| Select the date | Thursday, 13 July | Friday, 14 July | Saturday, 15 July | Sunday, 16 July |
|
|
|
|
|
| 9-11.30 | Aspects on opera and theatre music | Sonata, symphony and concerto in the 17th and early 18th centuries (i) | Bach studies: (a) Compositional process, analysis and performance |
| 9.00–9.30 | Carolyn Gianturco
Accompanied Recitative in 17th-century Italy: A brief history |
Peter Allsop
Sets of variations in Italian ensemble sonatas of the first half of the 17th century |
(vacant) |
| 9.30–10.00 | William Summers
The uses of Baroque music and drama in historic Manila, 1610–1710 |
John Suess
Ritornello form in Giuseppe Torelli’s Op. 6 Concerti musicali (1698) |
Don O. Franklin
Composing in time: towards a new understanding of temporal strusture in J.S. Bach's multi-movement works |
| 10.00–10.30 | Sarah McCleave
The style and purpose of all things furious |
Eleanor F. McCrickard
Giovanni Battista Lampugnani as a composer of trio sonatas, or symphonies? |
Rebecca Kan
Vivaldi, Bach and their concerto slow movements |
| 10.30–11.00 | Reinhard Strohm
Murder in Armenia, and voices in opera seria |
Steven Zohn
The Sonate auf Concertenart and conceptions of genre in the late Baroque |
Gregory Butler
The Prelude to J. S. Bach's First English Suite BWV 808/1: An Allegro Concerto Movement in Ritornello Form |
| 11.00–11.30 |
|
||
| 11:30–1 pm | Aspects on opera and theatre music (cont.) | Source studies in Ireland and Scotland | Bach studies: (b) Performance concepts in the 20th century |
| 11.30–12.00 | (vacant) | Donald Burrows
'Mr Harris's score' — a new look at the 'Marsh/Matthews'' manuscript score of Handel's Messiah, now in Archbishop Marsh's Library, Dublin |
Eugenia Russell
Analysis of the J.S. Bach cello suite BWV 1011 with a view to re-composition/improvisation and performance |
| 12.00–12.30 | Hendrik Schulze
The 1657 production of Francesco Cavalli’s Artemisia |
David Hunter
The Irish state musicians and trumpeters of the 1730s |
Martin Elste
Bach in America during the shellac era (1900–50) |
| 12.30–1.00 | Tim Carter
Singing Orfeo |
Claire Nelson
Scots song in the later 18th century: phiposophical attitudes, performance practice and dissemination |
Dorottya Fabian Somorjay
Bach performances during the late 20th century: practice, scholarship and reception |
| 1.00–2.00 |
|
||
| 2.00–3.30 | Calendars, diaries and musical culture | Spain: sacred music and opera in the 17th and 18th centuries | Bach studies: (c) reception history of B-minor Mass |
| 2.00–2.30 | Eleanor Selfridge-Field
Rites of autumn, winter and spring: decoding the calendar of Venetian opera |
Greta Olson
Reconsidering music in an institutional context: the real Seminario-colegio de Corpus Christi (Valencia), 1625–60 |
Yo Tomita
Bach's Credo in England: an early history |
| 2.30–3.00 | Janice B. Stockigt
The Royal Polish and Electoral Saxon Court and state calendars 1728-1745 |
Juan José Carreras & José
Máximo Leza
Urban nobility and Italian opera in early 18th-century Madrid |
Uri Golomb
Style, expression and performance in the second Kyrie of Bach's B minor Mass |
| 3.00–3.30 | Noel O'Regan
Music in the liturgy of S. Pietro in Vaticano during the reign of Paul V (1605–21): the first liturgical diary of Andrea Amico |
Alvaro Torrente
Libretti of devotional music in the Iberian world |
Barra Boydell
Bach comes to Dublin: the performance and reception of Bach's music in Dublin in the 19th and early 20th centuries |
| 3.30–4.00 |
|
||
| 4.00–5.30 | Instruments and performance practice | Sacred music and source
studies in the 17th and 18th centuries |
Bach studies: (d) Numerology — Bach and beyond |
| 4.00–4.30 | J. Drew Stephen
Bach's horn parts: alternatives to nodal vents and hand stopping |
Mary Ann Parker
The choruses in Italianate Oratorios: a problem in 18th-century historiography |
Tusharr Power
Towards a codification of Bach's golden sections |
| 4.30–5.00 | Joyce Lindorff
Perfect vibrations: Pasquali’s ‘Art of fingering’ and the new keyboard aesthetic |
Jonathan E Glixon
What did they really sing in 18th-century Venetian churches? |
Hermann Jung
Caution, not fully provable! Wisdom and folly in the investigation of musical number symbolism |
| 5.00–5.30 | Pierre-Yves Asselin
JUST INTONATION versus TEMPERAMENTS |
Susan G. Lewis
The reproduction and reprinting of Italia in Antwerp: madrigal anthologies and their northern audiences in the seventeeth century |
(vacant) |
| 5.30–6.00 | Ido Abravaya
The Baroque upbeat: outline of its typology and evolution |
Bruno Bouckaert
Music inventories as important sources for the reconstuction of church music repertory in the Southern Netherlands: five newly found catalogues from churches in Ghent (c. 1600–c. 1780) |
(vacant) |
| 6.00–7.30 |
|
||
| 7.30–9.00 | Public lecture and historical liturgy at St Patrick's Cathedral | ||