Participants

Invited Speakers:

Berta Joncus, “Posterity vs Celebrity: Handel Studies and the 21st Century” (Howard Serwer Memorial Lecture)

Bruce Alan Brown, “The gargarismi of Lazzaro Paoli: Singing, Pharmacology, and Castration in Eighteenth-Century Tuscany” (Invited Presentation)

Dr. Bruce Alan Brown specializes in later eighteenth-century opera and ballet, in particular the music of Gluck and Mozart. After studying musicology at the University of California, Berkeley (PhD 1986), and harpsichord both there and in Amsterdam, he has taught at the University of Wisconsin–Madison and at the University of Southern California, where he is Professor and Chair of Musicology. His publications include Gluck and the French Theatre in Vienna (1991), W. A. Mozart: Così fan tutte (1995), The Grotesque Dancer on the Eighteenth-Century Stage (ed., with Rebecca Harris-Warrick, 2005), several critical editions of operas by Gluck, and numerous articles. From 2005 to 2007 he was editor-in-chief of the Journal of the American Musicological Society. He is a member of the editorial board of the Gluck-Gesamtausgabe (Mainz) and of the Akademie für Mozart-Forschung (Salzburg), and President of the Mozart Society of America.

Special Panel Co-Chairs, “Handel Studies in the Age of Covid-19”

Ellen T. Harris

See website

John H. Roberts

Dr. John H. Roberts is Professor of Music Emeritus at the University of California, Berkeley.  He was a music librarian for thirty years and served as president of the International Association of Music Libraries.  As a scholar, he has particularly specialized in Handel’s borrowing from other composers.

Selected Speakers (in alphabetical order by last name)

Miguel Arango Calle, “Landscape, Opera, and Colonialism: Moral and Environmental Difference in Handel’s Giulio Cesare in Egitto (1724)”

Miguel Arango Calle is a second-year Ph.D. student in musicology at Indiana University. He received a bachelor’s in Guitar Performance from the University of Costa Rica and a master’s in Music Theory from the University of Arizona. In his master’s thesis, Miguel explored the intersection between analysis, aesthetics, and reception history in music of Jean Sibelius. More recently, he has been interested in how eighteenth-century opera imagines and represents spaces and landscapes. Currently, Miguel is working as a co-editor for the Indiana Theory Review. He is also collaborating with Dr. Ayana Smith in the racial justice project entitled Creating Real Change and with Dr. Giovanni Zanovello in the musical portion of the Routledge Encyclopedia of the Renaissance World.

Graydon Beeks, “Some overtures to be plaied before the first lesson”

Dr. Graydon Beeks received his B.A. from Pomona College and his M.A. and Ph.D. in Music History and Literature from the University of California at Berkeley. His dissertation was on the subject of George Frideric Handel’s Cannons Anthems and Te Deum. He has written extensively on Handel and his contemporaries, in particular William Croft, Attilio Ariosti and Johann Christoph Pepusch, and has edited works by Handel, Ariosti and Croft. He serves as President of The American Handel Society, and is also a member of the Vorstand of the Georg-Friedrich-Händel Gesellschaft and member of the Editorial Board of the Hallische-Händel-Ausgabe. He is Emeritus Director of Music Programming and Facilities and Professor of Music at Pomona College where he also conducts the Pomona College Band.

Regina Compton, “Experiencing Motherhood: The Significance of the Replacement Aria ‘Ah perché’ in the First Revival of Rodelinda (December 1725)”

Dr. Regina Compton is interested in the study of Handel’s Italian works, particularly, his operas from the first Royal Academy of Music. On this topic, she has given papers at the national meetings of the American Musicological Society, the International Handel Conference in Halle, and the Canadian Society for Eighteenth Century Studies; in addition, her work on simple recitative in Handel’s operas can be found in the Journal of Musicological Research and the Händel-Jahrbuch. Regina holds a PhD in musicology from the Eastman School of Music. Currently, she resides in Florida and works in the field of civic technology.

Alison C. DeSimone, “Not Found upon the Record”: Female Musical Entrepreneurship in the Eighteenth Century

Dr. Alison DeSimone is Assistant Professor of Musicology at the University of Missouri-Kansas City. Her monograph, The Power of Pastiche: Musical Miscellany and Cultural Identity in Early Eighteenth-Century England, is forthcoming this month or next from Clemson University Press in their new Studies in British Musical Cultures series. With Matthew Gardner, she edited Music and the Benefit Performance in Eighteenth-Century Britain (Cambridge University Press, 2020). She has published articles in the Journal of Musicological Research, A-R Online Anthology, Händel-Jahrbuch, and Early Modern Women.

Luke Howard, “Boston, Birmingham, and the Reception of Robert Franz’s Edition of Messiah”

See website

Beverly Jerold, “The Musician’s Art and Oratory”

Beverly Jerold’s recent publications include: Disinformation in Mass Media: Gluck, Piccinni and the Journal de Paris, RMA Monograph (Routledge, 2021); The Complexities of Early Instrumentation: Winds and Brass (Brepols, 2015); and Music Performance Issues: 1600-1900 (Pendragon, 2016). Her articles have appeared in The Musical Times (2020); Eighteenth Century Music (2019); Journal of Musicological Research 36/4 (2017 and 2018); Acta Musicologica (2016); The Early Keyboard Sonata in Italy and Beyond (Brepols, 2016); Music Theory & Analysis (2015 and 2014); and Early Music (2014).

Minji Kim, “From Milton to Hamilton and Handel: Total Eclipse, Judgment, Tonal Language, and Enharmonicism”

Dr. Minji Kim is the Editor of the Newsletter of The American Handel Society. She is an independent scholar specializing in the music of Handel. She has published various articles on his oratorios. Her most recent work “Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine” appeared in Early Music (2019). In this conference, she will present from her latest research on Handel’s Samson.

Joseph Lockwood, “Handel’s Messiah in New York City, 1770”

Dr. Joseph Lockwood combines the role of Teaching Assistant at New College, Oxford with AHRC-funded doctoral research at Oxford’s Faculty of Music. His edition of the music for the plays and poems of eighteenth-century Poet Laureate Nicholas Rowe was published in The Plays and Poems of Nicholas Rowe, 5 vols. (London: Pickering & Chatto, 2017), gen. ed. Stephen Bernard. His chapter on the American reception of Handel’s music is forthcoming in Annette Landgraf and Helen Coffey (eds.), Handel in Context (Cambridge University Press) and his chapter on the equestrian performer Philip Astley, in Michael Burden and Jennifer Thorp (eds.), With a Grace Not to Be Captured: Representing the Georgian Theatrical Dancer, 1760-1830 (Brepols) is in press.

Paula Maust, “The Ugly Italian Elephants and Pigs in Handel’s London Operas”

Dr. Paula Maust is a performer-scholar based in Baltimore, MD. She is the creator of Expanding the Music Theory Canon, a new open-source collection of music theory examples by women and non-white composers. As a harpsichordist and organist, she directs Burning River Baroque and Musica Spira and curates programs that connect early modern music and historical narratives to contemporary social issues. Paula teaches music theory, music history, and historical performance at the University of Maryland, Baltimore County; the Johns Hopkins University; and Peabody Conservatory. Her paper today is part of a book project, The Ugly Virtuosa.

Mark Risinger, “Messengers and Musicians: The Literary Tradition, Dramatic Function, and Musical Treatment of Handel’s Angels”

Dr. Mark Risinger received his PhD in Musicology from Harvard University, where he completed a dissertation on Handel’s compositional process in works of the late 1730s and early 1740s. He spent five years as Lecturer on Music at Harvard as well as a year as Visiting Lecturer on Music in the Institute of Sacred Music at Yale.  He has performed throughout North America and parts of Europe as a bass soloist in opera and oratorio, in addition to serving as a program annotator and guest lecturer for numerous orchestras and opera companies, including the Boston Symphony, New York City Opera, and the Metropolitan Opera Guild, where he is currently a member of the Education Committee.  His research interests include both Handel’s compositional process and the interaction of musical and literary circles in 17th and 18th century Britain.  He has recently completed the critical edition of Semele for the Hallische Händel-Ausgabe.

Jonathan Salamon, “Handel’s Vo’ far guerra: Schematic Simplicity, Dextrous Complexity” (Lecture/Recital)

Jonathan Salamon is a historical keyboardist from New York, NY. A prizewinner at the 2019 Mathieu Duguay Early Music Competition in Lamèque, Canada, he has performed and presented papers/lecture-recitals at festivals and conferences in the U.S. and abroad. In 2020, Jonathan joined the Chamber Orchestra of New York as their Principal Harpsichordist/Keyboardist. He is currently pursuing further study and research in Amsterdam on a Fulbright grant. Jonathan completed his undergraduate studies at NYU and holds a Master of Music degree in Harpsichord Performance from the Yale School of Music, where he studied with Arthur Haas. He is currently a Doctor of Musical Arts candidate at Yale.