{"id":20880,"date":"2026-08-06T16:30:53","date_gmt":"2026-08-06T14:30:53","guid":{"rendered":"https:\/\/mdw.ac.at\/altemusik\/?p=20880"},"modified":"2026-08-06T16:34:46","modified_gmt":"2026-08-06T14:34:46","slug":"symposium-2019-cantare-nel-gravicembalo","status":"publish","type":"post","link":"https:\/\/mdw.ac.at\/altemusik\/en\/2026\/08\/06\/symposium-2019-cantare-nel-gravicembalo\/","title":{"rendered":"SYMPOSIUM 2019 | Cantare nel gravicembalo"},"content":{"rendered":"

Cantare nel gravicembalo<\/h1>\n

Ensemble and Accompaniment Practice in Italian Musical Culture around 1600<\/h3>\n

Workshops, concerts & lectures<\/h3>\n<\/div><\/section>
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4.-8. November 2019<\/h4>\n

Festsaal & Church St. Ursula, Seilerst\u00e4tte 26, 1010 Wien<\/h5>\n<\/div><\/section><\/p><\/div>\n
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This event focuses on a key aspect of developments in Italian music around 1600, one that relates equally to the history of composition, notation and performance practice: the integration and significant role of chordal instruments in musical production (in the broadest sense). The phenomenon of the \u2018general bass\u2019 or so-called \u2018figured bass\u2019 represents just one variant within a much broader spectrum, which not only exhibits diverse historical precursors but also, beyond purely practical performance considerations, influences composition and the (theoretical) conception of polyphonic writing, whilst pointing to specific musical-cultural prerequisites.<\/p>\n

To facilitate a discussion of the topic that is as multi-layered as it is in-depth, a variety of event formats will run concurrently throughout the week: workshops including introductory lectures, concerts and lecture-recitals, two short symposia, and a concluding round-table discussion.<\/p>\n<\/div>\n

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\nProgramme<\/span><\/div>\n<\/div>\n<\/div>\n
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Monday, 4 November<\/h4>\n

5 pm, Festsaal Seilerst\u00e4tte<\/h6>\n

Opening:<\/p>\n

General introduction
\nAugusta Campagne\/Markus Grassl<\/p>\n

How new was the \u2018New Music\u2019? Rhetoric, style, performance
\nKeynote: Tim Carter (Chapel Hill)<\/p>\n

Musical accompaniment
\nPerformers: Lecturers and students from the mdw<\/p>\n

7\u20139 pm, Festsaal Seilerst\u00e4tte<\/h6>\n

Vocal workshop
\nMaria Cristina Kiehr (Basel)<\/p>\n

Tuesday, 5 November<\/h4>\n

9 am\u201312 pm, Festsaal Seilerst\u00e4tte<\/h6>\n

Symposium: Historical Preconditions and Cultural Context \/ Historical and Cultural Context<\/p>\n

Realising Luzzaschi\u2019s *Madrigali* (1601): Traces of embodied knowledge at the harpsichord
\nRebecca Cypess (New Brunswick)<\/p>\n

Nicola Vicentino\u2019s *archicembali* and the keyboarding of the *ars perfecta*
\nLeon Chisholm (Berlin)<\/p>\n

On the historical preconditions of the basso continuo
\nReinhard Kapp (Vienna)<\/p>\n

The performative potential of musical notation around 1600
\nSarah Lutz (Innsbruck)<\/p>\n

1\u20134 pm, Festsaal Seilerst\u00e4tte<\/h6>\n

Continuo accompaniment in the seventeenth century: How significant are the contemporary treatises?
\nTh\u00e9r\u00e8se de Goede (Amsterdam)<\/p>\n

Workshop: Instrumental ensemble canzonas
\nTh\u00e9r\u00e8se de Goede<\/p>\n

4.30\u20136.30 pm, Collon-Saal, Seilerst\u00e4tte<\/h6>\n

Vocal workshop
\nMaria Cristina Kiehr<\/p>\n

7.30 pm, Festsaal Seilerst\u00e4tte<\/h6>\n

Concert<\/p>\n

\u2018Misericordiae Domini\u2019 \u2013 works by F. Anerio, Carlo G., Cl. Monteverdi, O. Durante, E. de\u2019 Cavalieri and others
\nElam Rotem (Basel) \/ Jacob Lawrence (Basel)<\/p>\n

Wednesday, 6 November<\/h4>\n

9\u201312 am, St Ursula\u2019s Church<\/h6>\n

Lecture and workshop: The \u2018Carlo G.\u2019 manuscript
\nElam Rotem (Basel)<\/p>\n

1\u20134 pm, St Ursula\u2019s Church<\/h6>\n

\u2018A thousand kinds of inventions\u2019 \u2013 reflections on the continuo playing and improvisation described by Maugars (1639)
\nGiulia Nuti (Fiesole)<\/p>\n

Workshop: Stile recitativo in sacred vocal music in Rome in the first half of the seventeenth century
\nGiulia Nuti<\/p>\n

4.30\u20136.30 pm, St Ursula\u2019s Church<\/h6>\n

Vocal workshop
\nMaria Cristina Kiehr<\/p>\n

7.30 pm, St Michael\u2019s Church, Kapitel Saal<\/h6>\n

Concert<\/p>\n

\u2018A mio modo\u2019: Tracing the personalities of 17th-century singers
\nSven Schwannberger (Basel\/Vienna)<\/p>\n

Thursday, 7 November<\/h4>\n

9\u201312 am, Festsaal Seilerst\u00e4tte<\/h6>\n

Symposium: Aspects of Performance Practice \/ Issues of Performance Practice<\/p>\n

Counterpoint and basso continuo performance
\nLuciano Contini (Vienna)<\/p>\n

Dissonances in early 17th-century Italian guitar music
\nPierre Pitzl (Vienna)<\/p>\n

NATURA & ARS: Challenges and Opportunities in Reconstructing 17th-Century Vocal Practice
\nSven Schwannberger<\/p>\n

\u2018Clavicymbel, a fourth lower than the choir pitch\u2019 \u2013
\n12- and 6-foot harpsichords in the first half of the 17th century
\nEug\u00e8ne Michelangli (Vienna)<\/p>\n

1\u20134 pm, Festsaal Seilerst\u00e4tte<\/h6>\n

Lecture and workshop: \u2018Stile recitativo\u2019 in secular Roman vocal music of the early 17th century
\nAnne Marie Dragosits (Vienna\/Linz)<\/p>\n

7.30 pm, St Ursula\u2019s Church<\/h6>\n

Concert by course participants<\/p>\n

Friday, 8 November<\/h4>\n

10\u201312 am, Festsaal Seilerst\u00e4tte<\/h6>\n

Roundtable: Cl. Monteverdi\u2019s *Lamento d\u2019Arianna*
\nPanel: Tim Carter, Anne Marie Dragosits, Th\u00e9r\u00e8se de Goede, Maria Cristina Kiehr, Giulia Nuti, Elam Rotem<\/p>\n

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