{"id":596,"date":"2013-09-20T15:43:12","date_gmt":"2013-09-20T19:43:12","guid":{"rendered":"https:\/\/www.bu.edu\/earlymusic\/?page_id=596"},"modified":"2026-03-02T17:20:04","modified_gmt":"2026-03-02T22:20:04","slug":"mini-courses","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/earlymusic\/mini-courses\/","title":{"rendered":""},"content":{"rendered":"

\"\"<\/h3>\n

Program<\/strong><\/h3>\n

(Abstracts, biographies, and map appear below the program)<\/strong><\/p>\n

 <\/p>\n

Thursday, March 5 <\/strong>(Boston University)<\/span><\/p>\n

5-6 PM: \u00a0Viewing of Landon Rare Book Exhibit<\/strong><\/span><\/p>\n

Mugar Memorial Library, <\/strong>771 Commonwealth Ave., 5th Flr. Reading Room<\/strong><\/span><\/p>\n

***<\/h4>\n

Friday, March 6, 9-12:00<\/h4>\n

Boston University, Howard Thurman Center<\/h4>\n

808 Commonwealth Ave. Rm. 205<\/h4>\n

9:15 -9:30<\/h5>\n

Welcome by Victor Coelho (Professor & Director, Center for Early Music Studies)<\/p>\n

9:30-11:00<\/strong>\u00a0<\/b>Landon, Haydn, and Mozart<\/b>\u00a0<\/span><\/p>\n

Pamela L. Poulin (Peabody Institute, John Hopkins University), Chair<\/p>\n

Yuhan Tian (Central Conservatory of Music, Beijing) \u201cLandon\u2019s Salieri: Myth-Busting, Stereotype-Making, and the Narratives of Eighteenth-Century Music\u201d<\/p>\n

Kathryn Libin (Vassar College) \u201cHaydn and Prince Lobkowitz: An Addendum to Landon\u2019s Chronicle and Works<\/i>\u201d<\/span><\/p>\n

Barbara Barry (University of London, School of Advanced Studies) \u201c1791<\/i><\/span> Redux: Masonic Perspectives in The Magic Flute<\/i> <\/span>Reconsidered\u201d<\/p>\n

11:15-12:15 Keynote Address<\/b><\/p>\n

Robert Winter (Distinguished Professor Emeritus, UCLA)\u00a0<\/span> \u201cA Few Matters of Minor Importance\u201d<\/span>\u00a0<\/span><\/span><\/p>\n

Break<\/p>\n

Friday, March 6, 1:30-5:00<\/b><\/h4>\n

1:30-2:15 \u2013\u00a0 <\/span>Keynote Address<\/b>\u00a0<\/b><\/span><\/p>\n

Kenneth Slowik (Smithsonian) \u201cThe Smithsonian Haydn and Beethoven Academies: A Report from the Field” (with Isaiah Chapman, viola & Chelsea Bernstein, cello)<\/p>\n

2:30-3:30 \u2013\u00a0 Haydn\u00a0<\/span>Reception<\/b><\/p>\n

Stephen Fisher (Independent Scholar), Chair<\/p>\n

Yishai Rubin (Indiana University) \u201cJohann Peter Salomon in Prussia, 1765-1780\u201d<\/p>\n

Roger Fisher (York University) \u201cToo Bad to be True? Reassessing the Haydn-Hyde Contract\u201d<\/p>\n

4:00-5:00 \u2013<\/b> Lecture-Recital<\/b><\/p>\n

Boston University College of Fine Arts, 855 Commonwealth Ave. Rm. 254 (Marshall Rm)<\/span><\/h5>\n

\u00a0<\/span><\/span>Grace Eunhye Lee (Independent Scholar) \u201cHumor as Experiment: Reconsidering Haydn\u2019s Piano Sonatas through Robbins Landon\u201d<\/p>\n

5:15-7:00 PM Reception, Cornwall\u2019s Tavern, Kenmore Square, 644 Beacon Street (conference participants & guests)<\/span><\/h6>\n
8:00 PM \u2013 Boston Baroque Concert: Haydn\u2019s Lord Nelson<\/em> Mass<\/em>. Jordan Hall, New England Conservatory, 30 Gainsborough St. Boston, 02115.<\/span><\/h6>\n
* * *<\/h5>\n

Saturday, March 7, 9-4:30<\/b><\/h4>\n

Berklee <\/span>College of Music<\/h4>\n

1140 Boylston St. Rm. 1A<\/h4>\n

9:15-10:15 \u2013 Beethoven and Haydn<\/b><\/p>\n

Michael Goetjen (<\/span>Boston Conservatory at Berklee; MIT), Chair<\/span><\/p>\n

Stefan Roman\u00f3 (Independent Scholar) \u201cHaydn\u2019s Creation<\/i> Challenge: A New Hypothesis about the Genesis of Beethoven\u2019s Ninth Symphony\u201d<\/p>\n

Stephen Husarik (University of Arkansas, Fort Smith) \u201cHumor in Eighteenth-Century <\/span>Dress: The Comic Form of Beethoven\u2019s Grosse Fuge<\/i><\/span>\u201d<\/p>\n

10:30-11:45 \u2013 Vocal Music<\/b><\/p>\n

Jessica Waldoff (College of the Holy Cross), Chair<\/p>\n

Michael Goetjen (Boston Conservatory at Berklee; MIT) \u201cCantata or Concert Aria: A Question of Genre in Haydn\u2019s \u201c\u2018Scena di Berenice\u2019\u201d<\/p>\n

Carol Padgham Albrecht (University of Idaho) \u201cRedrawing the Portrait of Theresia <\/span>Saal\u201d<\/span><\/p>\n

1:30-2:30 \u2013 Landon and Mozart Roundtable<\/b><\/p>\n

Laurel E. Zeiss (Baylor University), Moderator, with Paul Corneilson (Packard Humanities Institute), Jessica Waldoff (College of the Holy Cross) & Christoph Wolff (Adams University Professor, Emeritus, Harvard University)<\/span><\/p>\n

2:45-3:45 \u2013 Topics in Music Theory<\/b>\u00a0<\/span><\/p>\n

James MacKay <\/b>(Loyola University, New Orleans), Chair<\/p>\n

Michael Slattery (Northwestern University) \u201c\u2018Heil, O Sonne, Heil!\u2019\u201d: The Meanings of the Do-Re-Mi in Haydn\u2019s Oratorio Sunrises\u201d<\/p>\n

Roman Ivanovitch (Indiana University, Bloomington) \u201cA Matter of Trust: The Finale of Symphony No. 90 in C major and Haydn\u2019s Recomposed Recapitulations\u201d<\/p>\n

4:00 \u2013 Closing Remarks\u00a0<\/span><\/b><\/p>\n

Michael Ruhling (Rochester Institute of Technology)<\/p>\n

***<\/p>\n

Support for this conference was generously provided by<\/h6>\n
BU Department of Musicology & BU School of Music<\/strong><\/h6>\n
BU Center for the Humanities<\/strong><\/h6>\n
Alex Ludwig \/ Berklee College of Music\u00a0<\/span><\/strong><\/h6>\n
Rochester Institute of Technology School of Performing Arts<\/strong><\/h6>\n
The Haydn Society of N. America<\/strong><\/h6>\n
The Mozart Society of America<\/strong><\/h6>\n
Ryan Hendrickson, Chris Gately & Holly Mockovak (Mugar Memorial Library)<\/strong><\/h6>\n
Organizing Committee<\/strong><\/h6>\n
Victor Coelho (Boston University), James MacKay (Loyola University, New Orleans) Michael Ruhling (Rochester Institute of Technology) & Laurel Zeiss (Baylor University)<\/strong><\/h6>\n
Program Committee<\/strong><\/h6>\n
Ashley Greathouse (University of South Carolina), Alexander Ludwig (Berklee College of Music), Rena Roussin (Western University)<\/strong><\/h6>\n
***<\/h6>\n

ABSTRACTS<\/strong><\/p>\n

Friday Morning, 6 March<\/span><\/p>\n

    \n
  • Yuhan Tian (Central Conservatory of Music, Beijing) Landon\u2019s Salieri: Myth-Busting, Stereotype-Making, and the Narratives of Eighteenth-Century Music<\/strong><\/li>\n<\/ul>\n

    This paper reconsiders H. C. Robbins Landon\u2019s writings on Antonio Salieri, focusing on 1791: Mozart\u2019s Last Year<\/em>, Mozart: The Golden Years<\/em>, and Haydn: Chronicle and Works<\/em>, Volume II. It starts from a basic observation: Landon is widely credited with dismantling the story that Salieri poisoned Mozart, yet his books also helped to fix another vivid image of Salieri\u2013as the \u201carch-intriguer\u201d at the Viennese court. How can the same author both clear away one myth and reinforce another kind of stereotype?<\/p>\n

    The paper combines close reading with straightforward source criticism and recent work on biography and life-writing. The first section examines 1791<\/em>, tracing how Landon brings together medical reports, contemporary letters, and contextual explanation to argue against the poisoning story and to place Salieri back among Mozart\u2019s professional colleagues rather than as a melodramatic enemy. The second section turns to passages in The Golden Years<\/em> and Haydn II <\/em>where Landon quotes nineteenth-century witnesses such as Mary Novello or characterizes Salieri as an \u201cintriguer.\u201d Here the focus is on tone and framing: how anecdotes and strongly colored labels are introduced, and how little they are sometimes questioned in comparison with the detailed treatment of Mozart\u2019s final illness. A final section sets Landon\u2019s language alongside later scholarship on Salieri and on the Mozart-Salieri relationship more broadly. This comparison shows how some of Landon\u2019s phrases and narrative habits have been taken over in both academic and popular accounts long after the poisoning story itself ceased to be credible.<\/p>\n

    Rather than judging Landon\u2019s work as simply successful or flawed, the paper uses his case to reflect on the practice of \u201ccorrective\u201d biography in eighteenth-century music studies today. It asks how far musicologists can move beyond familiar plots of genius, rivalry, and intrigue, and what is at stake when we try to rehabilitate a long-maligned figure without simply giving him a new, more acceptable story.<\/p>\n

      \n
    • Kathryn Libin (Vassar College) Haydn and Prince Lobkowitz: An Addendum to Landon\u2019s Chronicle and Works<\/em><\/strong><\/li>\n<\/ul>\n

      In the first chapter of Landon\u2019s Haydn: Chronicle and Works<\/em>, Volume IV, \u201cVienna and its Musical Life in 1795,\u201d he discusses Haydn\u2019s heightened stature among the nobility who embraced the composer after his triumphs in London. He remarks in particular that \u201cthe concerts of the old Bohemian house of Lobkowitz were, as far as Haydn and Beethoven are concerned, among the most influential and important in late eighteenth- and early nineteenth-century Viennese musical history.\u201d Landon was one of the early post-war musicologists to realize that there was more than one Prince Lobkowitz in Haydn\u2019s period, and to grasp the special significance for musical culture of the younger prince, Franz Joseph (1772-1816). However, as exhaustive as Landon\u2019s knowledge of Central European sources was, it did not extend to the vast archives of the Lobkowicz family in northern Bohemia. Not easily accessible during the period of Landon\u2019s research for the Chronicle and Works<\/em>, the Lobkowicz archives have in recent years offered up a great deal of valuable information about the role of Haydn and his music in the Lobkowitz sphere that Landon would certainly have wished to include in his magnum opus.<\/p>\n

      An imagined addendum to the Chronicle and Works<\/em> might include the following items from the Lobkowicz archives: a full copy of parts for Die Sch\u00f6pfung<\/em> produced by Wenzel Sukowaty in January 1799, records of rehearsals in the Lobkowitz palace that spring, and performances of the oratorio that summer on Lobkowitz estates in Bohemia\u2013all before the work\u2019s first publication; further, Sukowaty copies for the Italian version premiered chez Lobkowitz in 1801; similar performances of Die Jahreszeiten<\/em>, and an unpublished, unknown quintet arrangement of it by Lobkowitz Kapellmeister Anton Wranitzky; a translation of the Sch\u00f6pfung<\/em>libretto into Czech by a Lobkowitz secretary, performed in Bohemia and published in 1805; and various gifts and other solicitous gestures to Haydn noted in Lobkowitz account records.<\/p>\n

        \n
      • Barbara Barry (University of London, School of Advanced Studies) 1791 <\/em>Redux: Masonic Perspectives in The Magic Flute<\/em>Reconsidered<\/strong><\/li>\n<\/ul>\n

        In his discussion of The Magic Flute<\/em> in 1791: Mozart’s Last Year, <\/em>H. C. Robbins Landon proposes that, within the work’s diversity of styles\u2013high and low, popular and learned, which everyone could appreciate on different levels\u2013the decision to include Masonic symbols was motivated by fear that Masonry was in \u201cacute danger of extinction\u201d (p. 132). Protecting Masonic values of truth, justice and humanity, he argues, was to hide them in plain sight, in an opera.<\/p>\n

        This paper explores several perspectives behind this contention. First, the political background: in Vienna, Emperor Joseph II’s liberalizing reform, the Edict of Toleration (1781), giving rights to Protestants and repealing some restrictions on Jews, was instituted to curb the power of the Catholic Church. The Church was antagonized both by the Emperor’s threat to its religious and ideological control and by the Masonic lodges, with their values of freedom, justice and equality. Not only a threat to religious control, the Lodges were seen as spreading revolutionary ideas under the guise of Masonic rites.<\/p>\n

        Masonic background: in 1764, the vehemently Catholic Empress Maria Theresa had banned Masonry in the Austrian States, driving it underground, so early audiences of the opera would certainly have identified her with the vengeful Queen of the Night. Despite repressive measures, Vienna’s Masonic Lodges between 1780-85 were led by the Enlightenment scholar Ignaz von Born. Mozart had written his cantata \u201cMaurerfreude\u201d for a festival in 1785 in honor of Born, the probable model for Sarastro. While Landon notes some of the more problematic aspects of Sarastro from contemporary viewpoints, such as keeping slaves, the opera\u2013as entertainment and coding to the audience\u2013 forefronts stylistic and tessitura opposition between Sarastro and the Queen: Sarastro’s dignified simplicity as nature, reason and humanity against the Queen’s dramatic vengefulness and bravura coloratura.<\/p>\n

        Between these defined characterizations as framing opposition, the Masonic agenda plays out with Tamino through the trials of earth and air (incarcerated underground) and together with Pamina, the trials of fire and water. But as Mozart presents it to us, the Masonic agenda is not just about esoteric symbols but about the life process, and in particular, setbacks and despair. Both Pamina and Papageno attempt suicide, circumvented by the intervention of the three boys. From this wider human perspective, the Masonic agenda is not restricted to Sarastro and the priests, nor to Tamino and Pamina. In his last illness, Mozart held a large silver watch. When his sister-in-law Sophie asked why, he said: \u201cI am waiting for Papageno to come on.\u201d<\/p>\n

        Friday Afternoon, 6 March<\/span><\/p>\n

          \n
        • Yishai Rubin (Indiana University, Bloomington) Johann Peter Salomon in Prussia, 1765-1780<\/strong><\/li>\n<\/ul>\n

          Joseph Haydn\u2019s remark from 1776 about the unpopularity of his music in Berlin seems to contradict the influential role that Johann Peter Salomon, a violinist and composer best known to posterity as a champion of Haydn\u2019s music, played in Prussia\u2019s musical scene at the time. Between 1765 and 1780, Salomon served as the music director for Prince Heinrich of Prussia. Unfortunately, little is known about Salomon\u2019s activities during this period of his career because nearly all his compositions from that time have been lost and only a few of his performances are documented. However, newspapers and writings published by members of Berlin\u2019s musical circles record that Salomon composed several theatrical works for Heinrich\u2019s court in Rheinsberg and was renowned for his mastery of the solo violin music of J. S. Bach.<\/p>\n

          More evidence of Salomon\u2019s activities in Prussia comes from letters he sent to his native city of Bonn during those years. These include correspondence with his relatives and with Andrea Lucchesi, the Kapellmeister of the Bonn court. Salomon\u2019s letters reveal his active interest in circulating musical works and in the activities of musicians traveling between Bonn and Prussia. Among them was his sister Anna Jacobina, a gifted contralto and student of Johann van Beethoven. Thus, the Salomon family emerges as a significant channel of musical exchange between Bonn and Berlin. Moreover, the letters\u2014particularly in their discussion of music by Johann Kirnberger\u2013demonstrate Salomon\u2019s facility in moving between the learned tendencies that pervaded Berlin\u2019s musical culture and the more approachable style that was popular elsewhere. These sources display how divergent musical tastes affected the careers of prominent musicians like Salomon and shaped broader patterns of transmission and reception in central Europe during the late eighteenth century.<\/span><\/p>\n

            \n
          • Roger Fisher (York University) Too Bad to be True? Reassessing the Haydn-Hyde Contract<\/strong><\/li>\n<\/ul>\n

            In 1796 Joseph Haydn is alleged to have signed a five-year publishing contract with the London music seller Frederick Augustus Hyde. If genuine, this agreement would be among the earliest surviving composer-publisher contracts, offering rare insight into late eighteenth-century practices. Yet close examination of the document, now in the British Library, raises serious doubts about its authenticity.<\/p>\n

            This paper re-examines the Haydn-Hyde agreement within the wider context of Haydn\u2019s publishing activity and contemporary legal practices. Its highly formalized structure contrasts sharply with the informal receipts and loosely worded agreements typical of the music trade at the time. Economic anomalies also emerge: the inflated prices for works far exceed comparable transactions and hint at later nineteenth-century precedents. Moreover, the contract contradicts Haydn\u2019s well-documented practice of playing multiple London publishers against one another rather than binding himself exclusively to a single seller. A close analysis of the document\u2019s language, stamps, and seals further undermines its credibility. The misuse of seals, the presence of revenue stamps from different periods, and the adoption of archaic diction and faulty German and Latin all point to fabrication.<\/p>\n

            Taken together, this evidence suggests that the Haydn-Hyde contract is a clever but flawed nineteenth-century forgery, one crafted with knowledge of the sources for Haydn\u2019s life but rooted in legal forms ill-suited to music publishing at the time. Exposing the document as a pastiche clarifies the historical record and contributes to broader debates about Haydn\u2019s interactions with music publishers.<\/p>\n

              \n
            • Grace Eunhye Lee (Independent Scholar) Humor as Experiment: Reconsidering Haydn\u2019s Piano Sonatas through Robbins Landon (Lecture-Recital)<\/strong><\/li>\n<\/ul>\n

              This lecture-recital reexamines the piano sonatas of Joseph Haydn through the lens of humor as a form of compositional experiment, drawing on the influential scholarship of H. C. Robbins Landon. Haydn\u2019s piano sonatas have often been perceived as less structurally rigorous than those of Mozart or Beethoven, sometimes characterized as episodic, improvisatory, or formally uneven. Such assessments, however, risk overlooking the deliberate experimental impulses that animate these works.<\/p>\n

              Landon challenged periodizations that marginalized Haydn\u2019s earlier keyboard music, arguing instead for the originality and expressive boldness of the piano sonatas, particularly those associated with the Sturm und Drang<\/em> aesthetic. He emphasized Haydn\u2019s willingness to destabilize formal expectations through sudden harmonic shifts, asymmetrical phrase structures, unexpected pauses, and playful disruptions of cadential logic. These moments, often interpreted as signs of looseness or incompleteness, function instead as calculated acts of musical wit.<\/p>\n

              This lecture-recital proposes that humor in Haydn\u2019s piano sonatas operates not as surface charm or comic ornament, but as an experimental strategy\u2013one that tests the limits of Classical form while actively engaging the listener\u2019s expectations. Through selected sonatas, the performance component highlights passages in which Haydn\u2019s humor emerges through surprise, exaggeration, and intentional misdirection, inviting listeners to laugh with, rather than at, the composer.<\/p>\n

              Situating these works within Landon\u2019s broader historiographical framework\u2013 including his critical editions, alternative sonata organization, and contextual writings in Haydn: Chronicle and Works<\/em>\u2013this lecture-recital demonstrates how Haydn\u2019s humorous experimentation anticipates later developments in Beethoven\u2019s keyboard style while maintaining a distinctly Haydnesque aesthetic.<\/p>\n

              Provisional Program<\/p>\n

                \n
              • Joseph Haydn: Piano Sonata in B minor, Hob. XVI:32 (Landon No. 47)<\/li>\n
              • Joseph Haydn: Piano Sonata in C minor, Hob. XVI:20 (Landon No. 33)<\/li>\n
              • Joseph Haydn: Piano Sonata in E-flat major, Hob. XVI:49 (Landon No. 59)<\/li>\n<\/ul>\n

                (Program subject to change)<\/p>\n

                Saturday Morning, 7 March<\/span><\/p>\n

                  \n
                • Stefan Roman\u00f3 (Independent Scholar) Haydn\u2019s Creation<\/em> Challenge: A New Hypothesis about the Genesis of Beethoven\u2019s Ninth Symphony<\/strong><\/li>\n<\/ul>\n

                  This essay proposes a new answer to a question that has preoccupied musicology\u2013what spurred Beethoven into creating his Ninth Symphony? It proposes that the Ninth was primarily Beethoven\u2019s decision to take up the challenge that Haydn\u2019s Creation <\/em>oratorio had confronted him with since his youth. The first movement of the Ninth would be, like the Introduction of Haydn\u2019s oratorio, a musical \u201cGenesis\u201d\u2013the birth of the universe out of chaos. Unlike Haydn\u2019s relatively simple genesis by God\u2019s Fiat Lux<\/em>, Beethoven\u2019s is a long sonata form.<\/p>\n

                  The essay begins by presenting \u201cThe Creation<\/em> Challenge\u201d that Beethoven held inside himself from his youth until his full creative maturity. Haydn\u2019s oratorio was immensely popular during Beethoven\u2019s time, far more popular than Beethoven\u2019s own music. It represented the golden standard of musical perfection for Beethoven himself, who strove to equal it, but repeatedly felt that he had not yet jumped over the Creation<\/em> hurdle. The essay presents three such episodes in Beethoven\u2019s life, in 1801, 1808 and even 1812, when he had under his belt enough masterpieces to make him Haydn\u2019s equal in the history of music.<\/p>\n

                  Beethoven took up the challenge in the years 1816-18, when he began designing the first movement of his Ninth, as a musical Genesis. The essay defends this particular reading of that Allegro, very different from the regular ones, focused on suffering, like those of Richard Wagner and of our contemporary Lewis Lockwood. The author emphasizes that many scholars describe the movement\u2019s introduction in terms suggesting musical (tonal) chaos and he quotes Bernard Fournier, who sees in it \u201ca kind of creation of the world out of nothingness.\u201d The essay finally reads the symphony in its entirety, underlying Haydn reminiscences in the other three movements, especially in the \u201cOde to Joy.\u201d<\/p>\n

                   <\/p>\n

                    \n
                  • Stephen Husarik (University of Arkansas, Fort Smith) Humor in Eighteenth-Century Dress: The Comic Form of Beethoven\u2019s Grosse Fuge<\/em><\/strong><\/li>\n<\/ul>\n

                    This paper reinterprets Beethoven\u2019s Grosse Fuge<\/em> (Op. 133) as an \u201calgorithmic fugue\u201d whose apparent structural disorder is not merely chaotic, but the result of a systematic sequence of expressive disruptions applied to the subject itself. Rather than relying solely on traditional fugal devices such as inversion or augmentation, Beethoven introduces a distinctive set of late-style expressa<\/em>\u2013including the application of Unterbrechung<\/em> (syncopated displacement) and the segmentation of the subject into Trillettos<\/em> (paired, slurred pulses)\u2013that probe and destabilize the integrity of the theme. These deformations act like the rotational \u201cmoves\u201d of a Rubik\u2019s Cube: allowable, rule-governed manipulations that temporarily scramble the surface identity of the fugal material while preserving its underlying structure. Drawing on manuscript sources and sketches, the paper demonstrates how Beethoven subjects the cantus firmus<\/em> to a sustained process of expressive stress-testing, exploring the limits of recognizability through rhythmic, metric, and ornamental disruption to arrive at a comedic conclusion.<\/p>\n

                    The work\u2019s comedic arc emerges not from humor per se<\/em> but from the dramatic tension between the subject under deformation and the subject in its pure state. In the closing measures Beethoven performs a remarkable act of restoration: the syncopation is removed, the slurred pulse-division is transformed into tied values and reassigned to the countersubject\u2013prominently in the soprano voice\u2013and the main theme reappears in unbroken legato long notes. This redistribution of expressive distortions constitutes the fugue\u2019s \u201csolution,\u201d revealing a final harmonic and formal clarity analogous to the reordering of a solved cube. Far from being an academic exercise, Grosse Fuge <\/em>emerges as a radical reimagining of fugal tradition, one in which expressive disorder and ultimate resolution are integrated into a single algorithmic logic. Beethoven thus challenges not only the aesthetic decorum of his time but anticipates the coming transformational logic of nineteenth-century composition.<\/p>\n

                     <\/p>\n

                      \n
                    • Michael Goetjen (Boston Conservatory at Berklee, Massachusetts Institute of Technology) Cantata or Concert Aria: A Question of Genre in Haydn\u2019s \u201cScena di Berenice\u201d<\/strong><\/li>\n<\/ul>\n

                      Haydn\u2019s \u201cBerenice, che fai?\u201d Hob. XXIVa:10, also known as the \u201cScena di Berenice,\u201d raises some important questions about genre in operatic works intended for performance outside the theater, whether in a public concert or a private venue such as an accademia or a salon. While sometimes referred to as a concert aria or scene, \u201cBerenice\u201d has also been called a cantata, including in its earliest reception in London after its 1795 premiere. While the two genres are closely related in their origins in the salon, the concert aria\/scene later ventured out of the salon into the concert hall, coinciding with the rise of the public concert as a major performance opportunity.<\/p>\n

                      In particular it is the structure of the work that presents issues, as it alternates between recitative and arioso before culminating in a more formal aria. It shares this kind of structure with similarly genre-ambiguous works including Haydn\u2019s Arianna a Naxos<\/em>, Hob. XXVIb: 2, Mozart\u2019s concert scene \u201cAh, lo previdi!\u2013Ah, t\u2019invola\u2013Deh, non varcar,\u201d K. 272, and Beethoven\u2019s \u201cAh, perfido!\u201d Op. 65. While Arianna<\/em> is typically termed a cantata and K. 272 a concert scene, Beethoven\u2019s Op. 65 is in fact directly modeled in its structure on \u201cBerenice.\u201d In this paper, I will show that while the cantata and concert aria\/scene are historically related and difficult to parse out, it is the concert aria\u2019s freer and more unusual formal structures as well as a focus on vocality and virtuosity over dramaturgy that distinguish the genres. Using Mozart and Beethoven\u2019s works to compare, I argue that \u201cBerenice\u201d is thus more properly termed a concert scene, despite the slippery nomenclature of its contemporary reception. Yet, interrogating this ambiguity illuminates the growing independence of the concert aria as a separate genre from either cantata or opera in the latter half of the eighteenth century.<\/p>\n

                       <\/p>\n

                        \n
                      • Carol Padgham Albrecht (University of Idaho) Redrawing the Portrait of Theresia Saal<\/strong><\/li>\n<\/ul>\n

                        Theresia Saal (1782-1855) was acclaimed as Eve in the first public performances of Haydn\u2019s Die Sch\u00f6pfung<\/em> in March of 1799 when the role\u2018s creator, Christine Gerhardi, could not perform in public after her marriage to Dr. Joseph von Frank. Saal\u2019s success propelled her to a full-time contract as principal female singer with the imperial court’s German Opera Company from 1801 until her marriage in February 1805, and led to a portrait of her as Eve (1802) by Friedrich Heinrich F\u00fcger, director of Vienna\u2019s Akademie der bildenden K\u00fcnste. In his Haydn: Chronicle and Works<\/em>, Landon presents contemporary reviews and diary entries complimenting Saal\u2019s technique and artistry in Die Sch\u00f6pfung<\/em> and, in 1801, Die Jahreszeiten<\/em>. But his overall depiction is less flattering, suggesting that her selection as Eve was based on popularity and good looks as much as talent.<\/p>\n

                        This assessment draws largely from the diary of Joseph Carl Rosenbaum, whose sweetheart (later wife) Theresia Gassmann was deeply disappointed at being passed over for the coveted role of Eve in favor of the purportedly less qualified 17-year-old Saal. The Court Theater records, however, provide a more comprehensive picture of Theresia Saal\u2019s career and artistic impact, beginning in 1793 as Elamir (Salieri, Axur<\/em>), progressing to Cherubino (Die Hochzeit des Figaro<\/em>) in 1798, continuing with Pamina (Die Zauberfl\u00f6te<\/em>), and ultimately appearing in the latest French rescue opera heroines, particularly as Constanze (Les Deux Journ\u00e9es<\/em>, Die Tage der Gefahr<\/em>). Thus, when she left the stage in February 1805 to marry Johann Gawet, co-owner of a successful Viennese fur business, she had sustained a 12-year career, progressing from Kinderrollen to prima donna, contributing substantially to an important phase of the Court\u2019s German Opera Company\u2019s development as a cultural institution.<\/p>\n

                        Saturday Afternoon, 7 March<\/span><\/p>\n

                          \n
                        • Michael Slattery (Northwestern University) \u201cHeil, O Sonne, Heil!\u201d: The Meanings of the Do-Re-Mi in Haydn\u2019s Oratorio Sunrises<\/strong><\/li>\n<\/ul>\n

                          Work on phrase-level schemata, introduced to music theory by Leonard Meyer (1989) and developed by Robert Gjerdingen (2007), has emphasized the syntactic dimensions of brief musical patterns. However, because schemata are enculturated cognitive structures, they are also cultural and therefore semantic. While previous work has explored schematic meaning in conjunction with topics (Byros 2014; Caplin 2014; S\u00e1nchez-Kisielewska 2016), I argue for more capacious meaning for schemata by considering them as sites for embodied metaphors (Brower 2000; Larson 2012), gestures (Cumming 2000, Hatten 2004), and deviations. Taking the Do-Re-Mi (Gjerdingen 2007) as a case study, I analyze Haydn\u2019s construction of schematic meaning in The Creation<\/em> and The Seasons<\/em>, which both deploy the Do-Re-Mi for sunrise passages. The schema\u2019s upward motion renders it as a sign for ascent and the cultural associations of ascent, including sunrise, growth, and the sublime.<\/p>\n

                          I view schematic meanings in terms of cultural units, understood in cultural anthropology and semiotics as semantic entities defined through and against their positions to other units (Schneider 1968; Eco 1976; Byros 2025). This involves conceptualizing \u201cascent\u201d and \u201csunrise\u201d not as physical phenomena but as culturally grounded. Accordingly, I view Haydn\u2019s sunrises in light of eighteenth-century cultural units, linking scholarship on the sublime (Webster 1997; Kramer 2009) and what Elaine Sisman has called the composer\u2019s \u201csolar poetics\u201d (2013) with the Do-Re-Mi as a specific structure. For example, \u201cDann bricht der gro\u00dfe Morgen an\u201d in The Seasons<\/em> adds anacruses to the Do-Re-Mi to imbue it with agential energy, signifying a vigorous gesture that accords with the triumphant eschatology of the text. Other sunrise subschemata bring out different cultural resonances. Accordingly, my analyses both reinvigorate how we hear sunrises in Haydn and demonstrate how phrase-level schemata can be linked to semantic meaning.<\/p>\n

                           <\/p>\n

                            \n
                          • Roman Ivanovitch (Indiana University, Bloomington) A Matter of Trust: The Finale of Symphony No. 90 in C major and Haydn\u2019s Recomposed Recapitulations<\/strong><\/li>\n<\/ul>\n

                            The finale of Haydn\u2019s Symphony No. 90 in C major poses an extraordinary question: how do you trust a composer who cannot be believed? In one of Haydn\u2019s most famous jokes, the movement\u2019s recapitulation ends \u201ctoo soon,\u201d unfurling the \u201cmission accomplished\u201d banners about 50 measures earlier than expected by skipping to the exposition\u2019s closing material only eight or so measures into the recapitulation, tacking on an emphatic fanfare \u2013 then following up with a \u201cbreathtakingly long GP\u201d (Haimo). Audiences often applaud, even when the second-half repeat is taken. Clearly, despite the absurd proportions, the local signs for closure induce a Pavlovian response that overpowers any supposed sense of large-scale formal balance. But the more interesting issue is not how listeners are fooled, but what kind of listening occurs afterwards. How does Haydn get away with it? How can he persuade us to accept a recapitulation that closes after only 26 measures \u2013 and then persuade us of the plausibility, if not the necessity, of the remainder of the piece (another 70 measures)? Are we so easily fobbed off?<\/p>\n

                            In this paper I use the radical finale to open a window onto the evergreen topic of Haydn\u2019s \u201crecomposed recapitulations.\u201d Recent scholarship has cautioned us against reading these recapitulations as \u201cquirky\u201d or \u201cinventive\u201d deviations from established norms, suggesting rather that Haydn is simply playing by a different set of rules (for instance, a ritornello principle [Neuwirth] or an adjusted sonata principle based on the preservation of initiating thematic functions [Riley]). But in Symphony No. 90, the effect depends on the perception of an infraction: this is what makes the joke work. And in forcing the analyst to contend with the possibility that cherished large-scale formal shapes and principles do not hold the keys to sense-making, it reveals an uncomfortable truth.<\/p>\n

                            Biographies of Participants<\/strong><\/p>\n

                            Carol Padgham Albrecht<\/b> is Professor Emerita at the University of ldaho, where she taught music history and oboe for 31 years. <\/span>Her research focuses on Viennese opera singers in the time of Haydn and early Beethoven, with an interest in exploring the factors that shaped individual women’s career development during this period.<\/p>\n

                            Barbara Barry<\/b> is the author of numerous wide-ranging studies focusing on the music of Mahler, Schubert, Beethoven, and Adorno. Most recently, she is one of the contributors to the Festschrift in honor of Lewis Lockwood\u2019s 90th<\/sup><\/span> birthday, T<\/i>he New Beethoven: Evolution, Analysis, Interpretation<\/i><\/span> <\/i>ed. Jeremy Yudkin.<\/p>\n

                            Paul Corneilson <\/b>is managing editor for the Packard Humanities Institute whose publications include\u00a0Carl Philipp Emanuel Bach: The Complete Works<\/i>\u00a0and\u00a0Johann Christian Bach: Operas and Dramatic Works<\/i>. He served as president of MSA from 2015 to 2019.<\/p>\n

                            Grace Eunhye Lee<\/b> holds a DMA and MM from the University of Cincinnati College-Conservatory of Music and a performance diploma from SMU. She is a prizewinner of several international competitions, including the American Prot\u00e9g\u00e9 International Music Talent Competition, the International Music Competition Premio Citt\u00e0 di Padova, and the US Virtuoso International Competition.<\/p>\n

                            Roger S. Fisher<\/b> is a Barrister and Solicitor and Associate <\/span>Professor in the Department of Humanities at York University in Toronto. His research explores the intersections of law, culture, and the arts, with <\/span>a particular focus on music copyright in the late eighteenth century. He is presently finalizing a monograph titled Improvising <\/i><\/span>the Law of Copyright: Haydn and the London Music Sellers<\/i>.<\/span><\/p>\n

                            Michael Goetjen,<\/b> <\/b>a <\/b><\/span>harpsichordist, organist, and musicologist, focuses on 18th-century opera and Mozart, particularly the concert aria. He teaches at the Boston Conservatory at Berklee and at the Massachusetts Institute of Technology, and holds a PhD in Musicology from Rutgers University.<\/p>\n

                            Stephen Husarik<\/b> is Professor of Humanities and Music History at the University of Arkansas-Fort Smith. He has delivered papers on Beethoven\u2019s Grosse Fuge <\/i>at conferences from Belgrade to Beijing and recently chaired a Beethoven session at the Minneapolis American Musicological Society meeting.<\/p>\n

                            Roman lvanovitch<\/b> is Associate Professor of Music Theory at Indiana University. <\/span>His research appears in The Journal of Music Theory<\/i>, Music Analysis<\/i>, and Music Theory Spectrum<\/i>. <\/span>His 2012 article \u201cMozart\u2019s <\/span>Art of Retransition\u201d won the Emerson award from the Mozart Society of America.<\/span><\/p>\n

                            Kathryn L. Libin <\/b>is Mary Conover Mellon Professor of Music at Vassar College. Her most recent monograph, Beethoven’s Backer \u2013 Prince Lobkowitz and Musical Culture, <\/i>will appear with Cambridge UP.<\/p>\n

                            Stefan Roman\u00f3<\/b> is an independent Beethoven scholar <\/span>and has published on the Fifth Symphony and is the author of two books: Beethoven <\/i><\/span>at 250<\/i>: <\/i><\/span>Man and Music Under Siege<\/i> (Reflection Books, 2021), and <\/span>Beethoven’s <\/i><\/span>Immortal Beloved<\/i>. <\/i><\/span>The True Story<\/i>, According to the Evidence<\/i> (Dorrance, <\/span>2024).<\/p>\n

                            Yishai Rubin <\/b>is a PhD candidate in Musicology at Indiana University Bloomington. His dissertation focuses on musical interactions between Jewish communities and their surroundings in the northern Rhinelands during the late 18th century.\u00a0<\/span><\/span><\/p>\n

                            Michael Slattery <\/b>is a PhD candidate at Northwestern University. His current project analyzes the Do-Re-Mi in Haydn, Beethoven, and Bruckner, positing the ascent of this schema as linked to sunrise, the divine, and the sublime.\u00a0<\/span><\/p>\n

                            Kenneth Slowik <\/b>is Artistic Director of the Smithsonian Chamber Music Society, a curator of musical instruments at the National Museum of American History, and Artistic Director of the Oberlin Baroque Performance Institute. In 2025 he received Early Music America\u2019s Howard Mayer Brown Award for lifetime achievement.<\/p>\n

                            Yuhan Tian <\/b>is a graduate student in the Department of Musicology at the Central Conservatory of Music in Beijing, China. Her research focuses on 18th- and 19-century opera, with particular interests in Viennese repertories, and the career and reception of Antonio Salieri.<\/p>\n

                            Jessica Waldoff<\/b>, Carol and Park B. Smith Professor of Music at the The College of Holy Cross, is a specialist on 18th-century music, the author of Recognition in Mozart\u2019s Operas<\/i> (OUP, 2006) a contributor to many volumes devoted to Haydn and Mozart studies, and the editor of the forthcoming Cambridge Companion to the <\/i>Magic Flute.<\/p>\n

                            Robert Winter\u00a0<\/span><\/b> is best known for his work on Beethoven\u2019s sketches, the history of the fortepiano, and Schubert\u2019s music and chronology. Recipient of a Guggenheim Fellowship and UCLA\u2019s two highest awards for teaching and scholarship, over three decades he has pioneered in the use of new media for teaching, research, and public engagement.<\/p>\n

                            Christoph Wolff<\/b> is\u00a0Adams University Professor, Emeritus, at Harvard University where he taught from 1976 until his retirement in 2012. His published writings and editions\u00a0cover many areas of music history, notably on Bach and Mozart\u2013 including\u00a0a book on Mozart\u2019s\u00a0Requiem<\/i>\u00a0(1994) and on\u00a0Mozart at the Gateway to His Fortune: Serving the Emperor, 1788-1791<\/i>\u00a0(2012).\u00a0\u00a0<\/span><\/p>\n

                            (West) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Map of Conference Venues \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (East)<\/strong><\/span><\/p>\n

                            \"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

                            Program (Abstracts, biographies, and map appear below the program)   Thursday, March 5 (Boston University) 5-6 PM: \u00a0Viewing of Landon Rare Book Exhibit Mugar Memorial Library, 771 Commonwealth Ave., 5th Flr. Reading Room *** Friday, March 6, 9-12:00 Boston University, Howard Thurman Center 808 Commonwealth Ave. Rm. 205 9:15 -9:30 Welcome by Victor Coelho (Professor […]<\/p>\n","protected":false},"author":1333,"featured_media":0,"parent":0,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/pages\/596"}],"collection":[{"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/users\/1333"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/comments?post=596"}],"version-history":[{"count":53,"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/pages\/596\/revisions"}],"predecessor-version":[{"id":1338,"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/pages\/596\/revisions\/1338"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/earlymusic\/wp-json\/wp\/v2\/media?parent=596"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}