Emma Parker (UCSB): Dvořák and Jakobín s librettist, Marie Červinková-Riegrová.

Save this PDF as:

Size: px
Start display at page:

Download "Emma Parker (UCSB): Dvořák and Jakobín s librettist, Marie Červinková-Riegrová."


1 MONDAY 11 July Session A Session B Session C Panel: Rethinking Romantic Form: Mendelssohn's Instrumental Music (BT/SVM) Panel: Tales of the Village: New Perspectives on the Sources and Cultural Contexts of Antonín Dvořák s operas Jakobín and Čert a Káča Transatlantics 11:00 Benedict Taylor (Edinburgh): Mendelssohn and Sonata Form: The Case of Op. 44 No. 2 Emma Parker (UCSB): Dvořák and Jakobín s librettist, Marie Červinková-Riegrová. Charlotte Bentley (Cambridge): Challenges of transatlantic opera Julian Horton (Durham): Mendelssohn's Piano Trio Op. 66 and the Analysis of Romantic Form Eva Myslivcová (Charles University, Prague): Dvořák s Čert a Káčaand late style Joshua Navon (Columbia, NYC): Transmitting Musical Pedagogy from Germany to the US Steven Vande Moortele (Toronto): Expansion and Recomposition in Mendelssohn's Symphonic Forms Christopher Bowen (University of North Carolina at Chapel Hill): The cultural context of Čert a Káča César Leal (Sewanee): Constructing International Aesthetic Identities TEA 14:00 Thomas Schmidt (Manchester): Form through Sound: Klangfarbe and texture in Mendelssohn's instrumental compositions Eva Branda (Western University Canada): Czech Critical Perspectives on Dvořák José Manuel Izquierdo König (Cambridge): Latin American Symphony East/West Songs and Stages Libretti and Historicism Anne Marie Weaver (Rochester): Glinka and Oskar Cox Jensen (KCL): 'True Courage': A Daniil Zavlunov (Stetson): Opera and Russian Cosmopolitanism (proxy) song in stages Censorship David Brodbeck (UCI): How Hungarian was Katy Hamilton (Independent): Natalia Edward Jacobson (Berkeley): Donizetti s Goldmark? Macfarren Historicism Jonathan Bellman (Northern Colorado): Sarah Gerk (Oberlin): Irish Musical Methods Alessandra Jones (Berkeley): Verdi s Un Ballo Pictures of the West: Schumann of Expressing US Civil War Trauma in maschera Micaela Baranello (Smith): Austro-Hungarian Katherine Gray (Berkeley): Wagner Vocal Claudio Vellutini (Indiana/Vancouver): Operetta Techniques Writing Opera Business 17:00 Jessica Gienow-Hecht (Berlin): Music & nation branding in 19th-century international relations (tbc) Jessica Gienow-Hecht (Berlin): Music and nation branding in 19th-century international relations Jessica Gienow-Hecht (Berlin): Music and nation branding in 19th-century international relations 18:00 Wine reception Wine reception Wine reception

2 TUESDAY 12 July Session A Session B Session C Time, Space, Form C Theatrical Illumination 09:30 Carlo Caballero (Colorado): Chopin s Meditation on Time Shaena Weitz (CUNY): Excavating the potpourri Feng-Shu Lee (THU): Illusory Reality: Shadow in Romantic Music Chairat Chongvattanakij (Toronto): Franck s Katherine Hambridge (Durham): Genre Tamsin Alexander (Goldsmiths): Light and 10:00 10:30 COFFEE Variations symphoniques Sebastian Wedler (Oxford): Webern s Langsamer Satz Consciousness Annelies Andries (Yale): The Paris Opéra Staging Le Sueur Illusion in Gustavus the Third Tomaso Sabbatini (Chicago): 19th-Century Féerie Panel: On (re)hearing Delius: Contexts, Legacies, and Traditions (DG) Vienna French Theatre Daniel Grimley (University of Oxford): Unto Brigg Fair : Cosmopolitanism, Delius, and the Anne Hyland (Manchester): String Quartet in Sarah Hibberd (Nottingham): Temporal Identities of Place Schubert s Vienna Expression in Robert le Diable Joanna Bullivant (University of Oxford): 'My music has never been played as well by anyone else': Sir Thomas Beecham and Delius in Performance Sarah Collins (University of New South Wales): The 'Zarathustra Mood': Delius, antiintellectualism and the problem of musical Nietzscheism Opera in Translation Myron Gray (Haverford): Transnational Localism in Freischütz (proxy) Michelle Meinhart (Durham/Martin Methodist College): Wagner, Antebellum Nostalgia Francesca Vella (Cambridge): Lohengrin s 1871 Caravan Erica Buurman (Canterbury): The Viennese Minuet Samuel Girling (Auckland): Percussion in Viennese Court Panel: New Approaches to Opera and Character (Kirsten Paige) Nina Penner (Duke University, Music) Dan Wang (University of Chicago, Music) Adeline Mueller (Mount Holyoke, Music) John Kapusta (UC Berkeley, Music) Kirsten Paige (UC Berkeley, Music) Diana Hallman (University of Kentucky): Au tombeau at the Paris Opéra Sarah Gutsche-Miller (Toronto): Liberated Women and Travesty Fetishes: Mixed Gender Messages in Parisian Music-Hall Ballet (proxy) Historiographies Karen Leistra-Jones (Franklin & Marshall College): Hans von Bülow and the Confessionalization of Kunstreligion Katherine Fry (KCL): Musical Idealism in Victorian Culture James Grande (KCL): Natural History of German Music

3 Laura Stokes (Indiana): Prussia, Nationalism and Integration Hanae Tsukada (Okinawa Prefectural University of Arts (Japan): Political Exploitation of Berlioz 16:00 TEA Daniel Chua (University of Hong Kong): Desecularizing Daniel Chua (University of Hong Kong): De- 17:00 Beethoven secularizing Beethoven 19:00 Conference dinner Conference dinner Conference dinner Daniel Chua (University of Hong Kong): Desecularizing Beethoven

4 WEDNESDAY 13 July 09:30 10:00 10:30 COFFEE 13:00 Recreations Gender, Identity, Representation Opera Outdoors Sarah Kirby (University of Melbourne): Songs at Natasha Loges (RCM): Paul Heyse and Laura Protano-Biggs (Johns Hopkins): the 1851 Great Exhibition Brahms Falstaff and the Resonant Soundscape Ian Maxwell (Cambridge): Chamber Music Timothy McKinney (Baylor University): Flora Willson (KCL): 'Musique du plein-air? Clubs Tonal Pairing and Gender in Wolf s Songs Operatic realism and Charpentier s Louise Gabrielle Cornish (Eastman): Liza's Transmigration: Urban Decay and Fin-de- Ellen Lockhart (Toronto): Lifestyle Modernism Brian Thompson (HK): The Critic, Public and Siècle Suicide in Chaikovsky's The Queen of in Italy Femme Fatale Spades (proxy) Opera and the Staging of Musical Cures (Sarah Hibberd) Writing and Encoding Class Carmel Raz (Columbia): Operatic Fantasies in Frederick Reece (Harvard): Forging James Deaville (Carleton University): Early Nineteenth-Century Psychiatry Schubert s Gastein Listening in the Domestic-Public Sphere Jacob Olley (Westfälische Wilhelms- Wiebke Rademacher (Cologne): Universität Münster): Orality, History, Performance and Reception of Classical (Ethno)musicology Music Chloe Valenti (Cambridge): Pitched Battles? Vocal Health and the English Pitch Debate Celine Frigau Manning (Paris): Opera, Hypnosis, and Auto-Suggestion: A Singer's Theory of Identification Robert Eshbach (UNH): Ferdinand David and the Mendelssohn Violin Concerto Ditlev Rindom (Cambridge): Listening with Schumann Katrina Faulds and Penelope Cave (Lecture Recital): Reflections on music in the Jerningham family correspondence Panel: Giuseppe Verdi in Context (Greenwald) Colonialism Morals, Ethics, Physiologies Helen Greenwald (New England Conservatory): Jonathan Hicks (KCL): Performing Tourism Which Verdi, How, and Why? in 1850s London Bennett Zon (Durham): Animal Music Francesco Izzo (Southampton): The Verdi edition and periodization: Some Gavin Williams (Cambridge): Sound, Colony: Mark A. Pottinger (Manhattan): Physiology methodological questions The Gramophone and the Science of Hysteria Mark Everist (Southampton): Taming Verdi s Bull Kerry Murphy (Melbourne Conservatorium of Music): Henri Kowalski ( ): A French Musician in Colonial Australia Erin Johnson-Williams (Trinity Laban): Economies of Victorian Music

5 16:00 Linda B. Fairtile (Richmond)/Stefano Castelvecchi (Cambridge): Editing Late Verdi and Early Puccini: Correspondences and Contrasts Catherine Schwartz (McGill): Claire Croiza and the Art of the Self (proxy)