La critique musicale au XIX^e siècle

Programme

Keynotes

Katharine Ellis – Music Criticism, Generic Contracts, and Speech Acts

Teresa Cascudo – Discourse and Transfer: Two Key-concepts for the Study of Musical Criticism in the Context of the Digital Age

Musical Aesthetics and Criticism

Michael Ward – “Absolute” Philosophy? Gender, Nationalism, and Jewishness in Eduard Hanslick’s Formalism

Žarko Cvejić – Demons, Charlatans, and Fallen Angels of Music: Subjectivity in Early Nineteenth-Century Philosophy and the Reception of Virtuosity in Contemporary Music Criticism

Oren Vinogradov – Composing a New German Aesthetic: Labels and Self-Determination among German Critic-Composers within the Program Music Debate

Karolina Kolinek-Siechowicz – Nineteenth-Century Music Criticism as the Source of Narrative Thinking about Music

Music Criticism in Spain, Argentina and Uruguay

Sara Navarro Lalanda – Musical Criticism around the Royal Conservatory of Music and Declamation Maria Cristina of Madrid (1830-1854)

Consuelo Pérez Colodrero – (Re)Discovering Andalusian Cultural Identity: Music Criticism through «Galería de músicos andaluces contemporáneos» (Havana, 1927) by Francisco Cuenca Benet (1872-1943)

Diana Díaz González – New Directions in Spanish Music Criticism in the Nineteenth-Century: The Leadership of Manuel Manrique de Lara in the Press

Melanie Plesch – The «Boletín Musical» (1837) and the Reception of Romantic Thought in Nineteenth-Century Buenos Aires

Marita Fornaro Bordolli – Local Tensions and European Bonds: The Role of «Montevideo Músical» and «La Gaceta Músical» in Montevideo’s Musical Life of the Late Nineteenth Century

Music Criticism in France

Séverine Féron – Castil- Blaze (1784-1857), fondateur de la critique musicale en France : Bilan d’une carrière et perspectives

Marica Bottaro – Le riflessioni timbriche di François-Joseph Fétis nella «Revue musicale» e nella «Revue et gazette musicale de Paris»

Hanae Tsukada – Criticism of Piano Music in the 1830s France and the Changing Aesthetic Perspectives on Istrumental Music: A Study of Music Reviews in «Le Pianiste» and the «Gazette musicale de Paris»

Sylvia Kahan – Music Reporting of Paris’s 1878 Exposition Universelle: Twenty-two Articles by Émile-Mathieu de Monter for the «Revue et Gazette musicale de Paris»

Criticism and Italian Opera

Chloe Valenti – Throats, Ears and Force-Pump Operas: ‘Sick’ Audiences and Singers in Nineteenth-Century Italian Opera

Ingeborg Zechner – London’s Italian Opera as a Topic of International Interest to Nineteenth-Century Musical Criticism

Cristina Scuderi – Describing Divas: Verdian Singers and Musical Criticism in the Press of the Post-unitarian Italy

Cecilia Nicolò – Il caso Verdi fra Lucca e Ricordi strategie editoriali attraverso «L’Italia musicale» e la «Gazzetta musicale di Milano»

Demosthenes Fistouris – The Italian Musical Criticism of the Late Nineteenth Century and the Rivalry of the Dipole Ricordi-Sonzogno Foreshadowed the Case of Spyros Samaras. From the Apotheosis of «Flora Mirabilis» to the Condemnation of «Lionella» and again to the Great Successful Score of «La Martire»

Performing Practice and Criticism

Nancy November – The String Quartet in Early Nineteenth-Century Performance and Criticism

David Hurwitz – Vibrato in the Classical Orchestra: A Nineteenth Century Case Study

Walter Kreyszig – Tracking the Compositional Process of Johann Sebastian Bach’s «Zwölf Choräle» in the Birnstiel Edition of 1765: Abbé Georg Joseph Vogler’s «Verbesserungen» and «Reduktionen» and Carl Maria von Weber’s «Einleitung» and «Zergliederung» in the Context of Nineteenth-Century Harmonic Practices in Germany

Nineteenth-Century Music Criticism

Anja Bunzel – Johanna Kinkel’s «Trinklied für Männerchor»: A Reactive Response to Nineteenth-Century Music Criticism?

Thomas Radecke – Franz Liszt’s General German Music Society (ADMV) and the Rise of Russian Music in Germany towards 1900 in Disputing German and Russian Music Criticism

Ana Maria Liberal – «Mr. Strauss Compositions Can Be very Rich and Invaluable but… They Stun Me!» – Music Criticism in Porto in the «Belle Époque»

Wagner and Criticism

Nicola Montenz – Nel laboratorio del genio: la produzione critica del giovane Wagner

Rainer Kleinertz – Richard Wagner’s Open Letter «Über Franz Liszt’s Symphonische Dichtungen» in the «Neue Zeitschrift für Musik» (1857)

Yaël Hêche – «Ich sah venezianische Dolche und Spione des Rates der Zehn, ich atmete die üppige Luft Zyperns». Richard Wagner critique musical à Paris et «La Reine de Chypre» de Fromental Halévy

José-Ignacio Suárez – The Image as Criticism in the First Wagnerian Reception in Madrid (1876-1914)

Composers as Critics

Guillaume Bordry – Barnum et les Romains: Critique, claque et réclame dans les «Soirées de l’orchestre» d’Hector Berlioz

James Arnold – «Les plaisirs de l’imagination sont les seuls réels»: Grétry’s Writings and the Expansion of Musical Thought at the Beginning of the Nineteenth Century

Matthieu Cailliez – Inventaire et étude synthétique des critiques musicales (1834-1856) du compositeur Adolphe Adam

Ada Aynbinder – P. I. Tchaikovsky as Critic

Stephanie Klauk – La musica di Wolfgang Amadeus Mozart negli scritti di Ernst Theodor Amadeus Hoffmann

Theatrical Press

Jeroen van Gessel – Speaking for Whom? Thirty Years of Opera Reviews in Strasbourg (1886-1918)

Erin Fulton – Nativist Rhetoric in the Opera Journalism of Antebellum New York City

Wolfram Boder – Louis Spohr’s Last Opera and Its Reception in Nineteenth- Century Music Criticism. A Case Study

Music Criticism in Portugal and Brasil

Mariana Calado – An Approach to Music Criticism in Portugal in the Second Half of the Nineteenth Century

Mónica Vermes – The Music in the Theaters of Rio de Janeiro (1890-1900): Concert Series, Music Criticism and Conflicting Cultural Projects in the Early Years of the Republic

Twentieth-Century Operetta

Maria Teresa Arfini – Beethoven e Mendelssohn nel pensiero di Adolf Bernhard Marx

Mariateresa Storino – ‘Beyond’ the Absolute Music: «Die Symphonie nach Beethoven» by Felix Weingartner

Renato Ricco – «La musica non imita e non esprime che lo stesso sentimento in persona»: su alcune riflessioni leopardiane intorno alla musica

Diau-Long Shen – E.T.A. Hoffmann’s Evaluation of Mozart As «Inimitable Creator of the Romantic Opera» in His Music Criticism

Musical Criticism and the Press

Antonella D’Ovidio et Elena Oliva – Modi e temi della critica musicale sui quotidiani italiani nella seconda metà dell’Ottocento

Thomas Delpeut – Semantic Pallets of Music Criticism: Adapting Musical Ideologies in Dutch Concert Reviews in «Caecilia» (1844-1917)

Marc Ernesti – 1813, Vienna, and a Re-print of the «Allgemeine musikalische Zeitung»: Notes on Intertextuality in German Music Media around 1800
Sanja Majer-Bobetko – Croatian Music Criticism in the Nineteenth Century. The Present State of Research with Special Emphasis on Criticism Written in Croatian

Anne Reese Willén – The Institutionalization and Professionalization of the Musical Press in Sweden during the Nineteenth Century

Kerry Murphy – A Counterpoint of Critical Voices

Programme