The Programme

CONFERENCE PROGRAMME (Final)

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, University of Cambridge, 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

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

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

Known and Unknown Nineteenth Century: Ferenc Liszt in the Creative Landscapes of Ukraine, Olha Myronenko-Mikheishyna (Ukrainian National Tchaikovsky Academy of Music, Ukraine)

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, and Gender: Advertising the Parisian Lyric Stage, 1789–1918, 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)

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

5.00 – 5.15 concluding remarks