SESSION 1: OPERA NARRATIVES AND ORIGINS THE ORIGINAL SCENARIO OF VERDIS I DUE FOSCARI Andreas Giger, Louisiana State

Universit On ! "u# $%&' Giuse((e Verdi su)*itted to t+e Teatro La Feni,e a s,enario o- I due Foscari -or a((rova# ) t+e ,ensors. T+e s,enario /as re0e,ted )ut eventua## revised -or Ro*e 1$%&&2. Its origina# version, (resu*ed #ost, +as no/ )een re,overed in t+e ar,+ive o- t+e Teatro La Feni,e. It dates -ro* a (eriod (rior to Verdis ,o##a)oration /it+ Fran,es,o 3aria 4iave, t+e eventua# #i)rettist, and raises 5uestions regarding its #iterar sour,e and aut+ors+i(. Un#i6e t+e o(era /e 6no/, t+e re,overed s,enario is )ased, o-ten /ord -or /ord, on Car#o 3aren,os (#a La famiglia Foscari 1$%'&2 and not, as +as )een (resu*ed, 7 rons The Two Foscari 1$%8$2. 3aren,o, a (oet -ro* t+e region )et/een Turin and Savona, is un#i6e# to +ave )een t+e aut+or o- t+e s,enario, +o/ever, )e,ause Verdi indi,ated t+at +e +ad in *ind a #i)rettist -ro* 3i#an, a 9(oet : o- so*e distin,tion, ;/+o< does not /ant to )e 6no/n.= S,+o#ars+i( +as t+us )e#ieved t+is (oet to )e Andrea 3a--ei, one o- Verdis ,#ose -riends and t+e eventua# ,o##a)orator on Attila, I masnadieri, and Mac eth. 7ot+ (ra,ti,a# and st #isti, ,+ara,teristi,s o- t+e s,enario suggest, +o/ever, t+at 3a--ei is not t+e aut+or. It is es(e,ia## un#i6e# t+at, as an aut+orit on 7 ron, +e /ou#d +ave introdu,ed a su)stantia# ne/ ,+ara,ter, rena*ed anot+er, and de(arted -ro* 7 ron in -avor o- +istori,a# a,,ura, . T+is (a(er suggests as a *ore #i6e# aut+or Giu#io Car,ano, a ,#ose -riend o- Verdis and -ounding *e*)er o- t+e 9Sa#otto 3a--ei= in 3i#an. ISA!ELLA D"AS#E$O OR GUSTAVS DISGUISES> AN UN?NO@N 4ROTOTA4E OF U$ !ALLO I$ MASC%ERA Avra Be(a(ada6ou, Universit o- Crete T+e (ro(osed (a(er -o,uses on an o(era -orgotten toda , )ut (o(u#ar in its ti*e> Isa ella d"As&eno, a /or6 ) t+e Ionian ,o*(oser 4ao#o Carrer and t+e un6no/n Ita#ian #i)rettist +idden )e+ind t+e initia#s R.G.S. T+e o(era Isa ella d"As&eno o(ened in A(ri# $%CC at t+e 3i#anese t+eatre DCar,ano and /as ,onsidered one o- t+e grands succ's o- t+e ear, a -a,t ,on-ir*ed ) t+e nu*erous re(etitions o- t+e (rodu,tion during t+at ear and t+e neEt. T+e (arti,u#arit ot+is /or6 #ies is its o)vious t+e*ati, si*i#arit to t+e ,e#e)rated Ita#ian o(era Un !allo in Maschera ) Giuse((e Verdi and Antonio So**a. 7ot+ /or6s dra*atiFe t+e assassination o- a sovereign ) +is (o#iti,a# and eroti, riva#, /+i,+ ta6es (#a,e during an o--i,ia# *as5uerade )a##. Ta6ing into ,onsideration t+at Carrers Isa ella 1,o*(osed in $%C' and -irst (resented in Ita# in $%CC2 is anterior to Verdis !allo 1$%C!2, it /ou#d )e reasona)#e to /onder /+et+er t+e /or6 o- t+e oung ,o*(oser -ro* Gante /as one o- t+e (rotot (es -or one o- t+e *a0or o(erati, ,reations o- t+e in,ontesta)#e 6ing o- t+e Ita#ian o(era. @as Verdi or +is #i)rettist So**a a/are o- Isa ella d"As&eno, a )ig o(erati, +it at t+at ti*e in 3i#ano, /+en t+e started /or6ing on t+e dra*ati, (#ot o- Un !allo in MascheraH T+is (a(er /i## atte*(t to ans/er t+is 5uestion ) o--ering a ,o*(arative eEa*ination o- t+e t/o o(eras, su((#e*ented ) a s,rutin o- t+e ot+er 6no/n (rotot (es o- Un !allo in Maschera, su,+ as t+e /or6s o- Au)er 1!al Mas(u)e2, Ga)ussi 1Clemen*a di +alois2 and 3er,adante 1Il Reggente2.

9@UNDER 3USS ICH EUCH 3ELDEN=> SIEGFRIEDS DEATH SONG IN ACT III OF ,-TTERD.MMERU$, "ose(+ E. "ones, C+inese Universit o- Hong ?ong Nu*erous s,+o#ars +ave noted t+at t+e (rotra,ted genesis o- @agners *onu*enta# Der Ring des $i elungen #e-t t+e /or6 vu#nera)#e to *usi,a# and dra*ati, in,onsisten,ies. One su,+ in,onsisten, is Sieg-rieds ineEa,t re,a(itu#ation o- t+e @ood)irds song -ro* A,t II oSiegfried in t+e *o*ents )e-ore +is deat+ in ,/tterd0mmerung, /+ere )ot+ t+e teEt and *usi, are trans-or*ed in su)t#e, et signi-i,ant /a s. @+i#e see*ing to )e a *inor (aradoE, Sieg-rieds a#tered re(rise o- t+e @ood)irds song is in -a,t (art o- a de#i)erate strateg ) @agner, )ound u( /it+ a series o- *usi,a# and dra*ati, re,a(itu#ations in ,/tterd0mmerung t+at dra/ on *ateria#s -ro* t+e (re,eding o(eras. T+is strateg is revea#ed in (art ) @agners *anus,ri(ts dating -ro* $%&% to $%C$I t+e revisions t+erein (oint to de#i)erate ,+oi,es 1rat+er t+an oversig+ts2 in +is s+a(ing o- t+e dra*a. @agners ,ontro# o- t+e eE(anding teEt -or t+e Ring t+roug+ its *an revisions s+o/ +i* ,ra-ting a #arge /e) o- dra*ati, asso,iations, *an o- /+i,+ )ear *usi,a# i*(#i,ations. @+at is invo#ved is not on# t+e re,urren,e o- asso,iative t+e*es, )ut a#so a so(+isti,ated treat*ent o*usi,a# re(resentation and -or*s. Instead o- du(#i,ating t+e origina#, @agner reinter(rets +is o/n ear#ier *usi, and teEt, re-#e,ting )ot+ +is o/n *aturation and t+at o- +is ,+ara,ters. T+roug+ Sieg-rieds narration and ot+er eEa*(#es in ,/tterd0mmerung, t+is (a(er *a6es t+e ,ase t+at @agner (aid in,reasing attention to ,reating *eaning-u# re,a(itu#ator gestures as +e (rogressed to t+e end o- t+e , ,#e. RICHARD @AGNERS OVERTURE TO TA$$%.USER> IN SEARCH OF THE 9@ILDE "AGD= ?irsten S. 4aige, Universit o- Ca*)ridge 9T+e s#ee(ing devi#: a *onstrous giant: /+o *a see6 +i*, )ut @otan: and t+us t+e wilde 1agd ,o**en,es:=$ @it+ t+ese /ords, "a6o) Gri** ignited t+e i*agination o- Ri,+ard @agner /+o, ) t+e ti*e +e +ad read Gri**s Deutsche M2thologie in $%&8, /as a#read ,on,e(tua#iFing +is setting o- t+e (o(u#ar Ger*an * t+, Tannh0user. @agners Tannh0user is unusua# in t+at @agner /rote a (rogra* -or t+e o(eras overture. 4roviding a (rogra* -or t+e overture to one o- +is o(eras /as un,+ara,teristi, o- @agner, /+o /rote a si*i#ar# vivid and invo#ved (rogra* -or Der Fliegende %/llander in $%&J and -or Lohengrin in $%CJ, )ut -or no ot+er o(era )e-ore or a-ter. @agner *a6es a )rie- *ention o- t+e wilde 1agd 19/i#d +unt=2 in +is (rogra* -or t+e Overture to Tannh0user, a *ention t+at is so -#eeting t+at it *ig+t go ) unnoti,ed. @+i#e @agners setting o- t+e * t+ in t+e ,onteEt o- t+e overture is a## o- a doFen rat+er t+in# or,+estrated *easures, t+e *usi,a# stru,tures +e uses to de(i,t t+e wilde 1agd in t+e overture ga##o( t+roug+ t+e entiret o- t+e o(era, #eaving -oot(rints in uneE(e,ted (#a,es. 3 (a(er (rovides a ,are-u## dire,ted reading o- t+e o(era t+at invo#ves eEtra,ting ea,+ o- t+ese *usi,a# stru,tures and ana# Fing its sur(rising and revea#ing ,onne,tion /it+ t+e *o*ent in t+e o(era in /+i,+ it is -ound, *o*ents t+at are o-ten in dire,t o((osition to one anot+er. T+is ana# sis i##u*inates a ne/ de(t+ and ,o*(#eEit to Tann+Kusers stor and to +is re#ations+i(s /it+ Venus and E#iFa)et+.

Jakob Grimm, Deutsche Mythologie: Volume 1 (1835), 517

SESSION 2: GENRES AND TOPICS 1DE2CONSTRUCTING GENRE> SCHU7ERTS ENGAGE3ENT @ITH THE FANTASIA TRADITION 7ar)ara Stra+an, NUI 3a noot+ T+e (ro,ess o- un,overing t+e o(erative -un,tions o- an given generi, grou( (rovo6es severa# #a ers o- 5uestioning> Ho/ does a ,ategor )e,o*e esta)#is+edH Indeed, does a ,ategor esta)#is+ itse#- or do /e i*(ose taEono*i,a# distin,tions u(on ,ertain grou(s o- /or6sH Su,+ 5uestioning ,riti5ues t+e ,#assi-i,ation *et+odo#ogies o- Da+#+aus, /+ose a((roa,+ is sti## a((arent in t+e *ost re,ent *usi,o#ogi,a# dis,ourses regarding S,+u)ert and genre. T+e assess*ent o- t+ese *et+ods o- ,ata#oguing *usi, re#ates to t/o se(arate )ut asso,iated as(e,ts o- t+is (a(er> t+e ,#assi-i,ation o- )ot+ t+e (iano duet and t+e -antasia genre. Indeed, S,+u)erts (rodu,tion o- -antasies -or *u#ti(#e *ediu*s> (iano so#o, (iano duet and one -or vio#in and (iano )ring into 5uestion t+e ro#e o- an instru*enta# *ediu* in ,reating generi, *eaning. T+is (a(er s+a## t+ere-ore ,o**en,e /it+ one -unda*enta# 5uestion> do t+e (iano duets o- S,+u)ert ,o*(rise a distin,t ,ategor H T+e se,ond (art o- t+is (a(er s+a## investigate S,+u)erts engage*ent /it+ t+e -antasia genre as eviden,e in t+e de)ate o- /+et+er -ourL+and *usi, o(erates as a taEono*i,a# t (e. T+e tradition o- t+e -antasia as virtuosi, and i*(rovisator et (ersona# and esoteri, /it++o#ds (ro-ound *eaning -or /or6s su,+ as t+e F *inor -antas D!&J 1$%8%2 -or (iano duet. Indeed, +o/ did t+e ,+osen -ourL+and *ediu* o- D!&J re#ate to S,+u)erts ot+er -antasies -or (iano 1so#o and duet2 as /e## as to ot+er ,onte*(orar /or6s o- t+is t (eH T+e t+eoreti,a# -ra*e/or6 in /+i,+ su,+ eE(#orations s+a## )e ,onsidered o/es +o*age to t+e se*ina# /or6 done ) "e--re ?a##)erg /+o +as e*)ra,ed t+e i*(ortan,e o- res(onse, tradition, ,rossLgeneri, re-eren,ing and t+e ,onte*(orar M,onteEtua# signi-i,an,e o- genre. ISSUES OF GENRE IN STANFORDS 4IANO 4RELUDES O4.$N' AND O4.$O! AdP#e Co**ins, Dunda#6 Institute o- Te,+no#og Di--i,u#ties /it+ t+e ,#assi-i,ation o- genres +ave do*inated *usi,o#ogi,a# studies. T+e e*ergen,e o- t+e unatta,+ed or inde(endent (re#ude /it+ an a)andon*ent o- its (re-ator ro#e in t+e nineteent+ ,entur resu#ted in a ,+ange o- -un,tion and di--ering (er,e(tions o- t+e genre. ?ra*er )e#ieved t+at t+e unatta,+ed (re#udes o- t+e nineteent+ and t/entiet+ ,enturies ,ou#d )e ,onsidered a Ro*anti, ,o*(osition se(arate -ro* its 7aro5ue (rede,essor. T+is, +o/ever, does not -u## a((# to Stan-ords -ort Leig+t (re#udes /+i,+ /ere ,o*(osed in t+e ear# t/entiet+ ,entur due to +is -usion o- )ot+ 7aro5ue and Ro*anti, (ra,ti,es. One D(ro)#e* /+i,+ e*erges /it+ t+e ,o*(osition o- a (re#ude, +o/ever, is t+at t+ere is no ,#ear stru,tura# or -or*a# *ode# -or t+e ,o*(oser to -o##o/. Sa*son noted C+o(ins D(ersistent a##usion to genres outside t+e *ain ,ontro##ing genre o- t+e /or6, a trend -o##o/ed ) Stan-ord. A#t+oug+ t+is in-usion ,an ,reate tension )et/een t+e D+ost and Dguest genre, t+e integration oand a##usion to t+e (o(u#ar genre /it+in t+at o- t+e (re#ude adds an eEtra di*ension to t+e eE(e,ted (resentation o- t+e (re#ude. At t+e -ore-ront o- t+is (a(er /i## )e an eEa*ination o- Stan-ords (re#udes /+i,+ in,#ude )ot+ eE(#i,it and i*(#i,it re-eren,e to (o(u#ar genres and st #es /it+in t+e ,ontro##ing genre. T+is eEa*ination /i## de*onstrate t+at Stan-ord, /+i#e ,+oosing to -o##o/ a 7aro5ue tona# *ode#, sa/ t+e (re#ude genre as an evo#ving genre, not ,o*(#ete# -iEed in its (resentation or -un,tion, a t+e*e re,ognised ) /riters su,+ as Citron and Hernstein S*it+. T+is (a(er /i## a#so eE(#ore Stan-ords eE(#oitation o- )ot+ 7aro5ue and Ro*anti, trends /it+in +is uni5ue a((roa,+ to t+is genre as +e eE(#ored t+e eE(ressive (ossi)i#ities o- t+e (re#ude genre t+roug+

+is ,o*(re+ensive , ,#e o- *iniatures. A,6no/#edging Stan-ord as t+e -irst Iris+ or Eng#is+ ,o*(oser to (rodu,e su,+ a ,o##e,tion, ,ou(#ed /it+ +is i*aginative a((roa,+ to t+e genre t+roug+ t+e in,#usion o- a range o- (o(u#ar genres /+i,+ o--er a sna(s+ot o- +is -avoured st #es, dee*s t+e /or6s /ort+ o- rea((raisa# in t+e ,ourse o- (re#ude studies. LISGTS 3USICAL TO4ICS Andre/ Haringer, Dart*out+ Co##ege One o- t+e great a,+ieve*ents o- t+e #ate Ra *ond 3one##es /or6 on to(i,s t+eor is +is i*(ortation to nineteent+L,entur *usi, o- an inter(retative *ode# t (i,a## asso,iated /it+ t+e *usi, o- t+e (re,eding era. 7ui#ding u(on ?o-i Aga/us /or6 in t+is regard, 3one##e /rites in +is 8JJN /or6 The Musical To&ic, 9 ou ,an sti## +ear to(i,s in Ro*anti, *usi,, )ut t+e do not *ean t+e sa*e t+ing= 1%2. S(e,i-i,a## , Ro*anti, ,o*(osers are *ore in,#ined to in-#e,t to(i,s in so*e /a , to ,o**ent on ,onventions in /a s t+at ,on-or* to t+eir o/n (arti,u#ar su)0e,tivit . T+is is es(e,ia## true in (rogra**ati, instan,es, des(ite 3one##es /arning t+at 9(rogra* *usi, and to(i,a# re-eren,e are (oor )ed-e##o/s= 18&N2. @+i#e t+e (e,u#iarities oRo*anti, (rogra* *usi, *a divest to(i,s o- t+eir ,onventiona# (oten, , s6i##-u# *ani(u#ation o- t+ese ,onventions ,an o-ten serve (o/er-u# eE(ressive ends. No/+ere is t+is *aEi* truer t+an in LisFts *usi,, -or LisFt understood )etter t+an an one t+e *usi,a# ,onventions o- +is era, and +o/ t+e ,ou#d )e )ot+ invo6ed and deve#o(ed t+roug+out t+e ,ourse o- a (ie,e. His (ie,es -re5uent# reintrodu,e t+e*es in a variet o- to(i,a# guises to -urt+er t+e narrative. To give 0ust one eEa*(#e, LisFt (resents t+e gondo#iers song in Tasso as a *inuet to evo6e t+e +istori,a# ,ourt o- Ferrara, a##uding to t+e C#assi,a# era in (arti,u#ar to re-eren,e t+e (ast in genera#. In t+is (a(er, I /i## eE(#ore t+is and ot+er instan,es o- LisFts uni5ue a((roa,+ to *usi,a# to(i,s, rooting t+e* in t+e i*(rovisator (ra,ti,es t+at ,onstitute t+e )asis o- +is st #e. 9LAUGHTER AND FORGETTING=> THE SOCIOLCULTURAL DANA3ICS OF 3ARCH AND DANCE IN 3AHLERS 3USIC "ere* 7ar+a*, Universit o- Surre @+i#e t+e *usi,a# to(i,s o- *ar,+ and dan,e are -unda*enta# to 3a+#ers idio#e,t, t+e are rare# used straig+t-or/ard# or un(ro)#e*ati,a## . Sur(rising# , eE(#oration o- t+e dee(er ,u#tura# signi-i,an,e o- +is *ani(u#ation and reL,onteEtua#iFing o- su,+ *usi,a# *ateria# +as )are# )egun. Ca##ing on t+e so,ioL(o#iti,a# ,+ara,teriFations o- t+is ,u#tura# dua#it in t+e /or6s o- eEi#ed CFe,+ /riter 3i#an ?undera 1es(e,ia## The !oo3 of Laughter and Forgetting 1$!O%22, t+is (a(er ai*s to deve#o( a #ine o- in5uir /it+in 3a+#er studies. A dou)#e (aradoE ,an )e identi-ied> on t+e one +and, t+e dan,e ,arries /it+ it ,onnotations o- t+e *agi,a#, (#a , ritua# unit , and t+e inno,en,e o- ,+i#d+ood, /+i#e t+e *ar,+ suggests Real&oliti3, dut , -a#se unit and an i*(osed or 6no/ing sense o- ,ontro#I on t+e ot+er +and, t+e ,ir,#e o- t+e dan,e is vu#nera)#e to eE,essive and distur)ing insu#arit , and is a ,#osed -or*, es,a(e -ro* /+i,+ ris6s (er*anent eE,#usion and a#ienation, /+i#e t+e ro/ o- t+e *ar,+ is an o(en -or* /+i,+ a##o/s ,o*(arative# eas de(arture and return, at t+e ris6 o- unt+in6ing ,on-or*it and -a,i#e (re0udi,e. T+is (a(er argues t+at 3a+#er aest+eti,iFes t+ese ,on-#i,ting ,u#tura# tenden,ies in a variet o- stru,tura# and idio*ati, /a s a,ross t+e range o- +is out(ut, to su,+ an eEtent t+at +istori,a# and so,ioL(o#iti,a# *eanings *a )e use-u## in-erred. T+e (ostLSevent+LS *(+on de,rease in stru,tura# re,ourse to t+e *i#itaristi, *ar,+ to(i, is a#so assessed in t+e #ig+t o- t+at /or6s unusua## disintegrative strategies and t+e (ersisten,e o- dan,e -or*s in t+e sa*e (eriod.

SESSION 3: URBAN IDENTITIES THE THEATRE OF @AR> 4ATRIOTIC SINGING AT 7ERLINS NATIONALTHEATER, $%JCLN ?at+erine Ha*)ridge, Universit o- Ca*)ridge In @i##i)a#d A#eEiss $%C8 +istori,a# nove# Ruhe ist die erste !4rger&flicht, t+ree ,+a(ters are devoted to rea# events on t+e evening o- $O O,to)er $%JC at 7er#ins Nationa#t+eater. In )ot+ A#eEiss reLi*agining and in ,onte*(orar a,,ounts, t+e (er-or*an,es o- "ose(+ 3arius 7a)os Der #uls and Friedri,+ S,+i##ers 5allensteins Lager /ere overs+ado/ed ) /+at -o##o/ed> a-ter S,+i##ers Reiter#ied, /+i,+ ,on,#udes 5allensteins Lager, a ne/ /ar song /as distri)uted to t+e audien,e, /+o 0oined in /it+ its rendition ) t+e a,tors onstage. T+e sensation t+at t+is ,aused Q in a ,it a/aiting its troo(s de(arture -or /ar Q a((ears to +ave esta)#is+ed S,+i##ers (#a as an o,,asion -or singingI its (o(u#arit unti# 4russias de-eat in O,to)er $%JN, a,,ording to so*e ,riti,s, rested (ure# on t+e eE(e,tation o- singing a-ter it> it -un,tioned as a 6ind o- dra*ati, (re#ude to *usi,a# eE(ressions o- ,o**unit . In * (a(er, I use t+ese o,,asions and re(ertoires to tra,e t+e e*ergen,e o- a ,u#ture o,o**una# singing in t+e ear# nineteent+ ,entur . @it+ re-eren,e to ,onte*(orar and #o,a# dis,ussions a)out t+e (o/er o- singing to unite (eo(#e, I suggest t+at 7er#iners /ere res(onding )ot+ to ,on,erns a)out t+e unit o- 4russia in t+e -a,e o- Na(o#eoni, invasion, and to re(orts ot+e ro#e t+at song and singing +ad (#a ed in uniting t+e *asses in re(u)#i,an Fran,e. T+e resonan,e t+at t+is one nig+t +ad -or t+e neEt CJ ears is +ig+# suggestive o- t+e (er,eived i*(ortan,e o- deve#o(ing (atrioti, *usi,a# re(ertoires and a,tivities at t+is ti*e. THE SOUND OF 4ORTO IN THE $!TH CENTURA> I34ORTING 3USIC FRO3 EURO4E Ana Li)era#, CITAR, 4ortuguese Cat+o#i, Universit Rui 4ereira, Casa da 3Rsi,a T+e geogra(+i,a# #o,ation o- 4orto, a *a0or ,it situated at t+e /estern edge o- Euro(e, re*ote -ro* )ot+ t+e eE,#usive ,ir,#e o- ro a#t )ased in Lis)on and t+e ,u#tura# #i-e o- ot+er Euro(ean ,a(ita#s /as t+e ,ause o- a ,onsidera)#e de#a in t+e introdu,tion o- *a0or /or6s -ro* t+e Ro*anti, (eriod. O(era do*inated $!t+ ,entur *usi,a# #i-e in 4orto, invo#ving t+e i*(ortation not on# o- t+e Ita#ian o(erati, re(ertoire )ut a#so o- Ita#ian (er-or*ers. In addition, a## 6inds o*usi,a# t+eatre too6 (#a,e in t+e to/n, -ro* o(erettas, ,o*i, o(eras to FarFue#as, -eeding a net/or6 o- t+eatres. Nonet+e#ess, and due to t+e e--orts o- so*e #o,a# *usi,ians, severa# atte*(ts /ere done to introdu,e or,+estra# and ,+a*)er *usi, and to (ro*ote its regu#ar (rogra**ing in t+e ,it . T+ese initiatives in,#uded t+e -ounding o- t+e 4orto 4+i#+ar*oni, So,iet 1$%&J2, t+e ,ontra,ting o- C+ar#es 3arie @idor as Organist and Co*(oser in Residen,e at t+e Cr sta# 4a#a,e 1$%NC2 and t+e ,onse5uent introdu,tion o- 4o(u#ar Con,erts, t+e de)ut ot+e Suartet So,iet 1$%O&2, /+i,+ *ar6ed a de-initive ,+ange in re(ertoire (er-or*ed in 4orto, and t+e -or*ation o- t+e ,+ora# so,iet Or(+eon 4ortuense 1$%%$2 /+i,+ /ou#d *a6e 4orto a ne/ destination in t+e virtuosi tour. T+is (a(er des,ri)es *usi,L*a6ing in 4orto in t+e $!t+ ,entur -o,using u(on t+e various (#a,es /+ere *usi, ,ou#d )e (#a ed, t+e re(ertoire (er-or*ed ) )ot+ #o,a# and visiting artists, in,#uding internationa# reno/ned virtuosi, and dra/s ,on,#usions -ro* t+e ,onse5uen,es oi*(orting Euro(ean *ode#s o- (er-or*an,e /it+out )ui#ding t+e )ases o- a #o,a# ,o**unit /it+ *usi,a# edu,ation.

THE ROLE OF 4ROFESSIONALS AND DILETTANTES IN 4U7LIC 3USICAL LIFE IN STOC?HOL3 DURING THE 3IDL$!TH CENTURA Anne Reese @i##Tn, Universit o- U((sa#a T+e (u)#i, *usi,a# #i-e in Sto,6+o#* in t+e #ate $%JJs ,a*e out o- a stru,tura# trans-or*ation. T+is in,#uded an institutiona#iFation and (ro-essiona#iFation /+i,+ /as t+e resu#ts o- *ore genera# so,ia# ,+anges, and individua# driving -or,es a*ongst t+e (ro-essiona# *usi,ians. T+is /as a #ong (ro,ess, )ut +ere I /i## -o,us on t+e *idL$!t+ ,entur . In t+e ear# $%JJs, *usi,a# #i-e /as *ost# ,ontro##ed ) t+e ro a# (o/er, )ut to/ards t+e *idd#e o- t+e ,entur , t+e )ourgeoisie gained in,reasing a*ount o- ,ontro#. NonL(ro-essiona# *usi,ians +ad i*(ortant ro#es t+roug+out t+is (ro,ess, and /ere a ,entra# (art o- t+e *usi,a# #i-e in t+e ,it . At t+e sa*e ti*e severa# *usi,ians, (ro-essiona## edu,ated a)road, sa/ t+e de(enden,e on a*ateur or di#ettante *usi,ians and singers as a great (ro)#e* in t+e state o- t+e *usi,a# #i-e. T+e *ost arti,u#ated ot+ese /ere A#)ert Ru)enson and Ludvig Nor*an, )ot+ +aving studied in Lei(Fig and #ater on rea,+ing to( (ositions in t+e *usi,a# #i-e o- Sto,6+o#*. T+eir ai* /as to rea,+, in t+eir *inds, an internationa# standard o- (u)#i, *usi,a# #i-e, -ir*# rooted *usi,a# institutions and (ro-essiona#s, su((orted ) a *usi,a## /e##Lin-or*ed (u)#i,. T+ese *usi,ians ,are-u## ana# Fed t+e situation and arti,u#ated t+e*se#ves on t+e )est /a to rea,+ t+e goa#. I /is+ to argue t+at t+ere /as a great dea# o- a/areness on (ossi)i#ities and o)sta,#es in t+e /a to t+eir vision and *usi,a# entre(reneurs+i( /as an individua# driving -or,e. THE ORIGINS OF IDENTITIES> 3USIC SOCIETIES IN EARLA VICTORIAN DU7LIN AND THEIR LONDON NA3ESA?ES Cat+erine Ferris, Du)#in Institute o- Te,+no#og T+roug+out t+e nineteent+ ,entur , Du)#ins *usi, so,ieties (resented a *i,ro,os* o- t+e ,it s ,+anging so,ia# )a,6dro( and *irrored si*i#ar deve#o(*ents /it+in t+e /ider *usi, s,ene. T+is (a(er is )ased on t+e ,on,#usions o- * do,tora# resear,+ /+i,+, t+roug+ a stud o- *usi, so,ieties, esta)#is+ed and de*onstrated a -ra*e/or6 -or use o- ne/s(a(ers as a sour,e -or *usi,o#ogi,a# resear,+. T+e ne/s(a(ers eEa*ined (rovide su,+ detai#ed in-or*ation into t+e ever da a,tivities o- t+e -ourteen *usi, so,ieties a,tive in Du)#in during t+e (eriod $%&J to $%&&, t+at -or t+e -irst ti*e signi-i,ant ,on,#usions ,an )e dra/n regarding t+eir identities. Due to t+e (au,it o- detai# (revious# avai#a)#e, it /as i*(ossi)#e to dra/ ,orre#ations )et/een Du)#in so,ieties and t+eir London na*esa6es, des(ite (u)#is+ed resear,+ stating t+at t+e Du)#in 4+i#+ar*oni, So,iet , -or eEa*(#e, *ode##ed itse#- on its London ,ounter(art. @+i#e si*i#arities in t+eir unusua# na*es 1e.g. t+e Ana,reonti, So,iet , t+e Antient Con,erts So,iet 2 -oster su,+ assu*(tions, t+is (a(er /i## eEa*ine t+e area in detai#. It /i## tra,e t+e origins o- t+e individua# Du)#in so,ieties no*en,#ature and eEa*ine t+eir stated ai*s and ever da a,tivities, ,o*(aring t+e* /it+ t+eir na*esa6es. It /i## de*onstrate t+at ,orre#ations /ere su(er-i,ia# and rare# a#igned eit+er ideo#ogi,a# or (ra,ti,a## , t+ere) ,ontri)uting signi-i,ant# to t+e re,eived understanding o- t+e in-#uen,e /+i,+ t+e London *usi, s,ene eEerted on t+at o- Du)#in.

SESSION 4: APPROPRIATING EUROPE FOR THE NEW WORLD CREATING A SA34HONA IN O4ERAS I3AGE> @ILLIA3 HENRA FRA AND THE FUTURE OF A3ERICAN 3USIC AT 3IDLCENTURA Doug#as S+ad#e, Universit o- Louisvi##e Euro(ean s *(+oni, ,o*(osition rea,+ed an i*(asse at *idL,entur . T+e -ina# s *(+onies o7er#ioF, S(o+r, and S,+u*ann *ar6ed t+e end o- a ,ontentious era, and LisFt +ad re,ent# )egun +is renovation (ro0e,t, t+e s *(+oni, (oe*. T+e s *(+on see*ed to )e d ing in Euro(e )ut re,eived a )reat+ o- ne/ #i-e -ro* an un#i6e# sour,e> @i##ia* Henr Fr o4+i#ade#(+ia, a *usi, ,riti, and as(iring o(era ,o*(oser. Fr 1$%$'QN&2 estee*ed t+e Ita#ian el canto st #e over a## ot+ers and argued t+at instru*enta# *usi, s+ou#d as(ire to o(erati, )eaut , a drasti, reversa# o- (revai#ing aest+eti, t+oug+t (rivi#eging instru*enta# *usi,s /ord#ess -reedo*. His seven s *(+onies, ,o*(osed )et/een $%C8 and $%N', *ani-ested t+is unusua# (+i#oso(+ . Li6e LisFt, Fr re,on,eived t+e s *(+on as a sing#eL*ove*ent /or6 uni-ied (ri*ari# ) an eEterna# narrative (#ot, set -ree -ro* t+e arti-i,ia# ,on-ines o- sonataLa##egro -or* and t+e ,onventiona# series o- -our *ove*ents. Un#i6e LisFts s *(+oni, (oe*s, /+i,+ )orro/ t+e*ati, trans-or*ation and *otivi, deve#o(*ent -ro* ,#assi,a# Ger*ani, *ode#s, Fr s /or6s instead (resent a series ovignettesUarias and re,itativesUt+at te## dra*ati, stories in instru*enta# song. His unort+odoE a((roa,+, e(ito*iFed in a /or6 ,a##ed Santa Claus6 Christmas S2m&hon2 1$%C'2, )e,a*e t+e su)0e,t o- -ier,e de)ates in t+e U.S. *usi,a# (ress a)out t+e ver de-inition o- t+e genre, in,#uding its nationa# identit . Cou#d a s *(+on rig+t-u## sound 9nonLs *(+oni,,= and i- so, did t+at *a6e it 9A*eri,an=H Indeed, as t+is (a(er de*onstrates, Fr s /or6s and t+e ,ontrovers surrounding t+e* #aid t+e -oundation -or t+e s *(+on s ,ontinued deve#o(*ent in t+e United States. 9GE3S OF EBSUISITE 7EAUTA=> 7A?ER AND SOUTHARDS $%CJ %A7D$ COLLECTIO$ AND A3ERICAN HA3NODAS 4ATH TO@ARD A CLASSICAL AESTHETIC 4eter 3er,erLTa #or, Universit o- 3innesota Ante)e##u* + *n tune editors gave a su)stantia# -ra,tion o- A*eri,ans t+eir -irst g#i*(se o- t+e tradition o- Ha dn, 3oFart, and 7eet+oven, dra/ing on *e#odi, *ateria# ,u##ed -ro* great s/at+s o- Euro(ean art *usi,. Aet -ro* t+eir ti*e to ours, ,riti,s +ave (roven (re(ared to ,+arge su,+ ada(tations /it+ trivia#iFing t+eir sour,es, a--ording *e#odi, sni((ets, )ut not+ing o- t+e teEtura# and +ar*oni, su)t#et or sustained *usi,a# argu*ents t+at gave Euro(ean art *usi, its signi-i,an,e. T+oug+ 3asons $%88 !oston %andel and %a2dn Societ2 Collection -or*ed an in-#uentia# ,ornerstone, vo#u*es #i6e 7a6er and Sout+ards $%CJ %a2dn Collection s(ear+eaded a dra*ati, eE(ansion in t+e s,o(e o- t+is ,reative enter(rise at *id,entur . @+ere Ha dn, 3oFart, and 7eet+oven aggregate# /ou#d t (i,a## )e ,redited /it+ no *ore t+an a doFen + *n tunes in an ear#ier vo#u*e, t+e ,ontri)ute '' to The %a2dn Collection. And t+e o)s,ure art o- ada(tation +ad never )een ta6en *ore serious# . Dra/ing on The %a2dn Collections *ost see*ing# e,,entri, ada(tations, t+is stud ,+a##enges t+e notion t+at +ig+erLorder ,o*(ositiona# ,on,erns /ere )e ond t+is genres rea,+. A re*ar6a)# -ree inter(retation o- t+e Allegretto o- 7eet+ovens Ot+ S *(+on , -or instan,e, o--ers a *u#tiL-a,eted en,ounter /it+ t+e +ar*oni, i*(#i,ations o- an inner voi,es NLnote ,+ro*ati, des,ent. T+e Theresienmesses 9Gratias agi*us= ie#ds a tune /+ose interna# ,aden,es see* )ent on en,a(su#ating Ha dns #argeLs,a#e tona# tra0e,tor . T+e -ina# ,aden,e oanot+er tune a((arent# ,o*)ines -eatures o- oth o- Sarastros arias in an e--ort to en,a(su#ate

t+e dra*ati, sound /or#d 3oFarts 8au erfl/te /eaves around t+e )ass voi,e. Su,+ *o*ents evin,e a vi)rant, genera## uneEa*ined di*ension o- t+e United States nas,ent artL*usi, ,u#ture. FRVDVRIC LOUIS RITTER 1$%'8HL$%!$2> A CO34OSER 7ET@EEN 9A7SOLUTE= AND 94ROGRA3 3USIC= 7rian 3ann, Vassar Co##ege FrTdTri, Louis Ritter 1$%'8HL$%!$2, A#satianL)orn ,ondu,tor, +istorian, )i)#io(+i#e, and, -ro* $%NO to $%!$, 4ro-essor o- 3usi, at Vassar Co##ege 14oug+6ee(sie, N. A.2, /as a#so an a*)itious ,o*(oser o- s *(+onies, ,on,ertos, and ot+er or,+estra# /or6s. A*ong t+ese is Stella6 #o9me S2m&honi(ue d"a&r's +ictor %ugo, a ,urious Do&&elg0nger t+at (roves to )e ,#ose# re#ated in ,ontent to anot+er *anus,ri(t entit#ed S2m&hon2 no: ; in one mo<ement. As a s *(+oni, (oe* Stella )etra s its o)vious 6ins+i( /it+ LisFts e--orts in t+is genreI as a oneL*ove*ent s *(+on it is +ig+# ano*a#ous -or its ti*e. And et in $%O', Car# 7erg*ann ,ondu,ted t+e 7roo6# n 4+i#+ar*oni, in t+e (re*iere o- so*e version o- t+is /or6U(resented as t+e ,o*(osers S2m&hon2 $o: ; in c. Ritters s+i-ting ,+ara,teriFation o- t+is (ie,e ,an )e ta6en as eviden,e o- t+e genera## un-avora)#e re,e(tion o- LisFts s *(+oni, /or6s in t+e US during t+ese ears. T+is re,e(tion in turn re-#e,ts *ore )road# t+e ,ontrovers surrounding t+e o((osing ,#ai*s o- (rogra* *usi, and a)so#ute *usi,. Ritters +istori,a# /ritings o--er eviden,e o- +is su((ort -or LisFtian idea#s> in +is %istor2 of Music 1$%O&2 +e vigorous# de-ends (rogra* *usi, and ,+astises 9narro/L *inded ,riti,s and -ossi#iFed artists, /a#6ing 6neeLdee( in antedi#uvian soi#, ;/+o< sti## gossi( a)out t+e (ure# *usi,a# #a/s t+at s+ou#d eE,#usive# govern t+e ,o*(oser in +is e--orts.= T+is (a(er eEa*ines t+e ,ontrovers )et/een a)so#ute and (rogra* *usi, in t+e US in t+e ears around $%OJI (#a,es Ritters or,+estra# e--orts in t+at ,onteEtI and o--ers a ,#oser #oo6 at Stella and its LisFtian e#e*ents. SESSION 5: CONCERTO FORMS 3UTUAL DEFOR3ITA> 3OSCHELES SEVENTH AND 7ENNETTS FOURTH 4IANO CONCERTOS 7enedi,t Ta #or, Universit o- OE-ord @+i#e neit+er t+e *usi, o- IgnaF 3os,+e#es nor t+at o- @i##ia* Sternda#e 7ennett -eature in t+e *odern re(ertor , t+e (iano ,on,ertos o- )ot+ ,o*(osers -or* (art o- a signi-i,ant re(ertor o,on,ertated /or6s dating -ro* t+e ear# nineteent+ ,entur t+at o--ers *ode#s -or ,on,erto -or* at varian,e /it+ ,onventiona# t/entiet+L and t/ent L-irstL,entur a,,ounts o- t+e genre. 3os,+e#es Con,erto No. O in C *inor 1Concerto #ath)ti(ue, dating -ro* $%'CLN2 and 7ennetts Con,erto No. & in F *inor 1$%'%2 are (er+a(s t/o o- t+e )est eEa*(#es -or ,ontinuing t+e re,ent s,+o#ar# revision o- our understanding o- nineteent+L,entur -or* and +o/ /e *a )est t+eorise it. T+e o(ening *ove*ents o- )ot+ /or6s are ,ast in sing#e eE(osition ,on,erto -or*, )ut +ave -urt+er -eatures t+at ,o*(#i,ate and (ro)#e*atise t+eir re#ations+i( /it+ a## -ive t (es o- Sonata For* set out ) He(o6os6i and Dar, in Elements of Sonata Theor2. 7ot+ are si*i#ar# unusua# in t+at t+e return to t+e toni, *inor -or t+e se,ond ritorne##o state*ent t+at ) ,onvention signi-ies t+e ,#osure o- t+e D#arger eE(osition, and, (ro)a)# as a ,onse5uen,e ot+is (reLe*(tor rea((earan,e o- 4ri*ar *ateria# in t+e toni,, t+eir re,a(itu#ations are drasti,a## eE,ised, ,o*(#i,ating t+e (ostLeE(ositiona# stages o- t+e -or*. O- t+e t/o, 7ennetts ,on,erto is t+e *ore radi,a## Dde-or*ed, )ut a((ears to ta6e its )earings su)stantia## -ro*

t+at o- 3os,+e#es 1to /+o* it is dedi,ated2. T+ese t/o /or6s t+us (rovide a ri,+ t+eoreti,a# and +er*eneuti,a# ,+a##enge to t+e +istoriogra(+ o- nineteent+L,entur instru*enta# -or*. 3ETRE, FOR3 AND SA34HONIS3 IN THE SCHERGO OF 7RAH3S 4IANO CONCERTO NO. 8, O4. %' "u#ian Horton, Universit Co##ege Du)#in Revie/ing t+e Viennese (re*iere o- 7ra+*s 4iano Con,erto No. 8, given on 8Nt+ De,e*)er $%%$, Eduard Hans#i,6 identi-ied t+e /or6 as Da great s *(+on /it+ o))#igato (iano, t+ere) introdu,ing a vie/ t+at +as sin,e )e,o*e a ,o**on(#a,e o- t+e /or6s re,e(tion. And et, re-#e,ting t+e (au,it o- Ang#o(+one s,+o#ar# res(onses to O(. %', ana# sts +ave )een s#o/ to investigate t+e te,+ni,a# )asis o- its a((arent s *(+onis*. In (arti,u#ar, a#t+oug+ t+e S,+erFo se,ond *ove*ent (#a s a (ivota# ro#e in esta)#is+ing a s *(+oni, identit , t+e *ove*ents -or*a# (ro,esses and t+eir i*(a,t on O(. %'s overa## design +ave re,eived s,ant attention. Dra/ing on re,ent studies o- 7ra+*sian *etre underta6en ) Ri,+ard Co+n, S,ott 3ur(+ and R an 3,C#e##and 1Co+n 8JJ$I 3ur(+ 8JJOI 3,C#e##and 8J$J, /+i,+ addresses t+e S,+erFo o- O(. %' dire,t# 2, t+is (a(er investigates t+e re#ations+i( )et/een t+e *etri,a# ,o*(#eEities engendered in t+e S,+erFos (ri*ar and su)ordinate *ateria# and t+e -or*a# a*)iguities arising in its ,on-#ation o- sonata and ,o*(oundLternar -or*s, (a ing s(e,ia# attention to t+e t+ree-o#d intera,tion o- *etri,a# dissonan,e, irregu#ar + (er*etre and -or*L -un,tiona# seg*entation. I argue -ro* t+is ana# sis to/ards a ,on,e(tion o- t+e S,+erFo as t+e -u#,ru* o- t+e Con,ertos s *(+oni, as(iration. 7ra+*s eE(#oits t+e *ove*ents eEtraLgeneri, status to generate a design, /+i,+ in its *arriage o- te#eo#ogi,a# and se,tiona# -or*s ,on-ronts dire,t# t+e di,+oto* )et/een ,on,ertante and s *(+oni, ,o*(ositiona# attitudes. T+e resu#t, +o/ever, is a , ,#i,a# -or*a# distortion, /+i,+ denudes t+e Fina#e o- an (otentia# su**ative -un,tion, and so ,#eaves t+e /or6 into s *(+oni, and 5uasiL,+a*)erL*usi,a# +a#ves. RACH3ANINOFFWS 7RANCH ON THE RUSSIAN OA?> ROTATIONAL FOR3 AND SA33ETRICAL HAR3ONA IN T%E ISLE OF T%E DEAD AND THE WINTER3EGGOW OF THE THIRD 4IANO CONCERTO Ste(+en Gosden, O)er#in Conservator o- 3usi, T+e ear $!J! is o-ten ,+ara,teriFed as a turning (oint in t+e deve#o(*ent o- Ra,+*anino--s ,o*(ositiona# st #e. Nu*erous t+eorists and )iogra(+ers o)serve a su)stantia# rise in t+e +ar*oni,, r+ t+*i,, teEtura#, and -or*a# ,o*(#eEit o- +is *usi, starting at t+is ti*e. Ho/ever, #i6e *an o- +is ,o*(ositions, t+e t/o /or6s /ritten t+at ear Q The Isle of the Dead 1,o*(osed "anuar L3ar,+2 and t+e T+ird 4iano Con,erto 1,o*(osed t+at su**er2 Q +ave re,eived insu--i,ient ana# ti,a# s,rutin . In t+is (a(er, I argue t+at t+e -or*a#, tona#, and t+e*ati, organiFation o- t+e s *(+oni, (oe* served as a ,ata# st -or t+e st #isti, deve#o(*ents *entioned a)ove in /a s t+at +ave not )een -u## addressed, and I de*onstrate t+at t+is is es(e,ia## evident in t+e (iano ,on,ertos se,ond *ove*ent 19Inter*eFFo=2. To )egin, I dis,uss +o/ Ra,+*anino-- e*(#o s /+at He(o6os6i and Dar, ,a## t+e 9rotationa# (rin,i(#e= as a /a o- de#i)erate# es,+e/ing ,onventiona# -or*a# *ode#s in The Isle of the Dead, and +o/ t+is re#ates to David Cannatas o)servation t+at its tona# stru,ture is )ased on t+e e5ua# division o- t+e o,tave. I t+en s+o/ +o/ t+e Inter*eFFo ,o*)ines t+e -or*a# and tona# #ogi, o- t+e s *(+oni, (oe* /it+ t+e *ore s,+e*ati, as(e,ts o- Ra,+*anino--s ear#ier instru*enta# /or6s, and as a resu#t so*eti*es gets #a)e#ed 1*is#eading# 2 9t+e*e and variations.= Furt+er*ore, Vi6tor Tsu66er*an des,ri)es t+is *ove*ent as i##ustrative o- t+e soL ,a##ed 9=amarins3a2a (rin,i(#e.= T+ere-ore, I address Ri,+ard Tarus6ins (ro)#e*atiFation o-

T,+ai6ovs6 s di,tu* t+at t+e /+o#e Russian s *(+oni, s,+oo# /as in G#in6as Fantasia, 90ust as t+e /+o#e oa6 is in t+e a,orn.= SESSION 6: MUSIC PEDAGOGY A RE3AR?A7LA ATTENTIVE AUDIENCE> LISTENING AND LEARNING AT THE 4ARIS CONSERVATOIRE STUDENT CONCERTS Diane Tisda##, ?ings Co##ege London 4arents, tea,+ers and a*ateurs> initia# audien,es o- t+e 4aris Conservatoire e>ercices 1student ,on,erts2 /ere an e,#e,ti, *iE, /it+ one ,o**on interest Q to (rovide a su((ortive environ*ent -or student (u)#i, (er-or*an,e. StateL-unded and organised ) Conservatoire sta--, t+e e>ercices +ad t+e dua# -un,tion o- training (u(i#s and edu,ating audien,es. T+e ,on,ert series /as one o- -e/ to -eature *ain# or,+estra# (rogra**es, (roving signi-i,ant in t+e governan,e and evo#ution o- *usi,a# taste in ear# nineteent+L,entur 4aris 1@e)er, 8JJ%2. O(era re,e(tion -ro* t+e Fren,+ Revo#ution to t+e Na(o#eoni, E*(ire +as undergone t+oroug+ investigation 1"o+nson, $!!C2. @+at, t+en, /ere t+e rea,tions o- t+e Conservatoire audien,e to a (redo*inant# instru*enta# re(ertoire, (#a ed ) nonL(ro-essiona# *usi,iansH @+o ,+ose t+is re(ertoire and /+ H Ho/ su,,ess-u## /as it (er-or*edH 3 (a(er /i## atte*(t to ans/er t+ese 5uestions, )ased on +it+erto uneE(#ored (ress revie/s o- t+e e>ercices. Des,ri(tions o- (er-or*an,es (e((ered /it+ tre*)#ing voi,es and ti*id eEe,ution are a re*inder t+at t+ese /ere ineE(erien,ed (er-or*ers. Aet out+ )reeds eEu)eran,e, a /i##ingness to #earn and e*)ra,e ne/ *usi,a# st #es. Conservatoire audien,es too6 great (#easure in s(otting -uture ta#ent, noting t+e (rogress o- students su,+ as vio#inistL,ondu,tors FranXoisL Antoine Ha)ene,6 and "a,5ues FTrTo# 3aFas. "o+nsons inter(retation o- /ord#ess audien,es ,ou#d )e (er,eived as over# (ositivist. T+e (re*ise t+at Dsi#ent #istening /as an a,t o- se#-is+ intros(e,tion 1S*art, $!!O2, +o/ever, re5uires ,+a##enging. Des(ite a #a,6 o- understanding o- t+e *usi, )eing (er-or*ed Q di--i,u#t, un*e#odi, Q t+e (ro,ess o- #earning engaged audien,es to t+e eEtent t+at t+e too /ere /i##ing to #isten and )e edu,ated. 9N7> LUT 3E 4ARAIT UN 4EU 7OURGEOIS LY=> @HEN LISGT TAUGHT CO34OSITION Ni,o#as Du-ete#, Institut -Zr 3usi6/issens,+a-t @ei*arL"ena LisFt is /e## 6no/n to +ave )een a ver soug+tLa-ter tea,+er as -ar as t+e (iano is ,on,erned. Testi*onies and s,+o#ars+i( +ave ,ontinuous# s+o/n interest in t+e stud o- +is tea,+ing at t+e 6e )oard, )ut +is a,+ieve*ents as a (ro-essor o- ,o*(osition +ave )een )are# *entioned, and are even #ess an o)0e,t o- stud in t+e*se#ves. @+i#e +is (iano tea,+ing /as not #i*ited to a ,ertain (eriod o- +is #i-e, +is ,o*(osition tea,+ing see*s to +ave started on# a-ter +is sett#e*ent in @ei*ar in $%&%. It is /e## 6no/n t+at t+ere, LisFt too6 on a ne/ di*ension as a *usi,ian, and tea,+ing ,o*(osition /as (art o- t+at. It is a#so use-u# to 5uestion /+at it *eant to )e a 9LisFt (u(i#,= a des,ri(tion t+at ,ou#d *ean a #ot in so*e instan,es, and not+ing in ot+ers. T+is #e,ture ai*s to give insig+t into LisFts ,o*(ositiona# tea,+ing, using #itt#eL 6no/n, un(u)#is+ed sour,es, in,#uding *anus,ri(ts and (rinted s,ores )e#onging to +is students /+i,+ +e ,are-u## ,orre,ted, toda s(read t+roug+out various ar,+ives and #i)raries. For instan,e, t+e @ei*ar (eriod /i## )e eEa*ined using /or6s ) "oa,+i* Ra--I t+e 9Vie tri-ur5uTe= /i## )e i##ustrated /it+ ,o*(ositions ) an unidenti-ied ,o*(oser /+o /rote a -o#6 suite -or ,e##o and (iano U t+at /as +eavi# *odi-ied ) LisFt U, Gotts,+a#g, 3arT,+a#, and 3assenetI and t+e

ot+er Fren,+ 9(ensionnaires= at t+e Vi##a 3Tdi,is, /+ose /or6s LisFt is said to +ave o-ten ,orre,ted /+en +e /as in Ro*e. @+at do t+ese sour,es te## us a)out +is tea,+ing in t+is -ie#dH @+at 6ind o- a((roa,+ did +e +aveH And /+i,+ (ara##e#s ,an )e dra/n, i- t+ere are su,+, to /+at /e 6no/ a)out +is (iano tea,+ingH 9A 3USIC SCHOOL FOR SCOTLAND=> 3USIC EDUCATION AND NATIONAL IDENTITA IN LATELNINETEENTHLCENTURA EDIN7URGH Rose*ar Go#ding, O(en Universit T+e Reid C+air o- 3usi,, and t+e (#a,e o- 3usi, /it+in t+e ,urri,u#u* at t+e Universit oEdin)urg+, ,aused a#*ost ,onstant tension t+roug+out t+e nineteent+ ,entur . 3an o- t+e ear# de)ates ,on,erned t+e a((ro(riate t (e o- *usi, to )e taug+t, and t+e (rovision oa((aratus and tea,+ing s(a,e. To/ards t+e end o- t+e ,entur attention turned to t+e C+airs ,ontri)ution to nationa# *usi,. As a ,ivi, institution, t+e Universit +ad an o)#igation to t+e (u)#i,. To so*e eEtent, t+e annua# Reid ,on,erts, toget+er /it+ a,ade*i, #e,tures, +ad satis-ied t+is de*and. Ho/ever, Edin)urg+ ,ou#d not a/ard *usi, degrees, and S,ottis+ students trave##ed a)road -or )ot+ a,ade*i, a,,reditation and (ro-essiona# training. @it+ *usi,a# ,u#ture )e,o*ing in,reasing# serious, t+e de*ands *ade on t+e Universit and C+air *u#ti(#ied. Aet t+e (ro-essor res(onsi)#e -or *usi, (rovision -ound it i*(ossi)#e to s5uare t+e (ressures -or (ra,ti,a#, (ro-essiona# training /it+ t+e -or*a# a,ade*i, identit o- *usi, suita)#e /it+in t+e universit . Furt+er*ore, DS,ottis+ *usi, sat uneasi# /it+in t+e ,anon )ui#t u( as a tea,+ing )ase. T+e ,orres(onden,e t+roug+ /+i,+ argu*ents /ere set out and deve#o(ed de*onstrates t+e ,o*(#eE re#ations+i(s )et/een S,ottis+ institutions and nationa# identit , as /e## as t+e di--i,u#ties in -iEing *usi, /it+in a *atriE o- (ro-essiona#, a,ade*i, and nationa# needs. SESSION 7: WHAT MIGHT THE LANDS WITH MUSIC LEARN FROM THE ONE WITHOUT? Ni,+o#as Te*(er#e , Universit o- I##inois 1?e note2 Ste(+en 7an-ie#d, 7risto# Universit C+ristina 7as+-ord, Universit o- I##inois 7ennett Gon, Dur+a* Universit For so*e t+ree de,ades, /or6 in nineteent+L,entur *usi, +as )een enri,+ed ) *et+ods -ro* ot+er +u*anities, es(e,ia## #iterature, ,u#tura# t+eor , so,io#og and gender studies. @itness t+e studies o- institutions, re(ertoires, tastes, so,ioLe,ono*i, in-rastru,tures, (er-or*ers and audien,es t+at +ave a((eared sin,e t+e #ate $!!Js, giving voi,e to *an (eo(#es and *usi,s +it+erto side#ined or si#en,ed in t+e /ider +istoriogra(+ . T+is (ane# eE(#ores t+e in-#uen,e t+ese *et+odo#ogies +ave on nineteent+L,entur 7ritis+ *usi, studies, and t+e (ossi)#e )ene-its t+e ,an )ring to t+e internationa# *usi,o#ogi,a# ,o**unit . It as6s ,riti,a# 5uestions a)out its +istor and ,urrent a((roa,+es, and its (otentia# ro#e in *a((ing ne/ *usi,o#ogi,a# territories. Ste(+en 7an-ie#d o(ens t+e (ane# /it+ DT+e *usi, itse#-, eEtending +is D4ers(e,tive essa revie/ing t+e state o- nineteent+L,entur 7ritis+ *usi, studies 1 1ournal of +ictorian Culture, 8J$J2. 7an-ie#ds ,on,#usion urged s,+o#ars to return to t+e *usi, itse#-. T+e (ro(rietors o,anoni,, #arge# Continenta# -ie#ds, -o,us on t+e *usi,, dea#ing (ri*ari# /it+ *a0or ,o*(osers, on# one o- /+o* is 7ritis+ Q E#gar. T+e *usi, itse#- in 7ritain +as t+ere-ore not )een ,onsidered a s,+o#ar# -or,e, /it+ resear,+ -o,ussed on so,ia# and ,u#tura# +istor . 7an-ie#d reiterates t+e 5uestion, as6ing /+et+er /e ,an re,on,i#e t+e a,+ieve*ents o- t+e eE,e(tiona# -e/ /it+ t+e (rodu,ts o- t+e *an /+ere *usi, in nineteent+L,entur 7ritain is ,on,erned.

C+ristina 7as+-ord -o##o/s /it+ DT+oug+ts on +istor and geogra(+ . 7eginning /it+ ,o**ents on /+ so,ioL,u#tura# +istor s+ou#d +ave )e,o*e so (reva#ent in t+is -ie#d, 7as+-ord ,onsiders t+e nature and signi-i,an,e o- /or6 done in )ot+ t+e USA and U?, addressing t+e va#ue and #i*itations in+erent in +aving ,u#tura# identi-i,ation /it+ t+e to(i, o- resear,+. T+e (a(er argues -or resear,+ to *ove )e ond t+e #o,a# and engage in a true ,o*(arative +istor . A,,ording# , on# t+en /i## /e 6no/ /+et+er t+e genera#iFed ,on,#usions /e dra/ a)out nineteent+L,entur 7ritain are uni5ue, or (art o- a )roader ,u#tura# (+eno*enonI and i- uni5ue, D/+ H T+e -irst (art o- t+e (ane# ,on,#udes /it+ 7ennett Gons D7ritain t+e (rogressive> origina#it in nineteent+L,entur 7ritis+ *usi, studies. Gon tra,e t+e in-#uen,e o- origina#it in nineteent+L,entur 7ritis+ *usi,o#og to i##ustrate 0ust +o/ (rogressive it /as Q to (rove t+at it /as not T+e Land @it+out 3usi,. Gon suggests t+at nineteent+L,entur 7ritis+ *usi, studies is 0ust as (rogressive toda , )ene-iting /ide# -ro* ,+anges in ,urrent *usi,o#ogi,a# t+in6ing. Vie/ed as a stud o- /or#d *usi, rat+er t+an nationa# *usi,, nineteent+L,entur 7ritis+ *usi, studies *a +ave t+e (otentia# to (rovide insig+t into t+e deve#o(*ent o- t+e dis,i(#ine as a /+o#e. Ni,+o#as Te*(er#e rounds o-- t+e (ane# /it+ +is 6e note DTITLE. Des(ite t+e great advan,e in our 6no/#edge o- t+e (eriod, ,ertain 5uestions re*ain unans/ered, and even unas6ed. @+ did t+e 7ritis+ eager# ado(t t+e #atest deve#o(*ents in Continenta# instru*enta# *usi, around $%JJ, )ut )e,o*e (ro-ound# ,onservative ) $%CJ, #arge# re0e,ting t+e *usi, o7er#ioF, C+o(in, LisFt, S,+u*ann and @agnerH @as t+ere an rea# #in6 )et/een t+is ,onservatis* and t+e gro/ing interest in re,overing -orgotten *usi, -ro* (ast ,enturiesH @+ did *ost ,riti,s and ot+er #eaders o- o(inion a,tive# dis,ourage t+e *ost (ro*ising native ,o*(osersH @+ , #ater on, did t+e s,+o#ar# /or#d ,ontinue to dis(arage or ignore even t+e *ost su,,ess-u# o- t+e*, Art+ur Su##ivanH Ho/ does t+is -a,t s5uare /it+ t+e (ronoun,ed gro/t+ o- 7ritis+ nationa#is* a-ter $%OJH @+ , in a (eriod o- un(ara##e#ed 7ritis+ e,ono*i, and (o#iti,a# (o/er and ,onsidera)#e in-#uen,e in t+e ot+er arts, did 7ritis+ *usi, -ai# to *a6e a signi-i,ant i*(ression on ot+er Euro(ean so,ietiesH A#t+oug+ Te*(er#e does not ,#ai* to ans/er t+ese 5uestions in a de-initive /a , +e o--ers ,ertain (ara##e#s /it+ ot+er so,ieties and ot+er situations /+i,+ *a suggest so*e o- t+e under# ing ,auses. SESSION : OPERA AND POLITICS CENSORSHI4 AND NATIONAL DISCOURSE IN RISORGI3ENTO ITALA> FILI44O 3EUCCI AND ANTONIO 7UGGIS LA LE,A LOM!ARDA 1$%&N2 Fran,es,o IFFo, Universit o- Sout+a*(ton La lega lom arda, a dramma lirico ) Fi#i((o 3eu,,i set to *usi, ) Antonio 7uFFi, /as su)*itted to t+e aut+orities in Ro*e in $%&N and *et /it+ outrig+t re0e,tion. In order to )e (er-or*ed in t+e (a(a# ,it t+e #i)retto +ad to )e re/ritten, its su)0e,t re*oved -ro* $8t+L ,entur Lo*)ard and its tit#e ,+anged to ,usmano di Medina. T+e ta#e o- t+is o(era rese*)#es t+at o- *an ot+er /or6s /+ose #i)retto +ad to )e over+au#ed under ,ensoria# (ressure, and it ,ou#d )e ar,+ived i- it /erent -or t+ree reasons> -irst, La lega lom arda dra/s on t+e +istori,a# events des,ri)ed t+ree ears #ater in Verdis La attaglia di LegnanoI se,ond, t+e #i)retto /as (u)#is+ed in 4aris in $%&N, /it+ a (re-a,e ) t+e aut+or eE(#aining t+e ,ir,u*stan,es under /+i,+ t+e o(era +ad )een (ro+i)itedI t+ird, La lega lom arda /as Dres,ued and (er-or*ed in 6e #o,ations and *o*ents during t+e Risorgi*ento. T+is (a(er eEa*ines La lega lom arda in t+e ,onteEt o- ,ensoria# (ra,ti,es in (reL$%&% Ita# I -irst, it eE(#ores t+e interse,tion o- (o#iti,a# and re#igious interests t+at #ed to its )an in Ro*eI se,ond# , it s+o/s +o/ t+e e--orts o- t+e Ro*an ,ensors on# trans-or*ed t+is o(era into

an e*)#e* o- Risorgi*ento idea#s, /+i,+ )e,a*e eE(#i,it in (rodu,tions in t+e ?ingdo* oSardinia )e-ore t+e uni-i,ation o- Ita# and in 3i#an i**ediate# -o##o/ing t+e ,it s #i)eration in $%C!I -ina## , it ,onsiders t+e re#ation o- La lega lom arda to La attaglia di Legnano, -or /+i,+ it *a +ave served as a sour,e. 3ASSENETS 93ASTER4IECE= 3EETS ITALIAN NATIONALIS3> MA$O$ IN 3ILAN, $%!' 3att+e/ Fran6e, Universit o- Nort+ Caro#ina, C+a(e# Hi## @+en Gia,o*o 4u,,inis Manon Lescaut (re*iered in Turin in Fe)ruar , $%!', it /as /ide# +ai#ed as a /ort+ su,,essor to Verdi and t+e Ita#ian o(erati, tradition. Given 4u,,inis su,,ess, $%!' /ou#d +ave see*ed to )e an un-ortunate ti*e -or anot+er o(era a)out 3anon Les,aut to *a6e its -irst a((earan,e on t+e Ita#ian stage. Aet "u#es 3assenets Manon /as a su,,ess /+en it rea,+ed Ita# in O,to)er. T+e ,riti,s a,,#ai*ed it as a 9*aster(ie,e,= and it riva#ed 4u,,inis o(era in (o(u#arit . So*e o- 4u,,inis *ore nationa#ist su((orters #a)e##ed Manon a t+reat to 9Ita#ian art,= 5uestioning t+e (atriotis* o- 3assenets Ita#ian (u)#is+er, SonFogno, and ,a##ing -or t+e o(eras (rodu,tion to )e sus(ended unti# 4u,,inis o(era +ad its 3i#anese (re*iere 1/+i,+ /as to o,,ur in Fe)ruar , $%!&2. T+e -uror o- t+is res(onse /as (art# a resu#t o- (o#iti,a# tensions )et/een Fran,e and Ita# , es(e,ia## t+e re,ent *assa,re o- Ita#ian *igrant /or6ers at AiguesL3ortes in Fran,e. Su((orters o- 3assenets o(era -as+ioned a nove# res(onse to su,+ atta,6s, )#a*ing t+e staun,+ nationa#is* o- t+e Ri,ordi -ir* 14u,,inis (u)#is+ers2 -or t+e re,ent 9de,#ine= o- Ita#ian o(era. Rat+er, t+e argued, to +ear and en0o 3assenets Manon /as a va#id eE(ression o- t+e Ita#ian nationa# ,+ara,ter> ,os*o(o#itan /i##ingness to eE(erien,e -oreign art /as *ore tru# 9Ita#ian= t+an 0ingoisti, o((osition to -oreign art. 3assenets o(era /as t+us trans-or*ed -ro* a dangerous ,o*(etitor /it+ Ita#ian art into an a#ternate eE(ression o- a ,u#tura## in,#usive ,onstru,tion o- Ita#ian nationa#is*. 9LA 3USISUE CO33UNARDE=H CAR3EN AND THE 4ARIS CO33UNE OF $%O$ De#(+ine 3orde , Universit o- Ca*)ridge In 3ar,+ $%O$ t+e 4arisian /or6ers revo#ted and esta)#is+ed a *uni,i(a# govern*ent, t+e 4aris Co**uneI it /as )roug+t to a ,#ose a-ter sevent Lt+ree da s, /+en t+e Re(u)#i,an ar* re,a(tured t+e ,it . Carmen interse,ts /it+ t+e t+e*es o- t+e Co**une in a nu*)er o- /a s, not #east t+roug+ t+e (rovo,ative 5ua#ities o- its ,entra# (rotagonist. @o*en +ad (#a ed a (arti,u#ar# a,tive ro#e in t+e u(rising and /ere /ide# de(i,ted as vu#gar, ,igaretteLs*o6ing viragos Q t+e * t+i, &)troleuses. Car*en +erse#- e*)odies *an Co**unarde traits, a reading su((orted ) ,onte*(orar revie/s o- t+e o(era t+at e*(#o ed r+etori,a# tro(es asso,iated /it+ t+e Co**une. T+e (#ot #ines, +ig+#ig+ting ,#ass tensions and /or6ingL,#ass vio#en,e, a#so argua)# a,ted as unsett#ing re*inders o- re,ent events. T+at t+e Co**une /ou#d +ave ,ontinued to )e an i*(ortant ,onteEt -or t+e o(eras re,e(tion in $%OC is rein-or,ed ) t+e -a,t t+at t+e ,it sti## )ore t+e /ounds o- t+e u(risings -ina# vio#ent /ee6. Des(ite t+ese to(ogra(+i,a# re*inders, t+e s+o,6ing )ruta#it used to end t+e Co**une /as so*et+ing t+at *an Fren,+ (re-erred to -orgetI t+e ear# T+ird Re(u)#i, o(erated a (o#i, o- +istori,a# a*nesia, en-or,ed ) stri,t ,ensors+i(. Aet, as re,ent s,+o#ars+i( +as s+o/n, *an Fren,+ art/or6s ,ontinued, o-ten ,overt# , to engage /it+ t+e *e*or o- t+e Co**une. I argue t+at Carmen /as one su,+ /or6. Dra/ing on (ri*ar sour,es, in,#uding (ress revie/s, 7iFets #etters, and Ha#Tv s $%O$ /ritings, t+is (a(er argues t+at t+e Co**une, and t+e (er,e(tion o- it

in $%OC, (rovide i*(ortant ,onteEts -or understanding t+e genesis, and ,onte*(orar re,e(tion, o- Carmen. THE 4OLITICS OF SCOTTISHLFRENCH O4ERA 1IN $%OJS 3ONTRVAL2 7rian C. T+o*(son, C+inese Universit o- Hong ?ong T+is (a(er eE(#ores t+e (o#iti,s )e+ind t+e enor*ous# su,,ess-u# $%O% 3ontrTa# (rodu,tion oAdrien 7oie#dieus La dame lanche. T+is on,eL/ide# (er-or*ed o(era on# -e## -ro* t+e re(ertoire a ,entur a-ter its $%8C (re*iere, and et *ost o- t+e s,+o#ar# #iterature )are# tou,+es on it. Its (o(u#arit in t+e nineteent+ ,entur resu#ted -ro* t+e ,o*(osers i*aginative s,ore and a genera# interest in t+ings S,ottis+. Dra/ing on t/o o- Sir @a#ter S,otts +istori,a# nove#s, ,u2 Mannering 1$%$C2 and The Monaster2 1$%8J2, #i)rettist EugPne S,ri)e -as+ioned a ,o*i, o(era t+at retained t+e S,ottis+ setting /+i#e dro((ing t+e g (sies, s*ugg#ers and ot+er *ena,ing -igures. T+e (rotagonist, George 7ro/n 1or, rea## , "u#ien Avene#2, returns un/itting# to (revent t+e -a*i# s estate -ro* -a##ing into t+e +ands o- t+e s# ,areta6er Gaveston. Ins(ired, 7oie#dieu (rodu,ed +is *ost origina# s,ore and one o- t+e -inest /or6s in t+e o(Tra ,o*i5ue #iterature. Des(ite t+e o(eras su,,ess in 4aris, it /as not staged in 3ontrTa# unti# -i-t ears a-ter its (re*iere. T+e *usi,a# dire,tor and (rodu,er in $%O% /as Ca#iEa Lava##Te, /+o +ad returned to Canada in $%OC a-ter t/o ears in 4aris. In +is )iogra(+ o- Lava##Te, EugPne La(ierre dis,usses Lava##Tes atte*(t to se,ure (rovin,ia# govern*ent -unding -or a Dnationa# ,onservator -or Fren,+LCanada. Re# ing on (u)#is+ed (er-or*an,e revie/s and un(u)#is+ed #etters, I s+a## argue t+at in ,+oosing to stage t+is o(era Lava##Te de*onstrated a (rag*ati, o(enness to (arti,i(ation -ro* t+e -edera# govern*ent and )usiness Q )ot+ do*inated ) S,ots. T+e o(era /as a # n,+(in o- +is drive -or ,onservator -unding and in La dame lanche Lava##Te -ound an ins(ired ,+oi,e. I s+a## argue t+at in t+e S,ri)eM7oie#dieu ada(tation o- S,ot, Fren,+LCanadians ,ou#d re-#e,t /it+ nosta#gia on t+eir o/n agri,u#tura# (ast and t+e de,#ine o- t+e seignioria# s ste* o- Ne/ Fran,e, /+i#e t+e S,ottis+LCanadian e#ite ,ou#d see rea#ised t+eir (#a,e as *asters in t+e ne/ /or#d. SESSION !: MUSIC" RELIGION AND THE SUPERNATURAL THE SACRALIGATION OF 3USIC IN NINETEENTHLCENTURA FRANCE Noe# VerFosa "r, Hood Co##ege Ro*anti, ,o*(osers o-ten s(o6e o- *usi, using t+e #anguage o- re#igion. LisFt /rote t+at 9/+en t+e a#tar is ,ra,6ed and tu*)#ing: art *ust e*erge -ro* t+e te*(#e ;and< sa , DLet t+ere )e #ig+t.= @agner ,#ai*ed 9/+ere Re#igion )e,o*es arti-i,ia#, it is reserved -or Art to save t+e s(irit o- re#igion:= 7ot+ ,o*(osers i*(# t+at aest+eti, trut+ +ad su((#anted divine trut+ in t+e nineteent+ ,entur . @+i#e si*i#ar trends ,an )e o)served in Fran,e, 9sa,ra#iFed art= /as -or t+e Fren,+ (art o- a )roader (o#iti,a# de)ate t+at /as s(e,i-i, to Fren,+ ,u#ture. In t+is (a(er I argue t+at t+e sa,ra#iFation o- *usi, in Fran,e /as t+e resu#t not on# o- genera# tenden,ies in Ro*anti, aest+eti,s )ut a#so o- t+e ri-t )et/een ideo#ogi,a# -a,tions in t+e Se,ond E*(ire and T+ird Re(u)#i,. I )egin ) surve ing dis,ourses o- s(iritua#it in Fren,+ inte##e,tua# ,u#ture, starting /it+ t+e riva#r )et/een Vi,tor Cousin and Auguste Co*te and ,ontinuing /it+ #ater /riters #i6e V*i#e de LittrT, Ferdinand 7runetiPre, and Vtienne Va,+erot. I t+en do,u*ent (ara##e# deve#o(*ents in *usi, ,riti,is*, in )ot+ t+e s(e,ia#iFed *usi,a# (ress o- t+e $%'Js 1es(e,ia## FranXoisL

"ose(+ FTtis2 as /e## as t+e *usi,oL#iterar ,riti,is* o- t+e $%%Js 1Vdouard Du0ardin, C+ar#es 3ori,e, et,.2. I dis,uss +o/ t+e 9sa,ra#iFed= #anguage o- *usi, ,riti,is* /as not on# dra/n -ro* t+e s(iritua#ist vo,a)u#ar o- (+i#oso(+i,a# de)ate )ut /as a#so an eEtension o- it, to su,+ an eEtent t+at t+e t/o -ie#ds /ere e--e,tive# e(isodes in t+e sa*e (o#iti,iFed (o#e*i, over t+e dire,tion o- Fren,+ ,u#ture in t+e nineteent+ ,entur . 3ENDELSSOHN 7ARTHOLDAS AESTHETIC VIE@S ON 3USICAL =U$STRELI,IO$ Q A NE@ A44ROACH TO THE CO34OSERS RELIGIOUS 3INDSET Sa)ine ?o,+, Universit o- Edin)urg+ 3ende#sso+ns re#igious )a,6ground +as re,eived ,onsidera)#e s,+o#ar# attention Q t+ere +as )een a ,on,erted e--ort to investigate +is re#igious u()ringing 1Ge,6, $!!'I Ding#inger, $!!!2 as /e## as t+e i*(ortan,e o- +is "e/is+ +eritage and C+ristian )e#ie-s -or +is #i-e and /or6s 1@erner, $!N'M$!%JI S(osato, $!!%I 7otstein, $!!%2. Anot+er ,o*(onent o- 3ende#sso+ns re#igious *indset, +o/ever, +as rare# )een dis,ussed> =unstreligion Q t+e re#igion o- art, /+i,+ ,a*e to ,+ara,terise t+e ro*anti, age 1Adorno, $!&C2. Engaging in a ,#ose eEa*ination o- 3ende#sso+ns ,orres(onden,e and ad+ering to re,ent et *o#ogi,a# a((roa,+es to/ards =unstreligion 1?ra*er, 8JJCI de #a 3otteLHa)er, $!!C2, t+is (a(er eE(#ores t+e ,o*(osers re#igious understandings o- *usi,a# #istening, /or6s and *usi,ians. As +is /ritings suggest, 3ende#sso+n +ad an a*)iva#ent re#ations+i( to/ards ,onte*(orar )e#ie-s in t+e divine essen,e, (o/ers and e--e,ts o- *usi,. @+i#st, -or eEa*(#e, S(o+rWs oratorio Die let*ten Dinge re(resented [un+o# *usi,[ in +is e es, Car# 3aria von @e)erWs O)eron Overture de*anded [+o# res(e,t[. Addressing vie/(oints #i6e t+ese is a /ort+/+i#e endeavour not on# -or redressing t+e re#ative deart+ o- resear,+ on 3ende#sso+ns notions o- =unstreligion. It a#so (ro*otes an understanding o- a ,o*(oser /+o /as +ig+# re#u,tant to arti,u#ating +is re#igious and aest+eti, vie/s in /riting and re(resents one o- t+e *ost /ide# read and /e##L,onne,ted ,o*(osers in +istor 1Ta #or, 8JJ%2. Addressing 3ende#sso+ns a,5uaintan,e /it+ *a0or /riters on =unstreligion? su,+ as Hege# and S,+#eier*a,+er, t+e (a(er /i## ,#ose /it+ a )rie- overvie/ o(ossi)#e sour,es ins(iring +is aest+eti, vie/s. LISTENING IN HELL> EBOTICIS3, I34ERIALIS3, AND THE 7ERLIOGIAN INFERNO Fran,es,a 7rittan, Case @estern Reserve Universit In t+e 4andae*oniu* s,ene o- +is Damnation de Faust 1t+e (assage de(i,ting Fausts des,ent to +e##2 7er#ioF in,or(orated a #anguage o- +is o/n inventionUan in-erna# idio* ,+o6ed /it+ ,onsonants, a/6/ard (un,tuation, and #ur,+ing r+ t+*s. T+is #anguage +ad )een -ores+ado/ed in a *u,+ ear#ier (ie,e, Le Retour @ la <ie 1t+e se5ue# to t+e S2m&honie fantasti(ue2, /+ere it /as sung ) a ,+oir o- s+ades and derived, so 7er#ioF ,#ai*ed, -ro* 9an an,ient dia#e,t o- t+e Nort+.= A si*i#ar idio* a((eared #ater in Les Tro2ens? no/ given to Nu)ian s#aves. E#e*ents o- it a#so in-#e,ted a -an,i-u# 9Sout+ Sea Is#and= dia#e,t s6et,+ed on an a#)u* #ea-. T+e ,onne,tions )et/een t+ese #anguages (rovide t+e starting (oint -or t+is (a(er, /+i,+ eEa*ines t+e ot+er/or#d# , * t+o#ogi,a#, and 5uasiLant+ro(o#ogi,a# i*(u#ses t+at s+a(ed 7er#ioFs *usi,a# +e##s. T+e ,riti,a# anEiet and (u)#i, -as,ination surrounding +is in-erna# evo,ations /as rooted, I suggest, in t+eir (roEi*it to t+e rea#, /+i,+ eEtended to t+eir *usi, as /e## as t+eir teEts. T+e a##o/ed t+e -antasiFed voi,es o- de*ons to inter*ing#e /it+ t+e Da,tua# sounds o- -oreign (#a,es and (eo(#e, #egi)#e *usi, /it+ t+e ,a,o(+on o- t+e Dun,ivi#iFed /or#dUt+at o- an eE(anding Fren,+ e*(ire. Toget+er, t+e o(en a /indo/ onto t+e /ider *eanings and uses o- t+e nineteent+L,entur in-erno, revea#ing it as a #o,us not 0ust -or )i)#i,a# i*ager )ut -or t+e (ro0e,tion o- eEoti, desire and i*(eria#ist dis5uiet.

A 3EDIEVAL 3ODEL FOR THE $!8JS> ON ANTON 7RUC?NER AS 3ASTIC Ni,+o#as Att-ie#d, Universit o- Edin)urg+ T+e ear# $!8Js (resent a +ig+ /ater*ar6 in t+e re,e(tion o- Anton 7ru,6ner. A ,entur a-ter +is )irt+, and 8C ears on -ro* +is deat+, innu*era)#e grou(s /ere ra(id# -or*ed a## over Ger*anLs(ea6ing ,ountries, dedi,ated to t+e revision o- +is )iogra(+ and Daut+enti, editions and (er-or*an,es o- +is s,ores. Si*u#taneous# , a ne/ e*(+asis -e## on a grou( o- re#ated )iogra(+i,a# tro(es> 7ru,6ner as a *edieva# Ger*an * sti, a6in to 3eister E,6+art and "a6o) 7\+*e, and as an ant+ro(oso(+ist a-ter t+e *ode# o- Rudo#- Steiner. T+is (a(er investigates t+ese tro(es ) re-eren,e to t+ree (ro*inent *onogra(+s -ro* t+is 7ru,6ner renaissan,e, ) ?ar# Gruns6 , Os6ar Lang, and Eri,+ S,+/e)s,+. It argues t+at, /+i#e t+ese aut+ors )orro/ed -ro* sour,es on * sti,is* *ore usua## asso,iated /it+ t+e (ra,titioners o- ,onte*(orar *usi,a# *odernis*, t+e soug+t to esta)#is+ a Ger*an ,o**unit o((osed to t+e *odern age Q one )ui#t around 7ru,6ner as * sti,, and ,+anne##ing t+roug+ +i* and +is *usi, a +ig+er sense o- nationa#isti, -ee#ing and ti*e#ess essen,e over and a)ove t+e desires o- t+e individua#. 3oreover, t+ese ,riti,s strong# advo,ated a ,o*(#e*entar (er-or*an,e (ra,ti,e> o- 7ru,6ners s *(+onies (#a ed in a (it,+Ldar6 ,on,ert +a## 1a (ra,ti,e t+at )e,a*e 6no/n #ater as t+e Dun3el3on*erte2. T+us 7ru,6ner, t+e avantLgardist o- finAdeAsi'cle Vienna, +ere assu*ed a ro#e -or /+i,+ +e +ad #ong )een *ar6ed> a staun,+ neoL,onservative, #oo6ing )a,6/ards into t+e distant (ast and -or/ards to a ne/ Ger*an Q a ro#e on /+i,+, as is *u,+ )etter 6no/n, t+e ,u#tura# ideo#ogues o- Nationa# So,ia#is* /ere 5ui,6 to ,a(ita#iFe. SESSION 1#: HISTORICAL PERFORMANCE ISSUES ORNA3ENTAL ,OBT FRO3 ROUSSEAU TO $%'JS 4ARIS Ste(+anie Fra6es, O+io State Universit In a -avora)#e revie/ o- an $%'' ,on,ert ) Ferdinand Hi##er, an anon *ous /riter in Le #ianiste 5ua#i-ied +is (raise /it+ t+e desire -or 9severa# orna*ents o- good taste.= T+is nineteent+L,entur eE(e,tation /as a,tua## t+e resu#t o- eig+teent+L,entur (ra,ti,e. Arti,#es in Rousseaus Dictionnaire o- $ON%, -o##o/ed ) Ni,o#as Fra*er s res(onses in +is Enc2clo&)die o- $O!$, -or* an eE,e(tiona## #ive# dia#ogue surrounding t+e ,+ara,ter oorna*enta# -#ouris+es de-ined as notes de goCt, /it+in t+e ,onteEt o- goCt de chant, and /it+in t+e )roadest (ara*eters o- (#easing goCt in *usi,: T+eir eE(#anations revea# a go#den *ean odesira)#e, s(ontaneous orna*entation t+at /as easi# re,ogniFa)#e /+en +eard, )ut di--i,u#t to arti,u#ate. 1In -a,t, mau<ais goCt /ou#d )e,o*e a ,at,+L(+rase -or e5ua## re,ogniFa)#e, eE,essive e*)e##is+*ent2. Furt+er*ore, t/o distin,t )ut re#ated di*ensions o- (ra,ti,a# goCt e*erge> t+e orna*enta# notes as audi)#e eE(ressions o- taste o(erated on one #eve#, and t+e so(+isti,ation re5uired to eva#uate t+e* eEisted on anot+er. 4ierre 7ai##ots M)thode de <iolon 1$%J'2 and t+e Conservatoires M)thode de chant 1$%J&2 and (rovide +e#(-u# distin,tions )et/een 9natura#= taste, or t+e instin,tua# and (er-un,tor addition o- e*)e##is+*ents, and 9re-ined= taste, or t+e dis,ern*ent t+at e5ui(s t+e (er-or*er to se#e,t t+e 5uantit and variet oorna*entation a((ro(riate in a given ,onteEt. As /e understand t+e ,o*(#eEit o- Fren,+ goCt in re#ation to eig+teent+L,entur e*)e##is+*ent, as(e,ts o- *oderation in so,ia# taste dis,ussed ) Lione# de La Lauren,ie and @i##ia* @e)er are i##ustrated, and ear# nineteent+L,entur (ra,ti,e is i##u*inated as a natura#, even inevita)#e outgro/t+.

9VI7RATION= IN FLUTE 4ERFOR3ANCE 4RACTICES IN EARLA NINETEENTHLCENTURA ENGLAND 3art n S+a/, Leeds Co##ege o- 3usi,MUniversit o- 7ir*ing+a* Fo##o/ing a de,#ine in t+e (o(u#arit o- vi)rato in Eng#and to/ards t+e end o- t+e eig+teent+ ,entur , /+en it /as reintrodu,ed in t+e se,ond de,ade o- t+e nineteent+ ,entur , it /as ,onsidered ) Londons audien,es to )e so*et+ing ne/. T+e -#autist C+ar#es Ni,+o#son 1$O!NL $%'O2 /as ,redited /it+ t+e introdu,tion o- Dvi)ration, and t+e su)se5uent deve#o(*ents in -#ute design, (edagog and (er-or*an,e *a )e ,onsidered signi-i,ant ,ontri)utors to t+e evo#ution o- vi)rato. @+i#st nineteent+L,entur vo,a# tutors in,#ude so*e re-eren,es to vi)rato, o-ten re-erring to it as an orna*ent added on# -or s(e,ia# e--e,t, Eng#is+ dida,ti, -#ute /or6s devote entire ,+a(ters to it, out#ining -our distin,t t (es o- Dvi)ration. T+e *ain resear,+ 5uestion addressed in t+is (a(er is> +o/ does an understanding o- t+e various t (es oDvi)ration used in ear# nineteent+L,entur Eng#and ,ontri)ute to t+e (er-or*an,e (ra,ti,e oear# nineteent+L,entur -#ute *usi,H I /i## -irst out#ine issues o- ter*ino#og , and (rovide t+e ,onteEtua# -ra*e/or6 -or t+e use o- vi)rato in t+e #ateLeig+teent+ and ear# nineteent+L,entur . T+e various t (es o- Dvi)ration /i## )e dis,ussed 1na*e# )reat+, -inger, 6e and Dro##2 and t+eir eEe,ution ,onsidered and de*onstrated on an origina# DNi,+o#sons 9I*(roved= F#ute 1,.$%'!2. I /i## eEa*ine issues ,on,erning Dvi)ration notation )e-ore -ina## ,onsidering a((ro(riate ,onteEts -or its a((#i,ation. Resear,+ *et+odo#ogies used are re,e(tion +istor , stud o,onte*(orar t+eor , organo#og , and ana# sis o- t+e *usi,. GUT STRING 3A?ERS IN $!THLCENTURA LONDON "enn NeE, Ro a# Co##ege o- 3usi, T+e +istor o- vio#in *a6ing is /e##Lre+earsed /it+ onLgoing de)ates and ne/ inter(retations o-ten -eaturing in )ot+ t+e a,ade*i, and (o(u#ar (ress. 7o/ *a6ing too re,eives attention sin,e it is re,ognised t+at t+e )o/ (#a s a +ig+# i*(ortant ro#e in t+e ,o*(#eE a,ousti,a# s ste* e*(#o ed ) string (#a ers in generating t+eir idea# sound. Vio#in and )o/ *a6ers are resear,+ed and indeEed, /it+ detai#s o- t+eir )iogra(+ies and /or6s a((ended. Gut string *a6ing itse#- is seeing so*et+ing o- a renaissan,e in (ara##e# /it+ t+e *ove*ent -or +istori,a## in-or*ed (er-or*an,e. A +and-u# o- individua#s are eE(#oring te,+ni5ues -or (rodu,ing gut strings /+i,+ a#so ,on-or* to +istori,a# (ra,ti,es as des,ri)ed ) Diderot and ot+ers. Ho/ever, t+ere +as )een re#ative# #itt#e (u)#is+ed to date ,on,erning t+e string *a6ers t+e*se#ves and t+eir )usinesses, (arti,u#ar# t+ose /or6ing in Eng#and. Resear,+ ,on,erning *usi,a# instru*ent *a6ing in London during t+e $%t+ and ear# $!t+ ,enturies +as s+o/n t+at *an su,+ -ir*s /ere -a*i# )usinesses, )ased at or near t+e +o*e, and t+at /o*en /ere o-ten invo#ved in one /a or anot+er. As /i## )e,o*e a((arent in t+is (a(er, t+is is (arti,u#ar# true -or stringL*a6ing -ir*s and indeed a nu*)er o- ,o*(anies /ere run ) /o*en. T+e na*es o- $$N *a6ers +ave )een -ound /or6ing in $! t+L,entur London. T+e -ir*s o- Dodd, 3o--att, Fosse , @eis)art and Lin6 as /e## as ot+ers are dis,ussed, de*onstrating t+at LondonL*ade strings, avai#a)#e a#ongside t+eir *ore eE(ensive ,ounter(arts i*(orted *ain# -ro* Ita# , /ere vita# to t+e ,ontinuit o- string (#a ing in t+e $!t+ ,entur .

9UNCO3FORTA7LE, 7UT 4OSSI7LE TO 7RING OUT=> CO34OSER AND 4ERFOR3ERS VOICES AND THE GESTATION OF 7RAH3S VIOLIN CONCERTO O4. OO FengLS+u Lee, Universit o- C+i,ago 7ra+*ss Vio#in Con,erto O(. OO invo#ved a serious ,o##a)oration )et/een t+e ,o*(oser and t+e vio#inist "ose(+ "oa,+i*. At 7ra+*ss earnest re5uest, "oa,+i* o--ered eEtensive ,o**entar on t+e ,on,erto in its gestation. @it+ t/o +and/ritings 0uEta(osed on t+e (age, t+e ear#iest *anus,ri(t o- t+is ,on,erto (resents a d na*i, negotiation )et/een t+e t/o artists s(ea6ing on e5ua# -ooting. @+i#e "oa,+i* a((eared to (rioritiFe t+e (#a a)i#it o- ,ertain (assages, +is a#ternatives en+an,ed t+e stru,tura# signi-i,an,e o- t+e*. In turn, 7ra+*ss res(onses to "oa,+i*s suggestions s+o/ed +is striving -or t+e virtuosi, and +is genuine res(e,t -or "oa,+i* as a vio#inist and a -e##o/ ,o*(oser. 3 (a(er starts /it+ an eEa*ination o- a so#o vio#in (art in 7ra+*s and "oa,+i*s +and/ritings, a +o#ogra(+ s,ore, and a so#o vio#in (art ) a Fren,+ ,o( ist. Using "oa,+i*s ,o**ent, 9un,o*-orta)#e, )ut (ossi)#e to )ring out= as * starting (oint, I /i## de*onstrate +o/ "oa,+i* ins(ired 7ra+*s to re,onsider t+e re#ations+i( )et/een te,+ni,a# -a,i#it and t+e /or6s stru,ture, +o/ 7ra+*ss resistan,e to so*e o- "oa,+i*s suggestions re-#e,ted +is giveL andLta6e )et/een t+e t/o as(e,ts, and +o/ t+is eventua## #ed to t+e /or6s de-initive -or*. I /i## ,ontinue /it+ an ana# sis o- "oa,+i*s ,adenFa, ,o*(#e*ented ) +is dis,ussion o- t+e ,on,erto in +iolinschule. T+is ,ase stud re,onsiders Goe+rs de-inition o- 5er3treue, as a (er-or*er stands on a (ar /it+ a ,o*(oser, resisting +is ro#e as t+e ,o*(osers *ediu*. It a#so reeva#uates te,+ni,a# virtuosit in re#ation to *usi,a# su)stan,e, vie/ing t+e t/o as(e,ts in dia#ogue rat+er t+an dire,t ,o*(etition /it+ ea,+ ot+er. SESSION 11: MUSIC IN FRANCE EDITING HENRI DU4ARCS LETTERS TO ERNEST CHAUSSON 3arieLHT#Pne 7enoitLOtis, Universit o- Nort+ Caro#ina, C+a(e# Hi## T+is (a(er eEa*ines t+e goa#s and ,+a##enges o- a /or6 in (rogress> t+e edition o- t+e ,orres(onden,e )et/een Henri Du(ar, and Ernest C+ausson 1"anuar $%%'UA(ri# $%!!2. In s(ite o- ear# (artia# (u)#i,ations 1Ou#*ont $!'C, GTrard $!CN2, t+is ,orres(onden,e re*ains *ost# un(u)#is+ed. Du(ar,s #etters to C+ausson are +e#d in t+e (rivate ,o##e,tion o- t+e C+ausson ar,+ives in 4aris and in t+e 7i)#iot+P5ue nationa#e de Fran,eI C+aussons #etters to Du(ar, /ere (ro)a)# destro ed in $!'C in a -ire at t+e Du(ar, -a*i# ,ast#e. Des(ite its -rag*entar ,+ara,ter, t+e ,orres(onden,e o- Du(ar, and C+ausson )rings to #ig+t ne/ in-or*ation a)out *usi, in Fran,e in t+e #ate $!t+ ,entur . Du(ar,s #etters do,u*ent not on# +is o/n )iogra(+ , )ut a#so +is vie/s on t+e 4arisian *usi,a# #i-e o- t+e ti*eI *oreover, it ,ontains detai#ed ,o**ents on so*e o- C+aussons /or6s, su,+ as t+e o(era Le Roi Arthus, t+e s *(+oni, (oe* Solitude dans les ois and t+e *e#od #o'me de l"amour et de la mer Q ,o**ents /+i,+, in turn, give rise to a )etter understanding o- Du(ar,s *usi,a# aest+eti,s. 3a6ing t+is in-or*ation a,,essi)#e i*(#ies t/o *ain ,+a##enges. T+e -irst one is a ,onse5uen,e o- t+e -a,t t+at on# Du(ar,s #etters +ave survived> it ,an (rove (ro)#e*ati, to esta)#is+ t+e ,onteEt in /+i,+ so*e o- t+e #etters /ere /ritten. Dating t+e #etters is a se,ond ,+a##enge, sin,e Du(ar, a#*ost never indi,ated ,o*(#ete dates. T+is (a(er addresses )ot+ issues, and gives eEa*(#es o- resear,+ strategies t+at /ere used to en+an,e t+e va#ue o- Du(ar,s #etters as a sour,e on $!t+L,entur *usi,.

NE@LA DISCOVERED 94ORTRAITS AND SOUVENIRS=> SELECTED UN4U7LISHED LETTERS OF CA3ILLE SAINTLSA]NS Ti*ot+ S. F# nn, O#ivet Co##ege Li6e ot+er ,o*(osers o- +is ti*e, Ca*i##e SaintLSa^ns /as a (ro#i-i, essa ist. His to(i,s /ere vast and varied in,#uding a((re,iations o- ot+er ,o*(osers and t+eir *usi,, *usi,o#ogi,a# issues, and even (+i#oso(+i,a# *atters. @+i#e t+e *a0orit o- SaintLSa^ns essa s /ere gat+ered into ,o##e,tions during +is #i-eti*e, in,#uding #ortraits et Sou<enirs? Dcole uissonnni're? and #ro l'mes et m2st'res, *an additiona# and si*i#ar# (rovo,ative t+oug+ts are ,ontained in +is unedited and un(u)#is+ed #etters +e#d in t+e Nort+/estern Universit 3usi, Li)rar 1Evanston, IL2. In t+ese uneE(#ored #etters t+e ,o*(oser *ore -u## de-ines +is o/n *usi,a# aest+eti, ) o--ering +is o(inions and vie/s on ,o##eagues, s(e,i-i, *usi,a# ,o*(ositions, and even *usi,a# and so,ia# trends. T+is (ro(osed (a(er /i## investigate se#e,ted #etters o- SaintLSa^ns in t+e Nort+/estern Universit ,o##e,tion, /+i,+ +ave not )een eEa*ined )e-ore, in order to -urt+er revea# t+e ,o*(osers artisti, vie/s. 4arti,u#ar #etters /+i,+ /i## )e eE(#ored in t+is stud date -ro* t+e #ast t/o de,ades o- SaintLSa^ns #i-e and /i## in,#ude t+ose in /+i,+ +e o--ers +is so*eti*es ,ontroversia# o(inions o- ot+er /e##L6no/n ,o*(osers, -a*ous ,onte*(orar o(era singers, o(era in genera#, and *usi,a# trends during t+e #ate nineteent+ and ear# 8J t+ ,enturies. In t+ese uni5ue #etters addressed to various re,i(ients, t+e ,o*(oser s+ares insig+ts /it+ +is -riends /+i,+ are not ot+er/ise -ound in an o- +is (u)#is+ed essa s or arti,#es, t+us *a6ing t+ese (ri*ar sour,es an eEtre*e# va#ua)#e addition to t+e ever gro/ing resear,+ (ertaining to SaintLSa^ns. AN 9ENVELO4ING AT3OS4HERE=> LO%E$,RI$ AND ART NOUVEAU IN FINLDELSI_CLE FRANCE ?e## 3a nard, Grinne## Co##ege @+en C+ar#es 7aude#aire +eard t+e overture, (re#ude and various -rag*ents -ro* Tannha4ser and Lohengrin? ,ondu,ted ) @agner and (er-or*ed in 4aris ear# in $%NJ, +e /as so stru,6 ) t+e nove#t o- t+e eE(erien,e t+at +e too6 i**ediate# to /riting a)out it. His res(onse +as )e,o*e #egendar in t+e #iteratures o- @agner re,e(tion in Fran,e, S *)o#is*, and s naest+esia. T+is (a(er ta6es as its starting (oint 7aude#aires (er,e(tions o- disorientation, (enetration, and a vertiginous drea*Lstate ,aused ) +earing @agners *usi,. I use t+e (re#ude to Lohengrin to de*onstrate t+at not on# *ore -a*i#iar te,+ni,a# ,+ara,teristi,s #i6e or,+estration, registration, +ar*oni, stasis and *e#odi, ,ontour )ut a#so rh2thmic <ariation ,reate t+e 6inds o- e--e,ts in t+e #istener /+i,+ 7aude#aire so (oeti,a## arti,u#ated. T+e rest o- t+e (a(er ,onsiders t+e ,areer o- Louis de Four,aud, an art +istorian /+o taug+t at t+e V,o#e des 7eauE Arts in 4aris at t+e -inLdeLsiP,#e. Li6e 7aude#aire and *an ot+ers, Four,aud +ad +eard t+e *usi, o- @agner and eE(erien,ed +is o/n versions o- disorientation and (enetration. His strateg -or tr ing to understand t+e* /as to eE(#ore t+e interior /or#d L t+e /or#d inside +is +ead L to /+i,+ @agnerWs *usi, +ad attuned +i*. In +is ,a(a,it as a #e,turer on art and aest+eti,s and as a (ro#i-i, 0ourna#ist, Four,aud )e,a*e an a,tive (ro(onent o- art nouveau, a st #e /+i,+ e*erged in t+e $%!Js as a visua# re(resentation o- organi,is* and t+e interior /or#d o- t+e nerves. T+roug+ t+is eEa*(#e I a* a)#e to de*onstrate one t+read o- a #arger (ro0e,t t+at see6s radi,a## to eE(and our understanding o- @agnerWs i*(a,t on Fren,+ ,u#ture and so,iet .

THE SA37OLIST AESTHETIC OF GA7RIEL FAURVS 3USIC "a*es So)as6ie, 3ississi((i State Universit 7orn during t+e Ro*anti, era, Ga)rie# FaurT 1$%&CQ$!8&2 +as )een asso,iated /it+ its aest+eti,. A#/a s dra/n to ,onte*(orar (oets, FaurTs -irst m)lodies set verses o- Hugo, et a-ter t+e Fran,oL4russian @ar, +e turned to 4arnassians, and #ater S *)o#ists, /+ose (oetr /ou#d ins(ire +is greatest song , ,#es. Indeed, a-ter $%OJ +is art ,a*e to re-#e,t S *)o#ist traits so *u,+ so t+at it s+ou#d )e ,+ara,teriFed not as Ro*anti,, nor I*(ressionistU/+atever va#ue t+at /ord +as -or *usi,Uand not *ere# 3odern, )ut S *)o#ist. @+i#e t+e (eriod o- S *)o#is*s greatest -#ouris+ is de)ata)#e, FaurTs ,o*ingLo-Lage in t+e $%NJs and $%OJs, /+en its essen,e e*erged in t+e (oetr o- 7aude#aire, Ver#aine, Ri*)aud and 3a##er*T, (roved ,ru,ia# to +is deve#o(*ent. Later, +is en,ounters /it+ 3aeter#in,6s and van Ler)erg+es /or6 assured +is su,,ess. Re,ogniFing S *)o#is*s essentia# ,ontri)ution to )e its *u#ti-arious eE(#oitation o- t+e (rin,i(#e o- indire,t re-eren,e to/ard *aEi*u* engage*ent oa readers i*agination, FaurT soug+t to (ursue a##usion in a great range o- /a s, ,orres(onding to t+e D*usi,a# and r+ t+*i, e--e,ts so )e#oved ) t+e S *)o#ists. Using Le secret, set to verses o- Ver#aine, M)lisande"s Song, /+ose #ines ) 3aeter#in,6 /ere trans#ated ) S,ottis+ (oet "o+n @i##ia* 3a,6ai# -or t+e London &remi're o- t+e (#a /rig+ts #)ll)as et M)lisande, (#us se#e,tions -ro* van Ler)erg+es La chanson d"E<e, t+is (resentation /i## revea# t+e S *)o#ist aest+eti, o- Ga)rie# FaurTs *usi,, de*onstrating +o/ t+e ,o*(oser e#i,its eE(e,tation, ins(ires i*agination, and inti*ates trans,enden,e. 3ost re*ar6a)# , FaurTs instru*enta# *usi, sustains t+e sa*e (rin,i(#es, as t+is (resentation /i## s+o/. SESSION 12: IDENTITY AND IMAGINING THE OTHER 9CO3E OUT OF THE GHETTO`=> THE ,OLDMAR=A!ILD OF LUD@IG S4EIDEL David 7rod)e,6, Universit o- Ca#i-ornia, Irvine Car# Go#d*ar6 on,e +e#d a signi-i,ant (#a,e /it+in t+e *usi,a# *i#ieu o- Li)era# Vienna. Aet t+e t/o /or6s on /+i,+ +is initia# (o(u#arit /as -oundedUt+e (rogra**ati, overture Sa3untala 1$%NC2 and t+e o(era Die =/nigin <on Sa a 1$%OC2U*et #itt#e -avor /it+ t+e ,it s t/o #eading ,riti,s, Eduard Hans#i,6 and Lud/ig S(eide#. 7ot+ 6ne/ t+at Go#d*ar6 /as t+e son o- a "e/is+ ,antor -ro* @est Hungar and on t+at )asis assu*ed t+at t+e orienta#1ist2 #o,a# ,o#or used in t+ese /or6s /as not a strategi, ,+oi,e on t+e ,o*(osers (art )ut an e*)odi*ent o- +is (resu*ed Eastern se#-. Go#d*ar6U/+o #ater #u,id# o(ined t+at /+at +ad dra/n t+e ,riti,s disa((rova# /as not t+e *usi,, )ut rat+er /+at t+e i*agined to )e +is ver inte##e,tua# and *enta# )eingU/as (ertur)ed to see +is Ger*an ,redentia#s t+ere) ,a##ed into 5uestion. 7ot+ sides in t+is i*aginar ,o##o5u are )est understood /it+in Austrian #i)era#Lnationa#ist ideo#og , /+i,+ treated Ger*anness as a *atter o- assu*ed ,u#tura# su(eriorit 1t+eoreti,a## avai#a)#e to an one, in,#uding "e/s, t+roug+ !ildung2, not o- ra,e or et+ni,it 1and so ne,essari# eE,#usionar o- "e/s2. Even *ore t+an Hans#i,6, S(eide# eE(#i,it# asso,iated Go#d*ar6s ear#ier *usi, /it+ unge ildet g+etto #i-e. Later, /it+ /or6s su,+ as t+e o(era Merlin 1$%%N2 and t+e Se,ond S *(+on 1$%%O2, +is attitude ,+anged, and +e t+erea-ter a,,orded Go#d*ar6 status as an un*ar6ed ,erman ,o*(oser. T+is trans-or*ation re-#e,ts t+e #i)era# 1and antiL@agnerian2 ideo#ogi,a# (osition S(eide# +ad ta6en in severa# feuilletons in /+i,+ +e eEto##ed "e/is+ /riters su,+ as 3oses 3ende#sso+n -or +aving es,a(ed t+e g+etto and #earned 9to s(ea6 Ger*an, even to t+in6 Ger*an.= T+ese nonL*usi,a# essa s, t+en, (rovide an es(e,ia## sensitive #ens t+roug+ /+i,+ to vie/ t+e ,riti,s evo#ving ,oldmar3A!ild.

9LI?E THE TAROLERS OR THE S@EDES, THEA, TOO, 7RING THE SONGS OF THEIR 4EO4LE=> RACE, 3USICAL A44RO4RIATION, AND THE FIS? "U7ILEE SINGERS IN GER3ANA, $%OOL$%O% ?ira T+ur*an, Universit o- Ro,+ester 7e-ore t+e Fis6 "u)i#ee Singers e*)ar6ed on t+eir transat#anti, tour to Euro(e to raise *one -or t+eir universit , t+e /ere not entire# sure /+at to eE(e,t. T+e +ad (er-or*ed do*esti,a## t+roug+out t+e United States, )ut t+e (ro*ise o- ne/ Euro(ean s(onsors +ad #ed to t+eir ne/ internationa# trave# (#ans. 7ut as t+e A-ri,an A*eri,an ense*)#e sang s(iritua#s su,+ as 9Stea# A/a To "esus,= t+e Fis6 "u)i#ee Singers soon rea#iFed t+at t+e +ad en,+anted a ne/ *usi,a# audien,e. Ro a#t /e(t during t+eir (er-or*an,e o- 9S/ing Lo/, S/eet C+ariot,= audien,es gave t+e* standing ovations, and ,ount#ess ne/s(a(ers a((#auded t+e /or6 o- t+ese 9-or*er s#aves.= T+is ,on-eren,e (a(er is a)out $!t+L,entur )#a,6 *usi,ians and A-ri,an A*eri,an *usi,L *a6ing in an un#i6e# (#a,e> t+e #and o- 7a,+, 7eet+oven, and 7ra+*s. T+e "u)i#ee Singers tour to Ger*an (rovided Ger*ans /it+ one o- t+eir -irst en,ounters /it+ A-ri,an A*eri,ans and, *ore i*(ortant# , A-ri,an A*eri,an *usi,. I /i## argue in * ,on-eren,e (a(er t+at /+en Ger*an audien,es -irst #istened to A-ri,an A*eri,an *usi,, t+e arrived to so*e -as,inating ,on,#usions a)out /+at A-ri,an A*eri,an *usi, /as, and +o/ Ger*an *usi,ians ,ou#d use it. In s(ite o- its eEoti, di--eren,es, and in s(ite o- 1or )e,ause o-2 its (er,eived si*(#i,it , I /i## argue t+at Ger*an *usi,a# audien,es )e#ieved t+at t+e *usi, o- t+e "u)i#ee Singers ,ou#d )e a((ro(riated into a #arger Ger*an *usi,a# tradition and used -or Ger*an ,u#tura# (ur(oses. ILL TA?E AOU HO3E THROUGH TARAS HALLS> IRELAND IN NINETEENTHL CENTURA A3ERICAN 4ARLOR SONG Sara+ Ger6, O)er#in Co##ege and Conservator In t+e nineteent+ ,entur , so,ioL(o#iti,a# events in Ire#and s(urred dra*ati, de*ogra(+i, s+i-ts in t+e United States. T+e su)se5uent introdu,tion o- Iris+ness to A*eri,an so,iet engendered diverse and -#uid ideas a)out t+e Iris+ and t+eir +o*e#and. 3usi,, so ,entra# to ,on,e(ts oIris+ness, /as a vita# site -or t+e negotiation o- Iris+ness. T+is (a(er eEa*ines ,+anging *et+ods o- re-eren,ing Ire#and in (ar#or songs (o(u#ar in t+e United States, )eginning /it+ T+o*as 3oore in $%J% and ending /it+ T+o*as @estendor-s $%OC 9I## Ta6e ou Ho*e Again ?at+#een.= I suggest t+at as t+e ,entur (rogressed, t+e ,on,e(t o- Ire#and s+i-ted -ro* a #and de-ined ) Ot+erness to one *ore in,#uded /it+in a #arger -ra*e/or6 o- /+iteness or A*eri,anness. 3oores # ri,s, /ritten -or tunes +eard at t+e overt# Iris+Lnationa#ist $O!8 7e#-ast Har( -estiva#, address t+e (o#iti,a# situation on t+e is#and and grieve -or t+e inde(enden,e #ost. T+e Ire#and ,on,eived is an,ient, idea#iFed, and -i##ed /it+ easi# identi-ied and #ongstanding *ar6ers o- Iris+ness. Iris+ #ands,a(es, +ar(s, and teEtua# re-eren,es to Ire#and a)ound. T+o*as @estendor-s song a#so addresses #oss o- +o*e#and, t+oug+ +ere it ste*s -ro* (+ si,a# dis(#a,e*ent, a ,o**on eE(erien,e in t+e United States. T+e Ire#and #onged -or ) ?at+#een re(resents an idea#iFed t+oug+ a*)iguous +o*e#and, /it+ t+e ,a(a,it to stand in -or an /estern Euro(ean ,ountr o- origin. Dia,+roni, eEa*ination revea#s t+at t+is s+i-t a#so o,,urred *usi,a## . As t+e ,entur (rogressed and A*eri,an (o(u#ar st #es ,oa#es,ed, song -or*s re(resentative o- O#d @or#d )a##adr /aned and songs t+at re-eren,e Ire#and in,reasing# ado(ted verseL,+orus -or*s.

SESSION 13: RECONSIDERING SCHUMANN 9HaTELDICH`=> SCHU3ANNS 4RO4HETL7IRD AS HAR7INGER OF A NE@ 4OLITICAL ORDER 3ar, @ieser, 3,Gi## Universit T/o o- t+e (ie,es in Ro)ert S,+u*anns 5alds*enen O(us %8, 9Verru-ene Ste##e= and 9Voge# a#s 4ro(+et,= do not *eet t+e ,riteria o- ,onvivia#it and (o#iti,a# indi--eren,e ) /+i,+ "o+n Daverio ,+ara,teriFes t+e (rodu,tion o- ,onventiona# !iedermeier %ausmusi3 1$!!O2. So*e s,+o#ars, in,#uding Daverio, +ave res(onded to t+e di--i,u#t *usi,a# #anguage and o)s,ure tit#es o- t+ese (ie,es ) dis*issing t+e* as 9)iFarre,= 9ineE(#i,a)#e,= 9/eird,= and even 9nabve= 1Daverio, $!!OI "ensen, $!%&2. T+roug+ a ne/ reading o- se#e,ted sour,es -or S,+u*anns 5alds*enen, I ,+a##enge re,eived notions o- !iedermeier do*esti, s(a,e as unassu*ing, a(o#iti,a# ground. Adding to t+e voi,es oSusan Aouens 18J$$2 and RoeL3in ?o6 18JJN2, I suggest t+at a *usi,a## L#iterate and +istori,a## La/are Ger*an *idd#e ,#ass ,onstituted t+e (ri*e audien,e -or * t+o#og Lin-used sound i*ages o- ,u#tura# nationa#is* e*ergent in S,+u*anns #ate %ausmusi3. A nineteent+L,entur #iterar tro(e o- t+e -orest as *eta(+or -or t+e * t+i,a# )irt+(#a,e o- a Ger*an nation serves as * rationa#e -or a nationa#isti,La##egori,a# inter(retation o- t+e tit#e (age to t+e -irst edition o- O(us %8. Furt+er va#idating * reading, s6et,+es -ro* a *anus,ri(t in t+e 7i)#iot+P5ue nationa#e de Fran,e )ring to #ig+t eviden,e o- S,+u*anns ,o*(ositiona# (ro,edures, as /e## as dis,arded (oeti, *ottos t+at i*(#i,ate 9Verru-ene Ste##e= and 9Voge# a#s 4ro(+et= in a (atrioti, narrative. T+e *anus,ri(t a#so esta)#is+es a re*ar6a)#e net/or6 o,onne,tions )et/een t+ese (ie,es and 9G/ie#i,+t= -ro* S,+u*anns Lieder3reis O(us '!, *a6ing (ossi)#e ,o*(e##ing -res+ inter(retations -or t+e signi-i,an,e o- t+e t/o *ost (ro)#e*ati, (ie,es in 5alds*enen: SCHU3ANNS FA$TASIE O4. $O> 4RE3ATURE 4EA?S AND 4EA?S THAT FAIL TO FOR3 Adriana 4on,e, I##inois @es#e an Universit Des,ri)ed as 9t+e *onu*ent t+at ,o**e*orates t+e deat+ o- t+e ,#assi,a# st #e=, S,+u*anns Fantasie O(.$O +as )een studied -ro* a variet o- vie/(oints. 3ost intriguing a*ong t+e*, t+e 5uestion o- its -irst *ove*ents -or* +as invited *u,+ inter(retation and /ou#d ,ertain# see* enoug+ to /arrant Rosens state*ent. E5ua## idios n,rati,, +o/ever, is t+e genera# (at+os ot+e sa*eLL/it+ its s+i-ts )et/een des(air and do#e-u#ness. In t+is (a(er, I /i## dis,uss a -or*a#Mana# ti,a# e#e*ent, /+i,+ +as a signi-i,ant )earing on t+e 5uestion o- its eE(ressive *eaning> *e#odi, (ea6s. As I /i## argue, t+e (rotot (i,a# 9narrativeMd na*i,= ,urve 1e*)od ing a (ro,ess o- tension a,,u*u#ation, (ea6, and reso#ution2 is re(eated# denied t+roug+out t+e *ove*ent. 3e#odi, (ea6s are eit+er (re*ature or severe# under*ined ) re(etitionLLt+us ,reating ,urves t+at eit+er -ai# to sustain t+e tension )ui#ding (ro,ess or even 9-or*= a (ea6. Against t+is )a,6ground, t+e o(ening o- t+e Im Legendenton )rings a)out t+e one (rotot (i,a# d na*i, ,urve in /+i,+ t+e (ea6, a#t+oug+ su)t#e in interva##i, ,ontent, is (ro(er# )ui#t and ,#ear# su((orted ) a## ot+er (ara*eters. T+e *o*ent o-u#-i##*ent is )ot+ signi-i,ant and )rie-. @+en it ,o*es )a,6, it does so on,e and /it+ t+e tensionL)ui#ding side o- t+e ,urve ,ut s+ort. T+e *ove*ents 9ina)i#it = to (ea6 and its sing#e, e(+e*era#LLand unre,overa)#eLL*e#odi, ,#i*aE #end t+e *usi, a ,ertain 9#a,6Lo-L-u#-i##*ent 5ua#it =. In t+is ,onteEt, it see*s -itting t+at S,+u*ann s+ou#d +ave des,ri)ed it as a 9dee( #a*ent= -or C#ara, /ritten during t+eir -or,ed se(aration.

THE TRANSFOR3ATION OF THE STIMMU$,S!RUC% IN SCHU3ANNS LIEDER 7en0a*in 7inder, Du5uesne Universit In t+e #ast de,ade, *usi,o#ogists +ave de)un6ed t+e o#d ,anard t+at S,+u*ann -ai#ed to res(ond to (oeti, iron in +is Lieder 1Hoe,6ner 8JJ$, 4erre 8JJ8, S no-Fi6 8JJN2. I see6 +ere to -urt+er t+is trend, )eginning /it+ a ne/ o)servation a)out S,+u*anns treat*ent o- t+e Stimmungs ruch, a sudden reversa# or 9)rea,+ o- *ood= to/ard t+e end o- a (oe* t+at (un,tures its # ri, )eaut and a((arent sin,erit to revea# t+e (oets true -ee#ings o- anger, )itterness, or grie-. S,+u*ann /as *ore t+an ,a(a)#e o- *usi,a## re-#e,ting an ironi, tone 1e.g. 9I,+ gro##e ni,+t=2, )ut i- /e eEa*ine S,+u*anns settings o- (oe*s t+at s(e,i-i,a## -eature a Stimmungs ruch, /e noti,e t+at +e a#*ost a#/a s under,uts or trans-or*s 1)ut does not ignore2 t+e /ounding ironi, t/ist. A-ter a )rie- surve o- S,+u*anns ,o*(ositiona# a((roa,+es to t+e Stimmungs ruch, I o--er a *ore sear,+ing eEa*ination o- 9Dein Angesi,+t= and 9Sti##e T+rKnen=, t/o songs t+at re(eated# #eave us /it+ t+e i*(ression o- +aving )een in a *inor 6e , even t+oug+ t+e *inor never a,tua## *ateria#iFes. In ea,+ ,ase, t+e *usi, t+us su)*erges and trans-igures t+e (oe*s distur)ing Stimmungs ruch, s*i#ing on t+e outside /+i#e /ee(ing on t+e inside. I ,on,#ude /it+ a )iogra(+i,a# eE(#anation -or S,+u*anns (e,u#iar ta6e on t+e Stimmungs ruch derived -ro* S,+u*anns ,orres(onden,e /it+ +is )e#oved C#ara @ie,6. @+i#e Ro)ert and C#ara ,raved t+e o(en s+aring o- e*otions in t+eir #etters, t+e re,oi#ed at in,onsisten,ies o- tone or t+e )etra a# o- ironi, su)ter-uge. S,+u*ann t+us re,ast t+e Stimmungs ruch so t+at it /ou#d re-#e,t (ain /it+out in-#i,ting it. SESSION 14: ISSUES OF FORM FOR3 AND FORMU$, IN THE C 3A"OR 3ASS 1?ARIE2 Nat+an 3artin, Harvard Universit Des(ite va#ua)#e /or6 ) ". 3eri## ?na(( 1$!%&2, "ere*ia+ 3,Grann 1$!!$2, and 3i,+e##e Fi##ion 1$!!!2, t+e C 3a0or 3ass re*ains a*ong 7eet+ovens #east a((re,iated /or6s. @i##ia* Dra)6in 1$!!$2, -or one, s(ea6s o- t+e 3asss 9artisti, -ai#ure,= and notes t+at its ,o*(osition in $%JNLO, in t+e *idst o- t+e ,o*(osers 9+eroi,= (eriod, *a6es t+at a##eged -ai#ure 9a## t+e *ore disa((ointing.= 7ut i-, as S,ott 7urn+a* 1$!!C2 +as suggested, our re,eived i*age o- 7eet+oven is in-or*ed ) a +ig+# se#e,tive sa*(#ing o- *idd#eL(eriod /or6s, t+en (er+a(s t+e 3asss *ood o- ,onte*(#ative restraintUt+at 9gent#eness= o- /+i,+ 7eet+oven /rote to 7reit6o(- and HKrte# in $%$$Uis in (art res(onsi)#e -or its *argina#iFation. And (er+a(s, as our ,o**it*ent to t+e +eroi,, nineteent+L,entur 7eet+oven re,edes, t+e C 3a0or 3ass is no/ ri(e -or reva#uation. T+e (resent (a(er o--ers a ,#ose ana# sis o- t+e o(ening ? ries -or* and stru,ture. I -irst (resent a -or*a# ana# sis ,ou,+ed in @i##ia* Ca(#ins 1$!!%2 ter*s and t+en turn to t+e *ove*ents voi,eL#eading stru,tureUits Formung? in Fe#iE Sa#Fers 1$!8%2 sense o- t+e ter*. On t+e /+o#e, t+e t/o a((roa,+es (rove re*ar6a)# ,ongruent 1,-. S,+a*#-e#dt $!!$2. T+e ana# sis stands, in t+e -irst instan,e, as a ,ase stud in t+e re#ations+i( )et/een S,+en6erian and Ca(#inian ,on,e(ts. 7ut its dua# (ers(e,tive a#so +e#(s to )ring out a +o*o#og )et/een t+e *ove*ents *i,roL and *a,ros,o(i, #eve#sUna*e# t+e #o,a# and g#o)a# use o- IIIcUand in so doing ai*s to address t+e a)sen,e o- 9tona# dra*a,= argua)# t+e (rin,i(a# sour,e o- t+e *ove*ents serenit .

DEVILISH DANCING> 4ATTERNS AND 4ROCEDURES IN LISGTS FIRST ME#%ISTO 5ALT8 David Lar6in, Universit o- S dne In 6ee(ing /it+ +is *otto Dne/ -or*s -or ne/ ideas, LisFt a,tive# o((osed t+ose -or /+o* D-or*s ;)e,o*e< -or*u#as, even e*(t s+e##s. On# re,ent# +ave ana# sts un,overed t+e eEtent to /+i,+ +is or,+estra# /or6s ,ontinue to engage /it+ traditiona# stru,tura# (aradig*s. T+e re#evan,e o- sonata -or* and -used *u#tiL*ove*ent stru,tures to individua# LisFtian /or6s +as )een esta)#is+ed ) s,+o#ars su,+ as Da+#+aus, ?a(#an, He(o6os6i and Vande 3oorte#e. One /or6 /+i,+ sti## a/aits reassess*ent is LisFts everL(o(u#ar First Me&histo 5alt*, in its or,+estra# version t+e se,ond o- t+e Two E&isodes from Lenau"s Faust. T+e (ie,e tra,es a -astL s#o/L-ast tra0e,tor , /it+ t+e se,tions ,#ear# de*ar,ated -ro* ea,+ ot+er. T+e -irst (art +as a (arti,u#ar# ,#ear -or*a# out#ine and *a )e (arsed as a -usion o- sonata and rondo e#e*ents. A rondoL#i6e a#ternation o- #anguorous ,anta)i#e (assages and *is,+ievous s,+erFando e#e*ents a#so de-ines t+e ,entra# (ortion, /+ere t+e*ati, returns are su)0e,ted to ,onsidera)#e teEtura# variation. T+e -ina# 5ui,6 (ortion is an eEtended set o- variations on t+e*es -ro* )ot+ t+e ear#ier (arts, )e,o*ing ever *ore -reneti, as it (rogresses. In t+e /or6 as a /+o#e t+ere are distin,t rese*)#an,es to t+e su),utaneous *u#tiL*ove*ent design -ound in *an o- +is s *(+oni, (oe*s, a#t+oug+ t+e ,on,o*itant overLar,+ing sonataL -or* is a)sent +ere. T+e triL(artite stru,ture and ,onstant trans-or*ation o- t+e*ati, *ateria# a#so re,a## (ro,edures -ound in LisFts o(erati, (ara(+rases. T+is (a(er /i## a#so ta6e into ,onsideration t+e 5alt*s (rogra**e and ,o*(#i,ated generi, a--i#iations in an atte*(t to ,o*e to an understanding o- its stru,ture. SAINTLSA]NSS CACLIC FOR3S Andre/ Deru,+ie, Universit o- Otago 3an o- SaintLSa^nss instru*enta# ,o*(ositions evin,e , ,#i, designs ) /a o- sea*#ess# #in6ed *ove*ents andMor ) reintrodu,ing in a #ater *ove*ent t+e*ati, *ateria# -ro* an ear#ier one. T+e eEisting #iterature, +o/ever, o--ers #itt#e insig+t into t+e -or*a# and aest+eti, (ur(oses o- t+ese (ro,edures, )e ond t+at t+e )esto/ a ne)u#ous# de-ined e#e*ent o- unit . 3 (a(er see6s to re*ed t+is #a,6 ) e*(+asiFing -or*L-un,tiona# and s nta,ti, attri)utes o, ,#i, te,+ni5ues in t+e Fourt+ 4iano Con,erto, t+e First Ce##o ,on,erto, t+e First Vio#in Sonata, t+e 7L-#at 4iano Suartet, and t+e T+ird S *(+on . Ea,+ /or6, I s+o/, (ursues one o- t/o re#ated strategies. One sees t+e reintrodu,tion ot+e*ati, *ateria# in t+e -ina#e (rovide )e#ated s nta,ti, ,o*(#etion to a -rag*entar o(ening *ove*ent. In t+e Vio#in Sonatas -irst *ove*ent, -or eEa*(#e, t+e su)ordinate t+e*es re,a(itu#ation o,,urs in t+e Nea(o#itan and segues dire,t# into t+e s#o/ *ove*ent /it+out arti,u#ating a +o*eL6e ,aden,e. T+is t+e*e returns in t+e toni, near t+e ,on,#usion o- t+e -ina#e to -u#-i## t+e resu#ting -or*a# #a,6. In ot+er /or6s, SaintLSaens ada(ts a -or*a# (#an 1t+eoriFed ) Steven Vande 3oorte#e2 (ioneered ) LisFt, /+ere) t+e , ,#es individua# *ove*ents toget+er eE(ress t+e tona# and t+e*ati, (ro,esses o- an overar,+ing, sing#eL *ove*ent -or*. 7ot+ strategies *a6e -or e*(+ati,a## endL/eig+ted , ,#es, /it+ t+e -ina#e (roviding -or*a# ,o*(#etion and reso#ution. T+is, I ,on,#ude, st #isti,a## di--erentiates SaintLSa^ns -ro* Vin,ent dInd , t+e *ost vo,a# (ro(onent o- , ,#i,is* in ,onte*(orar Fran,e. In ,ontrast to SaintL Sa^nss #inear, te#eo#ogi,a# designs, dInd s , ,#i, ,o*(ositions (ursue a )road# additive *et+od deriving -ro* variation (ro,edure. T+ese divergent a((roa,+es, I suggest, re-#e,t t+e ,o*(osers radi,a## di--erent ,u#tura#L(o#iti,a# orientations.

SESSION 15: NATIONALISMS 9CGECHNESS= AND THE NE@ GER3AN SCHOOL> S3ETANA, LISGT, AND THE 4OLITICS OF THE SA34HONIC 4OE3 ?e## St. 4ierre, Case @estern Reserve Universit 4arti,u#ar# -ro* t+e $%OJs, audien,es in 4rague ado(ted 7eddi,+ S*etana as a 9#one ,reator= oCFe,+ *usi,, and t+e a,t o- +earing +is *usi, as 9CFe,+= )e,a*e a (ro*inent *ode o- #istening a*ong audien,es ) t+e $%%Js. An $%%8 revie/ in Dali or o- t+e -irst ,o*(#ete (er-or*an,e oS*etanas ME <last i##ustrated t+is trend, des,ri)ing t+e /or6 as 9a triu*(+ o-:nationa# *usi,= /+ose 9(ure# nationa# nature ;,ou#d< not )e ,ontested.= 3ore t+an #i)era## ,o*(#i*enting t+e ,o*(oser, +o/ever, t+is ,riti,s (er,e(tion o- +lasts 9CFe,+ness= resu#ted in (art -ro* its organiFation into a , ,#e o- s *(+oni, (oe*s. 3usi, ,riti,s in,#uding S*etana -ra*ed t+e s *(+oni, (oe* as a s(a,e -or negotiating de#i)erate# (o#iti,a# sounds /+en t+e introdu,ed t+e genre to t+e CFe,+ (u)#i, during t+e $%OJs. So*e/+at (aradoEi,a## , +o/ever, t+e *ode#ed t+eir aest+eti, argu*ents -or its (o#iti,a# -un,tions on t+ose o- t+e soL,a##ed Ne/ Ger*an S,+oo#. 7 s+a(ing t+eir o/n nationa#isti, *ove*ent -ro* a Ger*an traditionUa tradition )e#onging to t+e ,u#tura# 9ot+ers= -ro* /+o* CFe,+ nationa#ists /is+ed distinguis+ t+e*se#vesUU7 *e*)ers introdu,ed a ,o*(#eE (o#iti,a# ,+arge into t+e dis,ourse surrounding t+e s *(+oni, (oe* and t+e in+erent 9CFe,+ness= it e*)odied. T+e ai* o- t+is ta#6 is to eE(#ore t+e gradua# (ro,ess t+roug+ /+i,+ audien,es in 4rague ado(ted t+e 9Ger*an= genre o- t+e s *(+oni, (oe* as 9CFe,+.= T+is eEa*ination i##u*inates a uni5ue *o*ent -or CFe,+s in /+i,+ u(+o#ding S*etana as a 9#one ,reator= *eta(+ori,a## 0usti-ied t+e CFe,+s desired (o#iti,a# autono* , /+i#e s *(+oni, (oe* ,o*(osition itse#)e,a*e a revo#utionar a,t to/ards t+is goa#. 9@ITH FEELINGS OF DEE4 GRATITUDE=> THE DEDICATION AND CRITICAL RECE4TION OF DVOef?S %7M$US, O4. 'J Eva 7randa, Universit o- Toronto Antongn Dvodh6s ,antata -or *iEed ,+orus and or,+estra %2mnus6 DFdico<) !Gl) %or2, O(. 'J /as (re*iered su,,ess-u## in 4rague in $%O'. T+e re-eren,es to CFe,+ +istor in its teEt and t+e /or6s overt# nationa#isti, tone resonated /it+ 4rague audien,es at a ti*e /+en CFe,+ +o(es -or a,+ieving greater inde(enden,e /it+in Austria +ad )een ,rus+ed. T+roug+out Dvodh6s ,areer, CFe,+ ,riti,s re-erred to t+e (re*iere as t+e event t+at se,ured Dvodh6s (osition as a res(e,ted ,o*(oser in 7o+e*ia. Given t+e /or6s signi-i,an,e in Dvodh6s ear# CFe,+ re,e(tion, it is sur(rising t+at Dvodh6 ended u( dedi,ating %2mnus 9/it+ -ee#ings o- dee( gratitude= to t+e Eng#is+ (eo(#e /+en it /as (u)#is+ed ) Nove##o in $%%C. One eE(#anation -or t+e dedi,ation is si*(# t+at %2mnus /as Dvodh6s -irst Eng#is+ (u)#i,ation. Dvodh6 *a +ave /anted to in,#ude a nod to t+e Eng#is+ (eo(#e on t+e tit#e (age o+is -irst (rinted Nove##o s,ore, regard#ess o- /+i,+ (ie,e /as a,tua## )eing (u)#is+ed. Anot+er (ossi)i#it is t+at t+is gesture /as or,+estrated ) so*eone e#se. David 7everidge suggests t+at t+e Eng#is+ dedi,ation /as (u)#is+er A#-red Litt#etons idea and Dvodh6 a,,eded to it /it+out giving *u,+ t+oug+t to its a((ro(riateness. T+e (resent stud eEa*ines t+e %2mnus dedi,ation in #ig+t o- E*i# Greens re,ent /or6 on t+e ro#e o- dedi,ations in se#-L(ro*otion and (u)#i, gi-tLgiving. 7 dedi,ating it to t+e Eng#is+ (eo(#e, Dvodh6 used %2mnus )ot+ as a ve+i,#e to dra/ attention to +is (ersona# su,,esses in Eng#and and as a *eans o- raising a/areness in 7ritain o- t+e CFe,+ ,ause.

LISGT, NATIONAL 3USIC, AND CRITICAL 7AC?LASH "onat+an 7e##*an, Universit o- Nort+ Co#orado LisFts nationa# *usi, +as +ad a ,o*(#i,ated re,e(tion. His ear#iest HungarianLtinged /or6s used t+e -a*i#iar HungarianLG (s st #e, )ut t+is evo#ved into a *ature, un,o*(ro*ising Hungarian 8u3unftmusi3. Des(ite +is st #isti, deve#o(*ent, *an sti## ,onsidered )ot+ LisFt and +is Hungarian *usi, su(er-i,ia#Ua vie/ eEa,er)ated ) LisFts errorLridden $%C! )oo6 a)out G (sies and Hungarian *usi,. Sti##, t+e (ro)#e*ati, re,e(tion o- t+is *usi, *a +ave *ore to do /it+ a,tua# st #e, and #ess /it+ nationa# ,on,erns, t+an genera## assu*ed. T+e )oo6 de*onstrated, a*ong ot+er t+ings, t+at nationa# ,o*(ositions /ere + )rids, in /+i,+ nationa# e#e*ents -ro* -o#6 and (o(u#ar ,onteEts /ere re,ast -or t+e *ore ,u#tivated *usi, -or ,on,ert and t+eater. For Ri,+ard @agner, t+oug+, *usi,a# + )ridiFation /as ) de-inition ,orru(t, 9(roo-= o- "e/is+ in-#uen,e t+at resu#ted in a -a,i#e, sou##ess st #e. @agners ,onte*(t -or su,+ st #isti, +eterogeneities /as +ig+# in-#uentia#, even t+oug+ +is targets 1e.g. Rossini, 7ra+*s, Heinri,+ Dorn2 /ere not ne,essari# "e/is+I /+at *attered /as st #isti, (urit , +o/ever in,onsistent# ,on,eived. T+is soonLtoL)eLdo*inant vie/ inevita)# ,ast t+e ,os*o(o#itan LisFt in a sus(i,ious #ig+t. 7e,ause +is nationa# /or6s 1S(anis+ and Ita#ian in addition to Hungarian2 s+ared a variet o- ,o*(ositiona# a((roa,+es, +e ,ou#d evo6e )ot+ +is o/n nationa# s *(at+ies and a tourists vivid i*(ressions /it+ e5ua# ,o**and, and 9(urit = oan 6ind /as irre#evant. T+e @agnerian vie/, nonet+e#ess, de-ined t/entiet+L,entur ,riti,a# t+oug+t, and even no/ (o#iti,a# ,onsiderationsUnot *usi,a# ,riteriaUo-ten de-ine t+e ,riti,is* o- nationa# *usi,. LisFts re,e(tion de*onstrates +o/ t+is odd ,ir,u*stan,e deve#o(ed, and t+at a ,riti,a# re,a#i)ration is #ong (ast due. $%'& AND ALL THAT> THE FIRST ENGLISH 3USICAL RENAISSANCE 4eter Horton, Ro a# Co##ege o- 3usi, @+i#e t+e ear $!'& is i*(rinted on t+e ,o##e,tive *e*or o- 7ritis+ *usi, as *ar6ing t+e deat+s o- De#ius, E#gar and Ho#st, its ,ounter(art a ,entur ear#ier +as #ong surrendered an ,o*(ara)#e i*(ortan,e. In its o/n ti*e, +o/ever, $%'& /as a#so a signi-i,ant ear -or native *usi, and *usi,ians. @+i#e t+e Hande# Co**e*oration in @est*inster A))e ,e#e)rated an ear#ier, ado(ted Eng#is+*an, t+ree ot+er events /ere /+o## ,onte*(orar > t+e -oundation ot+e So,iet o- 7ritis+ 3usi,ians to (ro*ote t+e /or6 o- native ,o*(osers, t+e reLo(ening o- t+e Eng#is+ O(era House /it+ i*(ortant ,o**issions -ro* "o+n 7arnett and Ed/ard Loder, and a nota)#e T+ree C+oirs Festiva# 1under t+e )aton o- S.S. @es#e 2. 7ut (er+a(s even *ore signi-i,ant /as t+e sense t+at, in t+e *idL$%'Js, 7ritis+ *usi, /as -ina## ,o*ing o- age. Severa# ,o*(osers edu,ated at t+e Ro a# A,ade* o- 3usi, /ere )eginning t+eir ,areers and S,+u*anns ,o**ent on t+e *ost nota)#e, @i##ia* Sternda#e 7ennett, see*ed to su* u( t+e +o(es o- a ne/ da/n> D: /ere t+ere *an artists #i6e Sternda#e 7ennett, a## -ears -or t+e -uture (rogress o- our art /ou#d )e si#en,ed. T+is (a(er /i## #oo6 at t+e /or6 o- 7ritis+ ,o*(osers in t+e $%'Js and ear# $%&Js and atte*(t to understand t+e ,auses, s,o(e, and u#ti*ate# un-u#-i##ed nature o- t+is ear# DEng#is+ *usi,a# renaissan,e. SESSION 16: HAYDN AND REVERBERATIONS OF THE FRENCH REVOLUTION T+e Fren,+ Revo#ution, a (eriod o- radi,a# so,ia# and (o#iti,a# ,+ange t+at too6 (#a,e )et/een $O%! and $O!!, +ad ,onsidera)#e ra*i-i,ations -or ,o*(osers #asting #ong into t+e nineteent+ ,entur . 3an ,o*(osers /+o +ad en0o ed su,,ess-u# ,areers )e-ore t+e Revo#ution, su,+ as

GrTtr , -ound it (ro)#e*ati, *aintaining su,,ess su)se5uent# . T+ose /+o eit+er i*agined it eE(edient to es(ouse revo#utionar idea#s, or genuine# e*)ra,ed t+e*, #i6e Ci*arosa, o-ten -ound t+e*se#ves vu#nera)#e to ,ounterLrevo#utionar deve#o(*ents. Ha dn 1d.$%J!2 is one ,o*(oser a,tive t+roug+out t+is (eriod /+ose *usi, en0o ed ,onsidera)#e ,e#e)rit under t+e Ancien r)gime, )ut /+ose (o(u#arit , in Fran,e and e#se/+ere, es,a#ated t+roug+out t+e revo#utionar (eriod and )e ond. In a re,ent arti,#e 3ar6 Evan 7onds (oints out Ha dns ear# /i##ingness to ,o*(ose a DNationa# S *(+on -or Fran,e s+ort# a-ter #earning o- t+e -a## o- t+e 7asti##e, a ,#ear indi,ation o- +o/ t+e ,o*(oser soug+t to engage *usi,a## /it+ (o#iti,a# deve#o(*ents t+en ta6ing (#a,e in Fran,e 1DS *(+oni, 4o#iti,s> Ha dns DNationa# S *(+on -or Fran,e, Eighteenth Centur2 Music, %, 8J$$, ((.!L$!2. In a (a(er given at t+e s *(osiu* 1ose&h %a2dn and the H$ew 5orldI 1Eisenstadt, Se(te*)er 8J$$2, 7onds a#so dre/ attention to +o/ *ost ear# a,,ounts o- t+e origins o- t+e DFare/e## S *(+on , a##eged# ,on,eived as a (rotest in su((ort o- de*ands *ade ) *usi,ians ,on,erning t+eir /or6ing arrange*ents, (rovide eviden,e -or (er,e(tions o- Ha dn as a D(rotoLrevo#utionar ,o*(oser. T+is session (rovides a -oru* -or eE(#oration o- Ha dn as a ,o*(oser engaging /it+ revo#utionar ideas. @as Ha dn a revo#utionar a-ter a##H OCCASIONAL HAADN AND 3USICS 4OLITICAL VOICE Ni,+o#as 3at+e/, Universit o- Ca#i-ornia, 7er6e#e T+is (a(er dis,usses Ha dns ,reation o- a distin,tive# (ostLRevo#utionar (o#iti,a# *usi,, /+i,+ not on# adorned state o,,asions or e,+oed ideo#ogi,a# ort+odoEies, )ut /as understood ) Ha dns ,onte*(oraries as (ossessing a voi,e o- its o/nUa voi,e t+at ,ontri)uted inde(endent# and a,tive# to (o#iti,a# dis,ourse. Ha dn (rodu,ed a )od o- overt# (o#iti,a# *usi, a-ter $O%! t+at, in addition to +is -a*ous song o- Ha)s)urg #o a#t , DGott er+a#te FranF den ?aiser, in,#udes t+e Missa in tem&ore elli, t+e Missa in angustiis, in,identa# *usi, to t+e (atrioti, (#a Alfred, and t+e eu#og to Ad*ira# Ne#son, DLines -ro* t+e 7att#e o- t+e Ni#e. One *ig+t add t+e DInvo,ation o- Ne(tune 1a 0ingoisti, Eng#is+ ,antata ,o*(osed /+i#e Ha dn /as in London2, t+e Te Deu* -or E*(ress 3aria T+eresa, and even a ,o*(osition su,+ as t+e D3i#itar S *(+on , /+ose *i#itaris* ra(id# a,5uired *ore i**ediate (o#iti,a# ,onnotations in /arti*e Vienna. Not on# /as t+is *usi, ,ontinua## a)sor)ed and rea)sor)ed into ,+anging (o#iti,a# ,ir,u*stan,es t+roug+out t+e Na(o#eoni, @ars, )ut t+e nove#t o- its tone and so,ia# -un,tion (ro*(ted *u,+ -raug+t de)ate over t+e et+i,s and aest+eti,s o- t+e Do,,asiona# /or6 1,elegenheitswer32Uin )ot+ t+e (o(u#ar (ress and t+e *ore ar,ane (+i#oso(+ o- ?antians su,+ as ". C. A. Gro+*ann. #IJ MOTO> HAADN, VELOCITA, AND REVOLUTION To* To##e , Universit o- Edin)urg+ T+is (a(er investigates a #itt#e noti,ed -eature o- Ha dns #ater *usi,, +is instru,tion to a#ter t+e te*(o o- a *ove*ent ) re5uiring (er-or*ers eit+er to s(eed u( 1denoted ) su,+ indi,ations as &iK allegro, or &iK moto2, or to s#o/ do/n 1denoted ) , -or instan,e, &iK lento or &iK adagio2. Su,+ *ani(u#ations o- te*(o are -ound in *an /or6s, in,#uding trios, 5uartets, 3asses and t+e #ate oratorios. 4arti,u#ar# stri6ing is Ha dns ,on,ern /it+ +eig+tening tension ) +astening t+e )asi, (u#se o- t+e *usi,. 4rogressive te*(os +ad a#/a s +ad eE(ressive (otentia# -or Ha dnI +o/ever, a-ter $O%!, +e regu#ar# used t+e /ord &iK to eEaggerate te*(os (rogressive# . His interest in res(onding *usi,a## to t+e initia# events o- t+e Fren,+ Revo#ution, do,u*ented in

,orres(onden,e, suggests t+e (ossi)i#it t+at +is unanti,i(ated ,on,ern /it+ te*(o eEaggerations *a +ave )een (art o- an aest+eti, res(onse to radi,a# ti*es. An eEa*ination ot+e individua# ,onteEts o- su,+ instru,tions #ends su((ort to a vie/ o- Ha dn as a ,o*(oser /+o not on# res(onded to 6e events o- t+e (eriod, )ut a#so one /+o ,ons,ious# deve#o(ed +is ,o*(ositions as a ve+i,#e -or so,ia# (rogress. NOISE AND 4O@ER> HAADN, ROSSINI, AND INSTRU3ENTAL RIOTS E*i# Do#an, Universit o- 4enns #vania @+en "ose(+ Ha dn arrived in London in t+e $O!$, +e /as +ai#ed as a +ero. T+e or,+estra# /or6s +e ,o*(osed -or +is (er-or*an,es t+ere /ere ,e#e)rated -or +is *odern use o- t+e or,+estra, in (arti,u#ar +is 6een and sensitive ear -or t+e su)t#eties o- individua# or,+estra# instru*ents. For so*e #isteners, Ha dnWs or,+estra o--ered a +ar*onious eEa*(#e o- an idea# (o#it t+at res(e,ted t+e autono* o- t+e individua#. Ot+ers, +o/ever, ,o*(#ained t+at 9Ger*ani,= *usi, /as /eig+ed do/n ) dense or,+estration. Distain -or Ha dn *usi, in t+e $O!Js (ointed to a )urgeoning ,on,ern a)out a)uses o- t+e or,+estra and o- or,+estration. Aet during t+e ear# $!t+ ,entur , a re*ar6a)#e ,+ange o,,urred> t+roug+ RossiniWs *eteori, rise to -a*e, nois , e--e,tL#aden or,+estration gradua## )e,a*e seen as Ita#ian. T+is (a(er eE(#ores t+e /a s in /+i,+ Rossini /as (ositioned as +eir to Ha dn, t+e #ive# de)ates over or,+estration and noise, and t+e -arLrea,+ing i*(#i,ations o- t+is s+i-t -or t+e +istor o- *usi,. ENCOUNTERING 3ONSTERS AND 3UD3EN> "aRGEN FLI33S STAGING OF HAADNS OR#%EUS Car # C#ar6, Universit o- Toronto Astounding# , Ha dns #ast o(era, L"anima del filosofo 1T+e sou# o- t+e (+i#oso(+er2, /ritten -or London in $O!$, /as never staged in t+e ,o*(osers #i-eti*e. A rarit in Ha dns ,anon o- #argeL s,a#e vo,a# and or,+estra# ,o*(ositions dating -ro* t+e #ast de,ade o- +is ,areer, t+is Or(+eus o(era -e## into o)#ivion unti# its reviva# in $!CJ. T+is (resentation ana# Fes re,ent stagings o- t+e o(era -or Vienna 1$!!C2 and London 18JJ$2 ) t+e ,ontroversia# Ger*an dire,tor, "Zrgen F#i** 1,ondu,ted ) Harnon,ourt and Hog/ood res(e,tive# 2, in an atte*(t to understand +o/ t+e *usi,a# and narrative di*ensions o- t+is nove# rete##ing o- t+e Or(+eus * t+ interse,t /it+ F#i**s strong dire,toria# reading. In 6ee(ing /it+ t+e o(eras s+o,6ing and distur)ing ,on,#usion, F#i**s (o/er-u# (rodu,tion o- t+is revo#utionar o(era (rovo6es and unsett#es. SESSION 17: HARMONY AND TONALITY SO3E INSTANCES OF DDO3INANTIGED TONICS IN RO3ANTIC GER3AN SONG 3i,+ae# 7a6er, Universit o- ?entu,6 Toni,iFation is a -a*i#iar ,on,e(t to *ost *usi,ians, usua## )roug+t a)out ) t+e (resen,e oDa((#ied or Dse,ondar do*inant ,+ords, ,+ro*ati,a## a#tered to te*(orari# sound #i6e t+e do*inant o- t+e ,+ord to )e toni,iFed. A (arti,u#ar# ,o**on use o- t+is devi,e invo#ves t+e trans-or*ation o- t+e overa##, g#o)a# toni, into an a((#ied do*inant o- t+e su)do*inant +ar*on . Ho/ever, in severa# eEa*(#es o- Ro*anti, Ger*an Lieder t+e a#tered toni, is sounded dire,t# at t+e outset o- t+e ,o*(osition, i**ediate# ,asting dou)t u(on its ro#e as t+e de,isive signi-ier o- tona#it . Indeed, t+e su)se5uent toni,iFation o- IV is on# o- (assing interest

/+en ,o*(ared to t+e desta)i#iFing gesture o- an un(ro*(ted ,+ro*ati, a#teration to t+e overa## toni, +ar*on . T+e Ddo*inantiFation o- t+e g#o)a# toni, ,an )e en#isted to de(i,t an nu*)er o- *usi,a#L (oeti, senti*ents in a song setting o- a given (oe*. @+i#e t+is te,+ni5ue ,an )e e*(#o ed in a *u#titude o- /a s, -our (arti,u#ar# i*(ortant ,o*(ositiona# uses /i## )e de*onstrated in t+is (a(er> $2 )eginning an entire song i**ediate# on t+e do*inantiFed toni,, 82 setting t+e -irst entran,e o- t+e vo,a# *e#od /it+ t+e do*inantiFed toni,, '2 ending t+e vo,a# *e#od on t+e do*inantiFed toni,, and &2 ending an entire ,o*(osition on t+e do*inantiFed toni,. EEa*(#es o- t+is devi,e a((ear in severa# Ro*anti, Ger*an songs, in,#uding /or6s ) Fe#iE 3ende#sso+n 1O((. %NM& and !!MN2, Ro)ert FranF 1O(. 8NM82, C#ara S,+u*ann 1O(. 8NM82, and Ro)ert S,+u*ann 1O(. '!M$ and '!MC2. FOR3ALMHAR3ONIC CONFLICTS IN CHO4INWS 3AGUR?AS David Da*s,+roder, Universit o- 3innesota T+e -or* in *ost o- C+o(ins *aFur6as resu#ts -ro* an a#ternation )et/een regu#ar toni, (i##ars, ending in a (er-e,t aut+enti, ,aden,e in t+e toni, 6e , and ,ontrasting se,tions t+at *a (ro,eed a#ong a range o- tona# (at+s. A-ter a )rie- revie/ o- t+is nor*, I s+a## eE(#ore C+o(ins *aFur6as t+at ,ontain an irregu#ar toni, (i##ar, /+i,+ ,on,#udes a/a -ro* t+e toni,, +ig+#ig+ting dis,re(an,ies )et/een t+e ,o*(ositions -or*a# and +ar*oni, (ara*eters. For eEa*(#e, in t+e 3aFur6a in 7 3a0or 1o(. &$M82 t+e ,aden,e o- A$ on t+e *ediant a*ounts to t+e (re*ature onset o- t+e 7 se,tions do/n/ard tra0e,tor to t+e su)do*inant> 7 Di ! G 7 ! E Fc 7 I 1 2 IV VO I

A$ 7 T+e ,onteEts -or (i##ars t+at end on t+e do*inant, on t+e *ediant, or on t+e su(ertoni, /i## )e assessed. T+e re*ainder o- t+e ta#6 /i## )e devoted to t/o eEtraordinar *aFur6as Q o(. ''M& and o(. C!M$ Q ,ontaining a (i##ar t+at deviates -ro* t+e do*inant or t+e toni, ) a +a#- ste(. T+e ana# ti,a# eEa*(#es /i## e*(#o * innovative s ste* o- +ar*oni, ana# sis, /+i,+ diverges -ro* ,onventiona# (ra,ti,e in i*(ortant /a s. T+oug+ Ro*an nu*era#s are retained, a#ternative *eans o- ana# Fing a((#ied and aug*ented siEt+ ,+ords and a *ore restri,ted a((#i,ation o- Ara)i, nu*)ers #ead to a ,#earer, *ore artisti, vie/ o- +ar*on s inner /or6ings t+an is a,+ieved via ot+er *et+odo#ogies. T+e (resentation /i## revea# C+o(ins eEtraordinar ,reative ,a(a)i#ities, /+i,+ re-use to )o/ to traditiona# -or*a# ,onstraints. 7RAH3SS HALFLDI3INISHED SEVENTH CHORDS AS AGENTS OF TONAL 3OTION R an 3,C#e##and, Universit o- Toronto To * ears, no +ar*oni, sonorit is *ore 7ra+*sian t+an t+e +a#-Ldi*inis+ed sevent+ ,+ordI its sound +as an aura# i*(a,t si*i#ar to +is intri,ate teEtures and -#uid *etri, dissonan,es. 3ost o-ten +a#-Ldi*inis+ed sevent+s o(erate /it+in a sing#e 6e , -re5uent# as ,o#oristi, *iEtures -ro* t+e *inor *ode, )ut t+e ,an serve as agents o- tona# *otion in *odu#ation. As is /ide# re,ogniFed /it+ aug*ented siEt+s, +a#-Ldi*inis+ed sevent+s ,an (er-or* a variet o- tona# -un,tionsU(#aga#, (redo*inant, and do*inantU et in *ost situations t+eir -un,tion ,an )e 5ui,6# dedu,ed -ro* t+eir reso#ution. T+is ,o*)ination o- *u#tiva#en, and ,+ara,teristi, usages ena)#es +a#-Ldi*inis+ed sevent+s to serve )ot+ as (ivot ,+ords )et/een ad0a,ent 6e s

and as identi-iers o- 6e a-ter (eriods o- tona# -#uE. T+is (a(er /i## eEa*ine 7ra+*ss de(#o *ents o- +a#-Ldi*inis+ed sevent+s in t+ese ro#es, +ig+#ig+ting t+e eEtent and variet ot+is as(e,t o- +is +ar*oni, #anguage and a#so t+e unusua# (resentationa# e*(+asis +e so*eti*es a,,ords t+e*. In ,ertain ,ases, o,,urren,es o- +a#-Ldi*inis+ed sevent+s in *odu#ations a((ear in ,on0un,tion /it+ #argerLs,a#e +ar*oni, or *e#odi, un-o#ding o- t+is sonorit . A#t+oug+ ana# sts +ave noted 7ra+*ss (ro(ensit to #ineariFe i*(ortant +ar*oni, sonorities and to ,on-er *otivi, status to re-erentia# +ar*oni, sonorities, t+e ro#es o- +a#-L di*inis+ed sevent+s in 7ra+*ss tona# #anguage +ave not )een s ste*ati,a## eE(#ored. 3u,+ +as )een /ritten a)out +a#-Ldi*inis+ed sevent+s in t+e Dse,ond (ra,ti,e o- nineteent+L,entur +ar*on 1i.e., @agner to ear# S,+oen)erg2, /+i#e t+e -avoured +ar*oni, -inger(rint in t+e 7ra+*s #iterature +as )een t+e DNea(o#itan ,o*(#eE, and t+is (a(er see6s to redress t+is i*)a#an,e. CADENTIAL EB4ANSION AND 4ROGRA33E IN SCHOEN7ERGS +ER=L.RTE $AC%T, O4. & "u#ie 4edneau#tLDes#auriers, Universit o- Otta/a 3an ear# ,riti,s o- S,+oen)ergs O(. & dou)ted /+et+er t+e intri,a,ies o- De+*e#s (oe* 9Ver6#Krte Na,+t= ,ou#d #end t+e*se#ves to *usi,a# treat*ent> /+en a /o*an ,on-esses to +er )e#oved t+at s+e ,arries anot+er *ans ,+i#d, +er ,o*(anion vo/s t+at t+eir #ove /i## trans-igure t+e ,+i#d into +is o/n. T+ere +as )een #itt#e ,onsensus regarding t+e /or6s -or* and its re#ation to t+is stor . Ana# sts a#ternative# des,ri)e O(. & as a rondo, a (air o- sonata -or*s, or an overar,+ing sonata design /it+ an inter(o#ated s#o/ *ove*ent. 3 ,ontri)ution to t+ese t/o issues revo#ves around t+e -or*a# and (rogra**ati, i*(#i,ations o- a distin,tive +ar*oni, (rogression, an eE(anded ,adentia# -or*u#a in /+i,+ t/o do*inants -ra*e an a*)iguous nint+ ,+ord in -ourt+ inversion. I de*onstrate +o/ t+is 9do*inant tunne#= *a6es severa# *odi-ied rea((earan,es at t+e ,on,#usions o- *a0or -or*a# se,tions. It t+us arti,u#ates 9,#osing (ara##e#is*,= a te,+ni5ue /+ere) *u#ti(#e se,tions ,on,#ude /it+ t+e sa*e *ateria#s in a 6ind o- -or*a# r+ *ing strateg . Dra/ing on S,+oen)ergs o/n (rogra**ati, ,o**ents, I de*onstrate +o/ t+ese re,urrent do*inant tunne#s *usi,a## arti,u#ate t+e trans-iguration narrative o- De+*e#s (oe*. I ,onsider +o/ t+e (rogression -un,tions in t+e seEtets #argeLs,a#e -or*a# design, suggesting t+at ,#osing (ara##e#is*s (ro0e,t t/o -or*a# di*ensions t+at o(erate si*u#taneous# 1i- (artia## 2 in t+e /or6> an overar,+ing sonata -or* and a *u#tiL*ove*ent , ,#e. In su*, t+e ,#ose re#ations+i( )et/een do*inant tunne#s and #argeLs,a#e -or* suggest t+at d na*i, (ro,essUand not on# te,toni, #a outU*ust )e ,onsidered to address 5uestions o-or* in O(. &. SESSION 1 : MUSICAL COMEDY IN LISBON AND RIO DE $ANEIRO %1 4!&1 !#' 3usi,a# ,o*ed , a do*inant (+eno*enon in 4ortuguese and 7raFi#ian nineteent+L,entur ur)an #i-e sin,e t+e $%&Js, +as )een virtua## ignored in *usi,o#ogi,a# stud . @e #a,6 in-or*ation regarding its agents, its institutions, re(ertories, as /e## as ,on,erning t+e ,onvi,tions and t+e eE(ressive +a)its t+at /ere on,e (e,u#iar to it. T+e *idLnineteent+L,entur eE(erien,e o- ,o*ed in Lis)on /as retros(e,tive# des,ri)ed ) ,riti, Ga,+arias dWAran+a in $!JN as a ,ru,ia# e#e*ent in a ne/ 9(ra,ti,e o- -reedo*,= a de-ining trait o- (ortugueseLs(ea6ing #i)era# *odernit . Fo##o/ing dWAran+aWs notion, t+is session see6s to address t+e et+i,a# and (o#iti,a# va#ue o- ,o*edi, (#a , eE(#oring t+e +eterogeneous -ie#d o- t+eatri,a# eE(erien,e t ing (ra,ti,es o- +i#arit , dra*ati, i##usion and *usi,a# (er-or*an,e t+at /as on,e ,entra# to

t+eatri,a# /or6 and /+i,+ -orti-ied t+e deve#o(*ent o- a ne/ et+i,s and aest+eti,s osovereignt (e,u#iar to 4ortuguese and 7raFi#ian *odernit . T+e session ai*s at (rodu,ing a ,artogra(+ o- *usi,a# ,o*ed in t+e se,ond +a#- o- t+e ,entur ,entered on t+e t+eatri,a# a,tivit o- -our *ain t+eaters> t+e Ginhsio, Condes and Trindade in Lis)on, and t+e FTniE Dra*hti,a in Rio de "aneiro. T+e (a(ers address #o,a# -or*s o- t+eatri,a# /or6, *odes o- ,o*ed , t+e re#ations+i( to o(era, and t+e -or*s o- #a)or and o,o##a)oration 1in,#uding *usi,a# (er-or*an,e and ,o*(osition2 /+i,+ grounded t+e (ra,ti,e o*usi,a# ,o*ed on nineteent+L,entur 4ortugueseLs(ea6ing stages. 4arti,u#ar attention is given to t+e ,entra#it o- t+eatri,a# eE(erien,e in t+e ,onso#idation o- #o,a# dis,ourses on sovereignt , and to t+e ro#e o- *usi, in t+e -orging o- a *odern sensi)i#it *ar6ed ) +i#arit . 3USICAL CO3EDA AND SOVEREIGNTA> O4ERATIC 4ARODIES AT THE TEATRO GINfSIO IN THE $%CJS Ga)rie#a CruF, Universidade Nova de Lis)oa T+e (a(er ,onsiders t+e ,u#tura# neEus )et/een *usi,a# ,o*ed and t+e /or6 o- t+e a,tor. 3usi,a# ,o*ed )e,o*es a ,entra# e#e*ent o- t+e a,tivit o- Ginhsio in $%&%, -o##o/ing an a,torsW revo#t against t+e aut+orit o- Fren,+ dire,tor and i*(resario E*i#e DouE. Fo##o/ing t+is revo#t, t+e trou(e e*)ar6ed on t+e ne/ and ris6 (ro0e,t o- (rodu,ing *usi,a# ,o*edies /+i,+ #ed t+e t+eater to artisti, (ro*inen,e, attra,ting t+e (atronage o- t+e ,ourt and t+e ro a# -a*i# . T+e Ginhsio /as des,ri)ed in t+e )eginning o- t+e $%CJs as a s,+oo# o- 0o , a #a)orator o*odern -ee#ing. T+e (a(er addresses t+e ,u#ture o- ,o*ed (e,u#iar to Ginhsio and t+e /a it s(o6e to Lis)onWs # ri,a# stage and to t+e ,u#tura# aut+orit #o,a# inte##e,tua#s traditiona## invested in )e# ,anto. To t+is end, I dis,uss t+e deve#o(*ent o- a re(ertor and o- a (ra,ti,e oo(erati, (arod in t+e t+eater in t+e $%CJs. T+is (ra,ti,e, notorious# , invo#ved t+e +a)it oo(erati, (er-or*an,e ) singers /it+out # ri,a# training and in t+e ,onteEt o- s(o6enLt+eater. T+us, t+e (a(er addresses (arod not in #ig+t o- interteEtua# strategies )ut as a *ode ot+eatri,a# #a)or ,onsidered +ere in re#ation to t+e /or6 o- a,tor Fran,is,o Ta)orda, +is re,reation o- # ri,a# enun,iation and +is re-ra,tion o- o(erati, dra*a in t+e oneLa,t (ie,e O Sr: 1os) do Ca&ote assiste ao Torrador LMr: 1ose&h and his cloa3 attend a &erformance of the RoasterM 1$%CC2, a (arod o- VerdiWs Il Tro<atore. O SE$%OR 1ONO E A SE$%ORA %ELE$A 1$%N&2, THE FIRST O4ERETTA IN LIS7ON, OR 3AA7E NOT> 3USICAL CO3EDA IN TEATRO DA RUA DOS CONDES 7ET@EEN $%CCL$%NC Isa)e# Novais GonXa#ves, Universidade Nova de Lis)oa T+e ter* o(eretta is used -or t+e -irst ti*e in Lis)on in asso,iation o- O senhor 1oOo e a Senhora %elena, a /or6 ) Lugs de AraR0o (re*iered $%N& in t+e t+eater o- t+e Rua dos Condes. @+ o(erettaH T+e /or6 -o##o/s t+e ,onventions o- t+eatri,a# ,o*ed , ,ontinuing a venera)#e tradition in Lis)on nineteent+L,entur stage o- )ringing toget+er *usi,, singing and t+e s(o6en /ord in dra*ati, s(e,ta,#e. T+e (a(er ,onsiders t+e /or6 in t+e ,onteEt o- *usi,Ldra*ati, (ie,es )roug+t to t+e Lis)on stages )et/een $%CC and $%NC, in order to deter*ine t+e nature ot+e re#ations+i( )et/een s(o6en /ord and song, to address t+e *usi,a# and t+eatri,a# (ro,edures (arti,u#ar to t+e*, to ,onsider t+e uses o- (arod and o- ,itation and to deter*ine #o,a# *usi,Lt+eatri,a# a((roa,+es to +i#arit and #aug+ter. T+ese 6e as(e,ts /i## t+en )e used to (rodu,e a ne/ ,artogra(+ o- #o,a# generi, deno*inations, one t+roug+ /+i,+ I /i## atte*(t to -ind t+e de#i*iting #ines /+i,+ on,e se(arated ,o*ed , (arod , ,o*i, o(era and o(eretta in Lis)on t+eatri,a# (ra,ti,e.

THE THEATRE OF TRINDADE AND 4ORTUGUESE 3ODERNITA 3aria "osT Artiaga, Instituto Su(erior de Edu,aXjo, Instituto 4o#itT,ni,o de Lis)oa T+e T+eater o- Trindade, inaugurated in $%NO, /as a*ong t+e -ore*ost 4ortuguese stages. T+e *ost 4arisianLins(ired o- Lis)on t+eatri,a# institutions, it /as )ui#t /it+ t+e goa# o- (resenting dra*a, ,o*ed and ,o*i, o(era. It /as at t+e Trindade /+i,+ t+e o(erettas o- O--en)a,+ gained i**ense (o(u#arit in t+e ,it , and O--en)a,+ +i*se#- )e,a*e a ,u#t -igure in Lis)on. 7ased on t+e t+eatri,a# (rodu,tions o- t+e Trindade, a grou( o- 4ortuguese inte##e,tua#s ,a*e to understand t+e ,o*(oserWs songs and ,ari,atures as 9t+e #iterar idea o- -reedo* and e*an,i(ation.= T+e (a(er addresses t+e 9,u#ture o- t+e roo*= (e,u#iar to t+e Trindade, re-#e,ting u(on t+e ,ontradi,tor invest*ents, va#ues and interests /+i,+ in+a)ited t+e t+eater, trans-or*ing it in a )att#eground -or di--erent #o,a# visions o- *odernit . T+e ,on-#i,t o- va#ues and o- a*)itions t+at *ar6ed 4ortuguese so,iet -ro* t+e #ate $%NJs to t+e $%%Js is eE(#ored +ere in #ig+t o- t+e -igure and /or6 o- Fran,is,o 4a#+a. To t+is end, I ,onsider in detai# +is ro#e in t+e (rodu,tion ot+e (ortuguese o(eretta The ,uitar ) ,o*(oser Augusto 3a,+ado. 9k ISTA37UL` CA7UL` LIVER4OOL` RIO GRANDE DO SUL`=> O4ERETTA AS A CROSSL CULTURAL S4ACE IN THE RIO DE "ANEIRO OF THE EARLA $%%JS Lugsa C *)ron, Universidade Nova De Lis)oa Sin,e t+e #ate $%NJWs, -o##o/ing t+e su,,ess o)tained ) a Fren,+ ,o*(an /it+ Or&h)e au> enfers, Rio de "aneiro /itnessed severa# atte*(ts to nationa#iFe t+e o(eretta 1)ot+ t+roug+ t+e *eans o- (arod and ) t+e ,reation o- ne/ #i)rettos2. 7 t+e +and o- t+e a,tor and (#a /rig+t Fran,is,o Correa Vas5ues, t+e FTniE Dra*hti,a T+eatre )e,a*e t+e *ain stage -or t+e genre, /+ere -ro* $%ON, t+e (#a /rig+t Artur de AFevedo asserted +i*se#-. In $%O!L%J +e /as 0oined ) t+e 4ortuguese ,o*(oser Fran,is,o de Sh Noron+a and )ot+ o)tained a signi-i,ant su,,ess /it+ A &rincesa dos caPueiros, -o##o/ed ) Os noi<os and O califa da Rua do Sa Oo. @+i#e A &rincesa dos caPueiros eE(#ores O--en)a,+Ws *ode# o- (o#iti,a# and so,ia# satire, Os noi<os e O califa da Rua do Sa Oo re,a(ture t+e design o- t+e 9,o*ed o- *anners=, (resenting a ,ari,ature o- di--erent so,ia# grou(s o- t+e ,it and its outs6irts. Sin,e t+is re(ertor /as (re*iered in t+e ears /+i,+ (re,eded t+e a)o#ition o- s#aver , t+e grou( /+i,+ +as natura## deserved *ore attention on t+e (art o- s,+o#ars+i( +as )een t+at o- t+e negroes. Nevert+e#ess, t+e ,u#tura# diversit /+i,+ it re-#e,ts is *u,+ ri,+er, *iEing as(e,ts o- 4ortuguese ,u#ture /it+ t+e ,os*o(o#itis* o- Fren,+ -as+ions and t+e re,ent dis,over o- t+e 3idd#e East, in t+e /a6e ot+e starting S rian and Le)anese i**igration. Fo,using on t+e AFevedoMNoron+a o(erettas, t+is (a(er /i## ana# se t+e /a in /+i,+ t+is genre o- *usi,a# t+eatre asserts itse#- as a ,rossL ,u#tura# s(a,e, *irroring t+e a*)itions and ,ontradi,tions o- a so,iet /+i,+ /as undergoing a (ro-ound ,+ange. SESSION 1!: MUSIC AND COMMERCE 3USICL3A?ING AT ALEBANDRA 4ALACE IN THE LATE NINETEENTH CENTURA> CO34ETITION AND CO33ERCE A#ison Ra)inovi,i, Universit o- 3e#)ourne 4au# @att, 3onas+ Universit In +is great /or6 o- ar,+ite,tura# s,+o#ars+i(, The !uildings of England6 Middlese> 1$!C$2, Ni6o#aus 4evsner noted t+at A#eEandra 4a#a,e /as Done o- t+e *ost eEtensive and *ost

(ro*inent# (#a,ed o- London )ui#dings )ut Dt+ere is not *u,+ e#se to )e said a)out it. T+is +as )een #arge# t+e vie/ o- s,+o#ars, too, -or t+e ,u#tura# and *usi,a# #i-e o- t+e 4a#a,e +as re*ained virtua## uneE(#ored. O(ened in $%O', so*e -i-teen ears a-ter t+e Cr sta# 4a#a,e, A#eEandra 4a#a,e on 3us/e## Hi## )e,a*e a ,enter(ie,e o- #eisure -or residents o- greater London and )e ond. Aet, des(ite its siFe, /ide range o- a,tivities and varied *usi,a# (rogra**esUand t+e destru,tion o- &,CJJ +istori,a# o)0e,ts in a -ireUa ri,+ ar,+ive o- )usiness do,u*ents and *usi, (rogra*s survive t+at s+ed #ig+t on *usi,L*a6ing at t+e 4a#a,e in its ear# ears. T+is (a(er eEa*ines t+e #argeLs,a#e and e,#e,ti, *usi,a# a,tivities o- t+e 4a#a,e -ro* $%O' to around $!JJ and t+eir (ositioning /it+in t+e 4a#a,es #eisure (rogra*. Ho/ /ere organ re,ita#s, or,+estra# and ,+ora# ,on,erts and o(era (ositioned /it+in t+e et+os o- t+e 4a#a,es *ission, and to /+at eEtent /as *usi, e*(#o ed in t+e advertising r+etori, o- t+e 4a#a,eH T+is (a(er argues t+at t+e *otivating -or,e )e+ind t+e 4a#a,es *usi,a# (rogra**ing /as a ,o*)ination o- *ar6eting, ,o**er,e and (o(u#ar and serious *usi,L*a6ing. Co##e,tive# it ai*ed to ,o*(ete /it+, and su((#ant, t+e *usi,a# su,,esses o- t+e Cr sta# 4a#a,eI an ai* t+at /as u#ti*ate# on# (artia## rea#iFed. 3USICAL STALE AS CO33ERCIAL STRATEGA IN VfCLAV VEITS STRING CHA37ER 3USIC 3arie Su*nerLLott, 4enn State Universit A#t+oug+ studies o- Ro*anti, *usi, +ave o-ten suggested a star6 de,#ine in string ,+a*)er *usi, ,o*(osition and (er-or*an,e around $%'J, ne/ eviden,e de*onstrates t+at a vi)rant ,o**unit o- u((erL*idd#eL,#ass *usi, #overs (#a ed string *usi, regu#ar# at +o*e. Ar,+iva# (rint re,ords s+o/ t+at nineteent+L,entur ,o*(osers and (u)#is+ers ,o##a)orated to ,reate *usi, a((ro(riate -or t+ese do*esti, gat+erings, (rodu,ing a #arge )od o- /or6s t+at revea# t+e eE(e,tations and (re-eren,es o- s+eetL*usi, ,onsu*ers. Ana# sis o- t+is *usi, o(ens a /indo/ into t+e ever da *usi,a# #ives o- t+e )ourgeoisie, i##u*inating in (arti,u#ar t+e (rivate *usi,a# a,tivities o- *en. T+e string ,+a*)er *usi, o- CFe,+ ,o*(oser Vh,#av "inddi,+ Veit 1$%JNL$%N&2 (rovides one eE,e##ent eEa*(#e o- t+is *usi,a# st #e and o- t+e ,o##a)oration )et/een ,o*(osers and (u)#is+ers t+at a##o/ed it to -#ouris+. Ho-*eister (u)#is+ed Veits string 5uartets and 5uintets under +is Ger*aniFed na*e 1@enFe# Heinri,+2 in t+e $%'Js, and t+e (roved so (o(u#ar t+at +e re(rinted t+e* in #ater de,adesUin so*e ,ases near# t/o doFen ti*es over t+e neEt sevent ears. T+ese /or6s (ossess an a,,essi)#e (#a ing st #e and a ,o*-orta)#e -or*a# regu#arit , /+i#e -eaturing ,a#,u#ated +ar*oni, and *e#odi, sur(rises t+at (rovide -res+ness and nove#t . 7 )#ending 9C#assi,a#= and 9(rogressive= e#e*entsUa )a#an,e t+at a#so ,+ara,teriFes ,+a*)er *usi, ) 3ende#sso+n, S,+u*ann, and 7ra+*sUVeit addressed t+e (ra,ti,a# needs o- +is audien,e /it+out ,o*(ro*ising *usi,a# interest. A ,#oser eEa*ination o- *usi, ) ,o*(osers #i6e Veit o--ers a dee(er understanding o- t+e deve#o(*ent o- *usi,a# st #e and t+e i*(ortant ro#e t+at do*esti, (er-or*an,e (#a ed t+erein. CREATING THE 4ERFECT ENDING> THE RETIRE3ENT 7ENEFIT CONCERT IN 4ARISIAN LARIC THEATRES, $%'JL$%CJ ?i*)er# @+ite, 3,Gi## Universit 9I- t+ere /ere a (#a,e on Eart+ /+ere o#d age s+ou#d -orever )e )anis+ed, it is t+e t+eatre,= roared a 4arisian ,riti, in $%'C. In a m)tier t+at re#ied on )od #a)our and t+e /+i* o- (u)#i, taste, a singers ,areer #asted on# as #ong as +er (+ si,a# ,a(a,ities, ta#ents, and (o(u#arit a##o/ed. A#t+oug+ (ensions /ere a)o#is+ed during t+e "u# 3onar,+ , (ri*ar singers /ere

o-ten re/arded /it+ a retire*ent )ene-it Q a -are/e## ,on,ert and -undraiser Q /+ere t+e (er-or*er +ad one #ast ,+an,e to (ut +er sta*( on t+e ro#es s+e +ad ,reated or s+a(ed. In addition to se#e,ting t+e re(ertoire and (er-or*ers -or t+e event, ar,+iva# do,u*ents s+o/ t+at singers a#so ,reated (ress re#eases and invitations. T+ese ,on,erts (rovide an eE,e(tiona# o((ortunit to stud singers ro#e in (u)#i,it and i*ageL*a6ing during t+e -ina# *o*ents ot+eir ,areer in a t+eatri,a# *i#ieu o)sessed /it+ out+ and )eaut . T+e -irst (art o- t+e (a(er (rovides a ,onteEtua# overvie/ on retire*ent a,,ording to t+eatre #a/ and dis,usses t+e di--erent o((ortunities -or t+e ageing singer in t+e re(ertoire. I argue t+at genre, institution, and gender in-#uen,ed t+e (ros(e,ts o- a #ong (ro-essiona# ,areer. T+e se,ond (art -o,uses on t+e retire*ent )ene-it ,on,erts o- artists -ro* t+e O(Tra and t+e O(Tra Co*i5ue. I situate t+e se#e,ted re(ertoire /it+in t+e (er-or*ers oeuvre and interrogate +o/ t+ese ,areer 9+ig+#ig+ts= a--e,ted (u)#i, (er,e(tion o- t+eir ear#ier artisti, ,ontri)utions. Fina## , I s+o/ +o/ t+e reasons -or retire*ent 1vo,a# deterioration, age, dro( in (o(u#arit 2 i*(a,ted a singers ,riti,a# re,e(tion at t+e *o*ent o- +er -ina# adieu. THE INTERSECTION OF 4ROFIT, CO34OSITION, 4ERFOR3ANCE, AND CRITICIS3 IN $%&JS ITALA> VERDIS ATTILA He#en 3. Green/a#d, Ne/ Eng#and Conservator Using t+e eEa*(#e o- Verdis $%&N Attila, I /i## ta#6 a)out t+e (ara##e# and interse,ting /or#ds o(ro-it and artistr in $%&Js Ita# to s+o/ +o/ dee(# t+e nonLartisti, as(e,ts o- o(era a--e,ted its ,o*(osition, (rodu,tion, and re,e(tion. T+at interse,tion /as -re5uent# a target o- ,riti,s and one t+at undou)ted# in-#uen,ed Verdis artisti, #i-e as +e not on# s+ed +is out+-u# o)#igations to (u)#is+ers, i*(resarios, and (rodu,ers )ut a#so t+e ,o*(ositiona# -or*u#as t+at nurtured and sustained t+ose entities. I (resent as eEa*(#es, ,orres(onden,e /it+ (u)#is+ers, a((roa,+es to *ar6eting and sa#es, a#ong /it+ t+e i*(ortant (+ si,a# eviden,e o- ,o*(ositiona# *et+od, s,oring, re+earsa# te,+ni5ues, and a,ting. T+e s ste* itse#- +as )een dis,ussed in detai# ) "o+n Rosse##i and *ore re,ent# 4+i#i( Gossett. Attila (rovides a*(#e *ani-estation oeEa,t# +o/ t+ese s ste*s o(erated 1and not #east to t+e advantage o- (u)#is+ers and i*(resarios2, /+i#e sti## (rodu,ing a (rodu,t t+at su,,ess-u## ,a(tured dra*ati,a## and *usi,a## t+e -unda*enta# +u*an eE(erien,e. One an,i##ar o)0e,tive o- t+e (a(er is to s+o/ +o/ ver 9*odern= t+ese intera,tions /ere, t+at #itt#e +as ,+anged inso-ar as ,o**er,ia# goa#s in-#uen,e artisti, out(ut. SESSION 2#: IMAGINING SCOTLAND THE DECLINE OF OSSIAN IN THE RE4RESENTATION OF SCOTLAND AND THE NORTH Sara+ C#e**ens @a#tF, Universit o- t+e 4a,i-i, Ossianis* and its #iterar o--s+oots +ave )een re,ogniFed as great# res(onsi)#e -or t+e a/a6ening o- ,ontinenta# interest in S,ot#and. Less re,ogniFed is t+e ear# do*inan,e oOssianis* over -o#6song in t+e ,ontinenta# 1es(e,ia## Ger*an2 i*age o- S,ot#and. A#so #ess understood is t+e de,#ine o- Ossian genera## > t+oug+ *an )e#ieve t+e (seudoLCe#ti, )ards deat+ 6ne## /as signa#ed ) t+e $%JC re(ort o- t+e Hig+#and So,iet s Co**ittee on t+e Aut+enti,it o- Ossian, Ossianis* died o-- on# *u,+ #ater in (oeti, and *usi,a# dis,ourse. T+e de,#ine o- Ossian +ad #itt#e to do /it+ (roo-s against its aut+enti,it , )ut *u,+ to do /it+ arriva#s o- ne/ #iterar and *usi,a# *ode#s t+at )etter satis-ied t+e desire -or t+e nort+. As Ossianis* s#o/# surrendered t+e i*age o- S,ot#and to -o#6song, Ro)ert 7urns, and Sir @a#ter S,otts nove#s, S,ot#and a#so #ost its ,ontinenta# status as re(resentative o- t+e Nort+. Rat+er,

Ossiani, 5ua#ities /ere no/ a((re,iated in /or6s su,+ as t+e Finnis+ ?a#eva#a, and nort+ernness )egan to )e rede-ined as S,andinavian 1as seen in @agnerWs e#event+L+our revision o- T+e F# ing Dut,+*an -ro* a S,ottis+ to a S,andinavian setting2. T+is (a(er /i## eEa*ine t+e detai#s o- t+is s+i-t, ,o*(aring ,ontinuing Ger*an Ossiani, interest /it+ t+e rise o- ot+er *ani-estations o- S,ot#and and t+e nort+, es(e,ia## around $%&J /+en Ro)ert 7urns sudden# )e,a*e avai#a)#e in Ger*an. In,reased ,onta,t /it+ -o#6 (oetr and *usi, #ed Ger*ans i*age o- S,ot#and to )e,o*e *ore (astora#I t+e sear,+ -or +eroi, nort+ern /i#dness s+i-ted to t+e S,andinavian nations, /+ose sudden a((ea# /i## a#so )e addressed. 7EETHOVENS VIE@ OF SCOTLAND 7arr Coo(er, Universit o- 3an,+ester A#t+oug+ a /+o#e )oo6 +as )een devoted to t+e su)0e,t o- 7eet+oven and Eng#and 1) 4a*e#a @i##etts, London, $!OJ2, 7eet+ovens re#ations+i( /it+ S,ot#and and t+e S,ots needs a *u,+ -u##er eE(#oration t+an +as )een a,+ieved +it+erto. T+e ,onne,tions are *an and su)stantia#, ranging -ro* CFern s suggestion t+at t+e initia# ins(iration -or t+e Eroi,a S *(+on /as (rovided ) t+e deat+ o- t+e S,ottis+ Genera# A)er,ro*) in $%J$, to an a,tua# visit to Vienna in $%$! ) "o+n S*it+ o- G#asgo/, /+o *et 7eet+oven and evident# )roug+t )a,6 to S,ot#and -ive o- +is #atest ,o*(ositions. 7et/een t+ese dates 7eet+oven +ad eE(ended *u,+ energ ,o*(osing severa# doFen settings o- S,ottis+ *e#odies, and /riting sets o- variations on -our ot+e* Q a## at t+e re5uest o- George T+o*son o- Edin)urg+. 7eet+ovens 6no/#edge o- S,ottis+ *usi,a# #i-e /as in-or*ed ) -as,inating detai#s *entioned in T+o*sons #etters. His understanding o- S,ottis+ *usi,, +o/ever, derived dire,t# -ro* t+e *e#odies +e /as sent. T+ese *e#odies *u,+ i*(ressed +i* and +e (enetrated dee( into t+e +eart o- t+eir ,+ara,ter in +is settings. Instead o- tr ing to a*end t+e un,onventiona#it o- t+e *e#odies, +e dre/ out t+eir *usi,a# i*(#i,ations in +is a,,o*(ani*ents, (re#udes, (ost#udes and variations, using drones or *oda# e#e*ents /+ere a((ro(riate, as t+is (a(er de*onstrates. Conse5uent# +e /as a)#e to evo6e so*et+ing o- t+e s(irit o- S,ot#and and S,ottis+ *usi, in +is settings, as /as re,ogniFed ) Ger*an revie/ers o- +is ,o##e,tion o- S,ottis+ songs O(. $J%. THE VISUAL I3AGINATION OF A RO3ANTIC SEASCA4E> 3ENDELSSOHNWS HE7RIDES OVERTURE REVISITED Annett C. Ri,+ter, 3innesota State Universit 3oor+ead T+e strong (resen,e o- a visua# i*agination in Fe#iE 3ende#sso+ns or,+estra# *usi, in-or*s T+o*as Gre s se*ina# s,+o#ars+i( on t+e (rogra**ati, ,ontent in t+e He)rides 1or Finga#s Cave2 Overture. Gre ,onne,ts t+e overture /it+ Ossiani, (aintings -ro* t+e Na(o#eoni, era, +o/ever t+e re#ations+i( )et/een t+e *usi, and t+ese i*ages esta)#is+es itse#- at )est in t+eir tit#es and +istori,a# -igures, and +is eE(#oration o- t+e *usi,s visua# narrative re*ains #i*ited to t+e overtures deve#o(*ent, 9a visionar , (+antas*agori, )att#e s,ene.= @+i#e t+e #atter is a va#ua)#e ,on0e,ture, t+is (a(er suggests t+at not on# t+e *idd#e )ut a#so t+e outer se,tions ot+e overture ,an )e understood in re-eren,e to nineteent+L,entur art, s(e,i-i,a## to 7ritis+ seas,a(e (ainting. Gre inter(rets t+e eE(osition and re,a(itu#ation o- t+e overture as an unin+a)ited #ands,a(e surrounded ) /ater. Aet, t+e sea does not vanis+ on,e t+e ,entra# 9)att#e s,ene= )egins. It ta6es on di--erent *oods in t+e deve#o(*ent se,tion, re(resenting a (o/er-u#, -i,6#e -or,e o- nature to /+i,+ +u*an6ind is eE(osed. Dra/ing u(on (ertinent /or6s ) ". 3. @. Turner, t+is (a(er esta)#is+es (ara##e#s )et/een 7ritis+ seas,a(e (aintings and 3ende#sso+ns

dra/ings and #etters -ro* +is $%8! trave#s to S,ot#and, ,asting ne/ #ig+t on t+e ,onteEt in /+i,+ /e *ig+t reinter(ret t+e 9)att#e s,ene.= T+roug+ an i,onogra(+i, reading o- 3ende#sso+ns dra/ings and Turners (aintings in ,#ose re-eren,e to t+e overture, t+is stud ,on,#udes t+at it is not t+e 9Ossiani, *anner= )ut rat+er t+e rea#isti, and (re,arious nineteent+L,entur sea vo age t+at is ,entra# to t+e *usi,a# narrative in t+e He)rides Overture.

ONCE 3ORE TO 3ENDELSSOHNS SCOTLAND> THE 9LA@S OF 3USIC=, THE 9DOU7LE TONIC=, AND THE SU7LI3ATION OF 3ODALITA 3att+e/ Ge#)art, Ford+a* Universit 3an o- 3ende#sso+ns #etters de*onstrate an aversion to an *usi,, in,#uding t+e traditions +e en,ountered on +is trave#s in S,ot#and and ot+er destinations, /+en it stood outside ,ertain aest+eti, and te,+ni,a# tea,+ings t+at in +is student ears +e too6 to +eart as universa# aEio*s. A strange -ri,tion )e,o*es evident )et/een so*et+ing su,+ as t+e ,o*(osers unintentiona## ,o*i,a# ,ensure and D,orre,tion o- (ara##e# -i-t+s in t+e +ar*oniFations o- (easant gir#s and +is ro*anti, desire to )e ,onne,ted to -o#6 *usi,, -urt+ered ) +is visua# and #iterar attra,tion to S,ot#and (arti,u#ar# . I argue t+at t+is ,ognitive dissonan,e s(urred 3ende#sso+n to trans-or* -o#6 *oda#it Urea# and i*aginedUinto a ver (ersona# too# in +is /or6. A stri6ing eEa*(#e is t+e Ddou)#e toni, e--e,t asso,iated /it+ *an S,ottis+ *oda# *e#odies> t+e ra(id a#ternation )et/een out#ined triads a /+o#e ste( a(art. A-ter initia## avoiding su,+ *e#odies and t+eir i*(#i,ations, t+e ,o*(oser in -a,t #ater a((#ied t+e -eature to arti,u#ate a## t+e *ain ,adentia# (assages o- +is S,ottis+ S *(+on s -irst *ove*entI )ut +e -ound a /a to re/or6 t+e dou)#e toni,s in+erent *e#odi, d na*is* into +ar*oni, stasis, t+us (reserving t+e artisti, #a/s +e va#ued /+i#e ,reating a s(e,ia# sound at t+e sa*e ti*e. In-#e,ting so*e t+eories ) ot+er s,+o#ars on 3ende#sso+ns DS,ottis+ st #e1s2, I eEa*ine +o/ t+is and +is ot+er a#tered evo,ations o- *oda#it te*(er or even dis(#a,e -un,tiona# +ar*oni, tension, )e,o*ing a s+a(ing -or,e -or a (arti,u#ar a((roa,+ to sonata -or*sUnot on# in +is DS,ottis+ ,o*(ositions, )ut a#so as a to(os in so*e o- +is ot+er /or6s. SESSION 21: CULTURAL DIVERSITY IN THE NEW WORLD: AUDIENCES" MUSIC" AND PERFORMERS IN NINETEENTH&CENTURY NEW YOR( CITY Nineteent+L,entur Ne/ Aor6 /as not vie/ed ) t+e rest o- t+e @estern /or#d as a serious ,u#tura# ,enterI +o/ever, eviden,e (roves t+at serious *usi, and (o#is+ed (er-or*ers, )ot+ Euro(ean and A*eri,an, attra,ted #arge audien,es as ear# as t+e $%8Js, and t+at (er-or*an,es o- o(era, s *(+oni,, ,+ora# and so#o *usi, in,reased steadi# as t+e ,entur (rogressed, des(ite t+e tur)u#en,e o- t+e Civi# @ar and t+e e,ono*i, u(+eava#s o- severa# re,essions. T+is (ane# eEa*ines various as(e,ts o- *usi,a# #i-e and (er-or*an,e in Ne/ Aor6 -ro* t+e #ate $%8Js t+roug+ t+e $%OJs. Un#i6e t+e (redo*inant# *ono,u#tura# (o(u#ations o- ,ities in @estern Euro(e, t+e *u#ti,u#tura# ,itiFenr o- Got+a* (#a ed a vita# ro#e in t+e introdu,tion oIta#ian, Fren,+ and Ger*an o(era, and instru*enta# so#oists -ro* a## over Euro(e, to t+e Ang#oL A*eri,an ,u#ture o- t+e United States. Ne/s(a(ers o- t+e ti*e, in severa# #anguages, a--ord insig+t into t+e o--erings, (er-or*ers, and venues o- *usi,a# events, as /e## as (roviding re(orts o- )ot+ (o(u#ar and ,riti,a# re,e(tion o- (rodu,tions, ,on,erts and artists. T+e -our (resentations do,u*ent /a s in /+i,+ ,riti,s s+a(ed and res(onded to (u)#i, o(inion a)out *usi, and *usi,ians. T+ese in,#ude, a*ong ot+ers, t+e Ne/ Aor6 de)ut o- t+e Ne/ Or#eans Fren,+ O(era Co*(an in $%8OI t+e introdu,tion o- o(eras -ro* Fran,e, Ger*an and Ita# to Ne/ Aor6 and, -ro* t+ere, t+e rest o-

A*eri,aI t+e tre*endous su,,ess o- O--en)a,+ in t+e $%NJsI and t+e (u)#i,s in-atuation /it+ virtuosos su,+ as Louis 3oreau Gotts,+a#6 and O#e 7u##. THE INTERSECTION OF THE ITALIAN AND NE@ ORLEANS FRENCH O4ERA CO34ANIES IN NE@ AOR? CITA, $%8CL$%'' "enni-er CH" @i#son, CUNA One uneE(#ored as(e,t o- ear# Got+a* +istor is t+e Ne/ Or#eans Fren,+ O(era Co*(an s tours to Ne/ Aor6 -ro* $%8O to $%''. In t+e ears a-ter 3anue# Gar,ias Co*(an -irst (er-or*ed o(eras in Ita#ian in $%8C, t+e resident Fren,+ O(era Co*(an -ro* Ne/ Or#eanss T+Tltre dOr#Tans o,,u(ied t+e 4ar6 T+eatre (rodu,ing o(eras, (#a s, and vaudevi##es in t+eir origina# #anguage. T+e Fren,+ O(era Co*(an )e/i#dered Ita#ian o(era advo,ates in Ne/ Aor6. T+e ,ontinued su,,ess o- t+e Ne/ Or#eans trou(es (o(u#arit (ro*(ted #i)rettist and entre(reneur LorenFo Da 4onte to /rite a -ervent #etter in $%'$ entreating o(era i*(resario Gia,o*o 3ontresor to )ring an Ita#ian o(era ,o*(an to Ne/ Aor6 Cit . T+is (resentation /i## eEa*ine t+e re,e(tion o- t+e re(ertoire and (er-or*an,es o- t+e Ne/ Or#eans Fren,+ O(era Co*(an ) Ne/ Aor6Ws Eng#is+Land Fren,+L#anguage (ress. It /i## revea# )urgeoning o(erati, a,tivit in /+i,+ audien,es /ere eE(#oring and gra((#ing /it+ -oreignL#anguage o(era -or t+e -irst ti*e. NOVELTIES 4RESENTED 7A 3AB 3ARETGE?S ITALIAN O4ERA CO34ANA Rut+ Henderson, CUNA 3oravianL)orn i*(resario 3aE 3aretFe6 and +is Ita#ian o(era ,o*(an /ere a *ainsta oNe/ Aor6 *usi,a# #i-e, touring ot+er eastern A*eri,an ,ities, Havana, and 3eEi,o as /e##, during t+e t+ird 5uarter o- t+e nineteent+ ,entur . Nove#ties (resented ) t+is ,o*(an (#a ed a *a0or ro#e in its su,,ess in a ,it /+ere Ita#ian o(era +ad (revious# -ai#ed to t+rive. 3aretFe6 staged t+e United States (re*ieres o- so*e t/ent Lone o(eras, *ost /it+in -our and a +a#- ears o- t+eir Euro(ean (re*ieres, in,#uding nine o(eras ) Verdi. T+is (a(er /i## eEa*ine t+e ,riti,a# re,e(tion o- t+ese /or6s ) Ne/ Aor6 audien,es and t+e ro#e t+e (#a ed in sustaining t+e via)i#it o- t+is i*(ortant ,o*(an . THE FRENCH 4ERS4ECTIVE ON 3USIC IN $%NJS NE@ AOR? Ro)erta GraFiano, CUNA Fren,+ ,u#ture and *usi, 1nota)# , )ut ,ertain# not #i*ited to, o(era in a## its -or*s2 +ad a signi-i,ant e--e,t on audien,es in nineteent+L,entur Ne/ Aor6 Cit . T+e Courrier des EtatsA Unis, a /e##Lesta)#is+ed dai# ne/s(a(er t+at rea,+ed Fran,o(+ones -ro* Canada to Sout+ A*eri,a, re(orted regu#ar# on *usi,a# events in 3an+attan during t+e $%NJs, /it+ s(e,ia# attention to Fren,+ /or6s, (er-or*an,es, venues, and artists, and a#so ,o**ented on ,u#tura# di--eren,es a*ong audien,esI artisti, -oi)#es and -adsI t+e su,,esses and -o##ies o- i*(resariosI and (er-or*an,e st #es, a*ong ot+er issues. T+is (resentation eEa*ines /a s in /+i,+ t+e revie/s and arti,#es in t+e Courrier served to di--erentiate Fren,+ *usi, and ,u#ture -ro* 9*ainstrea*= Ang#oLA*eri,an ,u#ture, -or t+e Fren,+ ,o**unit I to a,,u#turate t+e Eng#is+L s(ea6ing, #arge# 4rotestant 1and so*e/+at 4uritani,a#2 A*eri,ans to Fren,+ o(era, )ot+ serious and ,o*i,I and to (rovide insig+t-u# ,o**entar on artists and (er-or*an,es, /it+ ,o*(arisons to 4aris and London as si*i#ar /or#d ,ities.

ENCORES AND CURTAIN CALLS> THE E3OTIONAL I34ACT OF 4ERFOR3ERS ON 3IDL NINETEENTH CENTURA NE@ AOR? AUDIENCES "o+n GraFiano, CUNA A#t+oug+ (resentations o- o(era and ,on,erts toda ,an )e a,,essed t+roug+ #ive (er-or*an,es, -i#*, video, and ot+er *edia, our 6no/#edge o- t+e (o/er o- e*otions in t+e nineteent+ ,entur ,an on# )e gained t+roug+ /ritten des,ri(tions o- audien,e rea,tions to s(e,i-i, (er-or*ers and (rodu,tions. In t+is (resentation, I eEa*ine, t+roug+ /ritten ,onte*(orar sour,es, +o/ t+e artistr o- ,ertain singers and instru*enta#ists o-ten (ro*(ted strong e*otiona# res(onses -ro* audien,es, /+i,+ /ere *ani-ested ) s(e,tators de*ands -or en,ores and ,urtain ,a##s. In (arti,u#ar, ne/s(a(er revie/s do,u*ent artists a)i#it to (ro0e,t a variet o- intense -ee#ings t+at /as in,reasing# de*anded ) audien,esUde*onstrating t+at vo,a# a)i#it and instru*enta# (ro/ess a#one /as usua## not su--i,ient to satis- t+e #istener. SESSION 22: OPERA AND MAHLER THE AUDI7LE INFLUENCE OF VERDI AND THE ITALIAN SCHOOL ON 3AHLERS 3USICAL IDIO3 David Hur/itF, Inde(endent S,+o#ar One o- t+e *ost intriguing and #itt#e re*ar6ed in-#uen,es on 3a+#ers st #e /as t+at o- Ita#ian o(era, and Verdi in (arti,u#ar. T+e Verdi ,onne,tion *a6es great sense, sin,e 3a+#er s(ent *u,+ o- +is ear# ,areer in (rovin,ia# o(era +ouses ,ondu,ting su,+ ,#assi, Ita#ian /or6s as Rigoletto and La Tra<iata. 3ost )iogra(+ers and *usi,o#ogists, +o/ever, +ave *issed t+is audi)# tangi)#e ,onne,tion, /+i#e +aving -e/ (ro)#e*s re*ar6ing on t+e i*(a,t o- 7eet+oven, @agner, @e)er, S,+u*ann, and ot+er *e*)ers o- t+e $!t+ ,entur Ger*an s,+oo#. T+e de)t to Ita#ian *usi, ,ertain# /as not an as(e,t o- +is art t+at 3a+#er t+e ,o*(oser /is+ed to e*(+asiFe, /+i#e +is #ater ,areer as an o(erati, ,ondu,tor s(e,ia#iFing in 3oFart, 7eet+oven, and @agner -urt+er tends to o)s,ure +is *usi,a# roots. Nevert+e#ess, st #isti, e#e*ents )orro/ed -ro* t+e Ita#ian s,+oo# ,ontri)uted signi-i,ant# to 3a+#ers *ature ,o*(ositiona# voi,e. T+is essa , t+en, /i## investigate t+e audi)#e in-#uen,e o- Verdi and t+e 7e# Canto s,+oo# on 3a+#ers *usi,. T+ese are t+e ,o*(osers t+at sustained 3a+#ers ear# ,areer at t+e ti*e +is *usi,a# (ersona#it /as )eing -or*ed. It is t+eir *usi, t+at +e studied and ,ondu,ted, and t+e eviden,e o- +is o/n s,ores a,,ording# revea#s +is st #e to )e even *ore e,#e,ti, and /ideL ranging t+an +as +it+erto )een sus(e,ted. 3a+#ers su(raLnationa# voi,e a#so +e#(s us to understand t+e sour,e o- so*e o- t+e +osti#it +e en,ountered as a s *(+oni, ,o*(oser in a ti*e o- intense nationa#ist -ee#ing. @HEREFORE THE HAR4H> AN O4ERATIC 3ODEL FOR 3AHLERS ADAGIETTO David ?asuni,, O,,identa# Co##ege In $!J$, /+i#e at /or6 on /+at /i## )e,o*e +is S *(+on No. C, Gustav 3a+#er s+ares t+e -o##o/ing /it+ +is -riend Nata#ie 7auerLe,+ner> 9;T+is s *(+on < is a +u*an )eing in t+e -u## #ig+t o- da , in t+e (ri*e o- +is #i-e. It is s,ored a,,ording# I no +ar( or Eng#is+ +orn. T+e +u*an voi,e /ou#d )e a)so#ute# out o- (#a,e +ere ;...< it /i## )e a regu#ar# ,onstru,ted s *(+on in -our *ove*ents.= 7 t+e ti*e +e ,o*(#etes t+is s *(+on , in $!J8, 3a+#er +as added /+at +e ,a##s a 9#ove #etter= to A#*a, t+e -a*ous Adagietto *ove*ent. @+i#e t+e Adagietto sti## (reserves 3a+#ers ear#ier ,+ara,teriFation o- t+e s *(+on ) not su((# ing an singing, t+e

+ar( (#a s t+roug+out t+e *ove*ent. 7ut i- t+is is not t+e sound o- Or(+euss no,turna# /ai#ing 1an asso,iation 3a+#er see*s intent on avoiding2, t+en /+ere-ore t+e +ar(H T+is (a(er ans/ers t+is 5uestion ) eEa*ining t+e in-#uen,e o- 3a+#er t+e o(era ,ondu,tor on 3a+#er t+e s *(+oni, ,o*(oser. In doing so, a #i6e# ins(iration -or t+e Adagietto s(rings -ort+> t+e Interme**o -ro* 4ietro 3as,agnis Ca<alleria rusticana. 3a+#er /as t+e -irst to ,ondu,t t+is o(era outside o- Ita# , and it /as t+e se,ond *ost (er-or*ed o(era during +is dire,tors+i( o- t+e Vienna Ho-o(er. T+at 3as,agnis Inter*eFFo +as never )een (ut -ort+ as one o- t+e (ossi)#e ins(irations -or t+e Adagietto s(ea6s, I /i## argue, to #arger s,+o#ar# and *usi,a#Laest+eti, dividing #ines t+at t+is (a(er /i## atte*(t to so-ten. SESSION 23: )FORME SONATE *UE ME VEU+&TU, THE NONLRE4EATED EB4OSITION AND THE O4EN CLOSING SECTION IN SA34HONIC SONATA FOR3S, CA. $%8JL$%CJ Steven Vande 3oorte#e, Universit o- Toronto One o- t+e ,+ara,teristi,s distinguis+ing ro*anti, sonata -or* -ro* its ,#assi,a# (rede,essor is t+e in,reased -#uidit o- )oundaries )et/een #arge -or*a# se,tions. T+is (a(er -o,uses on one su,+ )#urred )oundar , na*e# t+at )et/een eE(osition and deve#o(*ent, in or,+estra# sonata -or*s 1i.e., overtures and s *(+on *ove*ents2 /it+ nonLre(eated eE(ositions, t+ere) introdu,ing t+e ne/ -or*L-un,tiona# ,ategor o- t+e 9o(en ,#osing se,tion.= I )egin ) )rie-# surve ing t+e in,reased signi-i,an,e o- sonata -or*s /it+ nonLre(eated eE(ositions Q an essentia# (re,ondition -or t+e o(en ,#osing se,tion Q )et/een $%8J and $%CJ. T+en I o--er a ,ata#ogue o- di--erent /a s in /+i,+ t+e eE(ositions ,#osing se,tion ,an )e #e-t o(en in order to s*oot+en t+e transition into t+e deve#o(*ent. Dra/ing on eEa*(#es -ro* @e)er, 7er#ioF, 3ende#sso+n, S,+u*ann, and @agner, I distinguis+ )et/een -our ,ategories> t+e ,#osing grou( t+at 9)e,o*es= a transition to t+e deve#o(*entI t+e retros(e,tive reinter(retation o- t+e -ina# *odu#e o- t+e eE(ositions ,#osing se,tion as t+e o(ening *odu#e o- t+e deve#o(*entI t+e retros(e,tive reinter(retation o- t+e entire eE(ositiona# ,#osing se,tion as t+e o(ening *odu#e ot+e deve#o(*ent and, t+ere-ore, t+e e#ision o- t+e eE(ositions -ina# 4AC /it+ t+e )eginning ot+e deve#o(*entI and t+e a)sen,e o- ,adentia# ,#osure -ro* t+e eE(osition. I ,on,#ude ) dis,ussing t+e )roader i*(#i,ations o- t+e (ro*inen,e o- t+e o(en ,#osing se,tion in t+is re(ertoire -or its re#ation to ,#assi,a# nor*s and ,onventions and -or a FormenlehreL)ased a((roa,+ to nineteent+L,entur *usi, in genera#. THE FOR3AL SANTAB OF SCHU7ERTWS 4IANO TRIO IN ELFLAT 3A"OR D!8!MI AS AN INTERROGATION OF 3USICAL TI3E Anne 3. H #and, Dunda#6 Institute o- Te,+no#og T+e ,riti,a# re,e(tion +istor o- S,+u)erts EL-#at *a0or 4iano Trio, D!8!, o--ers a re*ar6a)#e ,ase stud -or understanding +o/ S,+u)erts D+eaven# #engt+s +ave )een understood +istori,a## . T+is /or6 su--ered none o- t+e (er-or*an,e di--i,u#ties /+i,+ surrounded S,+u)erts ot+er ostensi)# (ro#iE /or6s 1nota)# t+e DGreat CL*a0or S *(+on 2 in t+e nineteent+ ,entur , and /as ent+usiasti,a## re,eived ) ,onte*(oraries su,+ as Ro)ert S,+u*ann and Gott-ried @i##+e#* Fin6, /+o (raised t+e /or6s treat*ent o- ti*e (ast, (resent, and -uture. Ana# ti,a# engage*ents /it+ t+e /or6 +ave )een #ess o(ti*isti,, +o/ever, and ,ontinue to ,riti,ise its un/arranted #engt+ and re(etitions /it+out ta6ing into a,,ount t+e eEtent to /+i,+ S,+u)erts *et+ods o- eE(ansion are re(resentative o- t+eir s(e,i-i, +istori,a# ti*e.

T+is (a(er o--ers a (redo*inant# -or*L-un,tiona# ana# sis o- t+e EL-#at Trios -irst *ove*ent /+i,+ ai*s to identi- S,+u)erts *et+ods o- eE(ansion, and e#u,idate t+eir ro#e in t+e interrogation o- *usi,a# ti*e. To t+is end, t+e (a(er -o,uses on t+e t/o *ost (ro*inent eE(ansive devi,es in eviden,e in t+is *ove*ent> S,+u)erts #arge *odu#ating se,ond grou( in t+e t+reeL6e eE(osition, and t+e )#o,6L#i6e se5uentia# design o- t+e deve#o(*ent se,tion. 7ot+ o- t+ese devi,es invo#ve t+e a*a#ga*ation o- sonata and variation (rin,i(#es at t+e #eve# o-or*a# s ntaE, a (oint /+i,+ eE(#ains t+e /or6s uneas re#ations+i( /it+ ,urrent (aradig*s o*usi,a# -or* /+i,+ *aintain a stri,t distin,tion )et/een t+e t/o. U#ti*ate# , ) de*onstrating t+e *ani(u#ation o- ti*e in+erent in t+is -irst *ove*ent, t+is (a(er (#a,es S,+u)erts eE(ansive te,+ni5ues /it+in t+e )roader deve#o(*ent o- , ,#i,is* and variation in nineteent+L,entur *usi,a# #anguage. SESSION 24: BEYOND THE OPERA HOUSE: PERCEPTION OF THE NINETEENTH&CENTURY PRIMA DONNA IN MULTIPLE CONTE+TS T+e (ri*a donna +e#d a (osition o- s(e,ia# i*(ortan,e in t+e nineteent+L,entur (u)#i, *ind. 7ut, as is in,reasing# re,ogniFed, t+is (reLe*inen,e /as driven ) a range o- e#e*ents t+at /as -ar -ro* #i*ited to (er-or*an,es on stage. T+us t+e t+e*e o- t+is session ,on,erns t+e issues under# ing t+e (resen,e esta)#is+ed ) t+e (ri*a donna )ot+ in and )e ond t+e o(era +ouse> its var ing ,on-igurations and t+e (ro,esses ) /+i,+ it /as (ro*u#gated. T+e session ai*s to interrogate t+ese *atters -ro* a variet o- (ers(e,tives. It /i## in,or(orate studies o- individua# ,ases, in,#uding A))ott, Lind, 4atti, Viardot, and Tado#ini, and as seen t+roug+ t+e #enses o- di--ering nationa# ,onteEts> A*eri,an, 7ritis+, Fren,+, and Ita#ian. T+e -our (a(ers /i## see6 to identi- strategies e*(#o ed ) singers, ot+er *e*)ers o- t+e *usi, (ro-ession, and asso,iated ,u#tura# inter*ediaries in negotiating (arti,u#ar *usi,a#, ,o**er,ia#, so,ia#, and ,u#tura# ,ir,u*stan,es, t+ere) eE(osing 6e e#e*ents in t+e )roader i*(a,t o- t+e (ri*a donna. O4ERA AS 4O4ULAR CULTURE> THE CREATION OF A 3IDDLELCLASS O4ERA AUDIENCE IN $%%JS A3ERICA ?at+erine ?. 4reston, Universit o- @i##ia* and 3ar T+e #ate $!t+L,entur A*eri,an audien,e -or Ita#ian o(era /as in,reasing# identi-ied /it+ t+e /ea#t+ , es(e,ia## as t+e nou<eau riche o- t+e $%OJs and $%%Js e*)ra,ed o(era as an o((ortunit -or t+e ostentatious dis(#a o- /ea#t+. 3idd#eL,#ass A*eri,ansU/+o +ad strong# (atroniFed o(era (er-or*an,es -ro* t+e $%&Js t+roug+ t+e $%NJsU/ere in,reasing# a#ienated ) t+ese Daristo,rati, (retentions. T+e A*eri,an (ri*a donna E**a A))ott re,ogniFed t+is /+en s+e returned -ro* Euro(e in $%ON. T+oroug+# trained in t+e Ita#ian s,+oo# in 3i#an and 4aris, A))ott rea#iFed t+at A*eri,ans earned -or o(era in Eng#is+, and s+e deter*ined to *eet t+at need. S+e ,reated a (u)#i, (ersona t+at resonated /it+ t+e A*eri,an (u)#i,> a *ora# and u(standing C+ristian /o*an, an a((#eL(ie and un(retentious A*eri,an /o*an -ro* t+e +eart#and 1/it+ roots in Aan6ee Ne/ Eng#and2, and a singer /+o gave +er audien,es /+at t+e /anted> t+e Ita#ian re(ertor in trans#ation. T+e astonis+ing su,,ess o- +er ,o*(an 1$%O!L $%!$2 is a #itt#eL6no/n )ut i*(ortant stor o- Ita#ianLo(era re,e(tion in #ateL,entur A*eri,a.

SHEET 3USIC ILLUSTRATION AND 4O4ULAR SONG AS 4RO3OTIONAL VEHICLES FOR NINETEENTHLCENTURA FE3ALE O4ERA SINGERS George 7idd#e,o*)e, Ro a# A,ade* o- 3usi, T+is (a(er investigates t+e *eans ) /+i,+ nineteent+L,entur -e*a#e o(era singers soug+t to re*ou#d t+e /a t+e /ere (er,eived ) t+e )roader (u)#i, t+roug+ eE(#oiting nonLo(erati, genres and (u)#i,it . Fo,using on s+eet *usi, i##ustrations and (o(u#ar song, I /is+ to ,onsider t+e eEtent to /+i,+ t+e i##ustrations (ro0e,ted i*ages o- -e*a#e singers t+at /ere *ani(u#ated to a,,ord /it+ desiderata ,on,erning (+ si,a# a((earan,e and *ora# ,+ara,ter. I s+a## a#so ,onsider +o/, ) *eans o- ,+oi,e o- re(ertoire, t+e vo,a#ists a#igned t+e*se#ves /it+ ,onte*(orar ,u#tura# reveren,e -or do*esti,it , nationa#is*, and nosta#gia as eE(ressed in song, (redo*inant# in t+e verna,u#ar. Using eEa*(#es re#ating to "enn Lind, Ade#ina 4atti, and ot+ers, t+e (a(er /i## (ro(ose #in6s )et/een su,+ (ro*otiona# a((ea#s to *idd#eL,#ass +ege*on and ot+er as(e,ts o- a #eading singers ,areer, invo#ving, s nergeti,a## , i*(resarios, (u)#is+ers, ,o*(osers, and, nota)# in 4attis ,ase, (+otogra(+ , ,o**odit advertising, and t+e re,ording industr . 4AULINE VIARDOT AND LE #RO#%QTE Hi#ar 4oriss, Nort+eastern Universit In +is )iogra(+i,a# re*ar6s a)out 4au#ine Viardot, Henr C+or#e ,o**ented t+at D/+en t+e stor o- 3. 3e er)eers o(eras is -ina## /ritten it *a (rove t+at +e /as as *u,+ inde)ted to 3ada*e Viardot -or suggestion in Le #ro&h'te ;$%&!< as +e /as to Nourrit in Les %uguenots 1Thirt2 7ears" Musical Recollections2. Indeed, s,+o#ars o- nineteent+L,entur Fren,+ o(era +ave #ong sus(e,ted t+at Viardot (arti,i(ated in t+e ,o*(osition o- t+e ro#e o- FidPs. Des(ite t+e -a,t t+at *an +istories o- t+e o(era +ave no/ )een /ritten, sti## ver #itt#e is 6no/n a)out +o/ *u,+ and /+at s+e ,ontri)uted to t+e *usi,a# -a)ri, o- 3e er)eers o(era. Viardots autogra(+ *anus,ri(t o- t+e ro#e o- FidPs +as re,ent# )een a,5uired ) Houg+ton Li)rar , Harvard Universit , +o/ever, o--ering a -res+ g#i*(se into Viardots in-#uen,e. T+is (a(er /i## eE(#ore t+is do,u*ent /it+ t+e ai* o- s+edding ne/ #ig+t onto t+e ,o*(ositiona# +istor o- Le #ro&h'te and o- eE(anding our 6no/#edge o- t+e aut+oria# ro#es (ri*a donnas (#a ed during t+e nineteent+ ,entur . STAGING THE 4RI3A DONNA> CHRISTO4H LOA, EDITA GRU7EROVA, AND DONIGETTIS RO!ERTO DE+EREUR C#audio Ve##utini, Universit o- C+i,ago T+is (a(er eE(#ores t+e )urgeoning in-#uen,e o- Regietheater on el canto o(eras ) -o,using on C+risto(+ Lo s 8JJC (rodu,tion o- DoniFettis Ro erto De<ereu>. Re# ing on t+e distin,tive (ersona#it o- t+e (ri*a donna Edita Gru)erova and setting t+e o(era in T+at,+erite 7ritain, Lo ,reates a staging t+at )#urs t+e )oundaries )et/een t+e ro#e o- E#iFa)et+ I and Gru)erova +erse#-. T+is i*(ression is +eig+tened ) re-eren,es to Gru)erovas -a*e in Centra# Euro(e. Indeed, +er designation as t+e 9Sueen o- el canto= /as eE(#oited in t+e (ro*otion o- t+is staging, *a((ing t+e e#der# Sueens (o#iti,a# (o/er onto t+e vo,a# aut+orit o- t+e ageing so(rano. 3ar6eting strategies, t+us, a##o/ed Lo to reLins,ri)e t+e eE(e,tations o- t+e audien,e onto t+e ,on,e(t o- +is (rodu,tionUeE(e,tations dire,ted at Gru)erovas (er-or*an,e and, u#ti*ate# , to/ard +er status as a diva. 7 esta)#is+ing Gru)erova as t+e (ivota# e#e*ent in t+is (rodu,tion, Lo invites a reading o- DoniFettis /or6 in /+i,+ t+e ,entra#it o- t+e singer is re,ogniFed as a (otentia# sour,e o- ,reativit rat+er t+an as a #i*itation.

SESSION 25: FACETS OF LIS-T LISGT THE ?A4ELL3EISTER "oanne Cor*a,, Universit o- 7ir*ing+a* In $%&% LisFt *ade t+e ,ontroversia# de,ision to give u( a +ig+# su,,ess-u# and #u,rative ,areer as a touring virtuoso to ta6e u( -u##Lti*e t+e ro#e o- ?a(e##*eister o- t+e s*a## @ei*ar ,ourt or,+estra. He /as a)out to e*)ar6 on argua)# t+e *ost -ruit-u# (eriod o- ,reativit o- +is entire #i-e, ,o*(#eting t+e ! minor sonata, t/e#ve o- t+e s *(+oni, (oe*s, t+e Dante and Faust s *(+onies and nu*erous Lieder during t+e ten ears s(ent in @ei*ar. 3an o- t+ese /or6s are /e##L6no/n, )ut t+e duties (er-or*ed ) LisFt in +is ,a(a,it as ?a(e##*eister +ave so -ar )een #arge# ignored ) LisFt s,+o#ars, as indeed +as t+e t+eatri,a# and ,ourt ,onteEts in /+i,+ *u,+ o- +is )est 6no/n *usi, /as -irst (er-or*ed. In -a,t, LisFts *usi, -ro* t+is (eriod is *ore inti*ate# re#ated to +is duties /it+ t+e ,ourt or,+estra t+an *ig+t )e su((osed -ro* t+e grandiose and (oeti, (re-a,es to t+e S *(+oni, 4oe*s. T+is (a(er dra/s on a /ea#t+ o- (revious# uneEa*ined (ri*ar sour,e do,u*ents re#ating to t+e running o- t+e @ei*ar t+eatre. It (uts -or/ard an un-a*i#iar i*age o- LisFt t+at is neit+er t+e ,os*o(o#itan Ro*anti, artist, nor t+e venera)#e a))T, )ut rat+er a (aid ,ourt o--i,ia#, *ired in )ureau,ra, , so*eti*es /earing a uni-or*, and ,ondu,ting a rat+er *edio,re or,+estra -or ,ourt )irt+da s and ot+er anniversaries. It e*erges t+at t+ere /as a ,onsidera)#e ga( )et/een LisFts a,tua# ro#e, +o/ +e (resented it to ot+ers, and indeed +o/ #ater s,+o#ars +ave routine# des,ri)ed it. LISGT AS CRITIC> 9ON "OHN FIELDWS NOCTURNES= AND THE @AR OF THE RO3ANTICS E#iFa)et+ 4erten, 7randeis Universit 3usi,o#ogi,a# s,+o#ars+i( tends to a((roa,+ LisFt in one o- t+ree /a s, as ,o*(oser, (er-or*er or ,ondu,tor, a#*ost entire# ignoring +is signi-i,an,e as an aut+or and *usi, ,riti,. @it+ a #iterar out(ut riva#ing t+ose o- ot+er great ,o*(oserL,riti,s su,+ as 7er#ioF, S,+u*ann and @agner, +o/ever, LisFts /ritings +ave t+e (o/er to (rovide a -irstL+and (ers(e,tive o- $! t+ ,entur Euro(ean ,u#tura# and *usi,a# #i-e -ro* one o- its *ost (ro*inent -igures. T+is (a(er /i## eEa*ine LisFts essa 9On "o+n Fie#ds No,turnes= 1$%C!2, (u)#is+ed a#ongside t+e -irst ,o##e,ted edition o- Fie#ds No,turnes -or /+i,+ LisFt served as editor. As LisFt /rote t+is /or6 during t+e @ar o- t+e Ro*anti,s, t+e o((ortunit to +ave +is (rose read t+roug+out Ger*an Q its (u)#is+er ". S,+u)ert+ m Co. +ad )ran,+es in )ot+ Ne/ Aor6 and Lei(Fig Q (rovided LisFt /it+ an idea# (#at-or* to (ro*ote +is ideas on *usi, to ne/ audien,es in ,onservative *usi,a# ,enters. In t+is (a(er I /i## o--er suggestions on t+e *usi,oL+istori,a# signi-i,an,e o- t+is essa t+roug+ ana# sis o- t+e ,ontent o- LisFts (rose and t+e r+etori,a# strategies +e uses to (ro*ote +is ideas on *usi,a# -or*, 9natura#= genius, and ,onte*(orar ,o*(ositiona# (ra,ti,es. I argue t+at ) nosta#gi,a## +ig+#ig+ting Fie#ds 9natura#= genius and t+e 9si*(#i,it o- senti*ent= o- +is *usi,, ,ou(#ed /it+ re*ar6s against t+e 9*odern s,+oo#s= a((roa,+ to *usi,a# -or* and su)servien,e to so,ieta# in-#uen,e, t+roug+ +is dis,ussion o- Fie#ds No,turnes LisFt ,#ear# states +is vie/s on ,onte*(orar ,o*(ositiona# nor*s /+i#e -urt+er 0usti- ing +is o/n )rea6 /it+ -or*a# eE(e,tations.

LISGTS @AGNER TRANSCRI4TIONS> INTER4OLATION, EB4OSITION, E"ACULATION, AND CONSU33ATION David Cannata, Te*(#e Universit August G\##eri,+ /as rig+t> 9@agner s,+eint Fu* S,+#Zsse# vie#er LisFts,+er RKtse# ge/orden.= 7ut LisFt a#so #e-t us /it+ so*e @agnerian ridd#es. @+i#e *ost o- t+e t/e#ve tit#es LisFt trans,ri)ed -ro* @agners o(eras ,an )e easi# re,6oned against t+e origina#s Q -or eEa*(#e, t+e near *easureL-orL*easure reading o- LisFts 6nu,6#eL)usting s,ore -or (iano, t+e Ou<ert4re *u Tannh0user 1$%&OHL&!I L@ A$&N2 Q in ot+ers LisFt i*(orted ,on,ea#ed *eanings, ideas +e en-o#ded /it+in t+e s,ore as (ersona# su)teEts -or t+e *usi, at +and. Su,+ eEtras te## us *u,+ o- LisFts (ersona# vie/ o- @agners *usi,, +is re#ations+i( /it+ t+e @agners, and LisFts o/n re#igious ,onvi,tions. Ta6ing -our eEa*(#es, t+e -our *ost (ro)#e*ati, in t+e @agnerLLisFt trans,ri(tion ,ata#og Q t+e tit#es -ro* Rien*i, Tristan und Isolde, Die Meistersinger, and #arsifal Q t+is (a(er /i## iso#ate t+ose eEtraL@agner o,,asions, dis,ussing LisFts e*)e##is+*ents as +e restates, re-o,uses, revisua#iFes and retit#es @agner. At -irst LisFts annotations ,an see* entire# ar)itrar . Ho/ever, a## are an t+ing )ut serendi(itous, es(e,ia## /+en vie/ed -ro* t+e vie/(oint o- $!t+ ,entur Ro*an Cat+o#i, dog*a, +agiogra(+ , #iturgi,a# ritua# and (ra er. 3ora# o- t+e stor > i- t+e ans/ers -or LisFts ridd#es are not -ound in @agner, tr t+e tea,+ings o- t+e $!t+L,entur Cat+o#i, C+ur,+. LISGTS INTER4RETATION OF SCHU7ERTS @OR?S> THE I34LICATIONS AND THE VALUE OF HIS TRANSCRI4TIONS FOR 4ERFOR3ANCES ON 3ODERN 4IANOS 7et+ 4eiLFen C+en, Inde(endent S,+o#ar One o- t+e ,+ie- ,+ara,teristi,s o- LisFts trans,ri(tions o- (ast ,o*(osers /or6s is virtuosit , )ut a(art -ro* t+e )ri##iant and virtuosi, (assages, /+at e#se did LisFt add to t+e *usi,H @+at is t+e va#ue o- +is trans,ri(tions -or (er-or*an,es on *odern (ianosH In t+e $%t+ and ear# $!t+ ,enturies, *etri,a# and te,+ni,a# a,,ents /ere not indi,ated in t+e *usi,, as t+e *a0orit o- ,o*(osers did not atte*(t to re*ind (ianists o- t+e genera# a,,entuation ru#e o- t+e da . In -a,t even i- ,o*(osers +ad /anted to t+is /ou#d +ave )een a di--i,u#t tas6, given t+e #i*itations o- t+e eEisting d na*i, *ar6ings and t+e ,o*(#i,ation oindi,ating various degrees o- e*(+asis or e#ongation on strong )eats, on dissonan,e, on s n,o(ationa# notes, or on t+e -irst note o- ea,+ s#ur. LisFts trans,ri(tions, +o/ever, testi- to t+e (otentia# -or inter(reting (ast ,o*(osers *usi, on *odern (ianos. He used an arra o- nor*a# and unusua# d na*i, and a,,ent *ar6ings to inter(ret t+ose ,o*(osers /or6s /it+ a ne/ re-ine*ent. For eEa*(#e, /+en ,o*(aring S,+u)erts Lieder and +is @anderer Fantasie o(. $C /it+ LisFts trans,ri(tions ot+ese /or6s, one noti,es t+at LisFt inserted a great dea# o- additiona# (er-or*ing guidan,e. @+at did +e *ean ) giving t+ose additiona# d na*i, and a,,ent signsH @as t+is an atte*(t to revea# t+e inner and +idden e#e*ents /+i,+ (ast ,o*(osers ,ou#d not ,#ear# indi,ate, su,+ as *etri,a# and te,+ni,a# a,,entsH Did +is trans,ri(tions a,tua## (rovide an o)0e,tive vie/, rat+er t+an a *ere# su)0e,tive vie/, on +o/ to rea#iFe (ast ,o*(osers /or6s on *odern (ianosH LisFts trans,ri(tions are )e ond *ere virtuosit . T+e va#ue o- +is trans,ri(tions *a #ead (ianists to t+in6 /+at is )e+ind (ast ,o*(osers notations, and t+e i*(#i,ations o- t+ese trans,ri(tions ,ou#d give *odern (ianists ,#ues /+en a((roa,+ing t+e inter(retation o- (ast ,o*(osers *usi, on *odern (ianos.

SESSION 26: MUSIC" MORALS AND THE BODY 4ERFOR3ING CO34ASSION AND ACTS OF CHARITA> 7ENEVOLENT SONGS IN 7RITAIN C.$%JJ Leena Rana, Universit o- Sout+a*(ton Aoung /o*en -ro* (ros(erous and re#igious )a,6grounds /ere eE(e,ted to )e ,+arita)#e and ,o*(assionate to t+e (oor. T+is (a(er ,onte*(#ates *usi,s ro#e in t+e ,u#tivation o,o*(assion, t+e ,o*(oser as *ora# edu,ator, and t+e -e*a#e (er-or*er as a ve+i,#e in /+i,+ to ,o**uni,ate *ora# *essages to +er audien,e. I eEa*ine songs t+at de(i,t destitute and (itia)#e ,+ara,ters -ro* t+e ,o##e,tions o- E#iFa)et+ S 6es Egerton 1$OOOL$%C'2 o- Tatton 4ar6 and L dia Hoare A,#and 1$O%NL$%CN2 o- ?i##erton House. T+e stud )ui#ds on Les#ie Rit,+ies investigation into /o*ens ,+arit songs, ,onsidering t+e ,o*(#eEities surrounding t+e ,onsu*(tion o- t+ese songs, and +o/ ,onsu*ers used and (er-or*ed t+is *usi, in -ront o- -a*i# , -riends and -uture +us)ands. T+e (ossession and (er-or*an,e o- ,o*(assionate songs did not auto*ati,a## ,reate a )enevo#ent individua#. One o- t+e *ain ,onsiderations, t+en, is /+et+er t+ese (ie,es +e#(ed to trans#ate (iti-u# -ee#ing into ,+arita)#e a,tion or /+et+er t+e songs redu,ed ,o*(assion to a (ose. T+is interdis,i(#inar stud ,overs gender studies, gir#s edu,ation in t+e eig+teent+ ,entur , (+i#oso(+ , so,ia# s,ien,es and *usi, aest+eti,s. 7 #o,ating t+ese songs in a )roader so,ia# and ,u#tura# ,onteEt /e ,an )egin to understand +o/ *usi, -un,tioned in t+e Eng#is+ ,ountr +ouse and its (arti,i(ation in t+e ,onstru,tion o- #anded e#ite identit . SOUND OF 7ODA> 3USIC AND S4ORTS IN VICTORIAN 7RITAIN "enni-er S+e((ard, ?ings Co##ege London Vi,torian 7ritains *ania -or s(orts is /e## 6no/n. Initia## introdu,ed in (u)#i, s,+oo#s as a *eans o- so,ia# ,ontro#, t+e (#a ing o- s(orts and ga*es ta((ed *ore )road# into trends t+at united *ora# and )odi# i*(rove*ent, su,+ as 3us,u#ar C+ristianit and t+e ,raFe -or +ea#t+ #iving. At+#eti,is* soon )e,a*e an essentia# -eature o- t+e 9gent#e*an# = Eng#is+ identit > indis(ensa)#e to so,ia# advan,e*ent and 6e to t+e nations i*(eria#ist endeavorsI ) t+e #ate nineteent+ ,entur , s(orts +ad deve#o(ed into )ot+ #u,rative enter(rise and -as+iona)#e #eisure (ursuit -or t+e eE(anding *idd#e ,#ass. T+is (a(er eE(#ores t+ree interse,tions )et/een s(orts and *usi, in t+e de,ades around t+e turn o- t+e ,entur . One, in t+e #ate $%!Js do,tors )egan to advo,ate )reat+ing eEer,ises and singing as 9+ea#t+ = a,tivit -or t+e ,+est and #ungs. A (ana,ea -or ever t+ing -ro* nervous ,o*(#aints to tu)er,u#osis, singing /as a#so re,o**ended as training -or so#diers and O# *(i, at+#etes. T/o, Gi#)ert and Su##ivans o(eretta Uto&ia? Limited 1$%!'2 #a*(ooned )ot+ t+e Vi,torian +ea#t+ and sanitation *ove*ent and t+e i*age o- t+e Eng#is+ as s(ortL*ad (+ si,a# s(e,i*ens. Set in an i*aginar ,o#onia# is#and, Uto&ia re-#e,ts not on# t+e 7ritis+ nations vie/ o- itse#-, )ut a#so +o/ ot+er nations ,onstrued its identit . T+ree, t+e vogue -or *us,u#ar training sa/ a si*i#ar D*us,u#arising o- # ri,s and *usi, -or s,+oo# songs, (o(u#ar songs, and + *ns> a trend to /+i,+ Hu)ert 4arr s setting o- 9"erusa#e*= 1$!$N2 )e#ongs. Indeed, 9"erusa#e*=s (o(u#arit at Eng#is+ s(orting events toda (roves t+e signi-i,an,e o- t+ese #ongL rooted asso,iations )et/een s(orts, re#igion, and nation.

3USIC AND 3ANLINESS IN THE !O7"S O5$ #A#ER> $%O!L$!J' "udit+ 7arger, Inde(endent S,+o#ar In $%O! and $%%J t+e LondonL)ased Re#igious Tra,t So,iet #aun,+ed t/o *agaFines -or Vi,torian out+> t+e !o2"s Own #a&er -o##o/ed ) t+e ,irl"s Own #a&er. A #ongLti*e (u)#is+er o- re#igious tra,ts, t+e So,iet too6 on t+ese (ro0e,ts to o--er a /+o#eso*e a#ternative to t+e (erni,ious #iterature ,ir,u#ating a*ong Eng#ands (ri*ari# /or6ingL,#ass out+. @it+ *issionar -ervour, t+e So,iet soug+t to (ut t+eir *agaFines into t+e +ands o- oung )o s and gir#s /+o /ou#d derive )ene-it -ro* a 0udi,ious *iE o- *ora## u(rig+t entertain*ent and instru,tion. 7ot+ /ere )estLse##ing (u)#i,ations, and *usi,a# ,ontent /as (art o- t+e /inning -or*u#a t+e So,iet ado(ted -or t+e /ee6# issues. 7ut a g#an,e at t+e res(e,tive *agaFines revea#s a dis(arit in *usi,a# o--erings )et/een t+e t/o *agaFines. T+e *usi, t+at a((eared a)undant# in t+e ,irl"s Own #a&er not on# in *usi, s,ores, )ut a#so as *usi, *a6ing in -i,tion and non-i,tion, in (oe*s and i##ustrations, and in ans/ers to ,orres(ondents, a((eared #ess -re5uent# in t+e *agaFine -or )o s. C#oser eEa*ination o- t/ent L-ive ears o- t+e /ee6# issues -or )ot+ *agaFines dis,#oses a strong dida,ti, (ur(ose -or )o s *usi, *a6ing *issing -ro* gir#s *usi, *a6ing. T+is (a(er identi-ies t+e *usi, #essons taug+t to )o readers rooted in so,ieta# eE(e,tations a)out gender ro#es and *an# )e+aviour. @+en ,o*(ared to t+e *usi, #essons -ound in t+e ,irl"s Own #a&er, t+e #atter /ere #ess dire,t and #a,6ed t+e sa*e ,#arit o(ur(ose. 9STRONG, FIR3, 7OLD, 4ERSISTENT, 7IG AND FORCEFUL=> THE RISE OF THE 3ALE CHOIR IN EARLA $!THLCENTURA GER3ANA 7a#hFs 3i6usi, Nationa# SFT,+Tn i Li)rar , 7uda(est T+roug+out Ger*an t+e ear# $!t+ ,entur sa/ a radi,a# in,rease o- interest in t+e *a#e ,+orus as a distin,t t (e o- vo,a# *usi,. 7ased on a ,+a(ter o- * 4+D dissertation 1re,ent# de-ended at Corne## Universit 2 t+is (a(er eE(#ores t+e +istor o- t+e genre -ro* 3i,+ae# Ha dns -irst *a#e 5uartets t+roug+ t+e -oundation o- Car# Friedri,+ Ge#ters Liedertafel to t+e $%$O (u)#i,ation o- Hans Georg NKge#is se*ina# teEt)oo6 ,esang ildungslehre f4r den M0nnerchor. Given t+at severa# ,onte*(oraries eE(ressed t+eir dis,ontent /it+ t+e narro/ range t+e eE,#usive use o- *ens voi,es resu#ted in, t+e astounding )oo* in *a#e ,+oruses a((ears (ri*ari# to +ave )een (ro*(ted ) (o#iti,a# reasons, in (arti,u#ar ) t+e in,reasing signi-i,an,e o- *i#itar ,+ora# *usi, during t+e Na(o#eoni, @ars. 3ost ,onte*(orar *usi, t+eorists, nonet+e#ess, /ent out o- t+eir /a to o)s,ure t+is rat+er (rag*ati, ins(iration and de*onstrate instead t+e in+erent aest+eti, su(eriorit o- *ens voi,es over t+ose o- /o*en. Fro* a *usi,a# (oint o- vie/ *an argued t+at /o*en /ere *ore in,#ined to sing *ere *e#odies t+an (arti,i(ate in ,o*(#eE +ar*on Q a vie/ a## t+e *ore disgra,e-u# -or /o*en, sin,e e#o5uent +ar*on ,a*e in,reasing# to )e vie/ed as a Ger*an nationa# attri)ute as o((osed to t+e so#oisti, a((roa,+ asso,iated /it+ t+e des(ised Ita#ians. At t+e sa*e ti*e *a#e voi,es /ere a#so ,onsidered as )eing *u,+ *ore e--e,tive in ,onve ing (oeti, teEts, /+i,+ gave *ens ,+oruses an additiona# D*ora# advantage. T+ese ideas -ostered not *ere# t+e *us+roo*ing o- *a#e ,+oirs )ut a#so t+e eE,#usion o- /o*en -ro* t+ose (o#iti,a# a,tivities t+e *a#e ,+ora# *ove*ent ,a*e to (ro*ote -ro* t+e $%8Js on.

SESSION 27: PATRONAGE" VIRTUOSITY" AND MUSICAL CAREERS SE@ING 3ACHINES, STRADS, AND THE DEVIL> THE CURIOUS CASE OF VICTOR REU7SAET, 9DUC DE CA34OSELICE=, $!THLCENTURA 3USIC 4ATRON S #via ?a+an, CUNA In *an #anguages, t+e ter* [*ae,enas[ +as )e,o*e s non *ous /it+ #avis+ and en#ig+tened arts (atronage. T+roug+out +istor , ,o*(osers and (er-or*ers +ave soug+t out (atrons in order to gain su)sidies -or t+eir art. 7ut /+at *otivates (atrons to (ursue t+is a,tivit H So*e *usi, (atrons +ave t/inned t+e generous i*(u#se o- (ro*oting *usi,ians /it+ se#-L(ro*otion. As a ,ase in (oint, I /i## ,onsider t+e (atronage a,tivities o- Vi,tor Reu)saet, )etter 6no/n to (osterit as t+e se#-Lst #ed [Du, de Ca*(ose#i,e[ 1$%&'L$%%O2. Reu)saet, a Dut,+L)orn vio#inist and tenor, (er-or*ed #ig+t o(era and re,ita#s t+roug+out Euro(e. A-ter *eeting and *arr ing Isa)e##a Singer, /ea#t+ /ido/ o- t+e se/ing *a,+ine *agnate, Reu)saet used +er -ortune to (ro,ure +is ersatF du,a# tit#e and to )u a dou)#e 5uartet o- Stradivarius instru*ents. See6ing notoriet in Fren,+ *usi,a# ,ir,#es, +e )oug+t a dou)#e 5uartet o- Stradivarius instru*ents and esta)#is+ed a sa#on, /+ere +e (er-or*ed as tenor and vio#inist a#ongside Euro(eWs great *usi,ians. Reu)saetWs (ro*otion o- +i*se#- as an [i##ustrious 3a,aenas[ used F#e*is+ *usi, as t+e ve+i,#e. In $%%', +e *ounted a ,+arit ,on,ert at t+e Sa##e du Tro,adTro -eaturing t+e 4aris (re*iere o- 4eter 7enontWs gigantes5ue oratorio Lucifer, (er-or*ed ) reno/ned so#oists and CJJ *usi,ians. Reu)saetWs (ress ,a*(aign touted )ot+ t+e [ne/ F#e*is+ s,+oo# o- ,o*(osition[ and +is o/n #argesse. His se#-is+ *otivations not/it+standing, Reu)saetWs (atronage ,reated o((ortunities -or F#e*is+ *usi,ians and ,o*(osers to attra,t ne/ audien,es in Fran,e, London, and ot+er Euro(ean ,ities. His ta,ti,s and s+re/d use o- t+e (ress /ou#d in-#uen,e -uture generations o- *usi, (atrons. STRATEGIES OF THE "USTE 3ILIEU> E3ILE 4RUDENT AND THE VIRTUOSO 4ROFILE A#i,ia C. Levin, Universit o- ?ansas @+en Fren,+ (ianist V*i#e 4rudent 1$%$OL$%N'2 -irst a((roa,+ed t+e virtuoso arena in 4aris, +e 6no,6ed (o#ite# at t+e door, ,#ut,+ing +is +ardL/on (riFes -ro* t+e 4aris Conservatoire. 7ut /it+out -an-are or (u)#i,it to su((ort +is ,#ai*, 4rudents $%'C de)ut /ent unnoti,ed ) audien,es ent+ra##ed /it+ FranF LisFt, /+o +ad re,ent# )egun to a((ear in (u)#i, a-ter ears ostud . T+e teenaged 4rudent, ta#ented as +e *a +ave )een, si*(# ,ou#d not ,o*(ete /it+ t+e Hungarian i,on, /+ose adu#t (ersona t+ri##ed -ans /it+ its *as,u#init and seE a((ea#. Aet initia# disa((oint*ent did not dis,ourage 4rudent -ro* (ursuing a virtuoso ,areerI rat+er, LisFts ,areer (rovided a *ode# a-ter /+i,+ 4rudent reL-ra*ed +is (ro-essiona# strategies to ,on5uer t+e 4arisian stage. T+oug+ +is na*e is #arge# un6no/n toda , 4rudent and +is ,areer o--er t+e o((ortunit to investigate +o/ issues o- strateg and nationa# identit (#a ed into t+e ,onstru,tion o- *idL,entur virtuoso (ianis*. In t+is (a(er, I eEa*ine t+e ,onstru,tion o- 4rudents reLentr into 4arisian *usi,a# #i-e in $%&8. To )egin, I address +is (ro-essiona# strategies. A-ter t+e dis*a# $%'C season, +e reinvented +is ,redentia#s t+roug+ iso#ated stud 1as LisFt +ad done2, eEtensive ,on,ert tours, and a ,onne,tion to T+a#)erg. In $%&8, +e returned to 4aris, /+ere ,riti,s ,#ai*ed +i* as t+e Puste milieu o- Fren,+ (ianis*> t+e idea# ,o*)ination o- e#egan,e and virtuosit , nationa# taste and internationa# -#air. I t+en turn to t+e ,riti,a# agendas s+a(ing +is se,ond de)ut in 4aris. 7ound u( in nationa# and aest+eti, 5uestions, t+e re,e(tion o- 4rudents (#a ing revea#s t+e

,onundru* o- +o/ to ,u#tivate Fren,+ virtuosos /+i#e -eeding t+e (u)#i, de*and -or seasoned ,os*o(o#itan (er-or*ers. SIR "ULIUS 7ENEDICT 1$%J&L$%%C2> REINTER4RETING THE CONDUCTING CAREER OF A NATURALISED ENGLISH3AN IN $!THLCENTURA 7RITAIN Fiona 4a#*er, NUI 3a noot+ In $%%J Sir "u#ius 7enedi,t 1$%J&L$%%C2 resigned -ro* +is LondonL)ased ro#e as ,ondu,tor ot+e Liver(oo# 4+i#+ar*oni, So,iet . He +ad +e#d t+e (ost -or t+irteen ears. T+e ,onse5uen,es o- +is resignation (rovide i##u*inating eviden,e o- +is status in 7ritis+ *usi,a# so,iet to/ards t+e end o- +is #ong and varied ,areer. T+e StuttgartL)orn son o- a "e/is+ )an6er, aut+or o)iogra(+ies o- 3ende#sso+n and @e)er and editor o- 7eet+oven, +is ,areer as a ,ondu,tor oo(era, oratorio and or,+estra# *usi, (rovides an interesting (ers(e,tive on t+e *ar6et(#a,e /it+in /+i,+ +e o(erated. His /or6 en,o*(assed *etro(o#itan and regiona# ,entres o- a,tivit . T+is (a(er ,onsiders 7enedi,ts (ort-o#io ,areer, +is o((ortunities, institutiona# and (ersona# a##egian,es, su,,esses and -ai#ures. It eEa*ines t+e issues surrounding +is ,onte*(oraneous re,e(tion and (ost+u*ous i*age. It see6s to esta)#is+ t+e nature o- +is -un,tion as ,ondu,tor /it+in t+e )roader #ands,a(e o- t+e status and re*it o- t+is ro#e as understood in 7ritain in t+e -ina# de,ades o- t+e nineteent+ ,entur . As a resu#t, -res+ insig+ts are gained into o((ortunities -or ,ondu,tors, t+e -ortunes o- 7enedi,ts 6e ,o*(etitors, (rogra**ing (ra,ti,es 1re(ertoire and (ra,titioners2, and in-rastru,tures o- ,ondu,tor e*(#o *ent and in-#uen,e. A3ERICAN 4IANO VIRTUOSITA> O4ERA FANTASIES IN NINETEENTHLCENTURA NE@ AOR? CITA AND THE CASE OF RICHARD HOFF3AN S(en,er Huston, Universit o- ?ansas 7 *idLnineteent+ ,entur , Ne/ Aor6 Cit s vi)rant *usi,a# ,u#ture -eatured a t+riving ,on,ert #i-e, regu#ar (er-or*an,es o- Euro(ean o(era, and tourLdeL-or,e dis(#a ) virtuosos o- a## 6inds. A*ong t+ese stood t+e 3an,+esterL)orn (ianist Ri,+ard Ho--*an, one o- t+e ,it s *ost res(e,ted and in-#uentia# -igures. 4er+a(s t+e *ost (ro#i-i, ,o*(oser o- o(erati, -antasies in nineteent+L,entur A*eri,a, Ho--*an (u)#is+ed t+e *a0orit o- t+ese /or6s )et/een $%CN and $%OJ. His out(ut i##u*inates a uni5ue (ers(e,tive on t+e o(eras -#ooding t+e stages o- Ne/ Aor6 Cit , /+i#e de*onstrating t+e #arger ,onteEt o- nineteent+L,entur *usi,a# tastes and ,onsu*(tion. Indeed, Ho--*ans -antasies ,orres(ond /it+ t+e (o(u#ar o(eras staged during t+is -i-teenL ear s(an and o--er insig+t into +o/ +e strategi,a## a((roa,+ed t+e ,onsu*er. Furt+er*ore, t+is *usi, s+eds #ig+t on t+e (u)#i, (er,e(tion o- virtuosit , /+i#e a#so addressing t+e notion o- a,,essi)i#it to t+e a*ateur. 3 resear,+ s+o/s t+at Ho--*ans out(ut /as an in-#uentia# *ediator )et/een (ers(e,tive audien,es and t+e o(eras t+e*se#ves. To )egin, I eEa*ine s(e,ia# e#e*ents o- Ho--*ans ,o*(ositiona# a((roa,+, (arti,u#ar# t+e )a#an,e )et/een virtuosi, -#are and a*ateur a,,essi)i#it . NeEt to t+e 96nu,6#eL)rea6ing= -antasies ,o*(osed ) )etterL6no/n ,onte*(oraries LisFt and T+a#)erg, Ho--*an de*onstrates interest in ,o*(osing -or a*ateur s6i##s /it+out sa,ri-i,ing t+e dra*a and eE,ite*ent o- )igger /or6s. I## t+en dis,uss +o/ Ho--*ans /or6 re#ates to t+e ,on,urrent o(era (rodu,tions o- t+e da . Fina## , I dis,uss +o/ Ho--*ans -antasies i##ustrate ,#ear ,ut attitudes to/ards virtuosit in A*eri,a. U#ti*ate# , * ,on,#usions i##u*inate a se,tion o- *idL nineteent+L,entur LA*eri,an (iano re(ertoire, its (#a,e and (ur(ose.

SESSION 2 : SPECTACLE ON STAGE 4AINTING AS O4ERA> 7RINGING ART TO LIFE IN $%'JS 4ARIS Sara+ Hi))erd, Universit o- Notting+a* S(e,ta,#e +ad a#/a s )een an i*(ortant ,o*(onent o- Fren,+ o(era, and -ro* at #east t+e *idd#e o- t+e eig+teent+ ,entur (aintings +ad (roved an i*(ortant sour,e o- ins(iration -or s,eni, e--e,ts. 7 t+e $%8Js and 'Js, (anora*as, diora*as and ot+er s&ectacles d"o&ti(ues /ere a#so +aving a (ro-ound i*(a,t on t+e deve#o(*ent o- staging design 1not #east t+roug+ t+e /or6 o- Louis Daguerre2, and /ere a -re5uent re-eren,e (oint in ne/s(a(er revie/s. Su,+ in-#uen,es en,ourage us to investigate t+e /ider ,onteEt in /+i,+ grand o(eras /ere ,reated and re,eived, in order to esta)#is+ /+at t+e visua# eE(erien,es and eE(e,tations o- o(era audien,es *ig+t +ave )een, and /+at (er,e(tions /ere o- t+e re#ations+i( )et/een *usi, and s(e,ta,#e /+en t+e genre /as at its +eig+t during t+e "u# 3onar,+ Q and )e-ore it /as routine# atta,6ed -or its overLre#ian,e on visua# e--e,ts. In t+is (a(er I ,onsider so*e o- t+e s,ienti-i, /or6 o- t+e (eriod on sensor (er,e(tion, and t+e /a s in /+i,+ t+is -ed into (o(u#ar entertain*ents. I eEa*ine t+e re,e(tion o- so*e eE(eri*enta# *usi,oLvisua# /or6s o- t+e $%'Js Q in,#uding a Dno,turnora*a and an o(era, ea,+ )ased on a ,e#e)rated (ainting Q and a((# to o(era so*e ideas )orro/ed -ro* s,+o#ars+i( on ear# -i#* on t+e distin,tion )et/een narrative and attra,tion. 7 t+is *eans I see6 to i##u*inate grand o(eras distin,tive -as,ination /it+ t+e inter(#a o- *usi, and visua# s(e,ta,#e, and suggest /a s -or/ard -or t+eorising its aest+eti, (o/er. RO3ANTIC SCIENCE> 3EAER7EERWS RO!ERT LE DIA!LE AND THE D3AGNETIC STOR3 IN FRANCE 3ar6 A. 4ottinger, 3an+attan Co##ege 4ro,ess and unit #ie at t+e ,enter o- t+e Euro(ean Ro*anti, 3ove*ent in t+e ear# nineteent+ ,entur . T+e rede-ining o- t+e nation state, /+i,+ o,,urred *ost (re,i(itous# a-ter t+e de-eat oNa(o#eon in "une $%$C, +eig+tened t+ese *odes o- t+oug+t. Ho/ever, )e ond t+e )urgeoning de-inition o- nation, t+e natura# s,ien,es /ere #oo6ing outside nationa# )orders to dis,over universa#s t+at arti,u#ated natures D#a/s o- ,itiFenr . Nature /as seen as a## t+at /as 6no/n and un6no/n to *an, a ,onstant gro/ing and ever evo#ving s(a,e o- )e,o*ing. So over/+e#*ing /as t+is (ers(e,tive t+at t+e *ost in-#uentia# s,ientists and (+i#oso(+ers o- t+e age deve#o(ed a -as,ination /it+ t+e +idden -or,es /it+in Nature in order to rea#iFe t+e (otentia# -or individua# and so,ieta# deve#o(*ent. In Fran,e, t+e resu#ts o- su,+ t+in6ing )roug+t -ort+ t+e -as,inating /or6 o- Fren,+ (+ si,ist and *at+e*ati,ian FranXois Arago 1$O%NL$%C'2 and +is su,,ess-u# eE(eri*ents on t+e unseen /aveL#i6e (ro(erties o- *agnetis*. T+e /or6 o- Arago is eEa*ined in #ig+t o- t+e (o(u#arit o- *agnetis* in Fran,e in t+e #ate $%8Js and +o/ +is t+eories ,o*e to )e dis(#a ed in 3e er)eers grand o(Tra Ro ert le dia le 1$%'$2. T+e re#ations+i( )et/een t+e ,o*(oser and t+e Ger*an natura#ist A#eEander von Hu*)o#dt 1$ON!L$%C!2 is a#so dis,ussed and +o/ t+eir *an ,onversations in 4aris #ed to t+e de-inition o- D*agneti, -or,es in t+e Fren,+ o(erati, /or6.

TRADITION AND INNOVATION> 33E 3ARISUITAS 7ALLETS FOR THE O4VRAL CO3ISUE Sara+ Guts,+eL3i##er, Co#u*)ia Universit @+en A#)ert CarrT too6 over t+e dire,tion o- t+e 4aris O(TraLCo*i5ue in $%!%, one o- +is stated a*)itions /as to )ring t+e t+eatres t+en #anguis+ing dan,ed ,o*(onent to t+e sa*e artisti, #eve# as its o(eras. He i**ediate# +ired 4ariss *ost ,e#e)rated ,+oreogra(+er, 3*e 3ari5uita, to tea,+ an inL+ouse )a##et trou(e and ,reate t+e t+eatres dan,esI +e t+en )roug+t toget+er *an o- t+e eras #eading Fren,+ ,o*(osers and dra*ati, aut+ors to ,o##a)orate /it+ +er on a series o- autono*ous )a##ets> Ca*i##e SaintLSa^ns, AndrT 3essager, "u#es 3assenet, and Ca*i##e Er#anger a## /rote s,ores -or O(TraLCo*i5ue )a##ets, /+i#e Henri Cain and Catu##e 3endPs -re5uent# ,ontri)uted #i)rettos. 7et/een $%!% and $!$%, t+e O(TraLCo*i5ue (rodu,ed t/e#ve inde(endent )a##ets, and *ore t+an -ort )a##et divertisse*ents /it+in o(eras. At -irst g#an,e, *an o- t+ese /or6s see* to )e straig+tL-or/ard nineteent+L,entur )a##ets. 7ut +o/ traditiona# /ere t+e H Criti,s s(ea6 o- 3ari5uitas ,+oreogra(+i, revo#ution, and *an ,e#e)rate +er re(udiation o- t+e ,onventions t+at ,aused )a##et to stagnate in t+e state t+eatre. Her ,o##eagues /ere, -or t+e )a##et /or#d, unusua## reno/ned, 9serious= ,o*(osers and /riters. @ere t+ese )a##ets, t+en, t+e #ast nineteent+L,entur Fren,+ (anto*i*eL)a##ets, or did t+e ,onstitute a s+i-t to/ards an indigenous *odernisation o- )a##etH 3 (a(er eEa*ines t+e O(TraLCo*i5ues inde(endent )a##et (rodu,tions -ro* $%!! to $!JN to deter*ine /+at -or*a#, dra*ati,, *usi,a#, and ,+oreogra(+i, ,+ara,teristi,s *ade t+e* see* outLdated, even (assT, and /+at set t+e* a(art as t+e -irst )a##ets to *ove to/ards a rene/a# o- t+e genre in Fran,e )e-ore t+e arriva# o- t+e 7a##ets Russes. CHRISTO4HER COLU37US, NERO, AND THE SUEEN OF SHE7A> 3USIC FOR THE RINGLING 7ROTHERS AND 7ARNU3 AND 7AILEA CIRCUS S4ECTACLES "o+n ?oege#, Ca#i-ornia State Universit , Fu##erton 7e-ore D. @. Gri--it+s e(i, -i#*s Intolerance or The !irth of a $ation o- t+e $!$Js, /it+ t+eir innovative ,a*era /or6, ,ast o- +undreds, grand s,a#e sets and ,ostu*es, e#a)orate (asti,+e or,+estra# s,ores, and )i)#i,a# and +istori,a# narratives reinter(reted -or *odern audien,es, ,ir,us o/ners su,+ as t+e Ringing 7rot+ers o- 7ara)oo, @is,onsin and 4. T. 7arnu* o- t+e 7arnu* and 7ai#e Cir,us (rodu,ed #avis+ )i)#i,a# and +istori,a# s(e,ta,#es, ,a##ed 9s(e,s= in ,ir,us dia#e,t. T+ese 9s(e,s= re5uired #arger ,asts t+an Gri--it+ uti#iFed, a#ong /it+ 0ust as or even *ore su*(tuous t+eatri,a# and *usi,a# ,o*(onents t+an /+at Gri--it+ ,ou#d a--ord, )ut a,,o*(anied ) t+e ,ir,us *enagerie. S(e,ta,#es su,+ as $ero? or the Destruction of Rome 1$%%!2I Colum us and the Disco<er2 of America 1$%!$2I and The Fall of $ine<ah 1$%!82 ,a(tured t+e i*agination o- A*eri,an 1and Euro(ean2 audien,es +ungr -or #argeLs,a#e entertain*ent and aest+eti, edi-i,ation. @+i#e so*e s,+o#ars are )eginning to ana# Fe t+ese 9s(e,s= in ter*s o- t+eir visua# ,o*(onents and t+eir ,onne,tions to t+e (resentation o- gender, -e/ i- an +ave studied t+e use o- t+e *usi, in t+ese /or6sUa *iE o- o(erati,Lst #e songs, #arge ,+oruses, and instru*enta# a,,o*(ani*ent ) #arge /ind )ands (#a ing des,ri(tive *usi, to en+an,e t+e narrative (resentation, as /e## as vigorous *ar,+es and #anguorous /a#tFesU/+i,+ -ores+ado/ Gri--it+s (asti,+e -i#* s,ores. T+is (a(er eEa*ines severa# o- t+ese #arge s(e,ta,#es to understand +o/ ,o*(osers and *usi, dire,tors su,+ as Ange#o VenanFi (ut toget+er t+e s(e,ia# *usi, needed to -i## t+e (arti,u#ar needs o- t+is #itt#eLunderstood -or* o- *usi,a# and t+eatri,a# entertain*ent at t+e turn o- t+e t/entiet+ ,entur , and +o/ t+is /as re,eived ) ,ir,us audien,es.

SESSION 2!: ISSUES IN THE HISTORIOGRAPHY OF 1!TH&CENTURY PERFORMANCE PRACTICES T+is t+e*ed session eE(#ores ,urrent $!t+L,entur +istori,a# (er-or*an,e resear,+ and (ra,ti,e. 4ostLTarus6in, t+is /as seen ) so*e a de,ade ago as so*et+ing o- an inte##e,tua# ,u#LdeLsa,. Ho/ever, t+e AHRCL-unded CHASE (ro0e,t at t+e Universit o- Leeds 1eEa*ining $!t+L,entur annotated editions o- string *usi,2 is one o- a nu*)er o- re,ent (ro0e,ts /+i,+ +as (rodu,ed a )od o- *ateria# t+at (oints in severa# dire,tions. It (rovides a resour,e -or t+ose interested in t+e e*(iri,a# stud o- di--erent (er-or*ing a((roa,+es to t+e sa*e re(ertoire, or t+e /or6 oindividua# editorM(#a ers. 7ut it a#so raises t+e (ossi)i#it t+at t+e gat+ering o- data -ro* /+i,+ to eEtra(o#ate genera#ised state*ents o- (er-or*an,e (rin,i(#es *a not, in -a,t, )e t+e on# va#id *et+odo#og . T+is is )e,ause /e are no/ *ore vivid# a/are o- t+e (rovisiona# nature oeven t+e *ost a((arent# aut+oritative (er-or*ing teEts. T+e a((#i,ation o- t+is +istori,a# resear,+ to *odern +istori,a# (er-or*an,e is not straig+t-or/ard. T+ese (a(ers ,onsider t+ese to(i,s -ro* a variet o- (ers(e,tives, using di--erent re(ertoires and *et+ods. 3ende#sso+ns vio#in ,on,erto /as edited ) so*e o- its ear#iest (er-or*ers, )ut t+e in-or*ation in t+ese editions is not genera## eE(#oited ) *odern (#a ersI D+istori,a## in-or*ed (er-or*an,es o)aro5ue *usi, are no/ u)i5uitous, )ut $!t+L,entur editions *a re*ind us o- neg#e,ted as(e,ts o- t+e *usi,I +it+erto uneEa*ined S,+oen)erg sour,es s+ed #ig+t on ear# (er-or*an,e (ra,ti,es in +er3l0rte $acht o- interest to *odern (#a ersI and it *a )e t+at t+e ,urrent #a,6 o,o**uni,ation )et/een resear,+ers and (er-or*ers ,ou#d )e i*(roved i- a di--erent t+eoreti,a# a((roa,+ ,ou#d )e a((#ied in t+is so*eti*es ,ontentious -ie#d. THE RELDISCOVERA OF 7AROSUE VIOLIN 3USIC IN THE $!TH CENTURA Dun,an Dru,e, Universit o- Leeds In t+e reviva# o- interest in )aro5ue *usi, during t+e nineteent+ ,entur , t+e vio#in (#a ed an i*(ortant (art. Fro* t+e $%&Js on/ards, annotated editions, in t+e -or* o- ant+o#ogies or (u)#i,ations devoted to a sing#e ,o*(oser, +ad a signi-i,ant ro#e in its disse*ination, and editors su,+ as Ferdinand David and De#(+in A#ard *ade *ore eEtensive ,+anges and additions t+an t+e did to #ater re(ertoire. T+ese editions are no/ de(re,ated ) *odern +istori,a# (er-or*ers. 7ut t+e are es(e,ia## va#ua)#e, )ot+ -or s+o/ing t+e (er-or*an,e et+os o- t+e ti*e, and )e,ause t+e de*onstrate a desire to eE(#ore t+e -u## eE(ressive (ossi)i#ities o- t+e *usi,, su,+ as its no)i#it and grandeur, in a /a t+at *ig+t sti## ins(ire (resentLda (er-or*ers. EDITIONS OF THE 3ENDELSSOHN VIOLIN CONCERTO IN E 3INOR L 4ERS4ECTIVES U4ON ANNOTATED 4ERFOR3ANCE EDITIONS AND THEIR USEFULNESS TO 4RESENTL DAA 4ERFOR3ERS David 3i#so*, Universit o- Hudders-ie#d 3ende#sso+ns E 3inor Vio#in Con,erto re*ains one o- t+e great )astions o- (resentLda re(ertoire and is o-ten (aired /it+ t+e 7ru,+ G 3inor ,on,erto 1a-ter a -a*ous L4 /+i,+ did t+e sa*e, (er-or*ed ) Ae+udi 3enu+in in t+e $!CJs2. T+e /or6 ,an )e seen as one o- t+e *ost ,e#e)rated essa s in Ro*anti, vio#in #iterature. To /+at eEtent, +o/ever, ,an 1or s+ou#d2 +istori,a## Lin-or*ed (er-or*an,e i*(inge u(on, in-#uen,e or *ou#d -uture (er-or*an,es ot+e /or6 in t+e #ig+t o- everLi*(roving +istori,a# (er-or*an,e eviden,eH T+is (a(er /i## eEa*ine nineteent+L,entur editions o- t+e /or6 o- dire,t re#evan,e to its (er-or*an,e ) t+e -irst generation o- its inter(reters. It /i## dis,uss t+eir ,ontent and *eaning and ,onsider +o/

t+e -indings o- (er-or*an,e (ra,ti,e resear,+ ,an in-#uen,e t+e ,ontinuing (er-or*an,es o- a ,entra# /or6 in t+e ,urrent vio#in re(ertor . TRANSFIGURED 7A TI3EH L EVOLVING 4ERFOR3ANCE 4RACTICE ISSUES IN SCHOEN7ERGWS +ER=L.RTE $AC%T T+o*as ?e*(, RNC3 +er3l0rte $acht 1$%!!2, /as S,+oen)ergs -irst great /or6> its -irst (er-or*an,e, given ) t+e RosT Suartet in t+e Vienna 3usi6verein on $%t+ 3ar,+, $!J8, ,aused a riot. Considered a radi,a#, i,ono,#asti, /or6 ) its -irst audien,es, t+e *usi, is -ir*# rooted in $!t+ ,entur ro*anti,is* and re(resents a s nt+esis o- t+e t/o o((osing ,a*(s t+at do*inated t+e #atter (art o- t+e $!t+ ,entur > @agner and 7ra+*s. Arno#d RosT /+o #ed t+e -irst (er-or*an,e /ou#d +ave vie/ed t+is *usi, as (art o- a ,ontinuous traditionI in t+e ear# t/entiet+ ,entur , t+e idea o- var ing (#a ing st #e -or ea,+ (eriod o- *usi, /as re#ative# ne/. T+is (a(er /i## eE(#ore t+e ,+anges o- (#a ing tradition and ,u#tura# aest+eti,s t+at o,,urred during t+e 8Jt+ ,entur and /i## #oo6 at S,+oen)ergWs o/n evo#ving inter(retation o- t+e /or6. @+at ,an /e #earn -ro* t+ese ,+anges and +o/ ,an /e *a6e resear,+ re#evant to (er-or*ing t+is *usi,H @+at is t+ere to )e #earnt -ro* #oo6ing at t+e ear# (er-or*ing *ateria#s and ana# sing se*ina# re,ordings o- t+e /or6H Can #oo6ing )a,6 +e#( us to #oo6 -or/ard as (er-or*ersH 4RESCRI4TION OR DESCRI4TION> A THEORETICAL CONTEBT FOR HI4 RESEARCH AND 4RACTICE George ?enna/a , Universit o- Leeds Resear,+ers in t+e $!t+L,entur *usi, +ave *u,+ *ore in-or*ation at t+eir dis(osa# t+an in ear#ier (eriods. So*e eviden,e ,onsists o- ru#es 1or (ro+i)itions2I so*e suggests (ra,ti,es /+i,+ /ide# -#outed t+ese ru#es. Resear,+ in +istori,a# (er-or*an,e is genera## (ositivist, a,,u*u#ating data -ro* /+i,+ genera# (rin,i(#es are + (ot+esised. 7ut in $!t+L,entur *usi,, )ot+ (er-or*ers and resear,+ers su)s,ri)e 1,ons,ious# or not2 to an autono*ous vie/ o- *usi, /+i,+ +as )een #ong ,ontested in ot+er t (es o- *usi,o#og . T+is (a(er suggests a -ra*e/or6 /it+in /+i,+ a (er,eived #a,6 o- *utua# understanding )et/een (er-or*ers and resear,+ers ,ou#d )e reso#ved. SESSION 3#: STAGING SCOTLAND RO7 ROA ON STAGE Or# L. ?rasner, Cit Co##ege o- Ne/ Aor6 A ,entur )e-ore t+e A*eri,an *usi,a# stage (rodu,ed one o- its *ost enduring S,ottis+ -antasies 1!rigadoon $!&O2, Ce#ti, tro(es /ere (o(u#ar in (ar#or songs and on stage. Ro) Ro , t+e su)0e,t o- severa# C+i#d )a##ads, evo#ved -ro* an +istori,a# -igure Q Ro)ert 3a,Gregor 1$NO$L $O'&2 Q to a ,u#tura# i,on, *oving -ro* #i-e to #iterature, t+en *usi,. His trans-or*ation -ro* so#dier to )usiness*an, ,ast#eLrust#er, and out#a/ (#a ed out against t+e )a,6dro( o- t+e "a,o)ite U(risings. Danie# De-oes %ighland Rogues 1$O8'2 ro*anti,iFed +is eE(#oits and #ed to t+e Ro a# 4ardon in $O8N t+at a##o/ed 3a,Gregor to #ive +is #ast ears as a #egend in +is o/n ti*e. Su)se5uent #iterar /or6s su,+ as @ords/ort+s (oe* 9Ro) Ro s Grave= 1$%JO2 and Sir @a#ter S,otts $%$O nove# ,o*(#eted +is *eta*or(+osis.

S,otts Ro Ro2 ins(ired a +ost o- *usi,a# settings. T+is (a(er ,onsiders t+ree stage /or6s t+at (ortra t+e sa*e -igure against *usi,a# )a,6dro(s /it+ var ing a*ounts o- S,ottis+ *usi,a# ,o#or> Dav and 4o,o,6s Ro Ro2 Mac,regor 1Eng#and, $%$%2, Friedri,+ von F#oto/s Ro Ro2 1Fran,e, $%'NMO2, )ut (ri*ari# anot+er /it+ t+e sa*e tit#e ) Regina#d de ?oven 1$%!&2. De ?ovens Ro in %ood +ad re,ent# )e,o*e t+e *ost (o(u#ar A*eri,an o(eretta o- its da I +e su,,eeded +is no)#e out#a/ in -orest green /it+ Ro Ro2, a si*i#ar ,+ara,ter t+is ti*e in tartan. S,ottis+ *usi,a# e#e*ents su--use t+e s,ore, *ost e--e,tive# in +is -auE -o#6 songs and t+e 9gat+ering o- t+e ,#ans= in t+e A,t I -ina#e. De ?ovens Ro Ro2 /as t (i,a# o- A*eri,an *usi,a# t+eater at t+e end o- t+e $!t+ ,entur I revived )rie-# in $!$&, +is evo,ation o- t+e Hig+#ands re*ained essentia## un,+a##enged unti# !rigadoon. A SCOT 7ARD IN EURO4EAN SOUTH> DIONISIOS RODOTHEATOSS O4ERA OITO$A 1$%ON2 ?onstantinos ?arda*is, Ionian Universit , Cor-u In "anuar $%ON Cor-us ne/s(a(ers *ade eE(#i,it re-eren,es, not on# to t+e (er-or*an,es in t+e to/ns 3uni,i(a# T+eatre o- o(eras )e#onging to t+e standard Ita#ian re(ertor 1ranging -ro* Verdis Mac eth and Rigoletto to DoniFettis Lucia di Lamermoor and t+e Ri,,i )rot+ers Cris&ino e la comare2, )ut a#so to a ne/ and origina# oneLa,t o(era ) a #o,a# ,o*(oser. Its tit#e /as Oitona, its ,o*(oser /as Dionisios Rodot+eatos and its (#ot /as )ased on t+e ossiani, sagas. Rodot+eatoss o(era is t+e ear#iest re,orded use o- a S,ottis+ su)0e,t ) a Gree6 ,o*(oser and raises so*e i*(ortant 5uestions regarding t+e ,reative use and re,e(tion o- a (#ot o- 9Ce#ti, origin=. T+e (resentation o- Mac eth and Lucia in $%ON in Cor-u see*s to +ave ,reated a (ro(er )a,6ground re#ated to o(erati, 9S,ottis+ness= as (er,eived in $!t+L,entur Ita# . Ho/ever, t+is does not see* to )e t+e on# ,ause t+at #ed Rodot+eatos to set to *usi, an ossiani, su)0e,t. In $%ON t+e 8OL earsLo#d Rodot+eatos /as a#read a,6no/#edged as t+e *ost (ro*inent ,+a*(ion o- @agneris* in Gree,e. T+e )ardi, 5ua#ities o- Oitona see* to ,onstitute one *ore #in6 in a series o- Rodot+eatoss ,o*(ositions t+at ai*ed to introdu,e 9Ger*ani, *usi,= in $! t+L,entur Gree,e. A-ter a##, ossiani, (oetr and ". 3a,(+ersons invo#ve*ent /as eEtre*e# i*(ortant -or 9Ger*an Ro*anti,is*=, /+ereas sin,e $%t+ ,entur t+e ossiani, ,onnotations /ere a#so 6no/n in Ita# , /+ere Rodot+eatos studied during ear# $%OJs. 3oreover, t+e i*(ortan,e o- t+e introdu,tion o- 9Nordi, -ogginess= in $!t+L,entur Gree6 o(era t+roug+ a S,ottis+ su)0e,t /i## )e dis,ussed )ot+ in vie/ o- t+e Gree6 (o#iti,a# and so,ia# endeavours o- t+at ti*e and in re#ation to t+e 7ritis+ Ad*inistration o- Cor-u, /+i,+ ended in $%N&. I- not an t+ing e#se, Oitona /as not des,ri)ed ) t+e (ress as a 9-oreign o(era= )e,ause o- its setting in S,ottis+ Hig+#ands, )ut eE,#usive# )e,ause o- its Ita#ian #i)retto. SESSION 31: THE CONCEPT OF WOR( IN MUSIC 7EETHOVENWS NINTH AND THE HARD @OR? OF THE ENLIGHTEN3ENT "a*es 4arsons, 3issouri State Universit For too #ong 7eet+oven ,riti,is* +as neg#e,ted a ,ardina# -eature o- S,+i##ers $O%C (oe*> its stead-ast su**ons to a,tion. In t+e -irst stro(+e, Freude is t+e re/ard granted t+e (erson /+o see6s En#ig+ten*ent. In t+e se,ond, S2m&athie is t+e invigorating e#ation ensuing -ro* t+e +eadL+eart s nt+esis on /+i,+ En#ig+ten*ent is (redi,ated, eEe*(#i-ied +ere in t+e individua# /+o /ins a -riend or *arriage (artner or /+o asse*)#es t+e ,o*(eting t+reads o- se#deve#o(*ent. Res(onding to S,+i##ers de*and t+at 0o 90oin again /+at ,usto* rigorous# +as

divided,= in t+e -ina#e 7eet+oven re(eated# underta6es su,+ +ard /or6, t+roug+, various# , t+e e(i, )rea6t+roug+ to voi,e or o(enLended, sear,+ing -or*a# design. A#t+oug+ t+e reiterated -ortissi*o FLs+ar( unisons o- *easures C$OLC8C re,a## t+e terri- ing -ra,as o- t+e -irst *ove*ents re,a(itu#ation, on# retros(e,tive# does one inter(ret t+e ear#ier (assage and its re#ian,e on FLs+ar( as t+e o(ti*isti, out,o*e o- eEertion rat+er t+an o- -ur -or, a,,ording to S,+i##er, 8au er attends 0o s reuni- ing aut+orit . Toi# #i6e/ise s+a(es t+e Freude *e#od s *ove -ro* nabve si*(#i,it to art-u# ,o*(#eEit I ,o*)ined /it+ t+e -ina#es arsena# o- *usi,a# idio*s, a## o- t+is a##o/s 7eet+oven to 90oin again= /+at ,usto* routine# divides. Si*(#e song ,edes to dou)#e -ugato /it+ di*inution 0ust as t+at songs ,e##o and )ass unison (resentation in *easures !8L$$N ie#ds to t+e ,+oreogra(+ed ,adenFa o- -our vo,a# so#oists, in *easures %'CL %&8, reve#ing in triu*(+ant, s *(at+eti, ,on,ord. T+is (a(er do,u*ents t+e nu*erous /a s 7eet+oven ena,ts En#ig+ten*ents strenuous e--ort, ,+a##enging t+e (ervasive vie/ t+at +e ignored S,+i##ers (oe* or treated it indi--erent# . THE LA7OUR OF LOVE> @OR? AND REST IN 3AHLERS EIGHTH SA34HONA Ste(+en Do/nes, Universit o- Surre Goet+e /rote in $%8O> DI s+ou#d not 6no/ /+at to do /it+ eterna# )eatitude un#ess it a#so (resented *e /it+ tas6s to ,arr out and di--i,u#ties to over,o*e: Let us ,ontinue to /or6. 3a+#er stated t+at D-or t+e rig+t #a)ourer it is a#/a s granted to ,o##e,t an i*(osing #itt#e +ea(` In 3a+#ers Eig+t+ S *(+on 1so*e #itt#e +ea(`2 gendered notions o- striving 1 Sehnsucht2 and rest 1Ruhe2, *ateria#is* versus *eta(+ si,s, and t+e o((osition o- ro*anti, s *)o# and t+e /or6 o- a##egor in ro*anti,is* are ,entra#. Its *assive -or,es and *ateria#, (er-or*ative e--ort are re#ated to t+e 3a+#ers inter(retation o- Goet+es Eros as t+e generative -or,e o- )ot+ t+e ,reative s(irit and ineE+austi)#e artisti, #a)our. T+e t/o (arts o- t+e s *(+on revea#, -ro* di--erent dire,tions, t+e ,ontrast )et/een *an# strugg#e and /o*an# )#essed (ea,e. In (art $, -ro* DIn-ir*a nostri# ,or(orisMVirtute -ir*ans (er(eti, t+e *ove -ro* Din-ir*ed D *inor to a D/ea6ened ,aden,e in E) (re,edes sin6ing su)do*inant *oves t+roug+ D, G to C 1t+e energeti, #o/ (oint2. T+e E *a0or D)rea6t+roug+ at DA,,ende #u*en sensi)us t+en o--ers a )odi# , sensuous, 1a##egori,a#2 revita#iFation, )ut a#so, as a ,a## or de*and, one indi,ative o- dou)t and desire. T+e Din-ir*ed *usi, returns in (art 8 as ange#s s(ea6 o- t+e )urdens o- an eart+# residue )e-ore Dr 3arianuss #ead u( to t+e E *a0or state*ent o- 3ater G#oriosas t+e*e, t+e s *)o#i, e*)odi*ent o- Das EwigA5ei liche, t+e rest-u#, rede*(tive goa# u#ti*ate# )e ond t+e #a)ours o- *an. SESSION 32: BEYOND WAGNER SAVING THE EI$8EL=U$ST> THE NE@ GER3AN SCHOOL AND THE ,ESAMT=U$ST5ER= "a*es Deavi##e, Car#eton Universit Re,ent resear,+ into t+e ,on,e(t o- ,esamt3unstwer3 +as eit+er eEa*ined t+e (rin,i(#e as a((#ied to ,u#tura# +istor a-ter @agner 1?oss, 8J$$I Fauser, 8JJ%I Fis,+er, 8JJ8I GZnt+er, $!!&2 or argued a)out its *eaning and a((#i,a)i#it in t+e /or6s o- @agner +i*se#- 13eier, 8J$$I ?na((, 8JJCI 7er*)a,+, 8JJ&, ?r\(#in, $!!C2. T+is (a(er /i## #oo6 -or t+e -irst ti*e at t+e re,e(tion o- @agners ,on,e(t o- ,esamt3unstwer3 ) +is ,onte*(orar asso,iates in t+e Ne/ Ger*an S,+oo#, es(e,ia## FranF 7rende# and FranF LisFt, revea#ing +o/ t+e distan,ed t+e*se#ves -ro* t+e (ro)#e*ati, neo#ogis*.

T+e ,entra# idea )e+ind 7rende#s $%C' arti,#e series 9Die )is+erige Sonder6unst und die Gesa**t6unst der Gu6un-t= invo#ved t+e ,ontinued eEisten,e o- t+e 9EinFe#6unst,= even t+oug+ t+e /riter ,#ai*ed to su)s,ri)e to t+e (ri*a, o- t+e 9Gesa*t6unst/er6.= Need#ess to sa , @agner res(onded /it+ ,+ara,teristi, disdain -or t+is 9*isLreading= o- +is (u)#is+ed /ritings. Ho/ever, LisFts $%CC arti,#e on (rogra**e *usi, and %arold in Ital2 ) 7er#ioF, -o##o/ed ) t+e (u)#i,ation o- +is s *(+oni, (oe*s in $%CO, (rovided 7rende# and asso,iates /it+ 0usti-i,ation -or (ursuing 9(oeti,a## Lins(ired= instru*enta# ,o*(osition, as did t+eir inter(retation o- @agners $%CO #etter a)out t+e s *(+oni, (oe*s. At t+e sa*e ti*e, t+e Ne/ Ger*ans around LisFt and 7rende# /ere re#egating 9Gesa*t6unst/er6= to an +istori,a# (osition /it+in @agners aest+eti,s, as seen in t+e (ages o- t+eir organ $eue 8eitschrift f4r Musi3 and in su,,essive editions o- 7rende#s ,eschichte der Musi3. THE 3INIATURIST AS 3ODERNIST> GRIEG AND 3ACDO@ELL IN THE @A?E OF @AGNER R an @e)er, Universit o- Conne,ti,ut 9T+e *usi, dra*as o- @agner : *a )e ,onsidered as t+e greatest a,+ieve*ent in our art.= 1Ed/ard 3a,Do/e##2 9@agner +as inaugurated a ne/ and signi-i,ant ,+a(ter in t+e +istor o- art.= 1Edvard Grieg2 T+e to/ering in-#uen,e o- @agners *usi, in t+e nineteent+ ,entur #ed to a rede-inition o*odernis* in /+i,+ *an ,o*(osers -ro* a (eri(+era# (osition atte*(ted to re,#ai* ,entra# 9universa#= va#ues in art. Grieg and 3a,Do/e## re(resent a transat#anti, res(onse to @agners aest+eti, in /+i,+ t+e 9*iniature= e*)odies a *ore ,o*(#eE *essage t+an t+at (revious# a,6no/#edged in @estern s,+o#ars+i(. @+i#e *an ,riti,s +ave -re5uent# a,6no/#edged t+eir nationa#isti, #eanings, -or Grieg and 3a,Do/e##, nationa# dis,ourse in its *ost (ro-ound guise *eant not t+e disso#ution o- regiona# distin,tiveness, )ut a rene/ed s nt+esis o- su,+ e#e*ents a*ong ,o*(eting dia#ogues o- identit . T+eir re#ian,e u(on a /ide arra o- #inguisti, in-#uen,es and individua#iFed eE(erien,e ,u#tivated a strong sense o- iron , /+i,+ dire,t# engaged idea#isti, notions o- nationa#is* a*idst t+e ,o*(osers e,#e,ti, sear,+ -or universa#it . T+e endeavor to e*)ra,e t+ese ,ategori,a# )inaries o- ,u#tura# identit and to see6 unit -ro* o((osing in-#uen,es #ead to a d na*i, eE(ression in t+e *usi,a# #iterature. T+is stud /i## eE(#ore t+e #ate /or6s o- Grieg and 3a,Do/e##Ut+e ver (ie,es situated at t+e end o- a ,entur *ar6ed ) strugg#es to de-ine nationa# ,+ara,ter, internationa# in,#usiveness, and individua# distin,tiveness. In so doing, I /i## investigate t+e tensions ,reated /it+in t+e do*ain o- t+e *iniature as 3a,Do/e## and Grieg eE(ress va,i##ating assess*ents o@agners *usi,. 3oreover, I /i## argue t+at vie/ing t+eir /or6s a,,ording to t+eir over#a((ing in-#uen,es en,ourages us to (er,eive not a singu#ar identit o- nationa# (ersuasion, )ut a ,o*(#eE (osition t+at dra/s near to an identit ,risis. CHAUSSONS +I+IA$E, 9DD5A,$DRISATIO$I, AND THE 4RO7LE3 OF DESCRI4TIVE 3USIC 3ar6 Seto, Conne,ti,ut Co##ege Ernest C+ausson *ade t/o *a0or aest+eti, de,isions in t+e #ate $%%Js> +e reso#ved to 9de/agneriFe= +i*se#-, and de,#ared +e /ou#d no #onger /rite (rogra* *usi,. T+is (a(er )ui#ds on t+e /or6 o- Steven Hue)ner, Annegret Fauser, Caro# n A))ate, and 3arieLHT#Pne 7enoitL Otis ) ,onsidering /+at C+aussons renun,iations *ig+t +ave *eant in ter*s o- *usi,a# st #e. 3 eE(#oration -o,uses on +i<iane 1,o*(osed $%%8L%', revised $%%O and $%!'2, a s *(+oni,

(oe* t+at s+ares *usi,a# *ateria# and su)0e,t *atter /it+ C+aussons *agnu* o(us, Le Roi Arthus 1$%%NL!C2. Dra/ing on un(u)#is+ed s6et,+es and *anus,ri(ts +e#d at t+e 7i)#iot+P5ue nationa#e de Fran,e, I /i## tra,e +o/ C+ausson su((ressed eviden,e o- @agnerian *i*i,r over t+e ,ourse o- +is revisions to +i<iane. T+is erasure stands in (ointed ,ontrast to an overt re-eren,eUa,6no/#edged as su,+ in +is s6et,+)oo6Uto a (ie,e ) C+aussons *entor, CTsar Fran,6. In addition, C+ausson )roug+t +i<iane *ore ,#ose# in #ine /it+ sonata (ro,edures, inviting t+e #istener to a((re,iate t+e /or6 on its (ure# soni, *erits at a ti*e /+en t+e ,o*(oser /as )e,o*ing #ess s *(at+eti, to t+e idea o- 9des,ri(tive *usi,.= U44ER CIRCLE, FRONT RO@> ADORNO AND 4ARSIFAL 7ET@EEN SCORE AND STAGE S+err D. Lee, Universit o- Toronto T+eodor Adornos -avourite seat in t+e o(era +ouse /as, a((arent# , in t+e *idd#e o- t+e -ront ro/ in t+e u((er ,ir,#e. An avid o(eragoer, +e (re-erred t+is #o,ation es(e,ia## -or its a,ousti, advantages -or attentive #istening, des(ite Q or, rat+er, (art# )e,ause o- Q t+e i*(er-e,t vie/ it a--orded o- t+e stage and its goingsLon e*anating -ro* t+e (rodu,ers i*agination. Co**entar on t+e (ra,ti,es o- staging @agners o(eras -or*s a 6e (art o- +is ,riti5ue o8Jt+L,entur Du(dated o(era (rodu,tions t+at atte*(ted to *a6e a see*ing# retrograde genre Dre#evant to a *ore *odern (u)#i,, a to(i, +e revisited re(eated# t+roug+out +is ,areer. A,,ording to Adorno, o(era a-ter @agner -e## into a ,+as* so*e/+ere )et/een /riting and re(resentation, s,ore and stage> t+at is, )et/een *odernis*s de*and t+at *usi, )e,o*e in,reasing# autono*ous and o(eras insisten,e t+at *usi, assi*i#ate itse#- to t+e eEtra*usi,a#. In t+e s,ore o- #arsifal, /+i,+ +e ,+ara,terised as stati,, its *oti-s D#i6e #itt#e (i,tures, Adorno #o,ated a uni5ue de*and -or an Dinvestigative art o- #istening t+at dis,erned t+e /or6s aura as an e,+o, en,o*(assing t+e auditor and t+e s(atia#, t+e soni, and t+e visua#. In t+is (a(ers eE(#oration o- t+e di*# L#it region )et/een s,ore and stage, /+i,+ dra/s u(on Adornos DNatura# Histor o- t+e T+eatre, DOn t+e S,ore o- #arsifal, D7ourgeois O(era, In Search of 5agner, and t+e DO(era ,+a(ter -ro* Introduction to the Sociolog2 of Music, @agners -ina# *usi, dra*a turns out to -or* a -ine vantage (oint -or ,onte*(#ating o(era at t+e edge o- t+e a) ss. SESSION 33: MUSIC AND LITERATURE THE I34ROVVISATRICE GOES TO RHEI3S> ITALIAN 9HALFLSONG= FRO3 CORILLA TO ROSSINI E##en Lo,6+art, 4rin,eton Universit T+is (a(er /i## eEa*ine t+e (+eno*enon o- t+e Ita#ian i*(rovisator (oetess /it+in t+e ear# nineteent+L,entur trave#ogue, nove#, and o(era. T+e #ate eig+teent+ ,entur sa/ t+e rise o- a nu*)er o- (ro0e,ts su)su*ing t+e s(o6en /ord /it+in t+e do*ain o- *usi,. Rousseauian *e#odra*a is t+e *ost -a*ous, )ut t+e #ist a#so in,#udes Stee#es #rosodia rationalis 1$OOC2, /+i,+ invented a *odi-ied *usi,a# notation to trans,ri)e t+e sounds and r+ t+*s o- t+e s(o6en /ord. On t+e Ita#ian (eninsu#a, audien,es /ere ,a(tivated ) t+e *eteori, rise and -a## o- t+e im&ro<<isatrice Cori##a O#i*(i,a, /+o /as a)#e to ,reate (oetr eEte*(oraneous# on an to(i,, to t+e a,,o*(ani*ent o- an or,+estra. A,,ording to *an a,,ounts, +er de,#a*ation /as *id/a )et/een s(ee,+ and songI t+e Ger*an et+nogra(+er ?ar# Lud/ig Ferno/ re,orded trans,ri(tions o- +er *e#odies in +is S er die Im&ro<isatoren 1$%JC2: Un#i6e t+e ear#ier, *ost# *a#e i*(rovisers o- t+e Accademie, Cori##a Q ni,6na*ed Saffo redi<i<a Q /as ,onstrued as an e*)odi*ent o- t+e an,ient (ast. S+e died in o)s,urit in $%JJ, )ut +er -a*e ,ontinued to gro/ t+an6s to nu*erous nove#isti, and dra*ati, treat*entsI

3ada*e de Stae#s Corinne? ou L"Italie a##o/s us to tra,e t+e re,e(tion o- t+ese t+e*es /it+in Fren,+ ro*anti,is*. A #ig+t# -i,tiona#iFed version o- Cori##a *a a#so )e -ound in Rossinis +iaggio a Reims, in /+i,+ Giuditta 4asta ,reated t+e ro#e o- t+e im&ro<<isatrice. I /i## argue t+at t+e -ina# aria su((#ies a st #iFed version o- Cori##as de,#a*ation, t+e s,a#ar ,o#oratura gra,ing t+e end o- ea,+ sustained (it,+ re(resenting t+e ,ontinuous, s/oo(ing ,ontours os(ee,+. A NINETEENTHLCENTURA 4OET CONSIDERS NINETEENTHLCENTURA 3USIC> SONNETS 7A 3ARA ALICE VIALLS "ean L. ?rei#ing, 7ridge/ater State Universit In +er ten sonnets addressing s(e,i-i,a## identi-ied individua# (ie,es o- *usi,, t+e o)s,ure Eng#is+ /riter 3ar A#i,e Via##s 1,.$%N$L$!8!2 o--ered ,reative and insig+t-u# res(onses to t+e *usi, o- +er ti*e. T+e sonnets a## a((ear /it+in a sing#e vo#u*e tit#ed Music Fancies and Other +erses? (u)#is+ed in $%!!, and t+e a## e*(#o a re*ar6a)# ,onsistent 4etrar,+an -ra*e/or6. T+e address *usi, ) ,o*(osers /+ose -a*e re*ains /ides(read, su,+ as 7eet+oven, C+o(in, and @agner, as /e## as /or6s ) #ess (ro*inent ,o*(osers #i6e Louis S(o+r and C+ar#es @ood. @+i#e none o- Via##s (oe*s s+ou#d )e ,onsidered (ra,ti,a# guides -or #istening, t+e i*ager and organiFation o- +er sonnets o-ten suggest (otentia## en#ig+tening (ers(e,tives. Des(ite an o,,asiona# eE,ess o- senti*enta#it and so*e a/6/ard and no/Ldated #anguage, Via##s /rites ,onvin,ing# o- *usi,s a)i#it to advise s(iritua# see6ers, to ,o**uni,ate t+e ra(ture o- #ove, to ,onve e*otiona# and te*(ora# (aradoEes, and to )ot+ #a*ent and assuage #oss. Ea,+ o- t+ese sonnets not on# re-#e,ts an individua# #istening eE(erien,e, )ut a#so a##o/s a g#i*(se into t+e re,e(tion +istor o- a *usi,a# /or6. Toget+er, t+ese (oe*s i##ustrate t+e sonnet -or*s ,a(a,it -or eE(ressive ,onte*(#ation o- anot+er art, as t+e attest to t+e e*otiona# de(t+ o- )ot+ t+e *usi, and t+e (oetr o- t+e nineteent+ ,entur . ANECDOTAL EVIDENCE> READING SIR @ALTER SCOTTS I+A$%OE 1$%$!2 AS NINETEENTHLCENTURA 3USIC HISTORA Roger Hans-ord, Universit o- Sout+a*(ton Can -i,tion +e#( reL/rite t+e +istor o- *usi, in t+e nineteent+ ,entur H T+e #in6 )et/een *usi, and #iterature +as o-ten ins(ired stud , an interest rene/ed in t+e -ie#d o- Vi,torian studies a-ter 8JJJ, ) A#isa C#a((LInt re, So(+ie Fu##er, Ni,6 Losse--, 4+ ##is @e#iver, De#ia Da Sousa Correa and Rut+ A. So#ie. @+i#e *ost /ordL*usi, s,+o#ars+i( -o,uses on t+e nove#, * (a(er investigates @a#ter S,otts I<anhoe o- $%$!, an eEa*(#e o- ,+iva#ri, ro*an,e. Ro*an,e is a su)versive #iterar genre, t (i,a## a##uding to t+e ,u#tura# (eri(+er , t+at +as *aintained an asso,iation /it+ t+e re*ote or -antasti, t+roug+out its +istor . 3 reading o- I<anhoe s+o/s +o/ *usi, is integra# to t+e (#ot, setting and ,+ara,terisation. S,ott -eatures *usi, -or entertain*ent, /ors+i( and /ar, ,o**enting on *instre#s and t+e nature o- e--e,tive (er-or*an,e and *usi, ,riti,is*. T+e teEt ,ontrasts sa,red /it+ se,u#ar singing and uses *usi, to di--erentiate )et/een grou(s /+o are o((osed ) ,u#ture, nationa#it or re#igion. T+e *usi,a# events a,t as e*otiona# e#i,itors /it+in t+e ro*an,e )ut a#so te## o- *usi,s ro#e in t+e aut+ors 5uotidian Q /+en *usi, u(+e#d su(re*a,ies o- ,#ass and nationa#it )ut a#so (otentia## t+reatened do*esti, +ar*on . I /i## as6 +o/ *usi, *a6ing in I<anhoe /as ins(ired ) , and s(ea6s o-, ,onte*(orar a,tivities su,+ as + *n and (ar#our singing, -o#6 song ,o##e,ting, and o(era ,riti,is*. 3 t+eoreti,a# -ra*e/or6 dra/s on Ne/ Histori,ist a((roa,+es to #iterature, as /e## as ,riti,a# (ra,ti,es o- t+e Ne/ 3usi,o#og , to 0usti- t+e reading o- -i,tion as a -res+ sour,e -or ,u#tura# +istor .

TRANSFOR3ING GRETCHEN INTO 3ARGUERITE> 7ERLIOGS DIVERGENCES FRO3 GOETHE IN LA DAM$ATIO$ DE FAUST 3ia Tooti##, Corne## Universit @+en t+e Ger*an ,riti,s Otto "a+n and Eduard Hans#i,6 a,,used He,tor 7er#ioFs La Damnation de Faust 1$%&N2 o- 9*uti#ating= "o+ann @o#-gang von Goet+es 1in2-a*ous teEt, t+e ,ast it in a tradition o- Fren,+ /or6s and (er-or*an,es t+at ,orru(t t+eir Ger*an sour,es. A#ongside ,o*(osers su,+ as C+ar#es Gounod, 7er#ioF diverged -ro* Goet+e in signi-i,ant /a s> not on# is Faust da*ned to +e##, )ut +is re#ations+i( /it+ 3arguerite is dra*ati,a## eE(anded and +er ,+ara,ter *ore -u## deve#o(ed. T+is -o,us on 3arguerite is )ound u( /it+ t+e -a,t t+at Fausts da*nation (re,#udes +er -ro* saving +i* t+roug+ +er e*)odi*ent o- t+e 9eterna# -e*inine.= A#t+oug+ s+e d/e##s in Fausts s+ado/, 3arguerites inde(endent identit #ends +er greater de(t+ and i*(ortan,e t+roug+out 7er#ioFs treat*ent o- Goet+es (#a . T+is (a(er investigates 7er#ioFs ad+eren,es to and divergen,es -ro* Goet+es teEt in +is (ortra a# o- 3arguerite, ,#ose# eEa*ining di--eren,es in t+e #i)retto. T+e *usi, (#a s its *ost (ro*inent ro#e in 7er#ioFs de(arture -ro* ear#ier (ortra a#s o- 3arguerite as a (ure s *)o# o93ar ,= re(#a,ing +er /it+ an eart+# , seEua# 9Eve= -igure /+o -a##s to te*(tation and, (arti,u#ar# in +er duet /it+ Faust, eE(resses t+eir *utua# desire. Des(ite t+e (rotestations oGer*an ,riti,s, I argue t+at 7er#ioF and +is ,o*(atriots did not )#ind# deviate -ro* origina# sour,es> t+eir ,+anges /ere driven ) an understanding o- (u)#i, tastes. 7 trans-or*ing Gret,+en into 3arguerite, t+e trans#ated *ore t+an *ere #anguage> in t+e (ro,ess, t+e ideo#og o- Ger*an Ro*anti,is* /as inter(reted and ,riti5ued via ,on,e(ts and ter*s t+at a((ea#ed dire,t# to Fren,+ nineteent+L,entur audien,es. SESSION 34: ITALY ABROAD SAVERIO 3ERCADANTES I !RI,A$TI 1$%'NL'O2> A FRENCH 9REVOLUTION=H Fran,es,a 4#a,eni,a, Universit o- Sout+a*(ton On $ Fe)ruar $%&8, Fren,+ ,riti, AngeLHenri 7#aFe t+us o(ened t+e *usi, ,o#u*n o- La Re<ue des deu> mondes> 9At t+is *o*ent, t+ere is in Ita# a s,+oo# /+i,+ tends to -o##o/ t+e Fren,+ o(erati, s ste*... at t+e +ead o- t+is *ove*ent toda is 3er,adante.= T+e revie/ re#ates to t+e $%&8 4arisian (er-or*an,e o- Saverio 3er,adantes La +estale, and is re(resentative o- t+e ,riti,a# re,e(tion o- t+e ,o*(osers out(ut in Fran,e in t+e $%&Js. Fren,+ ,riti,s o- t+e (eriod re,ogniFed a 6ins+i( )et/een 3er,adantes 9*ature st #e= and t+e Fren,+ o(erati, s ste*, es(e,ia## in regard to t+e /or6s t+at #ater in t+e ,entur ,a*e to )e #a)e##ed as +is 9re-or*= o(eras. 3er,adante +i*se#- stated to +ave -u## deve#o(ed in its Il giuramento 1La S,a#a, $%'O2, t+e ,ornerstone o- +is 9revo#ution.= @+at is not o-ten re*e*)ered is t+at $%'O /as not on# t+e ear o- t+e ,reation o- Il giuramento, )ut a#so o- t+e -irst Ita#ian (er-or*an,es o- I riganti, t+e o(era t+at 3er,adante +ad /ritten in +aste in 4aris -or t+e T+Tltre Ita#ien in $%'N. In t+is (a(er I eE(#ore 3er,adantes 4arisian so0ourn o- $%'CLN and t+e re,e(tion o- t+e Fren,+ and Ita#ian (er-or*an,es o- I riganti, and introdu,e a dis,ussion o- its autogra(+ s,ore. I ai* to re,onstru,t t+e (attern o- revisions in t+e s,ore against t+e )a,6dro( o- Fren,+ and Ita#ian ,riti,is*, +ig+#ig+ting t+e ro#e t+at t+e (ress indire,t# (#a ed in in-#uen,ing 3er,adantes ,o*(ositiona# (ro,ess and +is idea# o- st #isti, 9revo#ution.=

9CETTE ENFANT DE NOTRE SOL= H> FRENCH IDENTITA, ITALIAN CO34OSERS AND THE FRENCH RO3ANCE He#en 3a,-ar#ane, Universit o- Sout+a*(ton T+e nineteent+L,entur t+eorist Art+ur 4ougin des,ri)ed t+e Fren,+ Ro*an,e as 9,ette en-ant de notre so#=, t+at ,+i#d o- our soi#. 3an ,riti,s /ere /ar o- -oreign in-#uen,es u(on t+is 5uintessentia## Fren,+ nineteent+L,entur vo,a# genreI t+e e*(+asised t+e i*(ortan,e onationa# taste and )e#ieved t+at on# native Fren,+ ,o*(osers /+o +ad gro/n u( /it+ t+e genre /ou#d )e a)#e to ,o*(ose ro*an,es. Nineteent+L,entur a,,ounts, +o/ever, de*onstrate t+e i*(ortant ,ontri)ution *ade ) Ita#ian ,o*(osers to t+e re(ertoire. T+ese ,o*(osers, #arge# un6no/n toda , /ere u)i5uitous in t+eir ti*e, and et t+eir ,ontri)ution to t+e genre +as re,eived #itt#e s,+o#ar# attention to date. T+is (a(er argues -or a ,are-u# ,onsideration o- t+e Fren,+ ro*an,e as a (+eno*enon ogreat signi-i,an,e in ear# Lnineteent+L,entur *usi,a# ,u#ture, and ,on,entrates in (arti,u#ar on t+e ,ontri)ution o- Ita#ian ,o*(osers to t+e genre. I investigate t+e ,ir,u*stan,es /+i,+ #ed severa# Ita#ian ,o*(osers to 4aris and in doing so I de*onstrate not on# t+at t+e Ita#ian ,o*(osers introdu,ed di--erent idio*s in t+eir /or6s )ut a#so t+at t+e stret,+ed t+e )oundaries esta)#is+ed ) t+e Fren,+ t+eorists and ,o*(osers in order to *eet t+eir o/n ,o*(ositiona# needs. Dra/ing u(on eEa*(#es o- ro*an,es su,+ as Il faut &artir ) Ven,enFo Fio,,+i and Au> &remiers Pours de mon &rintems ) Adrien 7obe#dieu, I o--er ne/ insig+ts into t+e di--ering aest+eti,s o- t+e Ita#ian and Fren,+ ,o*(osers and s+ed #ig+t u(on issues onationa# identit and ,u#tura# trans-er in t+e Fren,+ ro*an,e, u#ti*ate# reassessing t+e DFren,+ness o- t+e genre. 9TO AR3S` FAIR LAND OF S@EET 3USIC=> GARI7ALDI SONGS IN LATE NINETEENTHL CENTURA ENGLAND C+#oe Va#enti, Universit o- Ca*)ridge Eng#is+ interest and invo#ve*ent in Ita#ian (o#iti,s rea,+ed a ,#i*ati, (oint in t+e $%NJs, en,ouraged ) a /ides(read -as,ination /it+ Giuse((e Gari)a#di. A*ong t+e +uge arra oGari)a#di (ara(+erna#ia, an eEtensive range o- *usi, in +onour o- Gari)a#di, ) )ot+ 7ritis+ and Ita#ian ,o*(osers and (oets, )egan to a((ear around t+e ti*e o- +is $%N& visit> (iano -antasias, arrange*ents -or )rass )and and /ind, and a #arge ,o##e,tion o- songs -or ,+oir or so#o voi,e. An eEa*ination o- t+e *usi,, teEts, advertising and a,,o*(an ing (ortraiture o- t+e songs gives a -as,inating insig+t into +o/ Gari)a#di /as (er,eived, and +o/ Ita# /as understood ,u#tura## and (o#iti,a## in Eng#and. T+e *usi, re-#e,ts an Eng#is+ understanding o- Ita#ian o(era -or*s and st #es, in,#uding *ar,+es, *ens ,+oruses and drin6ing songs. Songs -or unison ,+orus, a st #e strong# asso,iated /it+ Verdis o(eras, are (arti,u#ar# (ro*inent. In t+e $%&Js, Verdi +ad )een ,riti,ised -or +is -re5uent use o- ,+ora# unison, )ut ) t+e $%NJs su,+ /riting /as not on# seen as a standard ,+ara,teristi, o- Ita#ian *usi,, it /as used in t+e Gari)a#di songs to s+o/ (o#iti,a# and s(iritua# so#idarit /it+ t+e uni-i,ation ,ause. T+e ,onteEt in /+i,+ t+e songs /ere (er-or*ed en,o*(assed a## #eve#s o- Eng#is+ so,iet , -ro* a*ateur to (ro-essiona# and -ro* (rivate t+roug+ to *ass ,e#e)rations. T+e t+us o--er a uni5ue, ,#assL,rossing insig+t into Eng#is+ attitudes to ,e#e)rated (u)#i, -igures and to Ita# as an idea#ised #and o- *usi, and /ar.

SESSION 35: MA(ING SENSE OF OPERA AND MUSIC THEATRE LAAERS OF A37IGUITA IN SCRI7E, DELAVIGNE, AND AU7ERS LA MUETTE DE #ORTICI David Rosen, Corne## Universit It is genera## agreed t+at a*)iguit in La Muette de #ortici resu#ts -ro* ,ontradi,tions among t+e t+ree o(erati, do*ains> *usi,, /ords, and t+e visua# e#e*ent. Here I eE(#ore ,ontradi,tions within t/o o- t+ese do*ains. 93asanie##os (o#iti,a# *otivations are, t+roug+ su,,essive dra-ts o- t+e #i)retto ; . . .< in,reasing# (resented on# in ,on0un,tion /it+ +is deter*ination to avenge Fene##a . . .= 1Hi))erd2. 7ut t+e sa*e tra0e,tor ,ontinued /+en Au)er set t+e #i)retto to *usi,> so*e -ier s(ee,+es a)out taEes and t rann in t+e (rinted #i)retto /ere not set to *usi,. I regard t+e* not as re0e,ted e#e*ents, )ut as (art o- t+e o(eras teEt, a#t+oug+ t+e audien,e /ou#d read t+e* rat+er t+an +earing t+e*. T+e staging dire,tions in So#o*Ts ,onte*(orar staging *anua# so*eti*es ,ontradi,t or su((#e*ent t+ose in t+e #i)retto and s,ore in interesting /a s. T/o eEa*(#es> T+e staging *anua# de(i,ts t+e S(anis+ so#diers as *ore ,rue#, t+e &eu&le 1in one s,ene s(e,i-i,a## t+e /o*en2 as *ore +eroi, t+an does t+e #i)retto. In t+e -ina# ,+orus t+e &eu&le )eg -or *er, -or t+eir ,ri*e, +o(ing t+at Fene##as sa,ri-i,e /i## su--i,e as eE(iation. T+ere are no -urt+er indi,ations in t+e #i)retto or s,oreLLon# So#o*Ts *anua# te##s us t+at t+e ans/er to t+e ,+oruss (ra ers is a 9 ta leau d"horreur= ending /it+ 9stones o- a## siFes= raining do/n u(on t+e*. T+is ending su((orts t+e ,+ara,teriFation o- t+e li<rets de mise en sc'ne as an integra# (art o- t+e o(erati, teEt, rat+er t+an as (arateEt, a *ere inter(retative ,o**entar on t+at teEt. RA77INICAL INCANTATION AND RENAISSANCE RHATH3S IN THE O4ERAS OF 7ELLINI Ni,+o#as 7arag/anat+, Universit o- Notting+a* Ita#ian *usi,ians o- t+e $!t+ ,entur too6 a (ra,ti,a# and intuitive a((roa,+ to r+ t+* t+at di--ered (ro-ound# -ro* *odern ideas, /+i,+ derive (ri*ari# -ro* Ger*an dida,ti, t+eories. For us, as -or 3oritF Hau(t*ann in $%C', a *easure or )ar is an a)stra,t -ra*e/or6 onto /+i,+ individua# r+ t+*i, va#ues *a )e su(eri*(osed. T+e +ierar,+i,a# divisions o- t+e )ar are regarded as -iEed, even /+ere t+e *e#od is s n,o(ated or irregu#ar. 3etre is (ri*ar . For $!t+L ,entur Ita#ian *usi,ians, in ,ontrast, r+ t+* /as -ar re*oved -ro* t+is a)stra,t +ierar,+ o)ars, ti*eLsignatures, and divisions o- t+e )eat. T+ese )e#onged *ere# to an inade5uate s ste* o- notation. R+ t+* /as so*et+ing tangi)#e, rea#, et resistant to ana# sis. It resided (ri*ari# in (oetr and dan,e, not as seen on t+e (age )ut as re,ited, sung, or dan,ed. T+ere /ere a,,ording# *an t (es o- r+ t+*, su,+ as ritmo della <ersifica*ione or ritmo nel allo. T+ere /as even euritmia or ritmo interno, /+i,+ re-erred to t+e overa## (ro(ortions o- a (ie,e o*usi,, t+e te*(ora# )a#an,e o- its ,o*(onent (arts. T+is (a(er /i## eE(#ore t+e tea,+ings on o(erati, r+ t+* t+at 7e##ini re,eived /+i#e stud ing at t+e Na(#es Conservator , and t+eir signi-i,an,e to +is ,o*(ositiona# (ra,ti,e. In ,ontrast to *odern ideas o- *etri,a# +ierar,+ , +e /as taug+t t+e renaissan,e t+eor , derived -ro* He)re/ traditions o- 7i)#i,a# re,itation, t+at rit*o(oea -un,tioned t+roug+ t+ree s(e,ies o- Da,,ent Q grammatico, oratorico, and musicale Q /+i,+ generated standard *e#odi, r+ t+*s. T+e under# ing (u#se in t+e a,,o*(ani*ent )e#onged to an entire# se(arate r+ t+*i, s ste*.

T@O 3ANONS, A 3OOR, AND A 3ADA3> TONAL 7RO?ENNESS IN FOUR O4ERAS 7A 4UCCINI, VERDI, AND 3ASSANET Ed/ard D. Lat+a*, Te*(#e Universit In -ive arti,#es (u)#is+ed over t+e (ast t/o de,ades, A*eri,an *usi,o#ogist A##an At#as +as steadi# )ui#t a ,ase -or #arges,a#e tona#, -or*a# and dra*ati, stru,ture in 4u,,inis o(eras.8 In one o- +is *ost re,ent essa s, on t+e A,t I Love Duet -ro* La oh'me, +e ,#ai*s 94u,,ini +ad an unerring sense o- *usi,a#dra*ati, (a,ing= and notes t+at t+ere are *an (ossi)#e eE(#anations -or +o/ t+e ,o*(oser a,+ieves t+is (a,ing in +is o(eras.' T+is (a(er /i## use t+e t+eor odra*ati, o)0e,tives ,reated ) Constantin Stanis#avs6i and t+e (ostS,+en6erian ,on,e(ts o- t+e *u#ti*ove*ent Ursat* 1a )a,6ground stru,ture s(anning *u#ti(#e s,enes2 and t+e (er*anent interru(tion 1a )ro6en stru,ture t+at does not rea,+ toni, at its ,on,#usion2 to ,o*(are 3assenets Manon 1$%%&2 and Verdis Otello 1$%%O2 /it+ 4u,,inis Manon Lescaut 1$%!'2 and Madama !utterfl2 1$!J&2. 7 revea#ing a ,o**on strategi, a((roa,+ to tona#it in a## -our o(erasUt+e use o- a *u#ti *ove*ent interru(tionUt+e (a(er /i## s+o/ +o/ 4u,,inis (rede,essor 1Verdi2 and Fren,+ ,ounter(art 13assenet2 esta)#is+ed a *ode# o- *usi,a# and dra*ati, ,o+eren,e t+at 4u,,ini eE(anded t+roug+ t+e use o- 9)#ig+ted= tona# returns and de,e(tive ,odas. In its ,on,#usions, t+e (a(er /i## ,onsider t+e (otentia# i*(a,t o- #arges,a#e interru(tions on o(erati, (er-or*an,e and re,e(tion. DRA3A AND 3USIC AT 9THE GRECIAN=, A $!THLCENTURA NORTHEAST LONDON THEATRE 3i,+ae# V. 4isani, Vassar Co##ege In t+e $!!Js, a +uge ,a,+e o- *usi, 1no/ at t+e 7L2 /as re*oved -ro* t+e )ase*ent o- Drur Lane T+eatre. It ,ontains t+e entire or,+estra #i)rar o- t+e Gre,ian T+eatre, +aving )een dragged over ) its -or*er *usi, dire,tor Os,ar 7arrett /+en t+e t+eatre, in a (oor and /or6ingL,#ass area o- London, /as so#d in $%%8. T+e Gre,ian, 6no/n (revious# as 9T+e Eag#e Sa#oon= -or its *usi,a# entertain*ents, /as *anaged sin,e $%C$ ) George Con5uest, a,ro)at and (#a /rig+t, /+o ran t+e ,o*(an as one o- Londons #ast eE,#usive# sto,6 t+eatres. @it+ a varied re(ertoire o- *e#odra*as and (anto*i*es t+e Gre,ian attra,ted 9res(e,ta)#e -a*i#ies= and trans-or*ed t+eatri,a# tastes o- t+e 9#o,a# +a)itues.= Ver #itt#e +as )een /ritten a)out Con5uest, /it+ neEt to no *ention a)out +is eEtensive use o- *usi, in t+e t+eatre. T+e sour,e do,u*ents ,onsist o- or,+estra (arts (#a ed and annotated ) t+e *usi,ians. Unti# t+e Gre,ian /as re*ode#ed in $%OO, 7arrett #ed a )and o- ten *usi,ians, a-ter/ards -i-teen 1a ne/s(a(er i##ustration s+o/s t+e (#a,e*ent o- instru*ents2. So*e *usi, /as )orro/ed and ,o(ied -ro* ot+er t+eatres, su,+ as Ingomar the !ar arian 1-ro* G#asgo/2 and The Orange ,irl 1Surre T+eatre2. 7ut 7arrett +i*se#- /rote 5uite a )it o- *e#odra*ati, *usi,, in,#uding an u(dated version o- The Fl2ing Dutchman entit#ed Shriften? The OneAE2ed #ilot 1$%OO2? a (#a ) Con5uest and 4ettitt. A-ter su**ariFing t+e ,+anging re(ertoire, I /i## -o,us on 7arretts *usi, -or Shriften, (arti,u#ar# -or a s,ene /+ere t+e g+ost o- t+e Dut,+*an a((ears to +is /i-e and
"

#lla$ % #tlas, &'teali$g a (iss at the Gol)e$ 'ectio$: *aci$g a$) *ro+ortio$ i$ the #ct , -o.e Duet o/ la 0oh1me,2 Acta Musicologica 753" ("443): "56617 &Mim89s Death: Mour$i$g i$ *ucci$i a$) -eo$ca.allo,2 The Journal of Musicology 1:31 (1665): 5"767 &Multi.ale$ce, #mbiguity a$) ;o$#mbiguity: *ucci$i a$) the *olemicists,2 Journal of the Royal Musical Association 11831 (1663): 73637 &# (ey /or <hi= >o$al #reas i$ *ucci$i,2 19th-Century Music 1533 (166"): ""63:7 &<rosse) 'tars a$) <rosse) >o$al #reas i$ *ucci$i?s Ma)ama 0utter/ly,2 19thCentury Music 1:3" (1664): 18565 3 #tlas, &'teali$g a (iss at the Gol)e$ 'ectio$,2 "56

son, in-or*ing t+e oung *an o- a se,ret *a( #eading to treasure, a*ong /+i,+ is a -rag*ent ot+e Ho# Cross t+at, i- de#ivered to +i* on +is 4+anto* S+i(, /i## a##o/ t+e tortured /anderer to -ina## attain eterna# rest. SESSION 36: BEETHOVEN AND MUSICAL FORM 7EETHOVEN AND THE ROLE OF 3USICAL STRUCTURE IN THE REINFORCE3ENT OF TEBTUAL NARRATIVE 3att+e/ 4i#,+er, Universit o- 3an,+ester T+ere is ,onsidera)#e diversit in 7eet+ovens a((roa,+ to *usi,a# stru,ture in vo,a# /or6s. T+is re-#e,ts 7eet+ovens a,6no/#edge*ent o- evo#ving stru,tura# traditions asso,iated /it+ distin,t vo,a# genres, /+i#e a#so suggesting t+at t+e *ani(u#ation o- *usi,a# stru,ture is indi,ative o- +is a,6no/#edge*ent o- as(e,ts o- under# ing (oeti, -or*s and se*anti, teEt stru,tures. As ?o-i Aga/u /rites Dsong +as a #ess t+an de,isive in-#uen,e on t+e deve#o(*ent o*usi, t+eor and ana# sis. . . ;and our< ,anoni,a# te,+ni5ues o- ana# sis +ave e*erged (ri*ari# -ro* ,onsiderations o- instru*enta#, not vo,a# *usi, 1-ro* Music Anal2sis, $$>$, $!!8, (. '2. T+e *a0orit o- re,ent /ritings on *usi,a# -or*Uin,#uding t+ose o- "a*es @e)ster, @i##ia* Ca(#in, and "a*es He(o6os6iUa#*ost eE,#usive# a((roa,+ t+e issue o- *usi,a# -or* as a (ro,ess t+at is, ) i*(#i,ation, not re#iant on teEtua#Lstru,tura# (ro(erties. Se,ond# , /it+ t+e (ri*ar eE,e(tion o- Caro# n A))ates eEa*ination o- as(e,ts onarrative in se#e,ted nineteent+L,entur o(erati, /or6s, t+e issue o- *usi,a# narrative in teEted /or6s re*ains #itt#e eE(#ored. T+is (a(er /i## t+us assess 7eet+ovens res(onse to as(e,ts onarrative in vo,a# /or6s, s(e,i-i,a## addressing t+e ro#e o- *usi,a# stru,ture in de#ineating under# ing narrative stru,tures. I /i## (ro(ose severa# ,ategories o- teEtua# narrative indi,ators and de*onstrate /a s t+at 7eet+oven res(onds to t+ese /it+in t+e -unda*enta## nonLdra*ati, ,on-ines o- so#o song, as +e (rodu,es *usi,a# stru,tures t+at re-#e,t attri)utes o- s nta,ti, stru,tures and ,on,rete (oeti, -or*, /+i#e *ore re#evant# i##u*inating under# ing se*anti, stru,tures and narrative tra0e,tories. REASSESSING 7EETHOVENWS 3ULTIL3OVE3ENT FOR3S Eri,a 7uur*an, Universit o- 3an,+ester 7eet+ovens -or*a# stru,tures +ave )een ,entra# to t+e traditiona# Formenlehre sin,e t+e $!t+ ,entur , )ut ana# ses o- +is /or6s +ave tended to -o,us *ore on individua# *ove*ents t+an on *u#tiL*ove*ent -or*s. @+i#e a /ide variet o- ana# ti,a# *et+ods +ave )een (ro(osed ) /+i,+ to understand t+e -or*s o- 7eet+ovens individua# *ove*ents 1es(e,ia## t+ose in sonata -or*2, dis,ussions o- +is *u#tiL*ove*ent -or*s tend to re# +eavi# on t+e notion o- interL *ove*ent t+e*ati, and tona# integration. For eEa*(#e, ?inder*an 1$!!82 ana# ses t+e Sonata o(. $$J in ter*s o- integrative asso,iations )et/een *ove*ents and t+e resu#ting narrative stru,ture, and He(o6os6i and Dar, 18JJN2 suggest t+at tona# re#ations+i(s ,ontri)ute to t+e #isteners (er,e(tion o- a D,on,e(tua# narrative t+roug+out a## (+ases o- a /or6 1/it+ re-eren,e to t+e Eroica S *(+on 2. T+is (a(er /i## a((roa,+ 7eet+ovens *u#tiL*ove*ent /or6s -ro* a di--erent ang#e> ) eEa*ining t+e ,o*(osers o/n ,on,e(tion o- t+eir overa## -or* t+roug+ t+e eviden,e o- +is ,o*(ositiona# (ro,ess. 4arti,u#ar attention /i## )e given to Ds no(sis s6et,+es, /+i,+ /ere o,,asiona## s6et,+ed in t+e ear# stages o- a ne/ /or6 in order to out#ine t+e (ro0e,ted stru,ture. T+ese s6et,+es t (i,a## (resent t+e )asi, t+e*ati, *ateria# o- ea,+ o- t+e (ro0e,ted *ove*ents, /+i,+ o-ten i*(# t+at a /or6s overar,+ing stru,ture o/es *ore to a

,on,atenation o- dis(arate ideas t+an to an sense t+at t+e -or* an integrated /+o#e. T+is suggests t+at -a,tors su,+ as variet and genreL,onvention *a o-ten )e *ore use-u# in ana# ti,a# dis,ussions o- 7eet+ovens *u#tiL*ove*ent -or*s t+an t+e (rin,i(#e o- *u#tiL *ove*ent integration. SESSION 37: S(ETCH STUDIES 4IECING TOGETHER A 3ASTERA> 7EETHOVEN AND THE S?ETCH GATHERINGS GRASNIC? '8, 7H $8& AND 3H OC Siln Derr , Universit o- 3an,+ester Grasni,6 '8 1Staats)i)#iot+e6 Fu 7er#in Q 4reuois,+er ?u#tur)esitF2 is so*et+ing o- an un6no/n 5uantit in t+e -ie#d o- 7eet+ovens s6et,+es. Cata#oguing errors +ave ensured t+at its asso,iation /it+ +is Fourt+ 4iano Con,erto o-ten +as )een over#oo6ed> t+e #i)rar ,ata#ogue des,ri)es t+e ,ontents as DFingersatFstudien u. S6iFFen 1-ingering studies and s6et,+es2, /+i#st Hans S,+*idts inventor o- 7eet+ovens s6et,+es 1$!N!2 a#so -ai#ed to noti,e t+e ,onne,tion. @+ere t+is asso,iation +as )een *ade, *ista6es regarding t+e a,tua# ,ontents o,,ur 1Co#di,ott, $!%N2 and, (er+a(s *ost signi-i,ant# , no #in6s /it+ t+e (u)#i,ation +istor and ear# (er-or*an,es o- t+e ,on,erto +ave )een *ade. Si*i#ar# intriguing are t+e t/o s6et,+Lgat+erings 7H $8& and 3+ OC 17eet+oven+aus, 7onn2. 7H $8& +as )een ,#assi-ied *ere# as DFingerZ)ung *it FingersKtFen 1-inger eEer,ises /it+ -ingerings2 /+i#st 3+ $8C, /+i,+ in,#udes s6et,+es -or t+e Lied Sehnsucht, is des,ri)ed as ,ontaining Danderen @er6en so/ie NotiFen 1ot+er /or6s (#us notes2. T+ese gat+erings +ave never )een #in6ed toget+er )e-ore, et a rastro#ogi,a# eEa*ination +as (roven t+e* to )e /ritten on t+e sa*e (a(erLt (e and, in so*e ,ases, using a si*i#ar in6Lt (e. 3oreover, t+eir ,ontents, t+e tone o- 7eet+ovens /ritten ,o**ents and t+e at (i,a# neatness o- t+ese s6et,+es suggest t+at Grasni,6 '8, 7H $8& and 3+ OC on,e *a +ave -or*ed a sing#e grou( o- s6et,+es and are t+us unusua## signi-i,ant. 7 eEa*ining t+e individua# s6et,+es, /ritten ,o**ents and t+e events surrounding ear# (er-or*an,es o- t+e ,on,erto, t+is (a(er /i## (ro(ose /+ , and -or /+at (ur(ose, t+ese s6et,+es /ere /ritten. THE GENESIS OF SA3UEL COLERIDGE TAALORS SA34HONA IN A 3INOR "o+n L. Sn der, Universit o- Houston Sa*ue# Co#eridge Ta #or )egan +is on# s *(+on as a student o- C+ar#es Vi##iers Stan-ord at t+e Ro a# Co##ege o- 3usi,. T+e /or6 /as su)stantia## ,o*(#ete ) ear# $%!N, and t+e -irst t+ree *ove*ents /ere given a (u)#i, (er-or*an,e in Fe)ruar . A se,ond reading at t+e RC3, /it+ a -ourt+ *ove*ent, too6 (#a,e #ater t+at ear. 7ut Stan-ord re0e,ted t+e -ina#e, and Co#eridge Ta #or 5ui,6# ,o*(osed at #east one *ore 1a,,ounts var 2I one survives. T+e -ina# -ina#e /as a((arent# ,o*(osed -or a (er-or*an,e o- t+e s *(+on ) t+e 7ourne*out+ S *(+on Or,+estra in $!JJ. T+e neEt ear, Nove##o (u)#is+ed a revision o- t+e s#o/ *ove*ent, as Id2ll for Orchestra, o(. &&. T+is (a(er /i## detai# t+e evo#ution o- t+e /or6 as revea#ed ) eEa*ination o- t+e surviving sour,es, /+i,+ in,#ude autogra(+ s,ores -or t+e entire /or6, /it+ t/o eEtra -ina#es, autogra(+ (arts -or t+e -irst t+ree *ove*ents, t+e #ast -ina#e, and *u,+ o- t+e -irst -ina#e, and a ,o( ists s,ore -or t+e Id2ll. T+e (arts revea# so*e ,+anges o- *ind on t+e ,o*(osers (art> +e see*s to +ave (ut se,ond t+oug+ts into t+e (arts /it+out ,+anging t+e s,ore, as i- reL/riting in (roo-. Furt+er ,+anges /ere *ade a-ter (arts /ere ,o(ied, so*e invo#ving re(#a,ing #eaves in t+e

s,ore, and (asting re(#a,e*ent (assages into t+e (arts. 7e,ause so*e string (arts /ere not (at,+ed, t+e origina# versions o- t+ese (assages ,an )e (artia## re,onstru,ted. T+e (a(er /i## in,#ude s#ides i##ustrating t+ese *ateria#s. SESSION 3 : HISTORY" MEMORY AND NOSTALGIA SCHU7ERT, 3OGART AND 3USICAL 3E3ORA Susan @o##en)erg, Universit o- OE-ord A*ong ne/ /aves o- S,+u)ert s,+o#ars+i(, ideas o- *e*or in S,+u)erts instru*enta# *usi, +ave sur-a,ed to sti*u#ating e--e,t, /it+ -or eEa*(#e t+e i*(ortant /or6 o- S,ott 7urn+a* et a#. 1s(e,ia# issue o- t+e Musical Tuarterl2, %&M& 18JJJ22. EE(anding on * o/n re,ent /riting on S,+u)ert 1see Schu ert"s Finger&rints6 Studies in the Instrumental 5or3s 1Farn+a*> As+gate, 8J$$2, C+a(ter C> DS,+u)ert and 3oFart2, and t+e eviden,e t+at 3oFarts DDissonan,e Suartet ? &NC /as ingrained in S,+u)erts *e*or , I eE(#ore in *ore detai# t+e ro#e o- *e*or /it+in t+e 3oFart /or6, suggesting t+at (er+a(s it /as at #east (art# -ro* t+is *ode# t+at S,+u)erts ena,t*ent o- (ro,esses o- re*e*)ering in +is instru*enta# /riting ste**ed. I re-er a#so to t+e )ars /it+ Dso*et+ing *issing in t+e Andante o- ? &NC 1dis,ussed in Music Anal2sis, O 1$!%%2 in a ,orres(onden,e #aun,+ed ) "onat+an Duns) to /+i,+ I ,ontri)uted2> t+is *ateria# I eE(and -urt+er in su((ort o- t+e identi-i,ation o- e--e,ts o- *e*or in 3oFarts *usi,. 1T+is is on# one o- a nu*)er D-inger(rints o- st #e /e -ind in S,+u)erts *usi, t+at /e *ig+t /e## ,onsider to )e t+ose o- 3oFart.2 S,+u)erts eE(erien,e as a song ,o*(oser is ger*ane to t+is en5uir . T+e ,on-eren,e (a(er DS,+u)ert re*e*)ers given ) "Zrgen T+ * 1DT+anatos as 3use> S,+u)ert and Con,e(ts oLate St #e, 3a noot+, 8$Q8' O,to)er 8J$$2 +ig+#ig+ted t+e tro(es o- *e*or in 5interreise and Schwanengesang. I eE(#ore t+e area -urt+er in * (a(er, in re#ation to t+e s+ared ,on,erns )et/een S,+u)erts instru*enta# *usi, and +is songs. 7RAH3SS 93USICAL ELEGIES= AND THE FUTURE OF NOSTALGIA Ni,o#e Gri*es, Universit o- Ca#i-ornia IrvineMUCD 7et/een $%O8 and $%%', 7ra+*s (rodu,ed -our oneL*ove*ent /or6s -or ,+oir and or,+estra, Alto Rha&sod2, O(. C'I Schic3salslied, O(. C&I $0nie, O(. %8I and ,esang der #ar*en, O(. %!. T+ese /or6s are settings o- teEts ) t+ree o- Ger*an s *ost e*inent (oets -ro* t+e turn o- t+e nineteent+ ,entur > Goet+e 1$O&!Q$%'82, S,+i##er 1$OC!Q$%JC2, and H\#der#in 1$OOJQ$%&'2, and t+e teEts o- t+ree o- t+e (oe*s, O((. C&, %8, and %!, are )ased on #egends o- ,#assi,a# anti5uit . 7ra+*ss engage*ent /it+ t+ese (oeti, teEts /as, in turn, an engage*ent /it+ t+e turnLo-L t+eL,entur Ne/ Hu*anis* o- Hu*)o#dt, Goet+e, S,+i##er, and t+eir ,onte*(oraries /+i,+, in turn, entai#ed a DRenaissan,e or re)irt+ o- Gre,oLRo*an ,ivi#iFation and its asso,iated va#ues. 7e,ause o- 7ra+*ss -iEation on a (oeti, and (oeti,a# /or#d t+at eEisted ,#ose to a ,entur )e-ore t+e ti*e o- +is o/n /ritings, t+ere is a stri6ing nosta#gi, e#e*ent at (#a in t+ese /or6s, one t+at is -urt+er )ound u( /it+ 7ra+*ss se#-Lidenti-i,ation as a #i)era# in #ate nineteent+L,entur Vienna. T+is (a(er ,onsiders t+ese 9*usi,a# e#egies= in re#ation to t+e )urgeoning area o- a ne/ aest+eti,> t+e stud o- nosta#gia. Dra/ing on t+e t+eoreti,a# /ritings o- Svet#ana 7o * and 7en0a*in ?orstvedt, it see6s to eE(#ore t+e ,o*(#eE re#ations+i( )et/een nosta#gia, *odernit , and #i)era#is* at (#a in t+ese /or6s. 7o *s ,on,e(t o- 9re-#e,tive nosta#gia=U 9-as,ination -or t+e (resent /it+ #onging -or anot+er ti*e=U(rovides a (ris* t+roug+ /+i,+ to vie/ t+e so,ia# and (o#iti,a# di*ensions o- 7ra+*ss *usi, /it+in t+e Ger*anLs(ea6ing )ourgeoisie o- Vienna.

LUCIANO 7ERIOS SCHU7ERT FRAG3ENTS AND THE REINVENTION OF RO3ANTIC DISTANCE T+o*as 4eattie, 7oston Universit In t+e (re-a,e to +is (rovo,ative rei*agining o- S,+u)erts surviving s6et,+es -or a (resu*ed Tent+ S *(+on , Lu,iano 7erio ,#ai*s t+at t+e 9eE(ressive ,#i*ate= o- t+e /or6s *idd#e *ove*ent is 9in+a)ited ) 3a+#ers s(irit.= Given +is rene/ed engage*ent /it+ 3a+#ers *usi, during t+e -ina# ears o- +is #i-e, it is not sur(rising t+at 7erios #ate /or6 o-ten in,or(orates gestures t+at a((ear to +ave t+eir origins in 3a+#er. In t+e ,ase o- Rendering 1$!%%!J2 t+is e*erges *ost ,#ear# t+roug+ 7erios re(eated invo,ation o- a ,#ear# identi-ia)#e strain odistant *usi,, one t+at is *ani-ested over t+e ,ourse o- t+e /or6 t+roug+ a su,,ession o- +ig+# di--erentiated (er-or*an,e annotations. Indeed, 7erio, #i6e 3a+#er )e-ore +i*, eE(#ores t+e )roader ra*i-i,ations o- Musi3 aus der ferne ) ensuring t+at t+ese *eta(+ori,a# invo,ations odistan,e are in a ,onstant state o- -#uE. @+ereas in t+e t/o outer *ove*ents t+e re,urring (assages o- distant *usi, tend to s+are a sing#e *ar6ing Q molto lontano and lontano, res(e,tive# Q in t+e *idd#e *ove*ent t+e -o##o/ a ,+ara,teristi,a## 3a+#erian tra0e,tor ore,eding and t+en ,o*ing ,#oser 1lontano? immo ile e lontanissimo? molto lontano2. In t+is (a(er I suggest t+at t+e i*(#ied *o)i#it o- t+ese (assages re-#e,ts t+e +ig+# ,+arged and ,ontingent nature o- t+e distan,e t+at #ies )et/een S,+u)erts -rag*ents and 7erios o/n atte*(t to 0oin t+e* toget+er. Against t+is )a,6dro( 3a+#er e*erges #ess as a *ediating (resen,e )et/een t+e t/o ,o*(osers, t+an as t+e essentia# guiding -igure in 7erios (rovisiona# rendering o- *usi, +istor s *u#ti(#e (asts.