The Programme

CONFERENCE PROGRAMME (Draft)

Cultural Intermediaries in the Nineteenth-Century Music Market

University of Bristol, June 23–24

Clifton Hill House

DAY 1 June 23

9.00 – 9.30 check-in

9.15 – 9.30 opening remarks

9.30 – 11.00

Session 1: Institutions

Classical Music as Business: The First Years of the Sociedad de Cuartetos de Madrid (1863-1866), Teresa Cascudo (Universidad de La Rioja, Spain) and Carolina Queipo (Conservatorio Superior de Música de Navarra, Spain)

Music Published by, and for, Music Teachers: The Case of Juvenile Fairy Operetta in the Late Victorian and Edwardian Eras, Ross Purves (University College London, UK)

Louise Dyer: ISCM Networks and Transnational Aspirations, Kerry Murphy (University of Melbourne, Australia)

11.00 – 11.30 coffee break

11.30 – 12.30 Keynote Address (Katharine Ellis, Cambridge University, UK)

 When Gatekeepers Fail: Joseph Régnier and Church Music Reform In France, 1848-1860

12.30 – 1.30 lunch

1.30 – 3.00

Session 2: Methodologies and Questions

The Role of Engravers in Nineteenth-Century Keyboard Music Transmission, David Rowland (The Open University, UK)

Modelling the Music Market: An Analysis of the Printing Records of Leipzig Publishers, Maximilian Rosenthal (Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy", Germany)

Resisting Economic Reductionism; or Why Publish Music?, Matthew Head (King's College London, UK)

3.00 – 3.30 coffee break

3.30 – 5.00

Session 3: European Markets and Cities I

Behind the Scenes at the Éditions de l’Oiseau-Lyre, Madeline Roycroft (University of Melbourne, Australia)

Municipal Competition and Theatre Politics: the Case of Feltre’s Teatro Sociale in the Nineteenth Century, Giulia Brunello (Bern Academy of the Arts, Switzerland)

The Music Market in a City in Southern Spain through Press Publicity (1833-1874), M. Belén Vargas Liñán (Universidad de Granada, Spain)

5.30 – 7.00 wine reception at Victoria Rooms

7.30 dinner TBA (tickets required)

DAY 2, June 24

9.00 – 11.00

Session 4: Market and Mediation

Introductory and Emendatory Études: Conflicting Strategies in the Pedagogical Music Market, Gareth Cordery (Columbia University, US)

Performing the Folk: The Folk-Song Society and the Mediation of British Folksong, Grant Woods (Columbia University, US)

“The Dark Side of the Art of Music”: Contesting Pedagogical Reputation and Constructing Intrigue in Der Musikfeind and Der Sohn vom Ritter Gluck, Kristin Franseen (Concordia University, Canada)

Publicity, Morality, Gender and the Parisian Stage, 1789-1918: the rideau affiche, the colonne moresque and the colonne ‘Morris’, Mark Everist (University of Southampton, UK)

11.00 – 11.30 coffee break

11.30 – 1.00

Session 5: Agents

The Development and Uses of W T Freemantle’s Subscription List for Spohr’s Twenty-fourth Psalm, Bryan White (University of Leeds, UK)

The Pragmatism of ‘Musical Progress’: Franz Brendel’s Cultural Authority in Context, Sean Reilly (Leipzig University, Germany)

"The Damned Score Thief" — Business Practices of the Music Dealer Carl Zulehner, Karl Traugott Goldbach (Spohr Museum, Germany)

1.00 – 2.00 lunch

2.00 – 3.30

Session 6: Extra-European Markets and Cities

From Theft to Pyramid Schemes, to Missionaries in China: How Rev John Curwen’s Tonic Sol-fa Empire was Too Successful, Ellan A. Lincoln-Hyde (SOAS University of London, UK)

Impresario Bullies: Passion, Politics, and the Performing Arts in the Ottoman Empire, Özgecan Karadağlı (Bahçeşehir University Conservatory, Turkey)

Made in Latin America, Printed in Europe: The Complex Business of Music Editing across the Atlantic in the Mid-Nineteenth Century, José Manuel Izquierdo König (Pontificia Universidad Católica, Chile)

3.30 – 4.00 coffee break

4.00 – 5.00

Session 7: European Markets and Cities II

Commercial and Serious Music Thriving Side by Side: Restaurants, Cafés and Other Entertainment Venues as Channels for Different Musical Genres in Late 19th Century Stockholm, Anne Reese Willén (Uppsala University, Sweden)

Well-known, Little-known and Unknown: Franz Liszt in the Historical Research of Kyiv Musicologists, Olha Myronenko-Mikheishyna (Ukrainian National Tchaikovsky Academy of Music, Ukraine)

5.00 – 5.15 concluding remarks