Research in Musicology

In this volume we wanted to investigate the intersection between the Industrial Revolution and the aesthetic-musical field. In particular, we aimed to explore the European dimension of the cultural exchanges caused by the phenomenon of musical migration, together with the international relationships generated by the music printing industry, entrepreneurship and the market for musical instruments. The later eighteenth and earlier nineteenth centuries were a time of fundamental change in European life, proceeding from the revolutionary implications of the ideologies of Enlightenment, and reverberating in market economies, methods of manufacturing and agriculture, modes of travel, and population distribution. The development of new technologies resulted in the enlargement and improvement of the music printing industry, and in the widespread diffusion of music in private and public spheres. The Industrial Revolution brought about the 'modernization' of productive processes and, as a consequence, engendered a kind of 'globalization' of the musical market.
Contributors
Luca Aversano (ROME) - Claudio Bacciagaluppi (BERN) - Carmela Bongiovanni (GENOA) - Andrea Cardone (CASERTA) - Jen-yen Chen (TAIPEI, TAIWAN) - Simone Ciolfi (ROME) - Andrea Coen (ROME) - Therese Ellsworth (WASHINGTON, DC) - Joël-Marie Fauquet (PARIS) - Florence Gétreau (PARIS) - Consuelo Giglio (TRAPANI) - Outi Jokiharju (LONDON) - Roe-Min Kok (MONTREAL, QC) - Paul R. Laird (LAWRENCE, KS) - Marie Sumner Lott (STATE COLLEGE, PA) - Simon McVeigh (LONDON) - Elio Matassi (ROME) - Russ Manitt (MONTREAL, QC) - Jenny Nex (LONDON) - Leon Plantinga (NEW HAVEN, CT) - Alban Ramaut (SAINT-ÉTIENNE) - Rudolf Rasch (UTRECHT) - David Rowland (MILTON KEYNES, UK) - Laure Schnapper (PARIS) - Rohan H. Stewart-MacDonald (CAMBRIDGE, UK) - Renata Suchowiejko (KRAKÓW) - Maria Alice Volpe (RIO DE JANEIRO-BRASÍLIA)

The volume examines the figure of Mieczysław Karłowicz in the broader sociocultural context which fostered his work. The attempt to contextualize an immense intellectual patrimony — despite being restricted to a tiny number of works when compared to more prolific authors, especially in the context of the XIX and the XX centuries — is always a complex and hazardous task. My primary intention in organizing the volume has been to explicate Karłowicz the man as well as Karłowicz the composer, against the complex background of the European fin-de-siècle. The various essays aim to present the reader with an exhaustive reconstruction of Karłowicz's intellectual work. Karłowicz's oeuvre offers a broad artistic portrayal of Poland at the end of the nineteenth century as a fast-evolving country, politically divided and filled with contradictions. Hence the necessity to investigate the fin-de-siècle context with its social and historical implications, showing the influence of the European cultural milieu on the composer's poetics and on his thought. We shall examine the spectrum of relationships and affinities linking Karłowicz's works to the Polish cultural world (on the wave of the rising 'autochthonous' avant-garde movements) and to the wider cultural life pulsating beyond its borders, with special reference to German Wagnerism and Symphonism. Essentially, we are striving to define the uniqueness of his oeuvre, which — in relation to the manifold influences co-existing in Poland, an insubstantial nation from the political viewpoint and divided along three socio-cultural fronts — could be defined as distinctively Polish, yet ultimately European.
Contributors
Tomasz Baranowski (WARSAW, PL) - Andrzej Chwałba (KRAKÓW, PL) - Stephen Downes (SURREY, UK) - Peter Franklin (OXFORD, UK) - Stefan Keym (LEIPZIG, DE) - Ryszard D. Golianek (POZNAN, PL) - Agata Mierzejewska (WARSAW, PL) - Michael Murphy (LIMERICK, IE) - Jadwiga Paja-Stach (KRAKÓW, PL) - Luca Sala (PARIS, FR) - Renata Suchowiejko (KRAKÓW, PL) - Emma Sutton (ST. ANDREWS, UK) - Andrzej Tuchowski (ZIELONA GÓRA, PL) - Alistair Wightman (STAFFORD, UK) - James L. Zychowicz (MADISON, USA)

While the publication of both single- and multi-author studies of composers in their anniversary years has become a predictable part of today's musicological landscape, such works still have their uses. If this is less apparent in the case of some of the biggest names, where suspicions of overkill or 'cashing in' may well be raised, the practice can be more readily justified for that vast majority of less celebrated — and commercially less attractive — composers. Marking anniversaries in such a way can give them a better chance to have their voices heard, and can act as a spur to activities on a larger scale. Scarlatti research has often been carried out in relatively isolated pockets, defined by very different epistemological values, and often enough marked by strong polemics between various parties. The lack of certain knowledge and agreed priorities can be enticing, but it can also produce mutual frustrations. In the light of such factors, the present collection could not offer, and is not intended to offer, a comprehensive survey of Scarlatti research; rather, we present a series of case studies. Not everyone approached was ultimately able to contribute to the volume, but what has resulted is by any measure a substantial publication. The title reflects not just the feeling of adventure that seems to animate the keyboard sonatas, but also the fact that a certain intrepid spirit is required when approaching any aspect of the world of Scarlatti.

Essays: João Pedro d'Alvarenga, Andrea Coen, Todd Decker, Emilia Fadini, Sara Gross Ceballos, Valerio Losito, Jacqueline Ogeil, Serguei N. Prozhoguin, Joel Sheveloff, Rohan H. Stewart-MacDonald, W. Dean Sutcliffe, Colin Timms, Chris Willis

In the span of time that bridged the ancien régime and the Restoration, the absolute monarchies made way for bourgeois liberal aspirations, the cities opened their walls to the increasingly broad horizons of trade and industry, and society witnessed a gradual conversion of rural into urban communities and the birth of new social classes linked to the categories of work. The court, as a stable socio-economic system, began to be replaced by processes of liberalization in the professions and respective 'productive' systems. Thus in the musical sphere the growth of public places for hearing music that provided alternatives to the court drastically influenced the system of production, modifying the boundaries between the public and private spheres and the relationship between production and fruition. This general context, with its profound dynamics and numerous vicissitudes, must have influenced Viotti's human and professional history in some way. It is interesting to note the progressive development, in the composer's personality, of a certain fragility linked to the fact of performing in the public sphere, whether it be in the civil arena (owing to the political events mentioned earlier) or in the world of 'real performance' and musical display. A world in continual transformation like that inhabited by Viotti, a world poised between two revolutions, was capable of engendering such a degree of inner tension as to induce a progressive renunciation that took the form of successive and differentiated actions (concert performing, impresario activities, trade) and eventually a wholesale escape.

Essays: Clive Brown, Giuliano Castellani, Federico Celestini, Mariateresa Dellaborra, Alessandro Di Profio, Alexandre Dratwicki, Simon P. Keefe, Warwick Lister, Simon McVeigh, David Milsom, Mara Parker, David Rowland, Bruce R. Schueneman, Christian Speck, Rohan H. Stewart-MacDonald, Robin Stowell, Denise Yim

This volume inaugurates the series of Studies of the twice-yearly journal Ad Parnassum. A Journal of 18th and 19th-Century Instrumental Music. These publications are devoted to individual composers who have made a significant impact in the field of instrumental music. In this way they remain securely within the journal's area of interest, though without actually imposing strict limits on the specific themes treated, given that the entire output of the composers concerned may be taken into account, not just the instrumental music. As in the case of Hector Berlioz (Côte-St. André, 1803 - Paris, 1869), the composer chosen for the present volume. This collection of miscellaneous studies ranges widely, therefore, from his instrumental production to the operas, also taking in his contributions to music criticism and the theoretical literature.

Introduction: Julian Rushton. Essays: Diana Bickley, Claudio Bolzan, Guillaume Bordry, Laura Cosso, Katharine Ellis, Roberto Illiano, Michela Niccolai, Mark A. Pottinger, Alban Ramaut, Cécile Reynaud, Julian Rushton, Lesley A. Wright