Lectures


Johann Christian Bach's Zanaida, in a production staged by Sigrid T'Hooft and conducted by David Stern



"Music in Arcadia: Batoni's Portrait of Giacinta Orsini and Aurisicchio's Cantata on the Departure of Her Father (Rome, 1755)," lecture-recital at the University of Michigan (9 February 2018, with soprano Hayley Boggs), conference of the Society for Eighteenth-Century Music (27 February 2018, with soprano Lily Guerrero), the University of Wisconsin (9 March 2018), and San Francisco State University (15 March 2018, with soprano Revital Shmerling)   Abstract



"The Schematic World of Mozart's Figaro," EuroMAC 9, Strasbourg, 28 June–1 July 2017; prepublication draft

"Climbing Monte Romanesca: Eighteenth-Century Composers in Search of the Sublime," Northwestern University, 1 December 2016; Theory Group, Princeton University Department of Music, 3 April 2017; abstract; expanded text

"Salieri in Print," paper given at the conference "Musiktheatralische Textualität: Opernbezogene Musikdrucke im deutschen Sprachraum des 18. Jahrhunderts, Vienna, 1–3 February 2017

"'Amore mio bellissimo: Cimarosa's 'quartetto di nuova invenzione' for the Conti del Nord," paper given at the conference "Commedia e musica al tramonto dell'ancien régime: Cimarosa, Paisiello e i maestri europei," Aversa, 24–26 November 2016

"Mozart's Use of Voice-Leading Schemata (with an Analysis of the Quartet from Idomeneo, 'Andrò ramingo e solo')," paper given at the conference "Aktuelle Fragen der Mozart-Forschung," Prague, 16–17 April 2016; abstract and handout

"Galant Voice-Leading Schemata in Opera Buffa: The Case of Paisiello's Il barbiere di Siviglia," lecture at the University of Missouri Kansas City, 24 February 2016; University of Maryland College Park, 25 March 2016; and Carleton College, 6 April 2016; abstract and handout

"Weigl's Venere e Adone and the End of Opera at Eszterháza," conference "Beethoven and the Last Generation of Court Musicians in Germany," Beethoven-Haus, Bonn, 3–6 December 2015; abstract

"Andrea Bernasconi's Miserere in D Minor: A Sacred Masterpiece from Mozart's Munich" (co-author, Christoph Riedo), conference of the Mozart Society of America, Tufts University, 13 September 2015; abstract and handout

 "The Morte: A Galant Schema as Emblem of Lament and Compositional Building Block," colloquium at the University of Minnesota School of Music, 14 February 2015, at the Department of Music Theory, Indiana University School of Music, 25 March 2015, and Stanford University Department of Music, 4 May 2015; subsequently published in Eighteenth-Century Music 12 (2015); abstract and handout

"Women in Love: Gluck's Orpheus as a Source of Romantic Consolation in Vienna, Paris, and Stockholm," conference "Gluck and the Map of Eighteenth-Century Music," Western Illinois University, Macomb, Illinois, 17–19 October 2014

"Adding to the Galant Schematicon: The Lully," International Mozart Conference, Salzburg, October, 2014


        Jean-Baptiste Lully, Roland, overture, mm. 1–3

"Two Centers of Musical Ferment in the Eighteenth Century: Bohemia and Minas Gerais," keynote address, conference "The Baroque Legacy: Past and Present in Hispanic America and Central and Eastern Europe," Grand Valley State University, Allendale, Michigan, 24–26 October 2013   TEXT

"The Operatic Culture at the Court of Emperor Leopold II and Its Connection to Mozart's La clemenza di Tito," conference "La clemenza di Tito and Mozartian Aesthetics," Stockholm, 24–27 August 2013

“Music on the Grand Tour,” Hollander Distinguished Lecture in Musicology, Michigan State University, 15 March 2013   TEXT

“Operatic Pyrotechnics in the Eighteenth Century,” conference “Revaluing Theatrical Heritage: Challenges and Opportunities,” Kortrijk, Belgium, 22–23 January 2013  TEXT 

“The Hivart-Sheremetev Correspondence in St. Petersburg: A Little Known Source of Information about Opera in Paris during the 1780s and Early 1790s,” International Musicological Society, Rome, 5 July 2012; colloquium at the University of Michigan, March 2013; AMS national meeting, Pittsburgh, November 2013; colloquium at the University of Vienna, November 2013

“Expressions of Enlightenment Values in Austrian Instrumental Music of the 1780s,” conference “New Perspectives on the Austrian Enlightenment,” Wirth Institute for Austrian and Central European Studies, University of Alberta, Edmonton, Canada, 23–24 September 2011   PDF   TEXT without musical examples

“Montezuma at Eszterház: A Pasticcio on a New-World Theme,” conference “Joseph Haydn & Die Neue Welt: Musik- und kulturgeschichtliche Perspektiven,” Eisenstadt, Austria, 13–15 September 2011  TEXT without tables

“Opera at the Court of Frederick the Great: Montezuma as Royal Autobiography,” colloquium talk at Princeton University (October 2009), University of Pittsburgh (5 February 2010), and University of Iowa (May 2010)   TEXT

“A Bohemian Composer Meets a Mozart Singer: Kozeluch’s Rondò for Adriana Ferrarese,” conference “Mozart in Prague,” Prague, 9–13 June 2009   Kozeluch's scena "Che veggo! Qual timore m'assale" and rondò "Caro figlio questo addio": piano-vocal score       TEXT 

“Bastano i pianti: A Scena from Haydn’s La fedeltà premiata and the Larghetto of Mozart’s Piano Concerto in B flat, K. 595,” conference “Haydn 2009,” Budapest, 27–30 May 2009  TEXT

“Mid Eighteenth-Century Opera Seria Evoked in an Engraving of Marc’Antonio dal Re,” conference “Music, Body, and Stage: The Iconography of Music, Theater, and Opera,” CUNY Graduate Center, New York, 11–14 March 2008

“‘Io non comprendo la musica di Gluck’: Alceste in Naples, 1785,” conference “Gluck auf dem Theater,” Nürnberg, 8–10 March 2008

“Antonio Baglioni, Mozart’s First Ottavio and Tito, in Italy and Prague,” Mozart conference in Prague, October 2006

“Paer’s Il trionfo della chiesa and Italian Oratorio in Vienna at the Beginning of the Nineteenth Century,” conference “Ferdinando Paer tra Parma e l'Europa,” Parma, 28–30 September 2006

Gli sciti: Voltaire’s Play, Beretti’s Ballet, Mayr’s Opera,” conference “Simon Mayr: Der Bayerische Komponist im europäischen Kontext,” Ingolstadt, 21–24 September 2006 TEXT  Mayr's Gli sciti.pdf  piano-vocal score of the beginning of Mayr's sotterraneo, "Qual tremendo sentier"

“Lodi al gran Dio: The Final Chorus of Metastasio’s Betulia liberata as set by Mozart and Gassmann,” conference “Mozart 2006,” Cremona, 24–26 May 2006

“Mozart as Soprano,” conference “Der junge Mozart,” Salzburg, 1-5 December 2005

“Editing Italian Operas for Vienna, 1765–1800,” conference “Bearbeitungspraxis in der Oper des späten 18 Jahrhunderts,” Würzburg, 18–20 February 2005  TEXT

“German Opera in Early Nineteenth-Century Vienna,” conference “Oper im Aufbruch: Gattungskonzepte des deutschsprachigen Musiktheaters um 1800,” Universität der Künste, Berlin, 29 September–2 October 2004

“A Dispute Involving the Musico Giovanni Manzoli and Mozart’s Ascanio in Alba,” Society for Eighteenth-Century Music, Washington DC, 30 April–2 May 2004

“Mozart and His Librettists,” colloquium talk, University of Northern Iowa, March 2004

“A Young Empress Confronts Death: Marie Therese's Collection of Requiems, 1792–1807,” conference “Music and Death in the Eighteenth Century,” King’s College London, 8–9 February 2003

“Mozart and the Theater,” colloquium talk, University of Iowa, December 2002

“Plenary Masses at the Habsburg Court, 1800-1806,” colloquium talk, University of Southern California, January 2002; International Musicological Society, Louvain, 3 August 2002; Cambridge University, February, 2003; University of Cardiff, February, 2003

“Guglielmi's drammi sacri in Naples and Vienna,” conference “Pietro Alessandro Guglielmi: Musicista Italiano nel Settecento Europeo,” Massa, 13–16 December 2001

“Empress Marie Therese (1772–1807) as Collector and Performer of Cimarosa’s Music,” conference “Domenico Cimarosa: Napoletano in Europa,” Aversa, 25–27 October 2001

“Mayr’s Music in the Private Concerts of Empress Marie Therese, 1801–1803,” conference “Simon Mayr und Wien,” Ingolstadt, 4–6 October 2001

“Opéra-comique in Vienna, 1799–1805,” conference “L'Opéra-comique à l'époque de Boieldieu (1775–1834),” Rouen, 15–17 March 2001

“Giustini’s Sonate da cimbalo di piano e forte: Harmony, melody, and dynamics,” conference “The Pre-Classical Piano: Expressive Claviers and Their Repertoire in the Eighteenth Century,”American Music Museum, Vermillion, South Dakota, 5–8 May 2000

La secchia rapita: An Experiment in the Sustained Parody of Opera Seria,” conference “Antonio Salieri e il teatro musicale a Vienna,” Legnago, 18–10 April 2000

“Salieri’s Semiramide and the Metastasio Tradition in Munich,” conference “Mozarts Idomeneo und die Musik in München zur Zeit Karl Theodors,” Munich, 7–9 July 1999

“Hasse’s Viennese Setting of Sant’Elena al Calvario and the Tonkünstler-Sozietät oratorio of the 1770s,” conference “Johann Adolf Hasse in seiner Zeit,” Hamburg, 23–26 March 1999

“Problems of Genre and Gender in Mozart's Scena ‘Misero! o sogno, o son desto?’ K. 431,” Southwest Chapter, AMS, Fort Worth, October 1998; conference “Konzert-Arien in der zweiten Hälfte des 18. Jahrhunderts: Perspektiven einer ‘Gattung’,” Salzburg, 18–19 June 1999; AMS, Kansas City, November 1999; King's College, London, 1 March 2000; Oxford University, 7 March 2000

“Sacchini’s La contadina in corte and the Roman Intermezzo, 1740–90,” conference “Music in Eighteenth-Century Italy,” Cardiff, Wales, 12–15 July 1998

“Empress Marie Therese as Performer and Patron of Music,” International Musicological Society, London, August 1997; Rice University, Houston, October 1997

“Music in the Duomo during the Reign of Pietro Leopoldo I, 1765–90,” conference “Cantate Domino: Musica nei secoli per il Duomo di Firenze, Florence, 23–25 May 1997

“The Musical Bee: References to Mozart and Cherubini in Hummel’s ‘New Year's Concerto,” Southwest Chapter, AMS, San Antonio, October 1995; conference “Austria 996–1996,” Ottawa, 2-7 January 1996

“Palestrina’s St. Cecilia Motets and the Missa ‘Cantantibus organis,’” conference “Giovanni Pierluigi da Palestrina, IV Centenario, 1594–1994,” Palestrina, Italy, 6–9 October 1994

“The Ballroom Scene in Viennese Opera Buffa,” conference “Opera Buffa in Mozart's Vienna,” Cornell University, 8–11 September 1994

“Salieri’s Don Chisciotte alle nozze di Gamace: an Experiment in the Combination of Opera Buffa and Ballet,” conference “Tanz- und Bewegungsphänomene in der Barocken Oper,” Salzburg, 11–13 April 1994

“Irene Tomeoni, Il matrimonio segreto, and the ‘Neapolitanization’ of Viennese opera buffa, 1790-1792,” conference “La musica a Napoli e a Vienna nell’età di Mozart,” Naples, December 1991; AMS, Pittsburgh, November 1992


“Mozart and his Singers: the Case of Maria Marchetti Fantozzi, the First Vitellia,” Mozart bicentennial conference, London, August 1991; Rice University, October 1992; University of North Texas and University of California, Berkeley, October 1993

“The Operas of Antonio Salieri as a Reflection of Viennese Opera, 1760–1790,” conference on Austrian music, 1750-1800, University of Wales, Cardiff, July 1991; Southwest Chapter, AMS, Fort Worth, October 1991

“What can Mozart’s Singers Tell us about His Music?” Louisiana State University, Baton Rouge, February 1990; University of Connecticut, Storrs, April 1990

“Mozart’s La clemenza di Tito as Counterrevolutionary Allegory,” conference on Austria and the French Revolution, University of Minnesota, April 1989; AMS, Austin, October1989

“La clemenza di Tito and Mozart's Maestoso Style,” University of Louisville, March 1989

“Grand Duke Pietro Leopoldo as Patron of Florentine music, 1765–1790,” inaugural conference for the Ricasoli Collection, University of Louisville, March 1989; AMS-Midwest Chapter, Chicago, September 1989   TEXT

“Viennese Music in Transition: a Memorandum of Leopold II on Opera and Ballet, 1791,” AMS, New Orleans, 1987; Yale University, March 1990

“Rondò vocali di Salieri e Mozart per Adriana Ferrarese,” conference “I vicini di Mozart,” Fondazione Giorgio Cini, Venice, September 1987

“Leopold II as Transmitter of Musical Culture: Italian music in Vienna, 1790–1792,” International Musicological Society, Bologna, August 1987

“Beethoven, Reicha, and the Eroica,” AMS, Philadelphia, November 1984; conference "Czech musical culture and its influence on European classicism in music," Prague, 18 May 1984  TEXT

“Sarti's Giulio Sabino, Haydn’s Armida, and the Arrival of Opera Seria at Eszterháza,” AMS, Northern and Southern California Chapters, Riverside, March 1983

“Pergolesi’s Ricimero Reconsidered,” International Musicological Society, Strasbourg, August 1982

 

 

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John Rice,
Nov 28, 2013, 5:15 PM
Ċ
John Rice,
Nov 28, 2013, 4:48 PM
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John Rice,
Mar 7, 2014, 7:54 AM
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John Rice,
Dec 2, 2013, 6:29 PM
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John Rice,
Nov 26, 2013, 8:35 AM
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John Rice,
Aug 2, 2013, 1:38 PM
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John Rice,
Aug 2, 2013, 1:21 PM
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John Rice,
Nov 28, 2013, 5:10 PM
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