Musique de chambre 1850-1918

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Keynotes

Veronika Vejvodová – The Collections of the Antonín Dvořák Museum: A Resource Fundamental to Research on Dvořák

François de Médicis – Searching for the Quintessential Franck: The Quintet in F Minor and the French Reception of its Composer

The Conciliation or Contradictions of National and Individual Expression

Floris Meens – Chamber Music and Emotions in The Netherlands, ca. 1850-1918

Geoff Thomason – Chamber Concerts for Champagne Socialists: Quartets and Contradictions at Manchester’s Ancoats Brotherhood at the End of the Long 19th Century

Vjera Katalinić – «Die edelste und küstlerischeste aller Kunstformen»: The Committee for the Advancement of Chamber Music – A Fin-de-siècle Initiative in Zagreb

Chamber Music in Paris

Michel Duchesneau – Le public de la Société nationale de musique (1871-1914)

Isabelle Perreault – Construction et remédiations de l’« éthos » d’une mélomane. Le cas Marguerite de Saint-Marceaux

Sylvia Kahan – The Power of the Press: Reportage of Chamber Music in the Society Columns of the Paris Daily Papers

Chamber Music and Issues of Genre

Nancy November – Challenging Tradition: All-Female String Quartets of the Late 19th and Early 20th Centuries

Virginia Sánchez Rodríguez – Marie Mennessier-Nodier (*1811; †1893), a Composer of Chansons

British and Czech Chamber Music

Orietta Caianello – Walter Willson Cobbett and his Legacy: From the Phantasy to Cobbett’s «Cyclopedic Survey»

Anja Bunzel – «…because we see in it the only true and healthy basis of a future Slavic direction in our music»: Czech Song, Jan Ludevít Procházka, and the «Singing Entertainments» in 1870s Prague

Dvořák’s Piano Music and String Quartets: Question of Style and Sound

Apostolos Palios – Evolution of Piano Writing in Dvořák’s Solo Piano Compositions

Christopher Campo-Bowen – Last vs. Late: Antonín Dvořák’s String Quartets Opp. 105 and 106 and the Question of Late Style

Veronika Vejvodová – «The Vocal Ranges Must Be Adapted for Mrs Joachim»: Amalie Joachim, Gustav Walter, and Dvořák’s Gypsy Melodies, Op. 55

New Sonorities, Listening, and Instrumental Combinations

Yoko Maruyama – Sound Construction in Piano Trios in the Late Nineteenth Century: Pitch Settings of the Strings in Johannes Brahms’ Piano Trios

David Reissfelder – César Franck’s Chamber Music in Britain, 1890-1918

Christiane Strucken-Paland – Le quatuor à cordes de César Franck entre tradition et innovation

Ruben Marzà – At the Edge of Silence: The Origins of Saxophone Quartet

The Tradition of Chamber Music in Spain and Portugal

Mª Encina Cortizo et Ramón Sobrino – Orientalism, Spanishness and Europeanism in three String Quartets in Spain at the beginning of the 20th Century: Pursuing a Spanish Chamber Language

Hélder Sá – Violin and Chamber Music in Lisbon during the Early Days of the Republic

The Performance and Reception of Chamber Music

Eva Branda – Evaluating Dvořák’s ‘Niche’: The 1892 Farewell Tour, the «Dumky» Piano Trio Op. 90, and Perceptions of Dvořák as Chamber Music Composer

Kathryn M. Fenton – The Fine Art Quartet, Alice Warder Garrett, and Early Twentieth Century American Musical Diplomacy.

Programme