseminationofmusic-pedagogicaltechniques—onesnecessarytotheproductionofwidespreadculturesofmusicalexpertise—formsacrucialandunchartedroute in this transatlantic history. Such a pedagogical perspective encourages us to lookbeyondthecirculationofpersons,discourses,andmusicalworks,andtowardthemeansoftransmittingmusicaldispositionsandskillsthatmakeuptheday-to-daypracticesofexpertmusicians.Concludingbroadly,Ioutlinehowconceptualizingpedagogyasintegraltomusicalpracticemayopennovelavenuesofinquiryforthehistoriographyofnineteenth-centuryartmusic.

CésarLeal(Sewanee:TheUniversityoftheSouth)ConstructingInternationalAestheticIdentities:Trans-Atlanticculturalexchanges,entrepreneurship,culturalmediation,andJewishsponsorshipinParisduringfin-de-siècle.

ThroughthestudyoftheactivitiesofParisianJewishimpresarioGabrielAstruc(1864-1938)asartist’smanagerandentrepreneur,thispaperexaminestheimpactofsponsorshipand

culturalmediationontheestablishmentoftheinternationalmusicalculturallandscapeofthefin-de-siècle.

ThemajorityAstruc’ssponsorsweremembersoftheParisianJewishupperclass.FamiliessuchastheCamondo,Rothschild,andVanderbilt,becamesteadysupportersformostofAstruc’slarge-scaleprojectssuchasthecommissionandpublicationofnumerousworks,theconstructionoftheTheatredesChamps-Élysées,andalltheartisticeventsoflaGrandeSaisondeParis.

Buildingonunstudiedarchivaldocuments(ArchivesCamondoandFondsGabrielAstruc)andexistingworkbyscholarsoffin-de-siècleculturallife,suchasHuebner,Pasler,andFauser,thepresentstudyexploresthemechanismsthoroughwhichAstrucobtainedandmaintainedthesupportoftheJewisheliteinParisandabroad.ItfocusesonAstruc’sroleastheEuropeanrepresentativeandmanageroftheMetropolitanOperaCompanyanditsactivitiesinculturalcapitalssuchasNewYork,Philadelphia,BuenosAires,andParis.Itemphasizestheprocessofdevelopinganewsenseofglobalaestheticidentitywithinthecontextofactivephilanthropyandmultipleinternationalculturalexchanges.

ThispaperprovidesanewcontrastingviewofParisianculturallifeanditsinteractionwithculturallifeinotherculturalcapitalsaroundtheglobe.UnlikeearlierstudiesonTrans-Atlanticconnections,thisdocumentaddressesmultipleissues,rangingfromrepertoireandlarge-scaleproductionstomodernsystemsofpatronagefromAstruc’sunifyingperspective.

JoséManuelIzquierdoKönig(UniversityofCambridge)Theearlynineteenth-centuryLatinAmericansymphony:problemsandperspectivesofanunknownrepertoireandatransatlanticgenre.

WhileresearchoncolonialLatinAmericanmusichasgrownenormouslyinthelastdecades,muchisstillunknownaboutmusicoftheearlyrepublicanperiod,inthefirstdecadesofthenineteenth-century.Thelackofsourcesofsecularmusic,aswellasanenvironmentwheremostprofessionalcomposersdedicatedthemselvestochurchmusic,haslargelytransmittedtheimpressiontoscholarsthattherewasnosymphonicorinstrumentalmusicwritteninLatinAmericaduringtheperiod.However,increasedresourcesforarchivesandlibrarieshasmeantthatmoreandmorepiecesarebeingdiscovered,andthatthelandscapeofmusicduringthisperiodisnotasdryaswethought.Thispaperwillexplorehowoftherapidchangesinculturalvaluesafterindependence,inparticular in the1820sand thirties, gave rise toa generationof composersof symphonicmusic in LatinAmerica. Ina culturalworlddevoidof affordablemusicalprintingandpaidpublicconcerts,composerstryingtowritesymphonieshadtoreinventthemselves–andthesocialvalueofthesymphonicgenre-tobeabletocomposetheirmusic,whichcertainlydidn’tgrant any economic returns.While symphonieswere performedonly at a local level, thesimilaritiesofideas,proceduresandaestheticsamongcomposersthatdidn’tkneweachotheracrossahugeregion(fromGuatemalatoBolivia),revealshowmuchthesymphonybecameasymbolofanewculturalparadigm,onethatcannotsimplybecomparedtocontemporaryEuropeanpracticestobeunderstood.

Session2A

2pm-4pm(4individualpapers)

East/West

MicaelaBaranello(SmithCollege)Zigeuneroperette:Austro-HungarianOperettaandAuthenticityReconsidered

VienneseoperettaoftenseemstoreduceHungarytogypsies,uncontrolledpassion,andatimeless,mythiclandscape.ScholarssuchasMoritzCsáky,CamilleCrittenden,andJonathanBellmanhavedebatedwhethertheseconstructionsregisterasauthenticrepresentationsofHungariannationalismandmusic,butallsharethepremisethat“gypsyoperetta”attemptedtorepresentHungarianidentity.InthispaperIexaminethegypsyoperettabeginningwithJohannStraussII’sDerZigeunerbaron(1885).Inclosereadingsoftwolaterworks,FranzLehár’sZigeunerliebe(1909)andEmmerichKálmán’sDerZigeunerprimas(1912),Iarguethatgypsyoperetta,particularlyinitstwentieth-centuryincarnations,wasrarelyintendedorreceivedasanauthenticHungarianculturalartifactbutratherasahighlyself-consciousanti-modernistfantasy.GypsyoperettasconformedtomanyofthedescriptionsofHungaryintheempire’sofficialethnography.Criticswereaware,however,thatactualHungarianoperettasgenerallydidnot.InDerZigeunerprimas,hisfirstworkfortheViennesestage,theHungarianKálmánputgypsyclichésfrontandcenterandhisworkwasmarketedasauthenticallyHungarian.Yettheoperetta’sworkingmusiciancharacters,likeKálmánhimself,self-consciouslyassumeRomagarbandmusicalstyletomakealiving.Lehár’sZigeunerliebesimilarlycouchesitsromanticgypsyadventuresasadreamsequencesplitfrommodernreality.Bothworkslargelyexcludethearistocracyanddirectreferencetoimperialpolitics.Inanerawhenoperettawasbecomingincreasinglycosmopolitan,theHungarianlandscapeseemedtoofferahumbleyetromanticescape—butoneacutelyawareofamoreambivalentreality.JonathanD.Bellman(UniversityofNorthernColorado)PicturesoftheWest:RobertSchumann’sBilderausOstenReconsidered

RobertSchumann’sBilderausOsten(ImagesoftheEast),Op.66,forpianoduethasreceivedlittlescholarlyattention;colorfullytitledmusicinacompletelydomesticgenrewouldcertainlyseemtobelittlemorethanlight,entertainingephemera,andthuseasytooverlook.Inhisintroduction,Schumannwrote(somewhattantalizingly)thatthesixpieceswereinspiredbyFriedrichRückert’seditionoftheMakamat(scenes,ortales)ofthemedievalArabicwriterAl-HarīrīofBasra,andformedan“intimatewhole.”Onlythelastpiecehadaspecificassociation,however:Harīrī’sfinalscene,inwhichtheagingadventurer-poetAbuSeidal-Serugruestheschemesandexcessesofhisyouth.Despitetheunansweredquestions,scholarshavealmostneverlookedmoreclosely.

Acloseanalysisofthegenres,styles,andevenindividualmusicalgesturesoftheothernumbersinthesetsuggestsnotHarīrī’slinguisticvirtuosityorAbuSeid’smischievousclevernessbutratherawhollywesternadventure-tale.Theindividualnumbers—which

includebattlepieces,anorientale,andatheatricalfarewelllamentwithtwodistinctvoices—evokethepredictableepisodesofsuchatale:sallyingforth,heroisminbattle,morethanonelady-love,andasober,moralizingpostscript.TheresultthusapproximatesLudwigTieck’sstoryofthebeautifulMagelone,latersetbyBrahms;indeed,Op.66showsitsimprintonBrahms’smusicinavarietyofdifferentways.Insum,Schumann’sImagesoftheEastisaverywesterntale,witheasterncoloringandstagesceneryonly.

AnneMarieWeaver(UniversityofRochester)Glinka’sFarewelltoSt.PetersburgandRussianCosmopolitanism

AlthoughweoftenassociateMikhailGlinka’smusicwiththedevelopmentofRussiannationalism,thatearlyformofnationalismincludedasignificantamountofcosmopolitanism.Nowhereisthatmoreapparentthaninhis1840collectionofsongs,FarewelltoSt.Petersburg.Thisgroupliesontheblurredborderofthesong-cyclegenre,anditmay(ormaynot)tellthestoryofahero,asVeraVasina-Grossmanarguedin1956.Indeed,Ifindamorecompellingargumentforitsstatusasacycleintheverydiversityofitsmusicalcontents:thissetcontainsatruemicrocosmofEuropeansongtypes,includingsuchnumbersasafierybolero,anoperaticcavatina,asensuousbarcarolle,adramaticballade-likefantasia,andalullabythatmergesaspectsoffolk-songwithelementsmoretypicaloftheGermantraditionofcomposedWiegenlieder.

WhetherornotGlinkaintendedthiscollectiontostandasacycle,however,itsrealimportanceliesinitsformidableinfluenceonsubsequentRussiansongcomposers.ThedifferentgenerictypesrepresentedinAFarewelltoSt.PetersburgcontinuedtoappearinRussiansongsthroughoutthenineteenthcentury,andasawholethepervasivecosmopolitanismwecanobserveintheset(asinGlinka’slargercareer)essentiallysetaprecedentforsongcomposers.InadditiontodiscussingthecontentsofGlinka’sset,mypresentationwillalsoshowhowBalakirev,inparticular,modeledhisearlysongcompositionsonGlinka’sexample,thusreinforcingtheperceptionofGlinkaasthefatherofRussianmusic.

DavidBrodbeck(UniversityofCalifornia,Irvine)HeimatIsWheretheHeartIs;or,HowHungarianwasGoldmark?

Onehundredyearsago,onJanuary2,1915,CarlGoldmarkdiedinViennaattheageof84.IntheVienneseobituariesthisHungarian-bornJewwhohadacculturatedasGermanandachievedaplaceofeminenceinthesocioculturalmilieuofLiberalViennawasrememberedasa“greatcomposerandAustrian”whohadbroughthonortothe“fatherland.”IntheobituariesthatappearedinBudapest,bycontrast,thelatecomposerwashailedasaHungarianand“apowerfulpillarinthebuildingofHungary’sartisticfame,”eventhoughhehadneverlearnedtospeakthelanguageandlivednearlyhisentireadultlifeinAustria.Here,ineffect,thetwohalvesoftheAustro-Hungarianmonarchywerefightingoverthesameman’slegacy.

TheHungarians’claimonGoldmarkwasofrelativelyrecentorigin.UnlikeLiszt,henevermadeanefforttocultivateaMagyaridentity,avirtualrequirementforfullmembershipinamagyarnemzet(theHungariannation),astheethnonationalistsunderstoodit.BasedonevidencefoundintheBudapestpress,IarguethattheseactivistsembracedGoldmarkasa

fellowHungarianonlywhen,neartheendofthecentury,atthestartofHungary’sso-calledGoldenAge,theydeterminedthattheculturalprestigehecouldbestowonthenationtrumpedhislackofMagyarcredentials.IconcludebyconsideringwhatGoldmarkmeanttosayabouthisidentityorself-perceptionwhen,inhisunfinishedmemoirsandalittleknownessayfrom1911,heinvokedthedistinctlyGermanideaofHeimat(home).

Session2B

SongsandStages

OskarCox-Jensen(King’sCollege,London)‘TrueCourage’:ASonginStages

ThispaperfollowstheearlyhistoryofasingleEnglishsong,fromits1798composition,toitsperformanceintheSansSoucitheatreandonregionaltours,toitsnationaldisseminationinpiratedbroadsides,totracesofitswiderculturalimpact.ThesongisCharlesDibdintheElder’s‘TrueCourage’,asentimentalpaeantocompassioncombinedwithextollingtherough,rudevirtuesoftheBritishsailor.‘TrueCourage’isexceptionalintheamountofextantsourcematerialsurroundingit.Butitismorebroadlyrepresentativeofawholegenreofsongwritingthathasbeenlongneglectedbymusicologists,literaryscholars,andhistoriansalike.

Inreconstructingthesuccessivestagesof‘TrueCourage’,Iammostinterestedinassessingtheinfluenceofthisbourgeoissongcultureuponthewidernation–and,chiastically,inhowwiderconcernsofconversation,politics,morality,andmilitarismwereboundupintheatricalrepresentation.Abriefreadingofthesongistiedtoitschronologicalcontextsofcreation,performance,reception,dissemination,andappropriation,informedbythephilosophy,politics,andculturalpracticesofthoseinvolved.Theprocessisreciprocal:asasocialobject,thesongshedsnewlightonthementalitiesandhabitsofitsday.Inpursuingthisnoveltakeonthecasestudy,Iaimtoexploreaninterdisciplinarymodelofcontextualclosereading,moreappropriateforthisrepertoirethantraditionalmusicalanalysis,informedbytheburgeoninginterestofotherdisciplinesinpopularformsofsongculture.

KatyHamilton(Independent)NataliaMacfarrenandtheEnglishGermanLied

Inthesecondhalfofthenineteenthcentury,German-bornsingerNataliaMacfarren(1827-1916)producedanextraordinarynumberofEnglish-languagetranslationsofsongandopera.ForNovello’soperaticvocalscoreseries,shetranslatedworksbyMozart,Beethoven,Weber,Auber,Bellini,Donizetti,VerdiandWagner.Inaddition,shewasaprolifictranslatorofLieder,providingEnglishversionsofsongsbySchumann,Mendelssohn,Franz,WeyrauchandBrahms.

AlthoughseveralofMacfarren’stranslationsarestillinprint,thereispreciouslittlescholarlyresearchintoherwork–eitherbymusicresearchers(forwhomsheisperhapsmorefamiliarasthewifeofcomposerGeorgeAlexanderMacfarren)orlinguistsandliteraryexperts.YethertextsprovideanimportantinsightintotheEnglishperformanceofLiederfromc.1860-1890(includingsubtlechangestothemeaningoftheoriginalpoemsthroughlinguistic‘interpretation’),particularlyamongamateurperformerswhopreferredtosingintheirownlanguage.ThispaperprovidesanoverviewofMacfarren’swork,andherattitudesandapproachestotranslation,usingspecificcasestudies.Hercontributionwillalsobediscussedinlightoftwenty-first-centuryattitudestoLiederinEnglish,inconnectionwithseveralrecentperformances:inIainBurnside’splayWhyMusttheQueenDie?(2014),andrecitalsofSchubert’sDieschöneMüllerininJeremySams’snewtranslation,byTobySpenceandChristopherGlynn.ItishopedthatinterviewswiththeseperformerswillshedfurtherlightonthisrecentreappearanceoftheEnglishGermanLied.

KatherineGray(UniversityofCalifornia,Berkeley)Wagner’svocaltechniques

TheargumentofthispaperisthattheWagnerianparametersofHauptmotivandVersmelodiecannotbecomprehendedmerelybystudyingunmarkedscoresorurtexteditions,isolatedfromconsiderationofthehistoricalcontingenciesofoperaticperformance;Wagner’sconceptionsofvocalexpressionwereessentialtohiscompositionalidioms.Suchidioms,Iargue,weredependentuponprevailingpracticesofdramaticsongthatgovernedtheemergenceofhisaesthetics.Wagner’ssingersplayedmajorrolesinconstructingboththeideologicalandmaterialfeaturesofwhathetermed“musicdramas.”

AninstructiveglimpseofWagner’svocalworldistobefoundinascorethatbelongedtoMaryBurrell(1850-1898),recentlyacquiredbytheHargrovelibraryatUCBerkeley.Burrell’sscoresubstantiatestherelationshipbetweenhisso-calledMusikDramaandthevocaltechniquesassociatedwithit.Burrell’sannotationsfromalessonwithWagner’sniece,JohannaJachmann-Wagner(1826-1894)shednewlightontheconceptualgenesisofMusikDrama.TheseindicatethatWagner’ssingerswereresponsibleforthecommunicationofotherwiselatentcompositionalstructures.Jachmann-WagnerwashighlyacclaimedintheroleofOrtrudbyaudiences,pedagogues,and“UncleRichard”himself.Burrell’seditionofLohengrinprovidesausefullexiconfortheimmersivestudyofWagneriancomposition,performancepractices,andreception.NatashaLoges(RoyalCollegeofMusic)Tellingwomen’sstories,sellingwomen’ssongs:thecreativerelationshipofPaulHeyseandJohannesBrahms

BrahmswasatremendousfanofthenovelistandpoetPaulHeyse(1830–1914),declaringthat‘anewnovellabyHeysealwaysmeansadayofcelebrationforme.Idon’treadthemjustonce;Ikeepthemnearmeforweeksandreadthemrepeatedly’(Heuberger,1976).EduardHanslickalsowrotetoHeysethathecouldnot‘imaginethetimeinwhichyourstorieswillnolongerberead’(Moisy,1981).Indeed,Heyseenjoyedenormouspopularitythroughoutthesecondhalfofthenineteenthcentury.Today,heismostlyrememberedastheauthorofthe46poemssetbyHugoWolfintheItalienischesLiederbuch(1891,1896).

BrahmscomposedtwelvesettingsofHeyse’spoetrybetween1859and1888,nearlyallofwhichwereforwomensingingeithersoloorinsmallensembles.ThispaperwillexplorehowHeyse–andbyassociationBrahms–balancedtheneedtohavepopularappealwithadesiretopushtheboundariesofacceptabilityinworkstargetedatthemiddle-class,educatedwomenoftheirday.TheBalticwriterLauraMarholm(1854-1928)rejoicedinthenumerousintellectuallyandsexuallyconfidentfemalecharactersHeysepresented,andchampionedhimasan‘awakener’ofwomen(Marholm,1896).Despiterecentscholarship(Gerards,2010),Brahms’sowncontributiontothismovementhasbarelybeenrecognised.Thepaperwillexaminethethree-wayrelationshipbetweenHeyse,Brahmsandtheirtargetaudienceusingthe‘Mädchenlied’Op.95no.6asacase-study.

Session2C

LibrettiandHistoricisim

DaniilZavlunov(StetsonUniversity)Censoringthemuses:operaandcensorshipduringthereignofNicholasI(1825-1855)Itishardlynewsthatinnineteenth-centuryEuropecensorshipshapedoperainwayslargeandsmall.Surprisingly,censorship—asaninstitution,anetworkofindividualcensors,aprocess,anideologicaltool,andsomuchelse—hasneverbecomearegularpartofthehistoriographyofnineteenth-centuryRussianmusic.ThispaperbeginstorectifythesituationbyfocusingontheverycomplexrelationshipbetweencensorshipandoperainRussiaduringthereignofNicholasI.Traditionally,operaandcensorshipduringthistimehavebeenexaminedinscholarshipexclusivelythroughtheprismofprintedlibrettos.Inreality,theprintedlibrettoandthesunglibrettoofthesameoperaweretworatherdifferentproducts,censoredindiscreetgovernmentagencies,byverydifferentpeople.LibrettosasperformedwerecensoredbytheThirdDivision(thepolice),librettosasprintedwerereviewedbytheMinistryofPeople’sEnlightenment,andalllibrettosthatmentionedanythingecclesiasticalhadtobepresentedtotheHolySynod.Buthowdidtheprocessactuallywork?Whowerethecensors?Howwerethesecensorsthinkingaboutthetextsandwhy?Inansweringthesequestions,thepaperintegratesdifferentfacetsofoperacensorshipintoaholisticnarrative.Itdrawsheavilyonavarietyofnewlyuncovereddocuments—censor’sreports,censor-annotatedmanuscriptandprintedlibrettos,censorshiplogs,andNicholas’spersonalnotes—fromseveralarchivalcollectionsinRussia,andfocusesonahandfulofoperalibrettos(includingALifefortheTsar,AnnaBolena,andLesHuguenots),tracingtheseworksthroughtheprocessofsterilization.EdwardJacobson(UniversityofCalifornia,Berkeley)Donizetti’sHistoricism

PerusingItalianoperalibrettiprintedinthefirstdecadesofthenineteenthcenturyrevealstwosignificantandinterconnectedtrends:anincreaseinhistoricalsubjectsandinpara-textualmaterial(suchaslibrettists’prefaces,historicalintroductions,extendedscenicdescriptions,anthropologicalfootnotes,andevenbibliographies).Thisproliferationofprintedmaterialsintendedtoberead—ratherthanenactedonstage—atteststotherisingimportanceofreadingaspartoftheprimoottocentoopera-goingexperience.Notonlywereaudienceslookingattheirprintedlibretti,whichconditionedthemtoinvesttheoperaticactionwithanauraofauthenticity,butthecharactersonstageoftenmodeledreadingasapractice,guidingaudiencestowardacanonofItalianliteraryworks.Giventhisemphasisonwrittenhistory,inthispaperIarguethatreadingduringtheoperawasanindispensableelementofRomanticoperatichistoricism.

Ishowhowboththeliterarypretensionsofottocentolibrettistsandtherelatedphenomenonofreadinginoperarevealtheinextricablelinkbetweenhistoryandliteraturethathasbeenfrequentlystressedbyhistoriansofpost-Napoleonichistoricalconsciousness.ThesepracticesconvergeinDonizetti’s1833TorquatoTasso,aworkforwhichthelibrettist,JacopoFerretti,providedanextendedhistoricalintroductioncontainingabibliography,referencestoarchivaldocuments,aspirationsto“storicaverità,”andquotesfromTassohimself.Combinedwiththeopera’sdramatizedreadingofGerusalemmeliberata,suchprefatorymaterialsdemonstratetheintermedialaspectsofoperatichistoricism,onethatnecessarilyinvitesaudiencestosupplementoperaticspectaclewithcarefullycuratedhistory.

AlessandraA.Jones(UniversityofCalifornia,Berkeley)‘TheTheoryoftheDagger’:Verdi’sUnballoinmascheraandDiscoursesofRegicide

WhentheunpopularDukeofParmawasassassinatedin1854,blamefellonAntonioCarra,whohadreportedlyvolunteeredforthetaskonbehalfofGiuseppeMazzini’snationalistgroup,GiovaneItalia,becausetheDukehadseducedhislover.Twoyearslater,statesmanDanieleManinpublishedanopenletterdenouncingassassinationas“thegreatenemyofItaly,”whichpromptedanimpassionedresponseindefenseofviolencefromMazzini.Thispaperexploreshowthesehigh-profiledebatesaboutpoliticalassassinationinflectedtheconceptionandreceptionofthefinalsceneofVerdi’sUnballoinmaschera,inwhichajealoushusbandassassinatesthekingwhohasseducedhiswife.

AntonioSomma’slibrettoandVerdi’smusicforthescenesendconflictingmessages:thechorusdenouncestheregicide,buttheheavenlychorusthataccompaniestheking’sdeathringsfalseinthefaceofhissins.Andatleastsomecontemporaryspectatorsunderstoodtheassassin,Renato,tobealignedwithMazzini’ssympatheticportrayalofamanprovokedtomurder.TheGazzettamusicalediMilano,forinstance,heard“amostnaturalpsychologicaleffect”whenRenatoshiftedbetweenboilingangerandsentimentalremembrances.ThecriticoftheNewYorkTimesbelievedthat,inBallo,Verdi“attemptsmorevehementlythanheretofore…theportrayalofdramaticpassion.”HistoricalattentiontothepoliticalandtopicalresonancesofBallohasfocusedoncensorship,butthispaperwillshowthattheoperaparticipatedinamuchmoreimmediatewayindiscoursesaboutpoliticalpower,legality,andviolentresistance.

ClaudioVellutini(UniversityofBritishColumbia,Vancouver)FannyTacchinardi-Persiani,CarloBalocchino,andItalianOperaBusinessinVienna,Paris,andLondon,1837-1845Among19th-centuryItalianprimadonnas,FannyTacchinardi-PersianihascomedowninhistoryasthefirstinterpreterofDonizetti’sLuciadiLammermoor(1835).Herinternationalcareer,however,hasreceivedlittleattentionbyoperascholars.DespitePaolaCiarlantini’s1988biographyofthesinger,however,herinternationalactivityhasreceivedlittleattentionbyoperascholars.Recentdevelopmentsinoperastudies,aswellaspreviouslyoverlookedarchivalmaterials,nowprovideenhancedcriticaltoolstoshedlightonTacchinardi-Persiani’scontributiontotheproduction,circulation,andreceptionofItalianoperasinatransnationalcontext.Inthispaper,Ifocusonthehithertolittle-knowncorrespondencebetweentheprimadonnaandCarloBalocchino,impresariooftheKärntnertortheaterinVienna,asawindowontheeconomic,social,andculturaldynamicsoftheoperaticnetworksbetweentheItalianStates,Vienna,Paris,andLondon.Thisbodyofdocuments,currentlyhousedintheViennaCityLibrary,comprisessomefortyletterswrittenbetween1836and1845.HereTacchinardi-Persianistrategicallyconstructsherimageasaself-madewomanvis-à-visherrivalrywithsopranoGiuliaGrisi,herrepertorychoices,herneedtoprovideanincometoherfamily,andherresponsibilitiesasamother.Byrevealingthefluidityofpowerdynamicsbetweenoperaimpresarios,performers,andcomposersduringthe1830sand1840s,theselettersofferafreshlookattheroleofprimadonnas’agencyinthedisseminationandestablishmentofaninternationalcanonofItalianoperas.Keynote1JessicaGienow-HechtMusic&nationbrandingin19th-centuryinternationalrelationsThetalkwill,first,makeanumberofobservationsontheintersectionofmusicandinternationalhistoryincurrentscholarship.Second,itwillelaborateononeofthecentralquestionshistorianshavebeenponderinginregardtothe19thcentury:howtoreconcilevisionsofextremenationalism,simultaneously,andinternationalism.Thepresentationwillprobetheargumentthatlookingatmusicandpoliticsintandemmighthelpusaddressthatquestion.Asatool,thepresentationconsiderswhatJessicaGienow-Hechthascometolabel“musicalnationbranding”forresearchersinbothfields.

TUESDAY12July

Session3A

9.30am-11am(3individualpapers)

Time,Space,Form

CarloCaballero(UniversityofColorado)Chopin’sMeditationonTime:Bells,ClocksandSubjectivityinthePrelude,op.28,inA-flatMajor

PaderewskioncerecalledthatCamilleDubois,astudentofChopin’s,insistedthatthetollingtonicbassnotesinthelastsectionofChopin’sPreludeinA-flatMajormustalwaysbestruckwiththesamestrength,despitethesottovoceexpressionoftheuppervoices,because“theideaofthatPreludeisbasedonthesoundofanoldclock,”and“theclockknowsnodiminuendo.”Paderewski’srecollectionofDubois’sadviceprovidesaprovocativeinterpretativedirection,butalsoopensthisunusualpiecetohermeneuticobservationsofwidersignificance.IarguethatthisPreludemovinglydevelopsandintertwinestwo(ormore)differentexperiencesoftime.Thecircularnatureofthework,suggestingeternity,isuniqueinChopin’spreludes:itbeginsandendswithpulsingtonicchordsinexactlythesamedisposition,whereaspreludesnormallybeginandendindifferentregistralandfiguralpositions.Withintheframeoftheeternal,the“action”ofthePreludeofferstwoalternatives:mechanicaltime(thetimeofclocksandbells,pulsingchordsandtollingbassnotes)andhumantime(constantagogicchallengestomechanicaltime,harmonicdivagations,andquickeningharmonicrhythm).Theformofthepiecesuggeststwopresentationsofhumanandmechanicaltimeindialogue,eachfollowedbya“protest”againsttheinevitabilityofclocktime.Theclockalwaysreturns,andinthefinalsectionseemstosounditsbellindependentlyofanysentimentalresistanceonthepartofthepianist-protagonist.Yetaftertheninthstroke,Chopinallowsthepianisttotakeconcessionsfromtheclock,expandingtimelikearesistantdreamer.Thepieceends,thanksto“innervoices,”anextendedpedal,andanexquisitelyplacedgracenote,inaspiritofreconciliationratherthanresistance.

ChairatChongvattanakij(UniversityofToronto)InvertingtheSublime:Franck’sVariationssymphoniquesasaComicNarrative

ThefinaleofFranck’sVariationssymphoniquesbaffledeventhemostenthusiasticofhissupporters.Consideringtheseriousnessthatdominatedtheprecedingmusicaldiscourse,thesuddenshifttowardsseeminglysuperficialebulliencestrikesmeasbeing“funny”inbothsensesoftheterm:amusingandstrange.IinvestigatetheincongruouslightheartednessofthisfinalebydiscussingtheclaimthatFranckbasedthemusiconafestivecramignon(atraditionaldancefromLiège),whichservedashiscompositionalpointofdeparture.Therefore,theoverarchingnarrativeofthepiececanbeunderstoodasacomicunveilingofanearthlydance,ratherthantheachievementofupliftingapotheosis;drawingonKantandJeanPaul,Iarguethatthesublimebecomesinverted.First,Iexplore

theideathatsublimeexperienceenactsamythologicalplotstructureinwhichanepicstruggleeventuallygiveswaytotranscendence.Throughacloseanalysis,IdemonstratethatthenarrativeunfoldingoftheVariationssymphoniquesdepartsfromtheromancearchetypetypicalofsublimeexperiencebecauseinfinitelonging(asconveyedthroughthehistoricalscopeofFranck’svariationtechniquesandthedisorientingchromaticthirdrelationsinthetransitionintothefinale–bothofwhichevokeKant’smathematicalsublime)isultimatelyabandonedforthecelebrationofthefinitudeoflife(asrepresentedbytheunexpectedemergenceofthecramignon).IproposethatthislateworkredeemsFranck’searlybrilliantvariationsetsforthepiano,notbyattainingsublimity,butbyaffirmingtheseriousnessofplay.

SebastianWedler(UniversityofOxford)TonalPairingasaStrategyofLyricalTime:AntonWebern’sLangsamerSatz(1905)

CompletedinJune1905asoneoftheearliestcompositionalstudieswhichAntonWebernproducedunderthetutelageofArnoldSchoenberg,theLangsamerSatzhasbeenmadesubjecttoscholarlyinquiryonlyinasmuchasitprovidesanearlyevidenceofBrahms’sinfluenceuponSchoenberg’smusicalthoughtanddidactics.YettolocatetheimportanceofWebern’sLangsamerSatzonlywithin‘theBrahmsfog’(W.Frisch)wouldbetomisunderstandthework.Rather,asIshallargue,Weberninterpretedthe‘Brahmsiantechniques’thatSchoenberghadintroducedhimto(thetraditionalFormenlehre,functionalharmonyanddevelopingvariation)asexpressivemeansanddevicesbywhichtoreformulatehispre-existingidiosyncraticconcernfor‘lyricaltemporality’.Thestartingpointofmyinterpretationisthework’spairingofCminorandE-flatmajor,setupalreadyinthefirsteightbars,astonicsoperatingonthesamehierarchicallevel.ThroughacombinationofSchenkeriananalysisandNeo-Riemanniantheories,aswellasastudyofthemanuscriptsandsketchesarchivedatthePaulSacherFoundation,IwillexplorethecompositionalstrategiesbywhichWebernaimedatmaintainingthistonalpairingthroughoutthework,incontradistinctiontothemorecommonconceptionoftonalpairingsasinstancesof‘directionaltonality’.Assuch,theLangsamerSatzinvitesusnotonlytoseeWebernenteringintodialoguewith,ratherthan(asiscommonlyheralded)aone-sidedadoptionof,Schoenberg’sideas,butalsoprovesapertinentplacetothinkthrough(withreferencemostnotablytoSchubert,R.Schumann,Brahms,andWagner)someofthecrucialanalyticalproblemsofnineteenthcenturymusicandtheirtemporalimplications.

Session3B

C.1800

ShaenaWeitz(CityUniversity,NewYork)ExcavatingthePotpourri

Bythemid-tolate-nineteenthcentury,thegenreofpotpourriwasessentiallyamedleyoftunesfromasinglepopularoperastrungtogether,describedrecentlyas“hackworkfortheamateurorimpoverishedmusician.”ButwhenthepotpourrifirstappearedinFrancearoundtheturnofthenineteenthcentury,itwasunderstoodinthoroughlydifferentterms.Initsoriginalform,thepotpourriwasavehicleforwittymusicalcommentarythroughtheborrowingandjuxtapositionofpassagesfromdiversemusicalgenres.Amongitsmoreunusualuses,onecriticofanineteenth-centurymusicjournalexplainedthatthepotpourriwas“especiallygoodfordenouncingplagiarists”becausemelodiescouldbedeconstructedandplacednexttothemusicfromwhichtheyallegedlyhadbeenstolen.Thistypeofpotpourri,however,wasmadeillegalbyNapoleoniccopyrightlaw.Toopenlyborrowfrommultipleworkstomakeamusicalpointwasbanned;itwasonlypermittedtoreferenceasingleworkatatime.Thepotpourrilanguishedintoashadowofwhatitoncehadbeen.

ThispaperconsiderswaystounderstandtheearlyFrenchpotpourriasawittyorbarbedgenre,andthebarrierstothissortofcomprehensionbyexaminingpotpourrisbyLouisJadin(1768–1853)andDanielSteibelt(1765–1823)andcontemporarywritingsaboutthegenre.Iarguethattheparticularborrowingsfoundintheseearlypotpourrisreflectsomethingfarbeyondtriviality,butprovideawindowintoFrenchmusicallifeandmusic’ssocialcontextinthefirstdecadeofthenineteenthcentury.

KatherineHambridge(DurhamUniversity)GenreConsciousnessintheNapoleonicTheatre

Amongthemanytrendsdated‘c.1800’isthemodernrejectionofthegeneric,exemplifiedbyFriedrichSchlegel'sinsistencethat'everyworkisitsowngenre'.Mypaperrevisitsthiscanonicmomentintheintellectualhistoryofgenrefromanalternativeperspective:theunrulygenerictransformationsandmusicalpracticesinParis'stheatres,thehistoriccentreofgenretheory.Therelaxationoflicencinglawsin1791hadfuelledahugeexpansioninboththenumberoftheatresandtherangeofgenresproducedinthem:theboulevardtheatresinparticularhosteda'genrification'(Senici,2014)andhybridisationofformssuchasvaudeville,mélodrameandpantomime.In1806-7,however,Napoleonre-introducedastrictregulationofthetheatricaleconomybydistributingparticulargenresbetweenonlyeighttheatres;genredivisionswereagainassertedonthebasisofsubjectmatterandtheroleandproportionofspokenwordandmusic.

Usingsurvivingadministrativedocuments,mypaperreconstructsthepoliticalandfinancialmotivationsforthe1806retrenchment,andthebureaucraticprocessofdefininggenrecharacteristics.Takingbothworksanddiscourseintheyearsimmediatelyfollowingthereorganisation—includingaspateofplaysinwhichgenreswerepersonifiedonstage—Iexplorehow,andtowhatextent,categoriesofgenreshapedtheuseandreceptionofmusicasadramaticmedium.Thisapproachshowstheimportance,Ipropose,ofsynthesizingpolitical,institutional,intellectualandreceptionhistory,inordertowriteahistoryofgenre-consciousness,ratherthanofgenre.

AnneliesAndries(YaleUniversity)Dreaming"OpéradeLuxe":SpectacleinLeSueur'sOssianoulesbardes

ParisOpéra,July10,1804:Agiganticaerialpalaceappearsonthestage,forty-fivesingers

andsixty-fivedancersaccompaniedbytwelveharpslamentOssian’sfate.TheaudienceandcriticsravedabouttheactIVdreamsceneinLeSueur’sOssianoulesbardes,whichwasthemostastoundingvisualandmusicalspectacletheOpérahadeverstaged.Ossian’srelianceonthecombinedeffectofmusic,dance,costumesandstagesetshastraditionallybeenlinkedtoNapoleonicpropagandaandLeSueur’soperaticaestheticsoftenconsideredtoprefigureWagner’sGesamtkunstwerk.

Bycontrast,thispaperdiscussesthe“totalspectacle”inOssianasaquintessentialproductoftheParisOpéra,capitalizingontheinstitution’slongtimereputationforunparalleledmusicalandvisualluxuryanditsambitiontobeacenterforreunitingthefinearts(whichbecametangibleinreorganizationsaround1800thatencouragedthecollaborationbetweentheOpéra’svariousartists).TherichvisualandmusicalworldofMacpherson’sOssianicpoems—theprincipalsourceofOssian’slibretto—formedtheidealsubjecttoreestablishthesplendoroftheOpéra.TransmittingthisworldbecameincreasinglyimportantinconsecutiveversionsofOssian,inparticularofthedreamscene.Whilethisscenewasjudgedthework’smostOssianicpart,itsrepresentationalsobuiltonalonghistoryofFrenchoperaticdreamscenesfamousfortheirluxuriouscombinationofmusic,danceandvisualeffects.LookingattheOpéra’sroleinthecreationofOssian,drawsattentiontotheimportanceofinstitutionalpracticesandtheirreputationinnineteenth-centuryaestheticdevelopments.

Session3C

TheatricalIllumination

Feng-ShuLee(TunghaiUniversity)IllusoryReality:ShadowinRomanticMusicandArtsTechnologicaladvancesinglassmakingenabled19th-centuryartiststodevelopnewunderstandingsoflightrelativetodarkness,andtheseideaspassedintocontemporaryliterature,music,andphilosophy.ThisisparticularlyclearintheRomantics’conceptionofshadowasametaphorforillusion.TheRomantics’fascinationwithshadowreflectstheirre-assessmentofitsmeaningrelativetoreality.AuthorsusedtheimageofreflectiontochallengetheEnlightenment-erarelationshipbetweenappearanceandreality.Inopticalscience,discussionsofafterimageshowedthepotentiallydeceptivenatureofvision.Whatthehumaneyedoesnotseemaybewherethetruthlies.IarguethatthisvisualphenomenonservedasanimportantinfluenceonRomanticmusic.Examplesaboundintheproductionofoffstagesound,specialtimbres,andscenesofhallucination.Istartwithanoverviewofthechangingvisualperceptionin19th-centuryscience.IproceedwithadiscussionoftheRomantics’perceptionofcorporealityrelativetotheirreadingofshadowinliteratureandarts.IconcludewithaclosereadingofDieFrauohneSchatten,inwhichStraussandHofmannsthaleachhadadifferentapproachtothe

protagonist’squestforshadow.IwillshowhowStrauss’sreadingconveyedthisimage’smetaphoricalmeaninginaudibleterms,andhowthisreadingderivedfromcontemporaryopticalscience.19th-centurymusicscholarshiphasfocusedontheverbaldimensionofmusicattheexpenseofitsabundantandclearlyvisualcomponents.Byintertwiningviewingandlisteningexperiences,IofferarefreshingperspectivetothenatureofRomanticmusic.TamsinAlexander(Goldsmiths,UniversityofLondon)IlluminatingSpectacle:LightandillusioninGustavustheThird(1833)Ontheeveningof13November1833,thefinalsceneofGustavustheThird–adaptedfromAuber’sGustaveIII–wasrevealedatCoventGardentorapturousapplause.Itwasnotthepresenceofastarsingerordancerthatprovokedthisreaction,northestrainsofAuber’sever-populardancemusic.Whatimpressedtheaudiencewasthevisionofamaskedballilluminatedbychandeliers,lamps,brackets,tripodsandcandelabras.Atfirstglance,thesituationinParishadbeenmuchthesame.PremieredattheOpéralessthanninemonthsearlier,GustaveIIIalsowonaccoladesthankstoitselaboratefinale.Butchangesmadetotheoperainthetransferprocess,combinedwiththedifferingcontextsoflightingandmasqueradinginLondonandParis,meantthatGustaveIIIhadacquirednewsignificationsasGustavus. Investigationsintovisualityinoperahavebecomeincreasinglyprevalentinrecentyears.Few,however,haveconsideredhowtheintroductionofgaslightshapedopera-goingandoperastagings.Toturnto1830sLondonistoexploreatimeandplaceobsessedwithlightingtechnologiesandwithreachingabetterunderstandingtheeye.UsingtheexampleofGustavus,Iexplorehownewdiscussionsaboutlightandvisioninfluencedresponsestoopera,andhowlightcouldbeusedtooverwhelm,distract,promptaudiencestodelightinillusion,wonderattechnology,andbecomesweptupinascene.Bringinglightintothepicturenotonlydrawsuponanelementofurbanlifethatwasconsumingcontemporarydiscourse,therefore,butalsoofferswaystodeepenourunderstandingofhowoperawasexperiencedinearlynineteenth-centuryLondon.TommasoSabbatini(UniversityofChicago)MusicfortheParisianpopularstage:thecaseof(andthecasefor)latenineteenth-centuryféerie

Untilrecently,thescholarlycommunityallbutignoredtheFrenchfairyplay,féerie.Thelastdecadehasseenafewcontributionsinthefieldsoftheatrehistory(notablybyRoxaneMartin)andfilmstudies(byscholarsofGeorgesMéliès),butnomusicologisttothisdayhasengagedwiththegenre.Féerie,though,wasafixtureoftheatricallifeinnineteenth-centuryParis,itreachedexceedinglylargeaudiences,itwaschampionedbyleadingintellectuals,anditreliedheavilyonmusic,evenmoresothanmelodrama.

InthispaperIwillexposethepreliminaryfindingsofmystudyofacorpusofsometwenty-fiveféeriesdatingbetween1870and1900.Farfrombeingatimeofdeclineforféerieascommonlyclaimed,thisperiodwitnesseditsexceptionalvitalityandcapacityforadaptation.Someféeriesabandonedpatchworkscorescompiledbyhouseconductorsin

favouroffullyoriginalscorescommissionedtowell-knowncomposers(thefirstexampleisVictorienSardou’sLeroiCarotte,settomusicbyOffenbach,1872);somerenouncedthetraditionalfairy-talesubjectsforscientificones(Adolphed’EnneryandJulesVerne’sLetourdumondeen80jours,1874;Offenbach’sLevoyagedanslalune,1875);andfinally,GeorgesMélièstransferredféeriefromthestagetothenewmediumoffilm(Cendrillon,1899).

Onthebasisofasurveyofbothprintedandarchival(F-Pan,F-Pn,F-Po)sources,Iwilldiscusswiththeeconomy,theideology,andthepoeticsofthegenre,aswellasthechallengesitposestotheatreandmusichistorians.

Session4A

11.30am-1pm(3panelpapers)

Panel:On(re)hearingDelius:Contexts,Legacies,andTraditions

FrederickDelius(1862-1934)wasacomposerofinternationalstature,vision,andinventiveness.Nevertheless,aspectsofhisscholarlyreceptionremainatarelativelyelementarylevelincomparisonwiththatofbothBritishcontemporariessuchasElgarandVaughanWilliams,andalsohisEuropeancolleagues(Debussy,Strauss,andSibelius).Criticalappreciationofhismusichasoftenbeenshapedbyaseriesofassumptions:thathewasameremusicalrhapsodistwithonlyarudimentarygraspoflarge-scalemusicalform,orthathisrichlylate-romanticharmonicsyntaxwasanachronisticandoutofkilterwithmoreprogressivestrandsofcomposition.Takingadvantageoftheupsurgeofinterestinthecomposerinthewakeofhis2012anniversary(notablyJohnBridcut’sBBC4film,Delius:Composer,Lover,Enigma)andthelaunchoftheAHRC-fundedproject‘Delius,Modernism,andtheSoundofPlace’in2015,thispanelpresentsnewscholarlyperspectivesonthecomposerandhismusic.GrimleywillanalyzetheambivalenceofDelius’useofplace,andtheproblemssurroundingattemptstomarkthecomposeraseither‘English’or‘cosmopolitan’.BullivantoutlinesnewusesofdigitaltechnologytoclarifyDelius’compositionalprocessesandperformancehistory,withparticularreferencetotheworkofhisgreatadvocate(andlatertrustee)ThomasBeecham.CollinswillassesstheinfluenceofNietzscheonthecomposer,andhisimmersioninthephilosopher’swidercriticalthought,inthecontextoflatenineteenth-centuryNietzscheanisminBritishintellectualcirclesanditsproblematiclegacy.Insum,thepanelwillprovideinsightsintoawholesalereappraisalofthecomposer,withimplicationsforscholars,performersandlisteners.DanielGrimley(UniversityofOxford)‘UntoBriggFair’:Cosmopolitanism,Delius,andtheIdentitiesofPlaceCosmopolitanismhasbeenaprominentterminthereceptionofFrederickDelius’smusiceversincethepublicationofChristopherPalmer’s1976widely-readmonographonthecomposer.ForPalmerandothers,resistingthenegativetoneofmuchwritingonDelius

aftertheSecondWorldWar,thetermisfrequentlyinflectedwithpositivevalue,suggestingopenness,liberation,andaprogressiveworldview,ratherthansignalingcriticalapprobation.BuildingontherecentworkofBruceRobbins,AmandaAnderson,andSarahCollins,however,Ishallarguethatthecategoryisfarmoredestabilizingandopaquethanitsappropriationfrequentlysuggests,andthatitsvalenceinDeliusstudiesisespeciallyproblematic.Delius’s1907-8tonepoemBriggFair,subtitled‘AnEnglishRhapsody’,isanindicativecasestudy.BasedonamelodycollectedbyPercyGraingerinNorthLincolnshirein1905andlaterarrangedforunaccompaniedchoir,Delius’ssetoforchestralvariationsoffersatransformativevisionofthemusic,whosearch-likeexpressivetrajectoryisconsistentwithlatenineteenth-centuryaesthetics.Closerattentiontothescore,andtoitsgenesisandreception,however,suggestsamorecomplexreadingofthework’smultiplepointsofstylisticreference.Cosmopolitanismheremightserveasastraightforwardregisterofthemusic’slayeredevocationsofplace,or,morepointedly,asacritiqueofthework’sthinlyveiledcolonialism.Attemptingtoresolvethesetensions,Iwillconclude,promptsrenewedreflectionabouttheideologicalassociationsoftheterminamusic-historicalcontextanditsusefulnessasaninterpretativeframe.JoannaBullivant(UniversityofOxford)‘“Mymusichasneverbeenplayedaswellbyanyoneelse:”SirThomasBeechamandDeliusinPerformance’NofigurehashadagreaterimpactonDelius’legacythanSirThomasBeecham.AswellasestablishingaperformancetraditionforDelius’works,Beechamwaseditor-in-chiefoftheDeliuscollectededitionproject.Beecham’sinterpretationscarryenormousweight,bothbecauseofthecomposer’sstronglyarticulatedapprovalthereof(asquotedinthetitleofthispaper),andduetothewidespreadsuggestionthatDelius,unlikeStrauss,MahlerorElgar,wasnotaninterpreterofhisownworks,andleftworksthatwerean‘emptyhouse’requiringextensiveediting.Morerecently,however,Beecham’sinterpretationshavebeenquestioned,forexamplebySirMarkElder,speakinginJohnBridcut’s2012filmaboutthecomposer.ThereisalsothematterofBeecham’seffortstoestablishDeliusasadefinitivelyBritishcomposer,despiteevidenceofhiscosmopolitanism.WhiletherearedangersinprivilegingamoderninterpretationoverBeecham’s,orinseekingaprelapsarianUrtext,itiscertainlythecasethatattemptstofindalternativestoBeecham’sinterpretationsdemandapreciseunderstandingoftheextentofhisinfluence,aswellasthatofDelius’othereditorsandamanuenses.ThispaperwilldiscusshowthecreationoftheDeliusOnlineCatalogue(DOC),usingtheMusicEncodingInitiative(MEI),hascreatednewpossibilitiesfortracingthecompositionalandeditingprocessofDelius’worksanddisseminatingthisknowledgetoperformers.Inadditiontopresentingthehistoryofworksinanaccessiblemanner,MEIraisesthepossibilityofdigitaleditionswhichlaybaretheinfluenceofdifferenthandsandeditorsincreatingthework.

SarahCollins(UniversityofNewSouthWales)‘The“ZarathustraMood”:Delius,anti-intellectualismandtheproblemofmusicalNietzscheism’Delius’identificationwithNietzsche’swritingsiswelldocumented—hewasamilitantadvocateofNietzsche’stextsamongfriendsandacquaintances;hisfamiliaritywithNietzsche’swritingswassuchthathisdailyconversationwassaidtohavebeenpepperedwithNietzscheanquotations;andofcoursehealsosetNietzsche’spoetrytomusicinanumberofworksbetween1898and1916.Nevertheless,therehasbeenapersistentskepticismaboutthedegreetowhichDeliusengagedwithNietzsche’ssubstantivephilosophy,suchasitwas.WhenaskedtowriteaprogrammenoteforthepremiereofDelius’AMassofLife,forexample,FritzCassirer—whohadhelpedselectthetextofthework,drawnfromNietzsche’sThusSpakeZarathustra—notedhowDelius’‘artisticaimistherenderingoftheZarathustramood,andnothingmore’.OthercommentatorshaveaffirmedthisviewinanattempttodistanceDeliusfromnationalistpolitics,claimingthatDelius’s‘anti-intellectualism’inthisregardallowedhimtoescapethepoliticalimplicationsofidentifyingwithNietzsche’sZarathustraintheleaduptoWorldWarI. Thispaperwillshowthatwhatwasatstakeintheseclaims,aswellasinbroaderdiscussionsof‘musicalNietzscheism’,wasanabidingconcernabouttherelationshipbetweenaestheticsandpolitics,whichwasexpressedthroughdebatesabouttheabilityofmusictoconveynon-musicalideas.Further,itwillarguethatunderstandingthetensionbetweenNietzsche’scritiqueofWagnerontheonehand,andpost-WagneriandebatesconcerningtheuseofexcerptsfromNietzsche’stextsinmusicontheother,canilluminatetheconflictingaestheticandphilosophicalideasatplayinadvocatingautonomyattheturnofthetwentiethcentury.

Session4B

11.30am-1pm(3individualpapers)

Vienna

AnneHyland(UniversityofManchester)TheStringQuartetinSchubert’sViennaThetendencytounderstandSchubert’slarge-scaleinstrumentalpracticeswithinthecontextofBeethoven’sstructuralprocedureshashadtwomajorramifications.First,traditionalapplicationsoftonaltheoryhavereadSchubert’sinstrumentalmusicasnon-systematic,assessingitslyricallyconceivedparataxis(Mak,2004)negativelyagainstanunsuitableBeethovenianprecedentofhypotaxis.Second,fromtheperspectiveofmusichistory,theimmediatecontextofSchubert’smusicallifeinViennaanditspotentialinfluenceonhisstylehashithertobeenoverlooked.Whiletheformerisaddressedbytherecentdevelopmentofnewharmonictheoriesandgeometricmodels(Cohn,1999;Clark,2011),thelargerhistoricalpictureremainsincomplete.Thisismostapparentinthe

treatmentofforminthestringquartets,agenrewhichoccupiedSchubertforhisentirecompositionalcareerandwhichwascentraltoViennesemusicallifeduringhisformativeyears.ThispaperaddressesthisissuebyexcavatingthehistoricalhinterlandtoSchubert’squartetswiththeaimofsituatingtheirformalpracticesmoreclearlywithintheiroriginatingcircumstances.Tothatend,itconsiderstherangeofstring-quartetperformanceinViennainthefirsttwodecadesofthenineteenthcentury,andengagesanalyticallywitharepresentativecorpusofquartetspublishedtherebetween1810and1828.Inparticular,itinvestigatesfirst-movementforminthequartetsofAndreasRomberg,FranzKrommer,PeterHänsel,LouisSpohrandJosephMayseder,therebyreappraisingSchubert’spracticesagainstcontemporaneousprocedures.Insodoing,itdevelopsanhistoricistapproachtoanalysis,andchallengesthecontinueduseofBeethovenasamodelforthisrepertoire.

EricaBuurman(CanterburyChristChurchUniversity)TheVienneseMinuetafter1814BytheendoftheEighteenthCenturytheminuetwasstillinwidespreadcurrencyinEuropeanballrooms,despitehavingbeenoneofthemostimportantdancesoftheancientrégimeformorethanacentury;asEricMcKee(2014)writes:‘theminuetwasbothacurrentdanceandahistoricaldance.’BytheearlydecadesoftheNineteenthCentury,however,theminuetwaslargelysupersededbynewerdancessuchasthewaltz,thequadrilleandthegalop.ThewaltzinparticularcametodominateinthewakeoftheCongressofVienna,wherethecrazeforwaltzingfamouslyledPrincedeLignetoquipthat‘LeCongrèsnemarchepas,ildanse’.

YetwhereasthewaltzhadfirmlytakenholdinVienna’ssuburbanballrooms,thereisevidencethattheminuetcontinuedtobedancedintheVienneseimperialballroomslongaftertheCongressofVienna.TheannualballsoftheVienneseFineArtists’PensionSociety,whichhadtakenplaceintheimperialpalacesince1792,continuedtofeatureminuetsandGermandancesbyGyrowetz,Eyblerandotherlocalcomposersuntilatleast1829.InVienneseartmusic,bycontrast,theminuethadlargelybeenreplacedwiththescherzoandotherdancetopicsbyaround1800.DrawingoninformationfromthearchivesoftheVienneseFineArtists’PensionSociety,thispaperexaminesthecontinuedpresenceoftheminuetintheimperialballroomsduringandaftertheCongressofVienna,andconsiderswhatthissuggestsabouttheminuetasatopicinViennesemusicanddanceintheearlyNineteenthCentury.SamGirling(UniversityofAuckland)FromtheJanissariesto'WoodenLaughter':theuseofunconventionalpercussioninstrumentsattheViennesecourtduringtheearlynineteenthcenturyThelateeighteenthcenturysawtheheightoftheTurkish"craze"inEurope,andthisexistedmostprominently inVienna. ComposerssuchasGluck,MozartandHaydnused Janissarypercussion in orchestral or operatic works, whilst early nineteenth-century pianomanufacturerssuchasJohannAndreasSteinandFranzMarschikdevelopedtheJanissarystop

toallowthesesoundstoberecreatedindomestic,salonandcourtperformances.Mypaperdiscusses how toy instrumentswere also used in compositions as substitutes for Turkishinstruments due to their noisy nature and ease to manufacture and play, a topic whichconventionalmusichistoriesbyandlargeignore.OneexampleofsuchworksistheMassinCbythecourtcomposerPaulWranitzky,performedfortheEmpressMarieThereseon28February1802,whichusestoyhornsandtrumpets,glasses,bells,cuckoo,quail,tambourineandrattlesthatareknownasBerchtesgadnerInstrumente.InadditiontothetoyandJanissarypercussion,myrecentresearchsuggeststhatthecourtofEmperor Franz II and Marie Therese also seemingly had an interest in a small, peasantxylophone instrument known as the 'hölzernes gelächter' (literally translates as 'woodenlaughter'). Worksforthis instrumentbycomposerssuchas IgnazSchweiglandFerdinandKauercanbefoundintheimperialmusiccollection,indicatingthatthetastefortheexoticextendedtoincludenotonlyTurkish,orTurkish-sounding,percussionbutalsopeasant,folk-likeinstrumentsthatwouldperhapscontributetotheappearanceoftraditionalfolkmelodiesincentralEuropeanorchestralmusiclaterinthenineteenthcentury.Session4C

11.30am-1pm(3individualpapers)

FrenchTheatre

SarahHibberd(UniversityofNottingham)‘Strandedinthepresent’:temporalexpressioninRobertlediableWehavetendedtoappreciateMeyerbeer’sRobertlediable(1831)foritssensational,Faustiansubjectmatterandpleasinglyshockingballetratherthanforitsdepictionofhistoricalexperience.However,thenostalgicpulloftheActVtrio,invitesustoconsidertheworkinadifferentlight.Wefindourheroparalysedbyindecision:whethertoabandonthisworldandfollowhisnew-found,charismaticfatherBertramtotheunderworld,ortoheedhismother’swarningfrombeyondthegraveandtoembracethisworldandthefuture.Thearrestingsoundoftwotrompettesàclef(new,keyedbugles)frombelowtheprompter’sbox,evokingthevoiceofRobert’smotherashereadsherwill,injectapowerfulsenseofyearning,ofnostalgia,intothescene,TakingmycuefromthehistorianPeterFritzsche,Ifocusonthewayinwhichtheoperadramatisesboththeirretrievabilityofthepastandthedesiretoconstructthefuture.Thetensionbetweenthesetwopositionswasattheheartofmuchhistoriographyofthe1820sand30s,and–Isuggest–underpinstheemotionalpowerofthetrio.Thearrestingtrompettesàcleferuptoutoftime,buttheyalsoencourageustothinkmoredeeplyaboutthewaysinwhichMeyerbeer’shistoricalsensibilitycanbefeltinhismusic,andaboutthevarietyofwaysinwhichhemovedhisaudiencesbothemotionallyandthroughtimeandspace.

DianaR.Hallman(UniversityofKentucky)AutombeauattheParisOpéra:ExplorationsofTimbreandSpaceinHalévy’sGuidoetGinevraAlthoughscholarshavelongrecognizedthecomplexityoforchestrationandtimbralexperimentationinFrenchgrandoperascores,particularlythoseofGiacomoMeyerbeer,morestudyisneededoftheinterrelationshipbetweencomposers’musicalchoicesandthevisualanddramaticelementsofthemise-en-scène.InthiscasestudyofGuidoetGinevra,aFrenchgrandoperabyFromentalHalévyandEugèneScribeinspiredbyShakespeare’sRomeoetJulietteandproducedattheParisOpérain1838,IwillexamineHalévy’sexploitationoftimbreandspaceinthedepictionsofdeath,mourning,andresurrectioninthetombscenesofActIII.InconsiderationofphysicalconfigurationsoftheSalleLePeletierandincorrespondencewiththe1838split-stagedesignbyRenéPhilastreandCharlesCambon,whichoffersastarkvisual-spatialdividebetweenthelight-filledcathedralofFlorenceandthedark,chiaroscuro-touchedcryptbelow,linkswillbemadetotheenhancingcontrastsbetweensoundandsilence,distantvoicesandinstrumentssurlethéâtre,lowvs.highregisters,celestialtimbresanddeath-signifyingtrombonesandophicleide,andothersonicrepresentationsofthecoldanddarksurroundingtheentombedGinevra.Musical-visualcomparisonstotomb/resurrectionscenesinMeyerbeer’sRobertleDiable(1831),Adam’sballetGiselle(1841),andHérold’sLasomnambule(1827),aswellasspeculationsaboutpossibleinfluencesonthefinalsceneofVerdi’sAïdaanditsstaginginCairoandParis,willbemade.Primarysourcesincludemusic,libretto,andstagingsourcesattheBibliothèqueNationale,Bibliothèquedel’Arsenal,andArchivesNationales.SarahGutsche-Miller(UniversityofToronto)LiberatedWomenandTravestyFetishes:MixedGenderMessagesinParisianMusic-HallBalletMusic-Hallballetswereallaboutwomen.Womenperformedmostprincipalandsupportingroles(includingtravesty),andtheypopulatedtheentireballetcorps.Theyplayedstarry-eyedingénuesandprincesses,teachers,students,andathletes,strong-willedgirls,independent-mindedwives,andevenapresident.Fictitiousleadingladiescouldflirtwithimpunity,girlscouldmarrytheloversoftheirchoice,andthemodern,chicParisiennepresidedoverthecityofLightandLove.Thewaysinwhichthesewomenweredepictedwerenot,however,alwaysneutralorstraightforward.Independentwomenostensiblyincontroloftheirdestinieswereattimesthebuttofparodies,andmanywerecastasseductressesorfemmesfatales.Thedancersthemselvesweretreatedasdecorativeobjects,minimallydressed,posedinalluringstances,andaskedtoperformsensuousdances.Critics,inturn,lovedtocommentontheirphysiques,andposterartistsdepictedtheminsuggestiveposeswearingaslittleaspossible. Mypaperexploresthemultipleandoftencontradictoryrepresentationsofwomeninmusic-hallballetsstagedattheturnofthetwentiethcenturyasreflectionsofshiftingconceptionsofwomen’ssocialrolesinfin-de-siècleFrance.Music-hallballetsmirroredboththebroadeningofgendernormsandthesocietalfearswhichaccompaniedthesechangingsocialmores;theyhelpedreinforceshiftingperceptionsofwomenwhilesimultaneouslyunderminingthem.Createdatarateofsixorsevenperyearforfun-lovingsocialites,music-

hallproductionswereasup-to-dateastheywereephemeral,servingasanunusuallydirecttheatricalbarometerofmiddle-andupper-classParisians’tastesandvalues.

Session5A

2.30pm-4.30pm(4individualpapers)

OperainTranslation

MichelleMeinhart(Durham/MartinMethodistCollege)Wagner,AntebellumNostalgia,andPost-WarGraduation:TheReconstructionoftheSouthernBelleattheAthenaeumGirls’SchoolinColumbia,Tennessee,1865-88

ABoardingandDaySchoolforteenagegirlsfrom1851to1904,theAthenaeuminColumbia,Tennesseeofferedinstructioninsubjectsessentialtogenteelladies’upbringing,includingmusic.ButaftertheCivilWar,duringwhichtheschoolhousedbothYankeeandConfederatesoldiers,thegoalsofthismusicinstructionchanged.Formerlyfosteringthemiddlingmusicalaccomplishmentinyoungladiessuitablefordomestic,privateperformance,afterthewartheschoolimplementedamorerigorouscurriculumthatincludedpublic,communityperformancesforitsstudents.Asthispaperwillshow,re-workingsofcontemporaryEuropeanoperachorusesmadebytheschool’smusicmaster,FranklinHarrisonSmith,between1868and1888,shedlightonmusic’sroleinreconstructingashatteredruralcommunityaftertheWar.

ThesearrangementscultivatedamusicalskillandtasteincontemporaryEuropeanmusic,particularlyGermanmusic,whichwasnewtotheschoolandtheruralSouth.Marginaliaonthescoresindicatethismusic’spurposeasnotonlypedagogical,butalsoitsuseatpubliccommunityconcertsandschooleventslikegraduation—performancesthatwouldhavebeenimproperpriortotheWar.Schoolrecords,concertprograms,printedsheetmusic,andlifewritingoftheSmithfamilyfurthersupportmyunderstandingofmusicallifeattheschoolandinPostbellumColumbia.Inadditiontoexhibitingwomen’sgrowingmusicalpresencewithinthepublicsphereaftertheWar,Smith’smusicaladaptationsandtheirre-envisioningoftheSouthernbelleultimatelydemonstratehowre-configuredcontemporaryEuropeanartmusicaidedinrural,middleTennessee’sreconstruction.

FrancescaVella(UniversityofCambridge)Lohengrin’s1871Tour

On1November1871,Lohengrin—thefirstofWagner’sworkstobestagedinItaly—premieredamidmuchlocalbuzzatBologna’sTeatroComunale.Fiveweekslater,theentireproductionwasexportedtoFlorence’sTeatroPagliano.Cast,chorus,orchestra,staff,sets,costumesandstagemachinerywereallrelocatedbytrain—anundertakingthatreportedly

requiredthetransportationofbetween300and400people.Historiansandoperascholarshavedirectedtheirattentionunevenlytothisseriesofevents.WhiletheBolognaperformanceshavebecomeastapleinaccountsofthecity’slate-nineteenth-centuryestablishmentastheItaliancapitalofWagnerism,thetransfertoFlorencehasremainedlargelyunexplored.Inthispaper,Ire-examinethe1871Lohengrinmomentbyfocusingonsomeofthehistoriographicalimplicationsofthisoperatictransplantation. Althoughtouringoperahadexistedforcenturies,therelocationoftheBolognaLohengrinproductiontoFlorenceraisesprovocativequestionsconcerningbothcontemporaryculturalpoliticsandtheatricalpractices.Connectionsbetweenthetwocities’stagesinthe1870ssuggestthatoperawastightlyboundupintrans-municipalrelationsevenduringanageofmuch-hypedcivicculturalcompetition.Whatismore,anexusoftechnological,institutionalandhumanfactorsplayedintothe1871transfer,whichwasunprecedentedinitsscope.WellpriortoAngeloNeumann’s1882-83Ringtours,thistransferpointedtoaconceptionofoperainwhichthestagingisintegraltocollectivearticulationsofaestheticandpolitical-culturalexperiences.LauraStokes(IndianaUniversity)Prussia,Nationalism,andIntegrationinMeyerbeer’sEinFeldlagerinSchlesien

GiacomoMeyerbeer’sSingspielEinFeldlagerinSchlesien,althoughlargelyforgottentoday,wasastapleoftheBerlinRoyalOperarepertoirefromits1844premiereintothe1890s.ThisworkfeaturesmanyelementsthatwerespecifictothelocalenvironmentinBerlinforwhichitwaswritten:itincludesaplotthatcentersonFredericktheGreat,adepictionofaPrussianmilitarycamp,andnumerousquotationsfrommusicassociatedwithPrussiannationalsentiment.ThisSingspiel,however,alsoincludesaperspectiveonethnicandsocialintegrationthatisfoundedonEnlightenmentideals,andwhichsuggestsMeyerbeer’sinclusive,ratherthanexclusive,conceptofPrussianidentity.

MeyerbeerselectedtheperformersforthisSingspielfromaninternationalperspective.TheleadroleofVielkawaswrittennotforaBerlinsinger(althoughitwas,intheend,premieredbyone),butratherfortherisingstarJennyLind.LindlaterplayedaroleinbringingsomeofFeldlager’smusictovenuesoutsideofBerlin.InVienna,FeldlagerwastransformedintoVielka,andPrussianelementswereexcisedfromthework.IntheUnitedStates,LindincludedexcerptsfromFeldlagerinherconcertrepertoire,butthecontextoftheoriginalSingspielwasabsent.Indeed,inthesenewvenues,theworkwastransformedinawaythatmaskedtheinclusivephilosophyoftheoriginal,renderingFeldlager’spoliticalandsocialsignificancenolongerapparentinitsreceptionoutsideofBerlin.

Session5B

2.30pm-4.30pm(5panelpapers)

Panel:NewApproachestoOperaandCharacter

Speakers: KirstenPaige(UniversityofCalifornia,Berkeley)*DanWang(UniversityofChicago)*NinaPenner(McGillUniversity)JohnKapusta(UniversityofCaliforniaBerkeley)AdelineMueller(MountHolyokeCollege)

*Chairs

InThe Economy of Character (1998), Deirdre Lynch argues that the study of character inliterature either addresses the qualities of an ‘inward’ self or the violent application of‘characteristics’fromexternalsources.Whilethisdichotomyfindssignificantparallelsinthestudyofopera,itsboundarieshavenotbeensystematicallyexploredinmusicologysincethedebatesinvolvingEdwardT.Cone,PeterKivy,CarolynAbbate,andCharlesRosentwodecadesago. This panel seeks to reopen the debate by engaging conference attendees in a livelydiscussion about the terms and stakes of ‘character’ in opera. Drawn from a variety ofmethodologies,thepapers investigatehowtheconceptofcharactercoalesces indifferentoperaticpractices,andhowthisconceptinturnsubtendsparticularkindsoffictionalworlds.Character,itturnsout,cangeneratenewinsightintothenatureofoperaticspectatorshipandabsorption, opera’s thematization of climate, opera’s relation to narrative and to theemerging ‘bourgeoisbody’ofnineteenth-century literature,andmuchmore.Amid recentworkintheHumanitiesonthewaysthatsubjectsandenvironmentsconstituteeachother,thispaneloffersnewmethodsandstrategiesforconceptualizinghumansubjectsinoperaticspace.Webeginwithtwopapersthatask,fromtheperspectivesofanalyticphilosophyandaffecttheory,whatconstitutesanoperatic(asopposedtoatheatricalorliterary)utterance.Thenexttwopaperschasedownapairof“unruly”characterarchetypesandtheireffects:thefirst,theelusive“baryton-Martin”voicetypeaselaboratedinRavel’sL’heureespagnole,thesecond, theoperaticvillainess inearlynineteenth-centuryrevivalsofMozart’s Idomeneo.OurfinalpaperdevelopsatheoryofWagnerianenvironmentalspacebytakingusonawalk,withTannhäuserandParsifal,throughnaturalzonesthatrevealcorrelationsbetweenspaceandsubjectivity.Session5C

2.30pm-4pm(3individualpapers)

Historiographies

KarenLeistra-Jones(Franklin&MarshallCollege)HansvonBülowandtheConfessionalizationofKunstreligion

HansvonBülow’saphorismsareubiquitousinthemusicologicallexicon.Bestknown,perhaps,ishisanointingofthe“threeB’s”:Bach,Beethoven,andBrahms.Complementing

this,however,werenumerousotherstatementsthatemployedpointedlyreligiousrhetoric:“IbelieveinBachtheFather,BeethoventheSon,andinBrahmstheHolyGhostofmusic”wasjustoneexample.ThesetypesofpronouncementsbecameanimportantaspectofBülow’spublicimage,andbeginninginthe1870s,hisrhetoricwasmirroredinthecriticalreceptionofhisperformances.Criticsoftendescribedhisconcertsasakindofpreaching,proclaimingofthemusical“gospel,”orscripturalexegesis.

Suchresponsesparticipatedinthewell-documentedelevationofmusictothestatusofKunstreligion.YettheymovedbeyondtheideaofpietisticcontemplationcharacteristicofearlyRomanticism,andavoidedcallingtheperformera“priest,”anepithetthatwascommoninmid-centurymusiccriticism.Instead,BülowandhiscriticssituatedhisrolewithinamoretraditionalGermanProtestantismbyemphasizingthedidacticnatureofhisperformances,theirfocusonastrict“gospel”ofcanonicworks,andtheiraffinitywithpreachingandbiblicalinterpretation.

Thispaperlocatesthisdevelopmentwithinthe“reconfessionalization”ofGermanpubliclifeinthenineteenthcentury,andspecificallywithinattemptstoconstructaProtestantnationalcultureinthenewKaiserreichofthe1870sand1880s.Inthiscontext,Bülowwasabletoinvesttheroleoftheperformerwithanewauthority,onethatdrewdeliberatelyfromexperiences,practices,andlanguageassociatedwithreligion.

KatherineFry(King’sCollege,London)MusicalIdealisminVictorianCulture:GeorgeEliotasMusicCriticandTranslator

ScholarshavelongrecognisedtheimportanceofmusictoGeorgeEliot’slifeandworks.Musicologistshaveexaminedissuesofmusichistoriographyandsubjectivityinher1876novelDanielDeronda,whileliterarycriticshaverecentlycontextualisedherfictionwithinabroaderVictorianmusicalcultureor‘soundscape’.Literarydiscussionsofthiskindtend,understandably,totreatideasofmusicandsoundasaculturalbackdropforrenewedreadingsofhermajornovels.Departingfromtheseaccounts,thispaperfocusesonGeorgeEliot’smusicaltravelwritingsandtranslationsfromhertimeaseditoroftheWestminsterReviewduringthe1850s.ItexploresthewidersignificanceofherwritingsforthereceptionofGermanmusicalaestheticsinnineteenth-centuryBritain.ThefirstpartofthepaperrelateshertranslationsofGermanphilosophy(LudwigFeuerbachinparticular)tothelargerdiscourseofidealisminVictorianthought,adiscoursethatimpactedonperceptionsofmusicalvalue.ThesecondpartdiscussesheressaysonRichardWagner,FranzLisztandWeimarculture,situatinghermusicaltravelswithinthecontextofBritishmusiccriticismandEuropeanWagnerismcirca1855.Insodoing,thepaperseekstocomplicateourunderstandingofVictorianmusicalcultureandEuropeanmodernism.HowdoGeorgeEliot’scriticismscontributetocontemporarydebatesaboutmusic,culturalexchangeandtransnationalism?Furthermore,howmightherwritingsilluminatebroadertheoreticalconcernsaboutmusic’srelationshipwithlanguageandcriticismwithinandbeyondthenineteenthcentury?

JamesGrande(King’sCollege,London)TheNaturalHistoryofGermanMusic:GeorgeEliot,Dissent,Cosmopolitanism

GeorgeEliot’sessay‘Liszt,WagnerandWeimar’,publishedinFraser’sMagazineinJuly1855,givesanequivocalresponsetoWagnerianopera,recognisingitasanimportantdevelopmentinthe‘lyricdrama’whileregrettingtheabsenceofrecognisablemelody:‘Wearebutin“themorningofthetimes”,andmustlearntothinkofourselvesastadpolesunprescientofthefuturefrog.Stillthetadpoleislimitedtotadpolepleasures;andso,inourstateofdevelopment,weareswayedbymelody’.ABeethovenquartetafterLohengrinis–inarecognisablyWordsworthianidiom–‘likereturningtothepregnantspeechofmenafterasojournamongglumsandgowries’.ThispaperwillexploreEliot’sresponsestoGermanmusicinhernovelsandessaysinthecontextofherbackgroundinreligiousnonconformityandherreadingofGermanphilosophy;inparticular,thewritingsofLudwigFeuerbach.InTheEssenceofChristianity,Feuerbachwrites(inEliot’stranslation),‘Whohasnotexperiencedtheoverwhelmingpowerofmelody?Andwhatelseisthepowerofmelodybutthepoweroffeeling?’ButFeuerbachwasprofoundlysuspiciousabouttheplacethattheearoccupieswithinthereligioussensorium:‘Theonlyfearful,mystical,andpioussenseisthatofhearing’.Musicoccupiesanequivocalplaceinrelationtotherealistnovelandreligiousscepticism;however,thispaperarguesthattheseanxietiesareinextricablefromamucholdersetofconcernsabouttheplaceofmusicinDissentingculture.

Keynote2DanielChua(UniversityofHongKong)De-secularisingBeethoven:IsBeethovenaSacredComposer?IsthesecularBeethovenanecessarymythinthemusicologicalnarrativeofwesternmusic?ThispaperexploresthenarrativetensionsinvolvedintheclassificationofBeethoven'sacredmusicandtheideologicalstakesinvolvedintheclaimsofboththeintellectualandlocalhistoriesthatgiveBeethovenhisEnlightenmentcredentials.Iftheclaimsaresuspect,doesthismerelyimplyareversalthatturnsBeethovenintoareactionaryfigurethateradicatesmuchofthereceivedwisdomofmusicologicalscholarship?Oristhereanotherwayforward?

WEDNESDAY13July

Session6A

Recreations

SarahKirby(UniversityofMelbourne)Songsatthe1851GreatExhibition

The1851GreatExhibitionoftheIndustryofAllNationshasreceivedanalmostoverwhelmingamountofscholarlyattentioninfieldsasdiverseashistory,science,economicsandaesthetics.Music,however,hasreceivedcomparativelylittleconsideration.Inonesense,thisisunsurprising:asMichaelMusgravestates,inTheMusicalLifeoftheCrystalPalace,thatwiththeexceptionoftheceremonialactivitiesoftheopening,‘musicalperformanceonabroaderscalehadnoplaceassuchintheExhibition’.However,themusicalworlddoesnotexistonlywithinthesphereofpublicperformance.Thispaperarguesthat,whilemusicalperformancewithintheHydeParkbuildingwaslimited,musicrelatingtotheExhibition,andperformanceofthismusicinwidersocietyflourished.PublishedsheetmusicofsongsandpianoworkscomposedindirectresponsetotheGreatExhibitionofferedamaterialwayinwhichtheeventcouldbebroughtdirectlyintothehomesofthepublic.

ThispapersarguesthatthesesongsandpianopiecesofferavaluableavenueforstudyingthereceptionoftheExhibitionitself.Throughmusicalandtext-basedanalysis,thesecompositionsrevealfurtherchannelsthroughwhichimperialistrhetoricandtheconcurrent,populistconstructionsofclassandracecouldbeeitherextendedorchallenged.

IanMaxwell(UniversityofCambridge)TheChamberMusicClubsintheBritishUniversitiesduringtheNineteenthCentury

InthearchivesofthelibrariesofbothOxfordandCambridgeUniversitiesisatreasuretroveofmaterial,documentingtheactivitiesovermorethanonehundredyearsofstudentChamberMusicClubs.Therearemembershiplists,recitalandconcertprogrammes,daytodaybusinessrecordsandminutesofcommitteemeetings.Thenumeroussuchclubs,includingtheOxfordWartimeMusicalClubandtheOxfordLadies'MusicalSociety,andcollege-basedclubs–suchastheBalliolCollegeMusicalSocietyinOxford,allhadasimilarmainpurpose–toencourageandfacilitatetheplayingofchambermusic.Laterinthenineteenthcentury,similarclubswereformedattheotherBritishUniversities–includingEdinburghandTrinityCollegeDublin.Thedatathatcanbeobtainedfromtheserecordsprovidesaninsightintotheearlyactivitiesofmanymusiciansthatlaterbecameeminent–includingrecordsofearlierfirstperformancesandhithertounsuspectedmusicalaccomplishments.Beginningwiththe

CambridgeUniversityMusicalSocietyin1843andtheOxfordUniversityMusicalSocietyin1867,chambermusicmakingbecameanintegralpartofuniversitylifefromthemiddleofthenineteenthcentury.Thenamesofmemberscomprisea“Who’sWho”ofBritishMusic–suchasR.R.Terry,H.WalfordDavies,RalphVaughanWilliamsandcountlessothers.Thispaperintroducesthecommonhistoryoftheclubsandpresentsthelatestresultsofhowacontinuingextensiveexaminationofthesearchivesisuncoveringapreviouslylittleknownaspectofmusic-makinginBritain.ErinJohnson-Williams(TrinityLaban)DisciplinesofDevelopment:PhysicalEconomiesofVictorianMusicandStateEducationLateVictorianBritainwitnessedtheunprecedentedgrowthofstate-sponsoredinitiativesforfreemusiceducation.AsisincreasinglyseenintheproceedingsoftheLondonSchoolBoardduringthe1880sand1890s,thesechangeswereoftenintroducedintheformofdrillexercisesthattookplaceaspartofphysicaleducationclasses,ratherthanthroughspecificformsof‘music’educationperse.AfterthegradualschoolreformsthatfollowedtheEducationActof1870,theintroductionofmusicintoVictorianstateschoolsthroughchoreographed‘drill’exercisesresultedinnewformsofeducationthatwereintroducedaspartofwiderpedagogicaleffortstodisciplinechildren,andtoaidandpromotetheevolutionarydevelopmentofthechild’sbodyintothatofahealthyBritishcitizen.Consequently,theoriginsofstatemusiceducationinVictorianBritain,onamassscale,weretransformedintonationalpageantrythroughboththemasculinizationofmusicanditslinktophysicaldevelopment–and,byextension,totheinternationalevolutionoftheEmpire.Throughawidearrayofinterdisciplinaryprimarysourcematerialfromlatenineteenth-centuryBritain,thispaperproposesthatthemomentatwhichchoreographed,rhythmicalexercisefirstbecomesastandardisedschoolactivityispreciselythejunctureatwhichmusicbecomesinterlinkedwiththenotionofimperialmobilityinthephysicalbodyoftheVictorianchild.

Session6B

9.30am-10.30am(3individualpapers)

Gender,Identity,Trauma

SarahGerk(BinghamtonUniversity)ASongofFamineandWar:IrishMusicalMethodsofExpressingUSCivilWarTraumaBetween1845and1851inIreland,anestimated1in8peoplediedinoneofmodernhistory’smostdevastatingfamines.Thosewhosurvivedneverthelesssufferedimmensetraumafromstarvation,disease,andlossoflovedones.ManyIrishfaminesurvivorsemigrated,precipitatingoneofthefirstgreatwavesofimmigrationtotheUnitedStates.In

theNewWorld,thedrumsofcivilwarsoundedscantmorethanadecadelater.Inbothofthesedisasters,musicservedasacrucialtoolforcopingwithtrauma.Inthispaper,IsuggestthatthemusicalmechanismsfordealingwiththetraumaoffamineinIrelandwereadoptedintheUnitedStatesandappliedtosomeofthemostdifficultcollectiveexperiencesofAmericanhistory.Usingcriticalframeworksfromtraumastudies,IcomparesongsofthefaminewiththosepopularintheUnitedStatesduringsubsequentdecades.“KathleenMavourneen,”forinstance,addressesexperiencesofgriefanddisplacementsufferedbyfamineimmigrants,andbecameoneofthemostsignificantsongsoftheAmericanCivilWar.Acollationofsheetmusicexamplesrevealsthatsomethematictropesfromthefamine,suchasstarvationanddisplacement,retainedpopularityinmusicoftheCivilWar,eventhoughsuchexperienceslostrelevanceincomparisontomilitaristicviolence.ThepaperalsoincorporatesprimaryaccountsfromthediariesofIrishAmericansintheCivilWar,showingthatsomepeopledirectlyappliedexpresslyIrishmusicalpracticewithinAmericanwartimecontextstodealwithtrauma.BrianThompson(TheChineseUniversityofHongKong)TheCritic,thePublicandthe‘Femme’Fatale

Inthespringof1861,thetwenty-five-year-oldEugened’Ameli(knownsimplyasEugene)wasacelebrityinNewYorkandtheleadingfemaleimpersonatorofhistimeintheUS.Despitethis,whenthewarbeganhedidwhatmanyotherperformersweredoing:hefledtoBritain.HearrivedinEnglandcompletelyunknowntothepublic,butwithinayearhadestablishedhimselfintheprovincesandinLondon.AftertwoyearsasastarattractioninLondonmusicalhalls,heacceptedapositionwithChristy’sMinstrels,inLiverpool,andforthenextfouryearsledthatcompany’sproductionsofburlesquesofLucreziaBorgia,Ernani,FraDiavolo,andotherpopularoperas.ThroughacloseexaminationoftheBritishpress,thispaperexplorestheroleofthefemaleimpersonatorinBritishminstrelsyand,moregenerally,theplaceofoperainBritishpopularcultureofthe1860s.HavingbeenimportedfromtheUSalongwithotherelementsoftheminstrelshow,femaleimpersonatorsandburlesqueoperawereacceptedandclearlyappreciatedbyBritishaudiences.GiventhepopularityofEugeneandotherimpersonators,asignificantbodyofliteratureexiststhatscholarshaveyettomine.Thispaperillustratesthatwhilereviewspublishedinnewspaperswereoftenlimitedindetail,theyprovidesignificantevidenceonthereceptionofimpersonators,andmorebroadlyonattitudestowardsrace,gender,andsexualorientation.MyronGray(HaverfordCollege)TransnationalLocalismintheAnglophoneReceptionofDerFreischütz

HailedbysomeasanarchetypalGermanopera,CarlMariavonWeber’sDerFreischützneverthelessappealedtoaninternationalaudience.Intheyearsfollowingits1821Berlinpremiere,itwasperformedfromLondonandParistoNewYorkandNewOrleans.AccordingtoMichaelTusa,thecosmopolitanismofearly-nineteenth-centuryGermannationalidentityaccountsfortheinfluenceofforeigntraditionsonthisself-consciouslyGermanwork,alongwithitspopularityabroad.

YetscholarshavesaidlittleaboutwhattheforeignconsumptionofDerFreischützactuallylookedlike.ThispaperinvestigatesWeber’sreceptionintheEnglish-speakingworldbyconsideringarrangementsofmusicfromtheopera,alongwithnewlycomposedinterpolations,thatappearedinDublinandNewYorkinthelate1820s.ThesedocumentsimplicateWeber’smusicintheevolutionofAnglophonenationalidentitiesandinthesimultaneousformationofatransatlanticmusicalculture.Forinstance,theAmericancomposerCharlesGilfertwrote“TheHornofChace”forinclusioninDerFreischütz,althoughaDublineditionfraudulentlycreditedthissongto“CarlvonGilfertofPrague.”CitingtherelatedconcealmentofAmericanauthorshipinLondonnewspapers,aJuly1825articleintheNew-YorkEveningPostinterpretedthismisattributionasareactiontotherisingglobalinfluenceoftheUnitedStates.AU.S.adaptationoftheFreischützoverture,publishedinNewYorkasan“AmericanSerenade,”similarlyassertedculturalsovereigntybyfalsifyingtheoriginofitsmusic.Suchexamplessuggestthatmusicaltransnationalismfedtheexpressionofcompeting,localidentities.

Session6C

AroundOpera

LauraProtano-Biggs(JohnsHopkinsUniversity)FalstaffandtheResonantSoundscape:Verdi’sExperimentswithSound

In1893hundredsofcriticscametoMilanfromalloverEuropetohearaworkthatshimmeredwithasounduntilnowneverassociatedwithitscomposer.GiuseppeVerdi’scomicoperaFalstaffstimulatedtalkofinnovationfromtheoutset:criticsremarkedthatithadinfusedtheItalianmusicalscenewithanewbrilliance,andwasevenan“isolatedmonumentinthehistoryofart”.Recentcriticismtoohasdetachedthisworkfromitscontemporaneousmusicallandscape;afetishizedanomaly,ithasbeendescribedas“almostafreak”and“musicallyanddramaticallyeccentric”.

Consideringtheoperafromtheperspectiveofsoundstudies,mypaperrepositionsthis“eccentric”worksquarelywithinanexusoffinesecolooperasthatreconfiguredtherelationshipbetweensound,audience,andstageaction.WhileVerdidistancedhimselffromthe1890sverismooperasofMascagniandLeoncavallo—andscholarshavecontinuedtoreinforcethatdistance—Falstaff’sshiftingacousticplanesrevealanuntolddebttothesecomposers.

AtfirstblushtheideaofVerdiasadeliberatemanipulatorofacousticplanesseemsanachronistic,andsoundstudiesameresubstituteformorefamiliardiscoursesaboutthenoumenalandphenomenal.ButfocusonacousticparametersenablesustoarticulatewhatmakesFalstaffdistinctiveinVerdi’soeuvrewithaprecisionandconcretenesswhichotherapproacheslack.The1890s’Italianoperaticsceneisbestunderstoodnotintermsof

discretemusicalinitiativesbutabroaderexperimentwithsoundinwhichVerdi,muchastheveristi,hadastake.

FloraWillson(King’sCollege,London)‘Musiqueduplein-air’?OperaticrealismandCharpentier’sLouise

PremieredatParis’sOpéra-ComiqueinFebruary1900,GustaveCharpentier’sLouiseisanoperawhoseearlysuccesshingedonitscomplexrelationshipwithrealism.Theworkwasdescribedubiquitouslyasrealistbyitsfirstcritics,withCharpentierhailed‘thecreatorofmusiqueduplein-air’.Scholarssincehavelargelyaddressedthesamesupposedlyrealisttraits:thecomposer’sgenericdesignationofLouiseasaromanmusical;its‘sociallyrelevant’,free-love-infusedplot;itsrepresentationsofthestreetsofcontemporaryParis.Yetcommentatorshavealsorecognisedastrongsymbolicelementintheopera.IndeedLouise’slyricism–itsclearoperaticgenealogy–hasproveddifficulttoincorporateintoanycasemadeforitasarealistworkakintothoseofCourbetorManet,ZolaorFlaubert.

InthispaperIuseLouisetoaskhowusefulthenotionof‘realism’mightbeforoperatichistoriography.Inparticular,IinterrogateaspectsofLouisethatseemtoresistcategorisationasrealist:theserecalcitranttraitscanstimulatebroaderreflectionsonwhetheroperaanditsslipperyepistemologiesmighthavedistinctivecontributionstomakeinthelarger,longer-establisheddiscoursesaboutrealisminliterarystudiesandarthistory(workbyLindaNochlin,PeterBrooksand,mostrecently,FredricJamesonisespeciallysignificanthere).Readingtheoperathroughitsearlyreceptionandviathecomposer’sownlateradaptationsfora1935gramophonerecordingandAbelGance’s1938soundfilm,IamconcernedultimatelywithhowLouise–andoperamoregenerally–mightofferproductiveinsightsintotheafterlifeofaonce-radicalartisticmovement.

GabrielleCornish(EastmanSchoolofMusic)Liza'sTransmigration:UrbanDecayandFin-de-SiècleSuicideinChaikovsky'sTheQueenofSpades

Pushkin’s“QueenofSpades”(1833)haslongbeenlinkedtotheso-called“mythofSt.Petersburg”—theparadoxicalnatureofthecityasbothPeter’sutopian“windowtothewest”andthedecayingmetropolisthatinspiredliterarydepictionsofthecity’sdegeneracyandmaudlingloom.Writtenin1890,Chaikovsky’soperamakesseveralmajoralterationstoPushkin’sstorythatreflectthemyth’stransformation.OnesuchchangeishisadditionofLiza’ssuicide:ratherthanleaveHermannandmarryanotherman,shetakesherownlife.ScholarshaveheretoforeattributedLiza’ssuicidetotheoperaticconvention,butthis,however,overlookstheopera’swideraestheticasanembodimentofandreactiontoanxietiestowardmodernityinfin-de-siècleSt.Petersburg. Chaikovsky’sQueenofSpadesismorethanjustwhatscholarshavecalled“thefirstsymbolistopera.”ItanticipatesthecomingsymbolistmovementinmusicwhilesimultaneouslycritiquingmodernpsychologyinlateImperialRussiaandSt.Petersburg.ThispaperarguesthatweshouldreadLiza’ssuicidenotmerelyasoperaticconvention,butratherassignificanttotheopera’sdepictionofmodernurbandecay.Todoso,IincorporatepreviousworkbyMarkSteinbergandSusanMorrisseyonsuicideasaphenomenonofandreactiontomodernityinfin-de-siècleSt.Petersburg.Similarly,Ipostulateatheorizationof

thecanalinthecontextofWalterBenjamin’smetropolis.BydrowningherselfspecificallyintheNevskyRiver,Lizaisbothfigurativelyandliterallykilledbythemoderncity—anoperaticspectacleinitself.

Session7A

11.30am-1pm(3panelpapers)

Panel:OperaandMedicalExperimentationintheNineteenthCentury

Chair:SarahHibberd(UniversityofNottingham)

The opera singer was a patient of choice and an object of study for nineteenth-centurymedicine.Avarietyofinterpretativeframeworkswereusedbycritics,spectators,anddoctorsofvariousschoolsinordertoexplainsingers’constitutionsorpathologies,andtodevelopandmaintaintheirhealth.Butsingersthemselvesalsomadeuseoflong-establishedmodels(ofthe humours, climates, physiognomony ormechanicism), andmore recent ones (such asphrenology,worksonelectricityorthenervoussystem)inordertointerrogatetheirart.Towhatextentwasthemedicalisationofoperaanditssingersnotmerelytheworkofdoctors,butalsoofthesingersthemselves?Howmayopera–asaworldofreferences,practices,andperformativity–haveinformedandstimulatedmedicalexperimentationoutsideoftheoperahouse?

Thispanelwillexaminevariousscenesofmedical investigation:thetherapeuticscenestagedbyDr.Schneiderin1835totreatmentalillness,theprivatehousewherethebaritoneMaurel experimentedwith hypnosis, and the journalistic sphere as a soundboard for the1860sdebateconcerningpitch, initiatedbysingersseekingtoprotecttheirvoice. Inthesecontexts,operaandmedicinesharedcommonground,inwhichinstancesofcrisisandexcessappearedbothaspathological,andascatharticresolutions.Operaisconsideredherenotonlyfor its general effects, or as a terrain of application for specific medical procedures andtechniques: it is a petri dish of experimentation which gives rise to new, often detailedmedicalandartisticapproachestothebody,performativity,andthemoralself.CarmelRaz(ColumbiaUniversity)OperaticFantasiesinEarlyNineteenth-CenturyPsychiatry

In System einer medizinischen Musik (1835), Dr. Peter Joseph Schneider provides a

detailedreportofhistreatmentofLina,ayoungDutchgirlwhohadfallenintoaprofoundmelancholy following the death of her lover Antonio two years previously. Schneider’stherapyconsistsofthewatercureregimenfollowedbyameticulouslystagedmusicalcrisis.HidingfamilymembersandmusicalfriendsoutofLina’ssight,heassignstheroleof“Antonio”toheruncle,andproceedstoconductachoraleperformance,inwhich“Antonio”takesthetenorleadsupportedbyachoirandharmonium.Thistreatmentworks,inthatLinabelieves

thatAntonioisspeakingtoher,andburstsintotears,acatharticreactionthatheraldshereventualrecovery.

Schneider is exceptionally explicit about the deployment of certain repertoires, vocalqualities,andmusicalkeysinhismedicalcures,correlatingdifferentinstrumentaltexturestomaterialchangesinthenervesandanimalspirits.However,thisparticulartreatmentsharesmany features with other contemporaneous accounts of music therapy, not least in theselectionoftheinstrumentusedandtheageandgenderofthepatient.Thispaperexploreshowideas,sounds,andrepertoireassociatedwiththeworldofoperainformedthetreatmentofmentalillness,andhowtheseinturnmayhavecirculatedbacktoinfluencecomposersandlibrettists. Examiningreferencestospecificcomposers,works,andtimbreswithinmedicalreports,Iarguethatthestagingofmedicalcuresoftenmirrorsdramaticscenariosfamiliarfromtheoperastage.

ChloeValenti(UniversityofCambridge)Pitchedbattles?VocalHealthandtheEnglishPitchDebate

Inthe1860s,thetenorSimsReeves,supportedbyAdelinaPattiandChristineNilsson,startedacampaigntolowerEnglishconcertpitch.PitchinEnglandwasconsiderablyhigherthan inotherpartsof thecontinent,andsingerswerestraining theirvoices todangerouslevels as a result.Whilst they received support fromdoctors, singing teachers and critics,MichaelCostaresistedthechanges,andothernotablefigures intheBritishmusicalworldwerenoticeablyabsentfromthedebate.

Theproblemsofpitchanditsimpactonsingers’healthinevitablytappedintoarangeofotherconcerns.ForeignsingersperforminginEnglandwerecompelledtosingfamiliarworksataconsiderablyhigherpitchthantheywereaccustomedto.Somecriticsarguedthatworksshouldbeperformedatthepitchthecomposerintended,yetthepracticeoftransposingariasfor the comfort of the singerswaswidespread, if increasingly criticised for damaging theharmonicunityofthework.Someblamedthepublicforprizingentertainmentoverthehealthoftheperformers,whileothersbelievedthatthedesireofsingerstodisplaytheirvoicesmadethem complicit in the climb in pitch. Comparisons with practices on the continent wereinevitable,andthemixedresultsofexperimentswithpitchinvenuesabroadwerefollowedwithinterestbytheBritishpress.Attheheartofthedebatewasthequestionofthesinger’sautonomyovertheirowninstrument,whethermedicalissuesoverrodeaestheticvalues,andultimatelywhetherthevoiceshouldbeconsideredpublicorprivateproperty.CelineFrigauManning(UniversitéParis-8)Opera,Hypnosis,andAutosuggestion.AMedicalTheorisationofIdentificationfortheActor-Singer

In his Cours d’esthétique vocale et scénique, Victor Maurel develops a theory ofidentificationbasedonhisartasanactor-singerandonhisexperiencewithhypnosis.Whenone ofMaurel’s friends brings to him Lina de Ferkel – a subject forDe Rochas’ hypnosissessions–MaurelgoesbeyondtheusualmusicalthemesplayedonthepianoandsingsEralanottefromVerdi’sOtello.Verylikelychosenbecauseofthebaritone’srelationshipwiththerole of Iago, but also because of its musical rhetoric of persuasion, the piece musicallyparallelsthesituationofhypnosis:whileIagolullstosleepOtello’sfacultyforreasoning,andsimultaneously awakens his suspicions,Maurel, in “restricting [himself] frommaking any

gesture”,claimstoarouseinLina“someofthegestureswhich[hehimself]usedinthisfamouspiece.”Tohim, thisproves that “objectivation”,definedas theexteriorisationofpassionsthroughexpressionsandgestures,comesfromtheunknown,fromtheinvisible.

Maurel’sapproachwillbecomparedwithothercontemporaneousmedicaltheoriesinorder to explore the link, establishedbyproponentsof hypnosis, between interiority andidentification. Ina renewedapproach toacting, autosuggestionallows theactor-singer todraw on his profound interiority, and to bring back to the corporal surface a range of“natural”,transhistoricalgestures.Moreover,suchgesturesaremorethansimplesignsofanaffectwhichcaptures–orhypnotises–thesoul:theyaretrulypartofthisaffect,allowingthesingertouseinteriorityasaspaceforcreatingartificialbuttrueemotionalstates.

Session7B

11.30am-1.30pm(4individualpapers)

WritingandEncoding

FrederickReece(HarvardUniversity)ForgingSchubert’s“Gastein”:TheCold-WarQuestforTruthinaRomanticFantasy

Forwelloveracentury,Schubert’s“Gastein”symphonywasthegreatwhitewhaleofnineteenth-centurymusic.ThemystiquesurroundingthismissingcompositionbeganwhenJosephvonSpaunassertedintheViennesepressthathisailingfriendhadwritten“agreatsymphonyatGasteinintheyear1825”which—althoughunknowntoaudiences—rightfully“belongsamongstthegreatestworksofthelastcentury.”Inthe143yearsthatfollowed,the“Gastein”becameaculturalobsession.SirGeorgeGroveurgedarchivistsacrossEuropetosearcheverycupboardforthelostmasterpiecewhiletheColumbiaPhonographCompanyoffereda$1,500rewardforitsrecovery.Yetitwasnotuntil1971thatasetofantiqueorchestralpartsmatchingeveryspecificationforSchubert’s“Gastein”emergedfromanatticinEastBerlin.Orsoitseemed.

Thispapertellsthestoryofhowthe“rediscovered”symphonyrangfalse.Nowuniversallyconsideredacompositionalforgery,inthe1970sand‘80stheworkwasvehementlyupheldasauthenticbyscholarsinEastGermanyincludingHarryGoldschmidt.Westernmusicologists,meanwhile,soughttousestylisticandmaterialmethodologiestorepudiatenotonlythecomposition,butalsotheauthorityofthoseintheEastwhoclaimedthatitwaslegitimate.DrawingonmyownstylisticanalysisofthesymphonyalongsideoriginalarchivalsourcesfromtheBundesarchivandStaatsbibliothekinBerlin,Isituatethiscold-warforgeryasakeypointofconflictinthestruggletocontroltheauthenticmusicalpastofafracturedAustro-Germanculture.

JacobOlley(WestfälischeWilhelms-UniversitätMünster)Orality,Historyand(Ethno)Musicology:PreparingaCriticalEditionof

Nineteenth-CenturyOttomanMusic

Criticaleditionsarecentraltothedisciplineofmusicology,bothintermsofthematerialtheymakeavailableforresearchandperformance,andtherolethattheyplayindevelopingnormsofscholarlymethodology.Bycontrast,thecriticaleditionofmusicaltextshasplayedafarmoremarginalroleinethnomusicology,oftenattributedtothefactthatoraltransmissionismoreprevalentinnon-Europeanmusics.However,thereisawealthofnotatedsourcesrecordingtheurbanmusicoftheOttomanEmpire,thevastmajorityofwhichareunpublished.TheGermanResearchCouncil(DFG)hasthereforerecentlyagreedtofunda12-yearresearchprojectentitled“CorpusMusicaeOttomanicae:CriticalEditionsofNearEasternMusicManuscripts”,basedatWestfälischeWilhelms-UniversitätinMünster.Theinitialaimoftheprojectistocreateanonline,open-accessresourcecontainingcriticaleditionsofOttomanmusicthatwillbeusedbybothscholarsandperformers.TheoriginalsourcesdatepredominantlyfromthenineteenthcenturyandarewritteninmodernArmenianchurchnotation,necessitatingtheirtranscriptionintomodifiedstaffnotation.AsaresearchassociateontheCMOproject,Iwilloutlineitsgoalsandprocedures,consideringhowtheserelatetoexistingmethodologiesinhistoricalmusicologyandotherdisciplines,andwhattheimplicationsoftheprojectmightbeforfuturescholarship.Inparticular,Iarguethattheprojectcanprovideanewperspectiveontherelationshipbetween“text”and“work”,andoffersanopportunitytofurthertheongoingdialoguebetweenhistoricalandanthropologicalbranchesofmusicstudies.

RobertEshbach(UniversityofNewHampshire)“Iwouldliketomakeaviolinconcertoforyou…”:FerdinandDavidandtheMendelssohnViolinConcerto

On30July1838,FelixMendelssohnwrotetoFerdinandDavidfromBerlinofhisintentiontowriteaviolinconcertoforhimforthefollowingwinter:“oneineminorsticksinmyhead,thebeginningofwhichgivesmenopeace.”Theconcertowasnotcompletedbythefollowingwinterbuttooksixyearstowrite,muchofitdoneinconsultationwithDavid.Today,themanuscriptofthatconcerto,asitwaspremieredattheLeipzigGewandhauson13March1845,residesintheBibliotekaJagiellońskainKraków.Mypaperwillconcernitselfwiththatscore,whichinsignificantwaysdiffersfromthefinalpublishedversion.IwillspeakofthewaysinwhichtheconcertomayindeedhavebeenwrittenwithDavid’stechniqueandmusicianshipinmind(includingitsuseofBaroqueandearlyClassicaltechniques,andapparentborrowingsfromDavid’sHoheSchuledesViolinspiels—worksbyVitali,Mestrino,etal.),andofthewaysinwhichDavidmayhaveinfluenceditsfinalform.AsideinterestmaybetheinfluenceofMendelssohn’sprotégé,theyoungJosephJoachim,whosevirtuositywasalsoonMendelssohn’smindatthetimeoftheconcerto’s“making.”

DitlevRindom(UniversityofCambridge)ListeningwithSchumann:ThePhantasieop.17and1830sSonicCulture

TheepigraphfromSchlegelwhichprefacesRobertSchumann'sPhantasieop.17haslongbeencharacterisedasaclassicdescriptionofromanticlistening:aformofintenseacousticengagementthroughwhichtheauditoraccessesarealitybeyondtimeandspace.Scholarlystudiesofthemusicalwork's"romanticdistance"haveconcentratedprimarilyuponthe

Phantasie'sformalfragmentation,disregardingthemusic'smaterialityinfavourofdisembodiedanalysisand"structural"listening.Withinthisframework,thework'sallusiontoBeethovenhasbeeninterpretedasbothapublicandprivatemonument,articulatingasenseoflossthatispartiallyredeemedthroughsound.

ThispaperwillinsteadexaminethePhantasieasaworkpreoccupiedwithsonorityandtheprocessoflisteningitself.DrawinguponrecentworkbyVeitErlmannandEmilyDolanwhichhasstressedtheconstitutiveroleoftheearinmodernrationalityandthecentralityoftimbretoEnlightenmentaesthetics,thispaperarguesthatthePhantasieisadocumentofchanginglisteningpractices.ProceedingfromSchlegel'spoem,thepaperoffersatimbralanalysisofthefirstmovementandproposesthattheworkstagesaphenomenologicaljourneyfromimmediatesensationtoremotetone,inturninvestigatingtheshiftingmeaningsofmusicallisteningin1830sGermany.Thepaperaddressestheoverlappingtemporalitiesbetweenthemonument,18th-centuryfantasiaandmusicalworktoarguethatthePhantasieisasoundingmonumenttoBeethoven,inwhichthekeyboardfunctionsasatechnologythatmediatesbetweendifferentformsofperception.

Session7C

11.30am-1.30pm(2individualpapers+lecture-recital)

JamesDeaville(CarletonUniversity)TheWell-ManneredAuditor:ListeningintheDomestic-PublicSphereofthe19thCentury

19th-centuryetiquettebooksinEnglishincludedinstructiononhowthe“well-mannered”(bourgeois)personshouldbehaveaturbandomestic-publicfunctions(McKee2005),i.e.invitedsocialeventsinprivateresidences.Themanualstherebyparticipatedinproducingthe“docilebodies”thatFoucaultidentifiedasendemictomodernsocietyandthatresultfromtheexerciseof(self-)discipliningpower(Foucault1975).Thebooks’prescriptionstypicallyextendedtomannersduringtheimpromptumusicalentertainmentsatteas,eveningparties,andmusicales,whentheinvitedguestswererequestedtoperform.Theimposedauditorypracticesforguestsduringinformalmusic-makingrevealhowtongueandearweresubjectedtothenormalizingdisciplinarypowerFoucaultproposes.

Behindtherulesforbehaviorwithinthesonicdomainhoveredthechallengetoordercreatedbythesocietalmovetowardthemodern“crisisofattention”(Crary1999).Intheevermoreconfusing,distractingmodernsoundscape,theguidebooksperformedastabilizingfunctionbyattemptingtoregulatethebodies(andears)ofmiddle-classsubjects(Morgan2012).Indeed,issuesofattentiontomusicandspeechatsocialeventsplaycrucialrolesinthesources,whichcanbestudiedbymappingtheevents’zonesofacousticspace(Born2013),bothformusicalperformanceandconversation.Auditorydisruptionsbyguestsincreasinglyoccurredwithinandbetweenthesespaces;theresultantinattentionledto

greaterrigorinthemanuals’policingofperformedsound.Theirregulationsbespeaksociety’sfearofthelossofcontroloverthebodiesandsoundsofauditors,whichunderminedthediscipliningofbourgeoissubject-listenersinthelater19thcentury.

WiebkeRademacher(UniversityofCologne)BeyondConcertHalls.PerformanceandReceptionofClassicalMusicinNon-BourgeoisContexts1860-1914,LondonandBerlin

The19thcenturyiscommonlyregardedasatimeinwhichtheperformanceandreceptionofclassicalmusicbecameincreasinglyentangledwithbourgeoisideals.Theeffectofthisprocesshasbeenanalysedinnumerousstudies—mostrecently,SvenOliverMüller(2015)hasinvestigatedchangingbehaviouralpatternsof19th-centuryconcertaudiences,FrankHentschel(2006)hasexaminedhowbourgeoisidealshaveinfluencedthedisciplinaryhistoryofmusicology,andMartinTröndle(2011)hasdiscussedtheenduringeffectsof19th-centurybourgeoisidealsonconcertlifetoday.Themajorityofthesestudiesfocusentirelyonmiddleandupperclassaudiences.However,therearemanysourcesthatgiveevidencefortheperformanceandreceptionofclassicalmusicoutsidebourgeoiscontexts.Inconsideringtheseunder-examinedsources,thistalkwilladdressquestionssuchas:WhowenttoMusicHallsinLondon’sEastEndwhereperformancesofHandel’sMessiahstoodnexttoCircusShows?WhydidorchestrasandchoirsinBerlinandotherEuropeancitiesestablish'popularconcerts'intendedforlowerclassaudiences?Inwhichcontextsdidbourgeoisandnon-bourgeoisaudienceshavethechancetointermingle?ByexaminingexamplesfromLondonanBerlin,thispresentationhopestoencourageabroaderunderstandingofnon-bourgeoisperformanceandreceptionpracticesofclassicalmusicinthesecondhalfofthelong19thcentury.KatrinaFaulds(UniversityofSouthampton)PenelopeCave(UniversityofSouthampton)“MyharppresentsitsbestTonestoyou”:reflectionsonmusicintheJerninghamfamilycorrespondence

ThelettersandjournalsoftheJerninghamfamily,locatedprincipallyintheCadburyResearchLibraryattheUniversityofBirminghamandtheStaffordshireRecordOffice,profferarichresourceforstudyingthesignificanceofmusicwithinfamilialcirclesintheearlynineteenthcentury.Spanningmorethanfortyyears,thecorrespondenceisvibrant,lovingandhumorous,andincludesdescriptionsnotjustofpublicmusicallifeinLondon,butalsocommentaryonmusicaleducation,movementofinstrumentsandprivateperformance.Whatemergesisapictureofhowmusicfacilitatedtheprocessesofsharing,communicationandcollaboration,andhowthelettersthemselveshelpedtonurturemusical,socialandculturalnetworks.Practicalmusicalskillbecameasourceoffamilialprideandsocialinclusion;themobilityofinstrumentsandscoresmirroredtheintercourseofexchangethatoccurredinletter-writing;andtheinclusionofmanuscriptmusicembeddedtheprospectofsoundinthecorrespondence.AsscholarlyattentiononmusicintheEnglishcountryhousecontinuestoarticulatebroadlinesofdomesticpractice,itistheindividualityofexperiencethatmaterialisesintheJerninghamcorrespondence.BothmenandwomeninthisCatholicfamilywereoccupiedwithdifferentaspectsofmusickingthat

extendedbeyondtheconfinesofEngland,highlightinghowmusicaleducationandengagementlinkedprovincialNorfolkwithcontinentalculture.Session8A

2.30pm-4.30pm(5panelpapers)

Panel:TheWorksofGiuseppeVerdiinContext:compositionalpractice,nationaltraditions,andeditorialprinciples

OurpaneladdressesholisticallythechronologicalandsocialframeworkofVerdi’soperasfromaneditorialperspective.Takingintoaccountmusicalrevisionsandissuesofformandgenretiedtocommerceandnationaltraditions,thepanelrevealstheabsenceofeditorialpraxisspecifictoVerdi’sFrenchoperasaswellastheineffectivenessofapplyingaone-size-fits-allapproachtoVerdi’sworks.Papersshowthateditorialprinciplesareevolvingphenomenathattakeintoaccountaesthetic,economic,andstylisticchangesaswellasthecontributionofothercomposerssuchasMeyerbeerandGiacomoPuccini,whoseearlycareercoincideswithVerdi’slateryears.Throughdetaileddiscussionofindividualworks,thepanelconcludesthatcompositionandreception—togetherwiththenationalidiosyncrasiesofoperaproduction(hereFrenchvs.Italian),andthecollectivesourcesleftintheirwake—haveaprofoundeffectoneditorialattitude,practice,anddecision-making.WhilethecommondivisionofVerdi’soperasintothreeperiods(Budden)isusefulfordefiningthechronologyofVerdi’scareer,itcannotbeemployedasatemplateforediting(consider,forexampletwosuccessiveworks:Attila[1846]andMacbeth[1847,rev.1865]).Ourmaintopicsfordiscussionare1.DefinitionofVerdi’soeuvreandcompositionalpractice;2.Periodization;3.Italianvs.Frenchtraditions;4.Sources;5.Theroleofthepublisherinsteeringaworktocompletion.5.OthercomposersandworksinVerdi’sconstellation.Thesessionwillconcludewitharesponse.Briefdescriptionofindividualpresentations:HelenGreenwald(NewEnglandConservatory)WhichVerdi,How,andWhy?ProvidesanoverviewofVerdi’sworks,revealingthatmorethanhalfwererevisedowingasmuchtosocialconditionsastoartisticdecisions.MainfocusonAttila,“theheightofcabalettismo”(Casamorata1847)andMacbeth(1847),thealleged“harbinger”ofVerdi’sso-called“secondmanner”(Ghislanzoni).FrancescoIzzo(UniversityofSouthampton)TheVerdieditionandperiodization:Somemethodologicalquestions

ShowsVerdi’sworksofthe1840stobeadefinedsubsetofWGV.Exploreselementsofcontinuityandinstabilityofsourcesafteroperas’premieres.FocusonUngiornodiregnoandIdueFoscari.MarkEverist(UniversityofSouthampton)TamingVerdi’sBullFocussesonLesvêpressiciliennes(1855),whichliesattheintersectionoftwodifferentsourcetraditions:Verdi’sItalianworksandParisiangrandopéra.DiscussestheinfluenceofFrenchsystemonVerdi’scompositionalprocessasawholeandidentifiesproblemsforfutureeditionsofJérusalemandDonCarlos.

LindaB.Fairtile(UniversityofRichmond)EditingLateVerdiandEarlyPuccini:CorrespondencesandContrastsShowshowGiulioRicordi’sconcurrentbutdissimilarguidanceofbothGiuseppeVerdi’spenultimateopera,Otello,andGiacomoPuccini’sfirstfull-lengthstagework,Edgar,tocompletionhasrequireddissimilareditorialapproachestotwocontemporaneousworks.Topicsincludeutilityofautographscore,notationalinconsistencies,andrelevanceofterm“non-definitiverevisions”(LawtonandRosen).StefanoCastelvecchi(UniversityofCambridge)RESPONSEDiscusseshowwedeal,theoreticallyandpragmatically(editorially),withthemultiplicityofversionsinopera.Showsthatwecanderivesometoolsfromtheworkofliterarytextualcritics,whileremindingourselvesthateditorialworkthatlooks“objective”comeswithresponsibilitiesthatareoftennotmadeexplicit.Session8B

Colonialism

JonathanHicks(King’sCollege,London)PerformingTourismin1850sLondon:AlbertSmith’sAscentofMontBlanc

An1858issueoftheNewYorkMusicalReviewlists“EuropeanItems”ofinteresttoAmericanreaders:amongannouncementsofaLondonDonGiovanni,aone-actMeyerbeeropera,andaVienneseLohengrin,isamentionofAlbertSmith,who“hasascendedtheMontBlancforthelasttime,afterhavingdoneso(inPiccadilly)abouttwothousandtimes.”Althoughtheoperasinquestionremainfirmlyinthemusicologicalcanon,Smith’shitshowhasreceivedonlypassingattention.Yethisone-manperformanceofAlpinetourism,dubbeda“monopolylogue”inthetraditionofCharlesDibdinandCharlesMatthews,wascentraltotheexhibitioncultureofthemid-centurymetropolis,andprovidesarichcase

studyoftheusesofmusicinVictorianstageentertainment.Ofcourse,muchoftheinterestwasvisual:thefirstactfeaturedaseriesofpaintingsbyWilliamBeverleydepictingtouristsightsenroutefromLondontoChamonix(adestinationnewlyaccessiblebypassengertrain);thesecondboastedavertically-scrollingbackdropthateffectedtheillusionofascent.ButaudiencesalsoheardSmithaccompanyhimselfincomicsongsatthepiano,withanalpinehornandmulebellsofferedasaudiblemarkersofhismountainjourney.Usingcontemporaryprogrammesandpressreports,IseektorecoverthesonicqualitiesofSmith’sperformance,andthentoconsiderhowmusicinlecturesandexhibitionscontributedtoshapingthepopularimaginationofEuropeantravel.GavinWilliams(UniversityofCambridge)Sound,Colony,andtheMultinational:TheGramophoneinSingaporeca.1900

In1905theBritishGramophoneCompanyreneweditscampaigntoconvinceconsumersthattheirtechnologywasserviceableformusic.Notonlyserviceable:thegramophonewouldallowmusicof‘quality’tobetransportedthroughouttheworld.NewspaperadsprophesiedthatrecordscutinLondonmightbemailed‘tosomefar-awaycorneroftheearthwheremusicneverwasbefore,tokeepthemenwhokeepwatchovertheoutpostsoftheEmpireentertained’(TheTimes1905).YetthebravenewmusicmarketenvisionedbytheGramophoneCompany—anearlyBritishmultinationalcorporation,muchlikeDunlop,orCadbury—wasalreadybeinglivedasarealitybysomeoftheEmpire’sdistantsubjects,andwasalreadypartofatransnationalcommercialenvironment.

Mypaperexaminesthedisconnectbetweenthegramophone’simperialfuturesandeverydayexperiencesofrecordedsoundwithinBritishcolonialsociety.Itakeearly-twentieth-centurySingaporeasacasestudy,andfocusinparticularonthemilitarybandrepertoire.TheserecordswereenthusiasticallyreceivedwithSingapore’selitecolonialsociety.Yetrecordedmusicinteractedwithlonger-standingnetworksofliveperformancewithinthecity’sspaces—spacesthatembracedabroadersocialmilieu.Iconsidertheoutdoorconcertsgivenbythe16thMadrasInfantryBandthattookplace(weatherpermitting)inSingapore’sbotanicalgardensoneveryfullmoon.Theseperformancesinteractedincomplexwayswiththerecordedbandsheardelsewhereinthecity,creatingaprocessofmutualinfluencethatcanilluminateearlygramophoneculture—anditsglobalizingtechniques—asaproducerofurbanspace.

KerryMurphy(MelbourneConservatoriumofMusic)HenriKowalski(1841-1916):AFrenchMusicianinColonialAustralia

FrenchvirtuosopianistandcomposerHenriKowalskivisitedAustraliain1880andthenreturnedin1885whenhesettledinSydneyfortwelveyears.Hewasinsomewaysatypicalnineteenth-centuryEuropeantravellingmusician:acosmopolitanfigure,travellingthecountriesoftheworld,crossingoceansandhemispheres,encounteringunknownlanguagesandsocialcustoms.Kowalskiwasa‘cosmopolitanpatriot’,touseKwameAppiah’susefulphrase,thatis,someonewhois‘attachedtoahomeof…[their]own’buttakes‘pleasurefromother,differentplacesthatarehometotheirdifferentpeople.’Heassumedtheresponsibilityofnurturing‘thecultureofhishome’spreadingandinstillingitsvalueswhile

atthesametimedocumenting,bothinwordsandmusic,hislifeasaculturaltourist.ThispaperexploreshisintroductionofFrenchrepertoire,institutionalpracticesandmusicalinstrumentstocolonialSydney.Itdemonstratesthatforashortperiodoftimeattheendofthenineteenthcentury,therewasamuchstrongerFrenchpresenceinmusicallifeinAustraliathanhaspreviouslybeenacknowledgedandthatthismayinfluencedtheappointmentofaBelgianmusicianasHeadofthenewSydneyConservatoriumofMusicin1915.Session8C

Morals,Ethics,PhysiologiesBennettZon(DurhamUniversity)AnimalMusicandtheGreatChainofBeing

ClutchingTheOfficeGuidetotheLondonZoologicalGardensavisitortotheLondonZooof1851wouldexpecttofollowapre-determinedpathalongtheexhibitions,fromthelowestinsectstothehighestprimates.Thepathwasnotunique,however;museumsandotherexhibitionspacesalloverBritainfollowedthesameevolutionaryroute–aroutefixedbytheprinciplesoftheGreatChainofBeing,animmutablehierarchyconnectingtheordersofnaturefromthemostrudimentaryprotozoatothemostadvancedmammal,man.

TheGreatChainofBeingpre-occupiedtheVictorianimagination,influencingeveryaspectofitsculture.Zoologywasnoexception,oftenmirroringhumansocialorderintheanimalkingdom.AsHarrietRitvosuggestsVictorianzoology‘workedtocreateandreinforcearangeofparallelpatternsofhumanhierarchy.’(VictorianScienceinContext).Yetbecause‘animalsneverexemplifiedthebesthumantypes’(AnimalEstate)–civilizedEuropeanman–theywerewidelyconsideredunabletomakemusic.

Darwin,JamesSullyandotherevolutionistswouldchangeallthat,counter-arguingthatnotonlydoallanimalscreatemusic,allmusicisafunctionofnature’smostsociallyequalizingforce,sexualselection.Musicdemocratizednature,provingthattheGreatChainwasascientificfraud.ThispaperusesanimalmusictoexplorethedemiseoftheGreatChain,drawingfrompre-andpostDarwinianzoologicalscience.ItcontextualizestheGreatChainwithVictorianculture;examinesanimalmusicinpopularandexperimentalscience;andinconclusionoffersnewinsightsintokeyDarwiniantextsconcerningmusic.

MarkA.Pottinger(ManhattanCollege)PhysiologyandtheScienceofHysteriainLuciadiLammermoor

ThroughouttheoperaLuciadiLammermoor(1835)Luciaisaidedinherdesiretobewiththemanshelovesthroughvisionsofadeadrelative,whoisseeninthewaterofan

ancestralfountain.Curiously,Luciaistheonlyoneintheoperawhoisabletoseetheghostandthuspresentsattheendoftheoperaavocalcommunionwiththedead.Toeveryonewhohearsherintheopera,Luciaismadandthevictimofgriefandhysteria,butthroughhersupernaturalvisionsLuciaisnowfreetoescapetherealityaroundherandtojoinherloverintheafterlife.Thecorrespondingsciencethatwillbeexploredinthispaperisphysiologyandthescienceofthemind,anewsetofscientificinquiriesintheearlynineteenthcenturythatembracedphysiognomy,thescienceoffacialfeatures,andcharacterology,thescienceofanalyzingexternalactionsandsoundstodiscoveralatentcharacterofthemind.BothofthesesisterstudiesofphysiologycometogetherintheworkofMarshallHall(1790-1857),theBritishphysicianwhopublishedin1826hiswidelyread‘CommentariesontheMoreImportantDiseasesofFemales’.ThroughaninvestigationofthelookandsoundofhysteriainHall’sworkandDonizetti’soperawecanseehowclosetheoperacomestomirroringearlynineteenth-centurynotionsofwellnessandsenilityandthuspresentfurtherinsightintothelookandsoundofthisvirtuosicfemalerole.

CatherineSchwartz(McGillUniversity)ClaireCroizaandtheArtoftheSelfFullofnotesonClaireCroiza’sperformances,masterclasses,andcauseries,HélèneAbraham’sUnArtdel’Interprétation,ClaireCroiza(1954)servesasacriticalsourceonthisfamedinterpreterwhoworkedcloselywiththelikesofDebussyandFauré.Afterattendingherfirstmasterclass,Abrahamemphasizedthat“theartofinterpretationisabovealltheartofforgettingoneself,”astatementthatseemstocontradictherobservationafewmonthslater:“theroleofpersonalityintheartofexpression:predominant.”Reflectingontheapparenttensionbetweenthevaluesofselfhoodandself-abnegationinCroiza’sartraisesanumberofquestions:Whereisthesinger’ssenseofselflocated?Howisitmanifest?Howcanitbeforgotten?Whathappenstotheselfinthisprocess?Whatisatstakeinforgettingtheself?InaclosereadingofCroiza’steachingsonthepsychology,physicality,andimaginationoftheinterpreter,Ifocusonthesequestionsthroughthelensofthreepreviouslyunexaminedtopics:first,theconceptofdédoublementorsplitpersonality,atermusedbyAbrahamtodescribeCroiza’sperformativeact;second,Croiza’scharacterizationofthepedagogicalprocessasaquestforthesinger’sownvoice;andthird,theimportanceofthegenderedself,offéminité,insinging.Inelucidatinghowamultiplicityofanswerstotheabovequestionsconvergeonthesethreeissues,myanalysisbuildsonBergeron’sstudyofCroiza’s“selfless”vocalityinthemélodiegenretoilluminateamultifacetedsenseofselfhoodasintegraltoCroiza’sbroaderaesthetics.

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