New Book | Music and Power in the Baroque Era

Posted in books by Editor on November 21, 2018

From Brepols:

Rudolf Rasch, ed., Music and Power in the Baroque Era (Turnhout: Brepols, 2018), 463 pages, ISBN: 978-2503580715, $150.

Music always functions in a specific environment and, viewed from the other side, environments use music to confirm and strengthen their identities. Institutions of power have in all times employed music to present themselves to the outside world, alongside other means such as architecture, fine arts, design and fashion. The present volume brings together a number of studies that all deal, in one way or another, with the question of how power was implemented in music in what is called the Baroque Era, roughly the seventeenth century and the first half of the eighteenth. The essays can be grouped under four main headings: court opera, ceremonial music, ‘musicians’, and miscellaneous studies. Several essays discuss court opera, one of the most conspicuous musical forms with which a monarch could display his power. Music could also accompany festivities and ceremonies of all sorts, of very different kinds of institutions, courtly, civil, or ecclesiastical. Not only sovereign rulers could employ music to confirm their power, also lower-ranking powers such as nobility often invested in music in order to gain prestige. Various studies highlight this aspect of ‘music and  power’. Finally, there are studies that deal with more general questions, such as the representation of power in Baroque opera, dedications of musical works to royals and other patrons, and the social status of musicians as they are positioned between patrons and public.

Rudolf Rasch taught theory and the history of music at the Department of Musicology of Utrecht University for many years. Among his interests are tuning and temperament, the musical history of the Netherlands, the history of music printing and publishing, and the works of composers such as Corelli, Vivaldi, Geminiani and Boccherini. He is the general editor of the Complete Edition of the Works of Francesco Geminiani (Bologna: Ut Orpheus Edizioni).


R. Strohm, Emblems and Problems of Rulership in Early Modern Opera
A. De Feo, I libretti encomiastici di Giovanni Andrea Moniglia: Dalle corti di Firenze e Vienna ai teatri veneziani
M. Klaper, ‘La piu bella festa, che in teatro serrato, si sia veduta in Firenze’: Francesco Cavalli compone per la corte medicea
O. Jesurum, I soggiorni romani di Francesco Galli Bibiena
R. Erkens, Accounting for Opera: Financing Theatre Seasons on Roman Stages in the 1720s
D. Blichmann, The Stuart-Sobieska Opera Patronage in Rome: Political Propaganda in the Teatro Alibert, 1720–1823
A. Giust, Dalla corte al teatro: l’opera italiana in Russia al tempo di Elisabetta Petrovna (1741–1762) con uno sguardo al regno di Caterina II
A. Robinson, Music and Politics in the Entry of Maria de’ Medici into Avignon, 19 November 1600
S. Ciofli, Music and Splendour in Roman Graduation Ceremonies
R. Rawson, Suffering and Supplication as Emblems of Power in Music Relating to the 1683 Ottoman Siege of Vienna
C. Palliccia, Le cantage natalizie per il Palazzo Apostolico fra tradizione musicale e politiche pontificie: Uno sguardo ai topoi della pace
A. Fiore, Musica, potere e devozione: Le celebrazioni del Corpus Domini a Napoli fra XVII e XVIII secolo
A. Palidda, Redivia sub optimo principe hilaritas publica: Music, Consensus, and Celebration in Habsburg Milan
N. Matsumoto, Pio Enea degli Obizzi, 1592–1674: Power and Authorship
J. Frankova, Wenzel Anton von Kaunitz-Rietberg and His Grand Tour: Inspiration for His Future Musical Patronage?
B. Gleason, Mounted Cavalry and Court Kettledrummers and Trumpeters, 1600–1750
B. Saglietti, Il potere della parola: Le prime autobiografie di musicisti germanofoni nella Grundlage einer Ehren-Pforte di Johann Mattheson (1740)
V. Anzani, In the Service of Elector Palatine Johann Wilhelm, 1690–1716: Castrati as Secret Agents and a Controversial Case of Diplomatic Immunity
G. Viverit, Giuseppe Tartini e l’aristocrazia: La formazione dei violinisti per le corti europee e per i mecenati privati
R. Rasch, Composers, Patrons and Dedications: From Arcangelo Corelli to Pietro Antonio Locatelli

Conference | The Roman Art World in the 18th Century

Posted in conferences (to attend) by Editor on November 21, 2018

From the conference flyer:

The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain
British School at Rome and the Accademia di San Luca, Rome, 10–11 December 2018

Organized by Adriano Aymonino, Carolina Brook, Gian Paolo Consoli, and Thomas Leo-True

This two-day conference focuses on the role of the Roman pedagogical model in the formation of British art and institutions in the long 18th century.

Even as Paris progressively dominated the modern art world during the 18th century, Rome retained its status as the ‘academy’ of Europe, attracting a vibrant international community of artists and architects. Their exposure to the Antique and the Renaissance masters was supported by a complex pedagogical system. The network of the Accademia di San Luca, the Académie de France à Rome, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a complete theoretical and educational model for a British art world still striving to create its own modern system for the arts. Reverberations from the Roman academy were felt back in Britain through a series of initiatives culminating in the foundation of the Royal Academy of Arts in London in 1768, which officially sanctioned and affirmed the Roman model.

This conference addresses the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome to 18th-century Britain. It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the exchange of ideas translated across cultural borders. The conference concludes a series of events celebrating the 250th anniversary of the 1768 foundation of London’s Royal Academy of Arts.

It is also part of a series of conferences and exhibitions focusing on the role of the Accademia di San Luca in the spread of the academic ideal in Europe and beyond, inaugurated in 2016 with an exhibition and conference on the relationship between Rome and the French academies, held at the Accademia di San Luca and at the Académie de France à Rome.

For additional information, please write to adriano.aymonino@buckingham.ac.uk or events@bsrome.it.

M O N D A Y ,  1 0  D E C E M B E R  2 0 1 8

British School at Rome, Before the Royal Academy of Arts

9:45  Registration

10:00  Welcome: Stephen Milner (Director, BSR), Adriano Aymonino, Carolina Brook

10:35  Eleonora Pistis (Columbia University, New York), Visible and invisible Rome: British architectural education in the early eighteenth century and the Oxford Circle

11:10  Coffee break

11:45  Barbara Tetti (Sapienza Università di Roma), Roman influence on the development of the British academies: James Gibbs’ contribution

12:20  Ilaria Renna (Sapienza Università di Roma), La collezione di disegni dei Clerk of Penicuik e la School of St Luke di Edinburgo: Modelli classicisti romani in Scozia

13:00  Lunch break

14:30  Jason M. Kelly (Indiana University), The Dilettanti, art pedagogy, and Roman models for an art academy in London

15:05  Clare Hornsby (Independent Scholar, London), The role of the Society of Antiquaries as an ‘academy of classical taste’ in mid eighteenth-century London

15:45  Tea break

16:15  Alessandro Spila (Sapienza Università di Roma), L’Accademia delle Romane Antichità di Benedetto XIV e la Society of Antiquaries. Antiquaria istituzionale e dibattito architettonico fra Roma e Londra alla metà del XVIII secolo

16:50  Helen McCormak (University of Glasgow), Northern Italian painting and naturalism: Robert Strange, William Hunter, and the Royal Academy of Arts

17:25  Keynote by Robin Simon (University College London), Before the Royal Academy of Arts: The long search for an academy of arts in Britain

T U E S D A Y ,  1 1  D E C E M B E R  2 0 1 8

Accademia di San Luca, The Royal Academy of Arts and Beyond

9:30  Registration

9:45  Welcome by Francesco Moschini (Segretario Generale, Accademia Nazionale di San Luca)

10:00  Katherine McHale (University of St Andrews), ‘The Truest Model of Grace’: Giovanni Battista Cipriani in London academies

10:35  Flaminia Conti (Sapienza Università di Roma), Giovanni Battista Cipriani e Agostino Carlini: Classicismo e tradizione accademica italiana presso la Royal Academy of Arts

11:10  Coffee break

11:45  Donato Esposito (Independent Scholar, London), Building a canon: Roman Baroque art, Sir Joshua Reynolds, and the Royal Academy of Arts

12:20  Elena Carrelli (Biblioteca Nazionale Vittorio Emanuele III, Naples), British painters in Italy and the Royal Academy of Arts: Landscape painting between academic practice and scientific empiricism

13:00  Lunch break

14:30  Martin Postle (Paul Mellon Centre for Studies in British Art, London), Assembling the Antique: The role of the classical cast in the pedagogy of the Royal Academy of Arts, 1769 to 1780

15:05  Susanna Pasquali (Sapienza Università di Roma), Crosscurrents: Exchanges between British and Italian architects, 1757–1796

15:45  Final discussion

16:15  Tea break

16:50  Tour of the exhibition Roma-Londra: Scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica tra XVIII e XIX secolo at the Accademia Nazionale di San Luca

18:00  Concert, ContempoArtEnsemble in quartetto plays Sir Peter Maxwell Davies, Naxos Quartet No. 7, Metafore sul Borromini for String Quartet

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