Music Preferred. Essays in Musicology, Cultural History and Analysis in Honour of Harry White

The contributions to this Festschrift, honouring the distinguished Irish musicologist Harry White on his sixtieth birthday, have wide repercussions and span a broad timeframe. But for all its variety, this volume is built around two axes: on the one hand, attention is focussed on the history of music and literature in Ireland and the British Isles, and on the other, topics of the German and Austrian musical past. In both cases it reflects the particular interest of a scholar, whose playful, sometimes unconventional way of approaching his subject is so refreshing and time and again leads to innovative, surprising insights. It also reflects a scholar, who – for all the broadening of his perspectives that has taken place over the years – has always adhered to the strands of his scholarly preoccupations that have become dear to him: the music of the ‘Austro-Italian Baroque’, and Irish musical culture first and foremost. An international cast of authors announces the sustaining influence of Harry White’s wide-ranging research.

CONTENTS NOTES ON CONTRIBUTORS FOREWORD by Gerard Gillen (Maynooth University and Titular Organist, St. Mary’s Pro-Cathedral) INTRODUCTION by Lorraine Byrne Bodley (Maynooth University) and Robin Elliott (University of Toronto) PART ONE: THE MUSICAL BAROQUE Julian Horton (Durham University): J. S. Bach’s Fugue in C sharp minor, Well-Tempered Clavier, Book I and the Autonomy of the Musical Work Lorenz Welker (Ludwig-Maximilians-Universität, Munich): Johann Joseph Fux’s Sonata à 4 in G (K. 347): Further Considerations on its Source, Style, Context and Authorship Tassilo Erhardt (Liverpool Hope University): Johann Joseph Fux’ Church Music in its Spiritual and Liturgical Contexts Jen-yen Chen (National Taiwan University): The Musical Baroque in China: Interactions and Conf licts Denis Collins (The University of Queensland, Australia): Canon in Baroque Italy: Paolo Agostini’s Collections of Masses, Motets and Counterpoints from 1627 PART TWO: MUSIC IN IRELAND Kerry Houston (DIT Conservatory of Music and Drama): John Mathews: A Specimen of Georgian Ignorance? Ita Beausang (DIT Conservatory of Music and Drama): There is a calm for those who weep: William Shore’s New Edition of a Chorale by John [sic] Sebastian Bach Axel Klein (Frankfurt): “No, Sir, the Irish are not musical”: Some Historic (?) Debates on Irish Musicality Adrian Scahill (Maynooth University): “That vulgar strummer”: The Piano and Traditional Music in the Gaelic Revival Maria McHale (DIT Conservatory of Music and Drama): “Hopes for regeneration”: Opera in Revivalist Dublin, 1900–1916 Karol Mullaney-Dignam (University of Limerick): “What do we mean by Irish music?” The Politics of State-Sponsored Music Publication in Independent Ireland Ruth Stanley (Cork Institute of Technology): “Jazzing the soul of the Nation away”: The Hidden History of Jazz in Ireland and Northern Ireland During the Interwar Years Gearóid Ó hAllmhuráin (Concordia University Montreal): Sonic Icon, Music Pilgrimage: Creating an Irish World Music Capital Méabh Ní Fhuartháin (NUI Galway): “In the mood for dancing”: Emigrant, Pop and Female Gareth Cox (Mary Immaculate College,University of Limerick): Aloys Fleischmann’s Games (1990) Denise Neary (Royal Irish Academy of Music): The Development of Music Performance as Artistic Research in Ireland Michael Murphy (Mary Immaculate College, University of Limerick): “Irish” Musicology and Musicology in Ireland: Grattan Flood, Bewerunge, Harrison, White PART THREE: MUSIC AND LITERATURE Declan Kiberd (University of Notre Dame): The New Policeman Gerry Smyth (Liverpool John Moores University): Moore, Wagner, Joyce: Evelyn Innes and the Irish Wagnerian Novel John O’Flynn (Dublin City University): Alex North, James Joyce, and John Huston’s The Dead (1987) Patrick Zuk (Durham University): L’ami inconnu: Nataliya Esposito and Ivan Bunin PART FOUR: AUSTRO-GERMANIC TRADITIONS Michael Hüttler (Don Juan Archiv, Vienna): Hof- and Domkapellmeister Johann Joseph Friebert (1724–1799) and his Singspiele Anne Hyland (University of Manchester): Tautology or Teleology? Reconsidering Repetition and Difference in Two Schubertian Symphonic First Movements Susan Youens (University of Notre Dame): Of Anthropophagy, the Abolitionist Movement, and Brahms: An unlikely Conjunction Shane McMahon (UCD Humanities Institute): The Moth-Eaten Musical Brocade: Narrative and the Limits of the Musical Imagination David Cooper (University of Leeds): Die zweite Heimat: Musical Personae in a Second Home Glenn Stanley (University of Connecticut): Brechtian Fidelio Performances in West Germany: 1968 to the New Millennium Nicole Grimes (University of California, Irvine): Brahms as a Vanishing Point in the music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6 PART FIVE: MUSIC IN BRITAIN Pauline Graham (Griffith College): Intimations of Eternity in the Creeds from William Byrd’s Five-Voice Mass and Great Service John Cunningham (Bangor University): “An Irishman in an opera!”: Music and Nationalism on the London Stage in the Mid–1770s Jeremy Dibble (Durham University): Canon Thomas Hudson, Clergyman Musician, Cambridge Don and the Hovingham ‘Experiment’ William A. Everett (University of Missouri – Kansas City): The Great War, Propaganda, and Orientalist Musical Theatre: The Twin Histories of Katinka and Chu Chin Chow Richard Aldous (Bard College): “Flash Harry”: Sir Malcolm Sargent and the Progress of Music in England PART SIX: MUSIC HISTORIES WORLDWIDE Philip V. Bohlman (University of Chicago): Worlds Apart: Resounding Selves and Others on Islands of Music History Ivano Cavallini (University of Palermo): A Counter-Reformation Reaction to Slovenian and Croatian Protestantism: The Symbol of St. Athanasius in a Creed of 1624 Stanislav Tuksar (University of Zagreb): Musical Prints from c.1750–1815 in the Dubrovnik Franciscan Music Collection (HR-Dsmb) Vjera Katalinic (Croatian Academy of Sciences and Arts, Zagreb): Routes of Travels and Points of Encounters Observed Through Musical Borrowings: The Case of Giovanni Giornovichi/Ivan Jarnovic, an 18th-Century Itinerant Violin Virtuoso Jan Smaczny (Queen’s University Belfast): Antonín Dvorák in the Salon: A Composer Emerges from the Shadows Jaime Jones (University College Dublin): Singing the Way: Music as Pilgrimage in Maharashtra PART SEVEN: MUSIC AND POETRY John Buckley (Dublin City University): A Setting of Harry White’s Sonnet Bardolino from Polite Forms (2012) for Baritone and Piano AFTERWORD by Iain Fenlon (King’s College Cambridge) HARRY WHITE: LIST OF PUBLICATIONS