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The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
Nancy November is currently an Associate Professor in musicology at the University of Auckland. Combining interdisciplinarity and cultural history, her research continues to center on chamber music of the late eighteenth and nineteenth centuries, probing questions of historiography, canonization, and genre. Recent publications include Beethoven’s Theatrical Quartets: Opp. 59, 74, and 95 (Cambridge University Press, 2013); a three-volume set of fifteen string quartets by Emmanuel Aloys Förster (A-R Editions, 2016); and Cultivating String Quartets in Beethoven’s Vienna (Boydell Press, 2017). She is the recipient of a Humboldt Fellowship, and two Marsden Grants from the New Zealand Royal Society.
Table of Contents
Introduction
Nancy November
HIP Experiences
1. Some Senses of History among HIP Performers
Mary Hunter
2. Counting to Four: The flûte du quatre in Charles Dieupart’s Six Suittes (1701)
Imogen Morris
3. The French style of Viol Bowing and the enflé in the Works of Marin Marais
Polly Sussex
4. Contextual History through Rhetorical Visuality in Performing Monteverdi’s Il pianto della Madonna
Daniela Kaleva
Performance as Celebration and Conservation
5. Celebrating and Enhancing a Virtual Past through Singing: The Polynesian Community on Takū
Richard Moyle
6. Reimagining Traditional Ritual Music of Sabah for Contemporary Performance as a Means of Conservation
Mia Palencia
Performing War
7. Historical Fidelity and Creative License in two Viennese Battles of the Nile
Allan Badley
8. Gallipoli to the Somme: A Musical Witness to History
Anthony Ritchie
9. Britten’s Primal Scream
Sterling Lambert
Staging Power and Enlightenment
10. Staging Power: The Role of Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–76) in Wolfenbüttel Court Festivities of the 1650s
Hannah Spracklan-Holl
11. An Enlightened Future History on the Milan Opera Stage: Niccolò Piccinni’s Il regno della Luna
Lawrence Mays
Performing the Body and the Senses
12. “A New World is Opened up to View”: Orchestral Gesture in Berlioz’s Roméo et Juliette
Inge van Rij
13. Italian Futurism: Music and the Senses in the Modern Age
Jennifer Rumbell
Performing the Popular
14. “Saxophones Sobbed Out Jazz”: New Zealand’s First Jazz Recording
Aleisha Ward
15. “To Display Her Chief Accomplishment”: Domestic Manuscript Music Collections in Colonial Australia
Rosemary Richards
Author Biographies