7/11/2018

TIME Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Sala Messina - 5

Claudio Monteverdi and Early Italian Opera

(goes on after breack)Crossing Faiths in England Crossing Borders 1 Barbara Strozzi and Early

Modern ItalyInstruments, Musicians and

Society across Europe

9:00-9:30

Louis Delpech - Beyond Absolutism. Self-fashioning, Aristocratic Identities and the Patronage of French Music in Early Modern Germany (1660–1700)

9:30-10:00Daniele Sabaino, Marco Mangani - Monteverdi’s Modal Conduct in Madrigal Books 1-3

James Hume - 'A Second Musical Present: my Church Services and Divine Compositions': An Examination of John Blow's Late Anthems

Danièle Lipp - Rosa d’Ambreville-Francesco Borosini and Anna d’Ambreville-Giuseppe Perroni. An Italian Family of Musicians at the Imperial Music Chapel in Vienna

Claire Fontijn - Weeping-Singing in Strozzi’s Laments

Douglas MacMillan - The Bird Fancyer’s Delight – a Tutor for Canaries and Gentlemen

10:00-10:30Michael Dodds - The Theology of Monteverdi’s 1610 Vespers

Nicholas Ezra Field - A Papal Threat and the Spice of Italy: Italian Musicians Crossing Confessional and Cultural Boundaries in 1670s London

Kimberly Beck Hieb - Literary Genre Theory and Mutant Musical Genres of the Early Modern Period

Roseen Giles - 'Rappresentare al vivo’: Style and Representation in Early Modern Italy

Samantha Owens - “A Set of Hoboys March Before” – The Oboe Band in English Musical Life, c. 1680–1740

10:30-11:00 Break

Anglicanism in Music Crossing Borders 2 Frescobaldi and Froberger Instrumental Music 1

11:00-11:30

Andrew Lawrence-King - Arianna… a la recherche:Re-making the Fourth Opera in the Monteverdi Trilogy

Bryan White - Celebrating St Cecilia's Day in the British Provinces: 1683-1750

Margaréta Jurkovičová - The inner "Workings" of Johann Sigismund Kusser: His Personal Beliefs and Struggles

Naomi J. Barker - Crossing Parish Boundaries: Frescobaldi at the Ospedale di Santo Spirito in Sassia and the Cappella Giulia

David R. M. Irving - New Perspectives on Performance Practice for Johann Heinrich Schmelzer’s Sonatæ Unarum Fidium (1664)

11:30-12:00

Momoko Uchisaka - Listening to 'Madness': Adriano Banchieri's La pazzia senile (1598)

Andrew Salyer - The Grave and Solemn Style in Anglican Church Music, c.1700

Hannah Spracklan-Holl - Protestantism, Nationalism and the Idea of “German-ness” in a 17th-Century Singspiel: Neu erfundenes Freuden Spiel genandt FriedensSieg (1642)

Samuel Howes - Bridging the Gap: A Probabilistic Model of Harmonic Syntax in the Music of Frescobaldi

Pierre Pascal - Lyra speculativa, Heinrich Biber and the Inner Borders

12:00-12:30

Sara McClure - Music, Drama, and Humor Purcell’s Vocal Music for Restoration Comedies

Steven Zohn - Sehet an die Exempel der Alten: Telemann’s (Pre-)Enlightenment Rhetoric

Minna Hovi - Froberger and the Enlightened Music Historians

Francesco Finocchiaro - Giuseppe Torelli’s Instrumental Music. On some Unpublished Compositions at the Archivio Musicale di San Petronio

12:30-2:00 Lunch

Italian Opera 1 French Opera 1 Italianità in Sacred Music across Europe

Sung Words in English Music Geminiani and Violin Technique

2:00-2:30

Catherine Cessac - Molière and Charpentier’s Le Malade imaginaire: New Hypotheses about the Versions Performed between 1673 and 1686

Marina Toffetti - Bartłomiej Pękiel’s Missa Concertata La Lombardesca and the Concept of ‘Italianità’ in the Musical Culture of the First Half of the 17th Century

2:30-3:00

Bruno Forment - Opera Seria and the Supernatural:Towards Understanding an Enlightenment Paradox

Anita Hardeman -The French Operatic Prologue as Liminal Space

Peter Wollny - Pan-European Influences in the Sacred Concertos of Georg Schmezer (1642–1697)

Luis Henrique Fiammenghi, Marcus Held - Francesco Geminiani’s "The Art of Playing on the Violin" (1751): Theoria and Praxis

3:00-3:30

Anne Desler - Cato in the Sewer: Literary Ambition, Dramatic (Mis-)Representation and the tragico fine in Metastasio’s Catone in Utica (Rome 1728)

John S. Powell - The Genesis of Lully’s Operatic Laments

Olga Gero - Italian Taste in the Latin Compositions by Augustin Pfleger

Cathal Twomey - ‘Suit your Words to your Music Well’: A Schematic Approach to English Baroque Word-Setting

Peter Walls - 18th Century English, French and German Versions of Geminiani’s Violin Treatise

3:30-4:00

Cristina Roldán Fidalgo - Different Ways to Understand Musically and Mramaturgically Pergolesi's La Serva Padrona: From the Italian Intermezzi to the Spanish Zarzuela

Ana Stefanovic - The Topos of Melancholy in Rameau’s Tragédie en Musique: Narrative and Dramaturgic Aspects

Klemen Grabnar - The Italian Ascendancy: Francesco Stivori’s Double-Choir Hymn Cycle in an Inner-Austrian Choirbook

Estelle Murphy - Crossing Borders, Creating Identity: Cousser, Dubourg and Irish Traditional Song

Fabrizio Longo - “The Prodigious Skill of Singing like the Crickets”. A Tremolo on Two Violin Strings in the Second Half of the 17th Century

4:00-4:30 Break

Handel 1 French Music Italian Sacred Music 1 Czech Sacred Music Instrumental Music 2

4:30-5:00

Donald Burrows - A Labour of Hercules: Tracing the Handel Performance that is Represented by an Undated18th-Century Word-Book

Lorenzo Novelli - Clérambault and the Orchestral French Cantata: The Case of Le Soleil vainquer des nuages. Cantate allégorique sur le rétablissement de la santé du Roy

Christine Suzanne Getz - The Competition for Orfeo Vecchi and New Frontiers at the Lomazzo Press

Jana Slimáčková - Art or Gebrauchsmusik – The Ordinary of the Mass in Central European Music in The Second Half of the 17th Century

Robert Rawson - Gottfried Finger and the Earliest Italian Concertos in England

5:00-5:30Carlo Lanfossi - The War of Jennens’ Ear: Collecting as Listening in Handel’s Pasticci

Maria Schildt - The Düben-Philidor Part Books with FrenchOpera and Ballet Music 1690–1720

Paolo Cavallo - Giovanni Battista Stefanini’s Early Motets. A Political, Diplomatic and Musical Case-study between Modena and Turin

Marc Niubo - Il neo-martire di Boemia o vero La conversione e martirio di Simone Abbeles and the Origins of Oratorio in Prague

Evangelia Kopsalidou - French Viola da Gamba Treatises of the 17th and 18th Centuries and their Comparison to The Division Viol

5:30-6.00

Fred Fehleisen - Musical Stowaways in the Mind: Did Handel Sail Alone across the North Sea?

Elena Abbado - The (Lost) Oratorios of Giuseppe Maria Orlandini

Jana Spáčilová - „Aria Domini Hönel“. Pasticcio Oratorio in the Czech Lands in the First Half of the 18th Century

Alessandro Mastropietro - Changing the Paradigms of a Genre: Besozzis’ Trios before 1750

7/12/2018

TIME Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Aula Magna (Musicology Department) - 6

Bach Network 1 - Cantata, Fugues and Canons

Handel 2 - From Italy to England

Round Table Appropriations, Alterations, Romanization of ‘Foreign’ Sacred Music in Roman Manuscript Anthologies (1580-1610). Papers by Noel O’Regan, Rosemarie Darby, Anne Piéjus (chair)

French Music in Sacred and Secular Contexts

Panel Discussion Musical Sources as Part of Performative Rituals:Crossing Borders through Explorative Strategies. With Johannes Boer, Dinko Fabris, Joel Speerstra, Catalina Vicens, Assi Karttunen, Elisabeth Belgrano (chair)

9:00-9:30

Noelle Heber - O Heart, Break Mammon’s Chain! The destructive Potential of Earthly Wealth in Bach’s Sacred Cantatas and in Lutheran Theology

Luca Della Libera - "Nonostante sia opera del famosissimo sonatore”: New Documents on Handel in 1707 Florence

9:30-10:00

Kayo Murata - The Early Development of J. S. Bach’s Contrapuntal Writing in His Instrumental Music

David Vickers - Giulia Frasi in English Music

Deborah Kauffman - The “Pseaumes de Mr de Noailles”: Cantiques spirituels and the Court of Louis XIV

10:00-10:30Gergely Fazekas - Bach, the Fuga Canonica and the ‘Aesthetics of Concealment’

Ludovic Piffaut - From Italy to England, the Instrumental Arrangements of Italian Arias in London (1700-1750)

Catherine Gordon - “The Natural” in Jean-Joseph Surin’s Cantiques Spirituels as Reflections of Celestial Harmony

10:30-11:00 Break

Improvisation and Basso Continuo

Handel 3 - Oratorios

Round Table The European Pasticcio in the 18th Century. Papers by Aneta Markuszewska, Gesa zur Nieden, Martin Albrecht-Hohmaier, Anja Ryszka-Komarnicka, Alina Zorawska-Witkowska, Berthold Over (chair)

Crossing Borders between France, Italy and Spain

Sala Messina - 5

11:00-11:30

Marcos Krieger - Regole Generali per sonare il basso continuo colli suoi accompagnamenti sul cembalo - di C. Foschi (IBc, D47, Olim Cod. 127)

Tassilo Erhardt - 'Durham Messiah' - the First English Oratorio?

Stuart Cheney - The Voyages of André Maugars: New Biographical Data

Russia and Baltic countries

11:30-12:00

Christoph Riedo - “Chi vorrà inserire le sinfonie agl’inni il virtuoso professore le potrà cavare con facilità dal basso contìnuo” – (Multipart) Bowed Instrumental Improvisation in the 17th Century

Mathew Gardner - Handel’s Occasional Oratorio: Propaganda for Britain and the Hanoverian Monarchy

Michael Klaper - Giovanni Bentivoglio and Italian Musical Ddramaturgy at the French Court, ca. 1655-1662

Natalia Plotnikova - Nikolay Diletsky’s (Mikołaj Dylecki’s) Four-Part Сoncertos: The Unknown Pages of Russian Baroque Music

12:00-12:30

Therese de Goede - "No Performer Should Flatter himself that he is able to Accompany well till he is Master of this Delicate and Admirable Secret": Acciaccature, their Use and Purpose

Clara Rico Osés - "Amis, enivrons nous du vin d’Espagne en France": Musical Connections at both Sides of the Pyrenean in 7th and 18th Centuries

Lolita Fūrmane - An Autograph ‘Riga 1684’: Johann Valentin Meder as Composer of the Baroque Era

12:30-2:00 Lunch

Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Sala Messina - 5

Purcell Improvisation and Basso Continuo

Venice French Opera 2 Dance

2:00-2:30

Alan Howard - More on Purcell and Orlando Gibbons:Patterned Counterpoint in the Second Section of Purcell’s Fantasia no.3

Edoardo Maria Bellotti - Cacasenno’s Secret: Adriano Banchieri and the Theory and Practice of Counterpoint and Basso Continuo in the 17th Century

Rodolfo Baroncini - A Theater “Made for Music” (Venice 1610): The Milani Theater and the Lagoon Musical Context of the First Decade of the 17th Century

Graham Sadler - A Cluster of Allusions to Vivaldi’s Le quattro stagioni (1725) in Rameau’s Anacréon (1757)

Hanna Walsdorf - The Wild and Tame Chacona, c. 1600–1750, or: Why Social Boundaries Apply to People, But Not to Dance Music

2:30-3:00

Rebecca Herissone - ‘[Transcribed from the Author[’]s Original Manuscript’: Philip Hayes and the Preservation of the Music of Henry Purcell

Augusta Campagne - Simone Verovio: On the Border between Intabulations and Basso Continuo

Giada Viviani - The Art of Reuse: Self-Borrowing Strategies in Vivaldi’s Operas

Elizabeth Rouget - Monsters, Savages, and Devils: Dancing the “Other” in Rameau’s Les Indes galantes

Valentina Panzanaro - Salvatore Mazzella’s “Balli…con la misura giusta per ballare” a Dance Collection ‘da camera’ or ‘da ballo’?

3:00-3:30

Stephan Schönlau - Improvised Madness: Folia Grounds in English Sources, c.1675–c.1705

Lecture recital Nicola Usula - Parti scannate: i.e. how Singers Learned and Rehearsed Operas during the Second Half of the 17th Century

Davide Mingozzi - An Opera for the «Nuovo teatro de’ Bambocci». Lo starnuto d’Ercole by Johann Adolf Hasse and Andrea Adolfati (Venezia, Teatro San Girolamo, 1745)

Michele Cabrini - Lully and Quinault Reading Ariosto: Aspects of Structure in Roland

Cecilia Nocilli - Body and Musical Rhetoric in Spanish Dance of the 17th Century

3:30-4:00

Alon Schab - “From the Foundation unto the Coping”: Reconstructing Purcell from Surviving Bass Part

Robert C. Ketterer - Venetian Opera, Antiquity, and the Cretan War

Sylvie Bouissou - Performers from the Paris Opéra Migrating to the Provinces or Abroad: A French Cultural Exception?

Kelley Harness - Laboring for Hercules: Constructing a Horse Ballet in Mid 17th-Century Florence

4:00-4:30 Break

Bach Network 2 - Improvisation, Partimento

and PerformanceHandel 4 Italian Cantata Carissimi

Opening the Box : Crossing Music Sources

4:30-5:00

Lawrence Molinaro - Developing a Systematic Approach to Teaching Improvisation Based on Johann Mattheson’s Gross General-Bass Schule (1731)

Lawrence Zazzo - Intertextuality in Handel's 1732 Acis and Galatea

Margaret Murata - The Earliest Sources of the Roman Cantata

Valentina Trovato - Giacomo Carissimi’s Sacri Concerti a due, tre, quattro e cinque voci: Some Remarks on the Motet Turbabuntur impii Sources

Frank Heidlberger - Instrumental Music at the Accademia in Verona around 1590 – Modes of “Conversazione"

5:00-5:30Bradley Brookshire - J. S. Bach and the Partimento Tradition

Emily Baines - Mr. Handel, the Divas, and the Marvellous Machines: Establishing the Veracity of Arrangements for Charles Clay’s Organ Clocks as Sources for Handelian Vocal Performing Practice

Eugenio Refini - Lamenting Alcina: Musical Translations of Ariosto’s Enchantress

Lars Berglund - The Carissimi Manuscripts in the Düben Collection

Giovanni Andrea Sechi - The Suitcase of the Primo Uomo: Notes on the Repertoire for Nicola Grimaldi

5:30-6.00Joel Speerstra - Creative Keyboards: Musicians meeting Materiality

Michael Lee - Crossing Borders with Borrowed Tunes: Dancing the Chaconne in the English Rinaldo and Armida

Sara Dieci - «Il cervello si lambicca». Hypochondriac Topics in the Emilian Cantata

Lars Henrik Johansen - Depicting Pain - Communicative Techniques in the Lamentations of Carissimi and Charpentier

Lecture recital Hazel Brooks - Lyra-viol Tablature as a Potential Source of Violin Repertoire in 17th-Century England

9:15-10:30 Opening Concert Ghislieri Choir and Orchestra, Giulio Prandi conductor Cathedral

7/13/2018

TIME Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Sala Messina - 5

Bach Network 3 - Freylinghausen, Fasch and

FuneralsHandel 5

German Music Theory (goes on after break) Italian Opera 2

French Instrumental Music (goes on after break)

9:00-9:30

Berthold Over - From Opera to Pasticcio: Handel’s Revisions of Leo’s Catone in Utica (1732)

Luigi Collarile - Lost Music Books in Walther’s Musicalisches Lexicon (1732) Problems and Perspectives

Holly Roberts - Ecstatic Devotion: Representations of Musical Rapture in 17th-Century Iconography and Opera

Chloé Dos Reis - When the First French School of Harpsichord Crosses Borders: Human State of Affairs, Editorial, Manuscript and Instrumental

9:30-10:00Peter Smaill - Music in Lutheran London: The 1746 “Kirchenmusik”

Dario Poljak - HIP and Handel’s Opera: Styles of Performing Recitatives in Contemporary Recordings of Agrippina and Giulio Cesare in Egitto

Ramona Hocker - Through Swedish Glasses: Johann Joseph Fux Reworked by Johan Helmich Roman

Paola Besutti - Crossing Borders: Literature, Theatre and Music in a Half-unknown Manuscript

Éva Faragó - Analysis of the Structure of Courantes as Dance Music Based on Its Dance Practice in the 17th – early 18th Century

10:00-10:30

Barbara M. Reul - Coping without Bach: Princely Funeral Music at the Courts of Anhalt-Zerbst and Anhalt-Köthen

Graydon Beeks - An Interesting Late Source for Handel’s L’Allegro, il Penseroso ed il Moderato

Lindsey Reymore - Mode and Triad in 17th-century Germany: The Theory and Music of Johann Crüger

Carolyn Gianturco - European Economics and 17-Century Class Distinction serve to shed Light on Stradella’s Scandalous Flight from Venice

Chun-Hao Chen - Regional Differences in French Courante:the Reception of French Music in Various German-Speaking Musical

10:30-11:00 Break

Bach Network 4 - Well-Tempered Clavier and Chopin

Handel 6 Italian Opera in Austria

11:00-11:30

Raymond Erickson - Arrangements and Transcriptions of Bach's Violin Ciaccona (BWV 1004/5) in the Nineteenth Century

Ivan Ćurković - Opera Duets by G. F. Handel and Giovanni Bononcini (1720-1724):Emulation and Rivalry

Michael Robertson -‘An agreeable Murmuring’: Figured-Bass Parts in German Dance Music from the Second Half of the 17th Century, and what They tell us about Performance

Adriana De Feo - Apostolo Zeno Counter-Reformed:The ‘Revisionist’ Versions of Apostolo Zeno’s Early Librettos

Shirley Thompson - Tartini à la française: The concerti grossi of Charles Henri de Blainville

Tempo and Tonal System Woman and Instruments

11:30-12:00

Yo Tomita - Aspects of the Reception of Bach’s Well-Tempered Clavier in Chopin’s Time

Carrie Churnside - Muzio Scevola: Amadei, Bononcini and Handel’s Responses

Jamie Savan - Tempo, Tactus and Triple-time Relations in Selected Publications from Venice, 1629

Jen-yen Chen - Metastasio’s Revision for Farinelli of Le Cinesi (1750): The Ambivalent Gendering of China in the Context of the Austrian Succession Crisis

Isobel Clarke - Adriana van den Bergh, a 17th-Century Recorder Player

12:00-12:30

Ruth Tatlow - The Transmission of Proportional Ordering, Illustrated by Bach’s Well Tempered Clavier and Chopin’s Preludes, Opus 28

Martin Perkins - Crossing the Social Divide in kate 18th Century British Music Making – Evidence from the Sharp Boat Books

Gregory Barnett - Guido's Gamut and Tonal Style of the Early Seicento

Eva Kuhn - A Delicate Cage: Adriana della Tiorba

12:30-2:00 Lunch

Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Sala Messina - 5

Bach - Instrumental Works 1 Musical Instruments in Germany

Round Table Publishing and Performing Baroque Repertoires:The French Case. Papers by Louis Castelain, Benoît Dratwicki, Julien Dubrucque, Thomas Leconte and Barbara Nestola (chair) sponsored by the Centre de Musique Baroque de Versailles

Italian Opera 2 Crossing Borders 3

2:00-2:30

Tomasz Górny - Johann Sebastian Bach’s Transcriptions of Italian Concertos: The Story of a Journey

Tanya Kevorkian - Tower Music in German Baroque Towns

Luca Ambrosio - Theatrical Dance in Roman Opera Experience after the Death of Giulio Rospigliosi (1668-1689): Aubjects, Typologies, Music and Dancers

Metoda Kokole - Isaac Posch Revisited. Italianità in His Vocal and Instrumental Music

2:30-3:00

Zoltán Szabó - Varietas delectat: Alternative Readings in the 18th-century Sources and their Influence on 19th-Century Editions of J. S. Bach’s Solo Cello Suites

Ursula Kramer - Musical Instruments at the Court of Hesse-Darmstadt: From Kapelle to Military Band?

Louise K. Stein - Operatic Staging in Naples and the Spanish Viceroys

Daniele Filippi - The Sonic Tour of Prince Ladislaus Wasa through Europe (1624-1625)

3:00-3:30

Dan Tidhar , Pablo Padilla and Francis Knights - Style and Attribution in the Early Keyboard Suites of J. S. Bach

Sam Girling - Beat this! Competition and Cooperation between German Courts and their Timpanists During the Late Baroque Period

Roger Freitas - Orlando at Play: The Games of Il palazzo incantato (1642)

Katarzyna Spurgjasz - Moving Borders. How the Political and Confessional Changes in 17th Century Brieg (Silesia) Could Have Changed the City’s Music Culture

3:30-4:00 Break

Aula Magna (Musicology Department) - 6

Bach - Instrumental Works 2

Themed session on Materiality and Mobilities in the Long 16th Century.Papers by Alana Mailes - Musica Transalpina: Sounds of the English Embassy in Venice, c.1600–1630; Richard Wistreich - ‘Il vero modo di cantar’: Migrations of Italian Vocalism; Gabriele Rossi Rognoni - The Transformation of Musical Instruments in the Long 16th Century: A CulturalPerspective

Music Theory Lecture Recitals

4:00-4:30

Tatiana Shabalina - “East-Prussian Bach” Georg Riedel (1676–1738): Findings of His Lost Works in St Petersburg

Themed session on Becoming a Church Musician between France and Southern Netherlands: The Training of the Choirboys in the Collegiate Church Saint Vincent de Soignies (1680-1750). Papers by Fabien Guilloux, Cécile Davy-Rigaux , Nathalie Berton-Blivet

Matt Bailey Shea - The Poetic Pre-History of Sentence Form

Assi Karttunen - The Thorny Path of Passus Duriusculum: Performing Chromatic Music-related Gestures

4:30-5:00

Stephen Slottow - Four Schenkerian Readings of J.S. Bach's Sarabande from English Suite n.2: Considerations for a Well-Formed Analysis, plus Implications for Hearing and Performance

Scott Murphy - A Remarkable Non-Duplication of Stretto in J.S. Bach’s The Art of Fugue

5:00-5:30

John Lutterman - For Whom, and for What Kind of Instrument(s) did Bach Compose his Cello Suites?

Alexander Jakobidze-Gitman - How to Enliven Galatea? The Generation of Motion by Causes Occasionelles in Rameau’s Harmonic Theory

Chiara Bertoglio - The Reception of Bach in Fin-de- siècle Italy

6:00-7:00 Business Meeting - Final presentation for 2020 Hosting Institution Galleria delle Armi

7:30-8:30 Gala Concert - Coro Costanzo Porta and Ensemble Cremona Antiqua, Antonio Greco conductor Sant'Agata

8:45-11:30 Conference Banquet. - 2020 Host Announcement Palazzo Trecchi

7/14/2018

TIME Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Sala Messina - 5

Prague and Central Europe Historical Performance Practice

Italian Opera 4 The Art of Teaching Music Bach Network 5 - Bach as a Model

9:00-9:30

Szymon Paczkowski - Christoph August von Wackerbarth and the Opera for the Wedding of Maria Josepha and Frederick Augustus (1719)

Peter Holman - With a Scroll of Parchment or Paper in Hand:The Baroque Composer as Time-Beater

Bella Brover Lubovsky - Scuola dei rivolti: Between Harmony and Counterpoint

Michael Maul - Does the Apple Never Fall Far From the Tree? The Bach Student Philipp David Kräuter and his Augsburg Church Music

9:30-10:00

Václav Kapsa - Music in Prague in the 1730s: The Inventory of the Knights of the Cross with the Red Star Revisited

William Hunt - In Search of the Original Performing Pitch: A Worthwhile Element of Practice-Based Musicological Research or Simply a Matter of Taste?

Alan Maddox - Rhetoric and Emotion in the Vocal Music of Antonio Caldara

Francisco Javier Lupiáñez Ruiz - The Annotations of Johann Georg Pisendel in the Dresden Manuscripts: An Open Window to the Improvisation in the First Half of the 18th Century

Bernd Koska - Composing in the Shadow of Bach? The Works of Bach’s Students

10:00-10:30

Greta Haenen - Dating and Ascribing Anonymous Works in the Private Collection of Leopold I Habsburg

John McKean - Boundaries of Practice: National Styles, Pedagogical Networks, and Schools of Technique in the Baroque

Tarcisio Balbo - A New Source for Francesco Feo’s La Destruzione dell’Essercito de’ Cananei

Sarah M. Iacono, Paolo Sullo - «Con dottrina ed erudizione». Pasquale Cafaro, Teacher and Composer, through Some Music Manuscripts from Apulia

Manuel Bärwald - Bach‘s Students in the Academic Networks of the Mid-18th Century

10:30-11:00 Break

Sacred Music Scarlatti and Keyboard Music Opera across Europe Counterpoint and the Roman Tradition

Bach Network 6 - Bach Studies Today

11:00-11:30

Luisa Morales - Debates on Domenico Scarlatti ‘Spanish Style’

Konstantin Hirschmann - La sconfitta di Gerione in Spagna: The War of the Spanish Succession Mirrored in Musico-dramatic Celebratory Pieces at the Viennese Court

Jason Stoessel - Canon at the Intersection of Art and Science in early 17th-Century Rome

Bach-Archive Researchers - Presentation of Two Online Platforms from the Bach-Archiv Leipzig bach-digital.de and jsbach.de

11:30-12:00

Jeffrey Kurtzman - Liturgical Music in Italy 1580-1630: What the Published Repertoire Tells Us about Trends, Use, and Change in the Performance of the Liturgy

Inbal Guter - Approaching the Border: Scarlatti and the Trap of Repetition

Clara Viloria Hernadéz - From Infanta to Empress, from Hidalgo to Draghi: The Scenic Music Repertoire in Spanish during the Stay in Vienna of Marguerite of Habsburg (1666-1673)

Denis Collins - New Analytical Approaches to Canon and Invertible Counterpoint in early 17th-Century Roman Sacred Music

Bach Network council and trustees - The Role and Aims of Bach Network in Bach Studies Today

12:00-12:30

Peter S. Poulos - Religion and Cultural Exchange in Music for the Doge of Genoa

Andrew Woolley - The 17th-Century Keyboard Player’s Workshop: A Case Study from Northern Portugal

Lars Magnus Hvass Pujol - Antonio Maria Mazzoni (1717 - 1785) as a ‘Maestro di Cappella’ in Bologna and Opera Composer in Europe: An Approach to a Dualist Composer of the 18th Century

12:30-2:00 Lunch

Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini - 4 Sala Messina - 5

Lecture Recitals Organology

2:00-2:30

Angela Fiore - Musicians and Performers of the Musical Chapel of the Cathedral of Naples (1680-1720)

Ulrika Davidsson and Joel Speerstra - Duo-Clavichord Lecture-Recital on The Art of Fugue

Geerten Verberkmoes - From Informed Instrument Making to Informed Music-Making: A Project Aimed at Performing Historical Music on the - Geographically and Chronologically - Most Suitable Instruments

2:00-3:00

Théodora Psychoyou - Latin Presence and (Inter)Confessional Musical Practices in 17th-Century Cyclades and Crete: A Preliminary Overview

Jonathan Santa Maria Bouquet, Arianna Rigamonti - Violins, Pochettes, or Mute violins? Shining a Light on the “Violins without Sides”

3:00-3:30Joyce Lindorff - Between Europe and China: Pedrini's Journey in Letters and Music

3:30-4:00

4:00-4:30 Break

4:30-6:00 Visit to the Museo del Violino

The Sound of Stradivari - Auditorium Giovanni Arvedi 6:30-7:30

Special Audition with Historical Violins Farewell Concert, Galimathias Ensemble (String orchestra of the Musicology and Cultural Department)

7/15/2018

TIME Galleria delle Armi - 1 Sala Teatro - 2 Sala Oro - 3 Sala Violini -4

Singers across EuropeBach Network 7 - Bach

Studies Today and Lost Bach Sources

Musical Instruments Portugal and Latin America

9:00-9:30

John Williams - Gods, Priests and Drunkards: Bass Singers in English Society in the 17th and Early 18th-Centuries

Maria Borghesi - J. S. Bach in Italian Historiography: Concepts and Cultural Perception

Emanuela Vai - Dis-playing Musical Instruments in Renaissance and Early Modern Culture: Crossing the Borders of Materiality and Immateriality in Music

Rui Cabral Lopes - Cultural and Musical Implications in the Villancicos de negros of the Portuguese Royal Chapel (1641-1668): A Perspective from the Surviving Sources

9:30-10:00

Nastasia Sophie Tietze - Boy Sopranos in the Early Roman Opera. Cast Convention and Dramaturgical Function

Russel Stinson - VI VARIERTE CHORÄle für die Orgen von J. S. Bach für das Pianoforte zu vier Händen eingerichtet: A Lost Source from the Mendelssohn Circle Recovered

Helen Roberts - ‘Maintained for the Decorum of Our Quire’: Wind Instruments at Canterbury Cathedral, 1589-1670

Cristina Fernandes - “When in Rome, Do as the Romans Do”: Portuguese Cardinals’ Musical Patronage and their Artistic Networks after the Conclave of 1721

10:00-10:30

Emilia Pelliccia - Francesco Borosini, an Italian Tenor Abroad: the Cantata Quando miro, o stelle, o fiori for Anton Ulrich, Duke of Saxe-Meiningen

Andrew Frampton - A Tale of Two Passions: The 1897 Melbourne Performance of J.S. Bach’s St Matthew Passion, BWV 244

Marc Vanscheeuwijck - Se non è vero, è ben trovato: The “Violoncello da Spalla” in the 21st Century

Bernadette Nelson - Crossing Cultural Boundaries: Black African Slave Musicians and European Musical Collections at the Courts of Portuguese Nobility, c. mid to late 16th Century’

10:30-11:00 Break

Musical Editions

Themed session (45 minutes) Music meets Museums: Modern Venues for Early Music presented by Laura Toffetti and Giovanna Carugno

11:00-11:30

Valentina Anzani - Castrato and pater familias: the Case of Antonio Bernacchi (1685-1756)

Bruce Wood - The Curse of the Collected Edition

11:30-12:00

Stefano Aresi, Livio Marcaletti - “La sola mia abilità (qualunque ella siasi)”. Reconsidering Farinelli's Manuscript Embellishments

Georg Corall - From Score to Performance: When Does an18th-Century Copyist Become an Arranger?

12:00-12:30

Bruce Alan Brown - “Alla mia scuola hà cantato robbe anche difficilissime…”:The Material Remains of the Scuola di canto of Cavaliere Bartolomeo Nucci

12:30-2:00 Buses to Mantua

2:30-3:00

Special Session on Art and Music in Mantua between Guglielmo and Vincenzo Gonzaga - Teatro Bibiena, Mantua

3:00-3:30

3:30-4:00

4:00-4:30 Break

4:30-5:00

Visit to Palazzo Ducale: 1) Camera degli Sposi 2) Special itinerary The Music Places 3) Guglielmo's Corridor and Basilica of Santa Barbara

5:00-5:30

5:30-6.30

7:30-8:30 Closing Concert in Santa Barbara: Monteverdi, Merulo, Rovigo

8:30-10:00 Dinner

10:15-11:30 Buses to Cremona

Palazzo Trecchi

123

45

Ground floor

First floor

R

R Registration desk 1 Galleria delle Armi 2 Sala Teatro 3 Sala Oro 4 Sala Violini 5 Sala Messina