Contributors
Jeffrey Kurtzman (Washington University in St. Louis)
Jeffrey Kurtzman is Professor of Music at Washington University in St. Louis. The founder of the Society for Seventeenth-Century Music, he is on the editorial boards of the Society’s Journal of Seventeenth-Century Music and Web Library of Seventeenth Century Music. He has published and edited 6 books, 14 volumes of critical editions, and numerous articles on Monteverdi and on 16th- and 17th-century Italian music. Together with Anne Schnoebelen, he has published online in the JSCM Instrumenta series a complete, detailed catalogue of all music for the Office, Holy Week and the Mass published in Italy from 1516-1770.
Marianne C.E. Gillion (Universität Salzburg)
Marianne C.E. Gillion is a Postdoctoral Research Assistant for the FWF project ‘Music Printing in German Speaking Lands: From the 1470s to the mid-16th century’ at the University of Salzburg. She studied at the Royal Welsh College of Music and Drama (Cardiff) before graduating from Trinity Western University (Canada). She completed her MA at Bangor University (Wales) in 2011 with a dissertation examining chant revision in the first gradual printed by the Venetian firm of Giunta in 1499/1500. Marianne was awarded her PhD from the University of Manchester in 2015 for her dissertation, ‘“Diligentissime emendatum, atque correctum”? The Transmission and Revision of Plainchant in Italian Printed Graduals, 1499–1653’.
Rosemarie Darby (The University of Manchester)
Rosemarie Darby studied Music in Oxford and in London, where she studied organ with Colin Mawby at Westminster Cathedral, before going on to complete a MusM at Manchester University. The subject of her Master's thesis was The Music of the Roman Catholic Embassy Chapels in London before Catholic Emancipation. Following a career in teaching, she is now engaged in doctoral research at Manchester under the supervision of Thomas Schmidt. The topic for her PhD is The Liturgical Music of the Congregation of the Oratory at the Chiesa Nuova, Rome. She has conducted choirs for the Roman Catholic liturgy in both England and Italy, specialising in the performance of sixteenth century polyphony and plainchant.
Emanuel Signer (Queens’ College, University of Cambridge)
Emanuel Signer is a PhD candidate at the University of Cambridge. He is interested in the printed distribution of Italian polyphonic settings of the mass ordinary between 1563 and 1644. Emanuel is supervised by Iain Fenlon and Thomas Schmidt, and has been awarded scholarships by the Cambridge Trusts, the Swiss National Science Foundation, and the Janggen-Pöhn-Foundation. He studied for both Bachelor and Master of Arts at the University of Zurich, concentrating on neoclassical composition in 20th-century France with an MA thesis on Francis Poulenc. Further education involved a performance diploma in Organ at the Zurich University of the Arts. Emanuel is active as director and performer in choirs and vocal ensembles in Britain and Switzerland. He is College Choir Administrator at Queens’ College, Cambridge, as well as founder and co-director.
Esperanza Rodríguez-García (Universidade Nova de Lisboa)
Esperanza Rodríguez-García is a post-doctoral researcher at the CESEM, Universidade Nova de Lisboa (project 'The Anatomy of Late-15th- and Early-16th-Century Iberian Polyphonic Music'). She obtained postgraduate degrees in Barcelona and Manchester, and has worked at the University of Nottingham. She specialises in Spanish and Italian music of the Early Modern period, in areas such as the interrelations between authorship and printing, performance contexts, source studies, and historiography. She is currently finishing a volume on the composer Tomás Luis de Victoria (funded by the Leverhulme Trust through an Early Career Fellowship) and also co-editing the book Mapping the post-Tridentine motet.
Ginte Medzvieckaite (The University of Manchester)
Ginte Medzvieckaite studied classics at the Vilnius University, Lithuania, and musicology at the Heidelberg University, Germany. Her Master's thesis dealt with the polyphonic settings of the plainchant introit Gaudeamus omnes in Domino. She is currently working on a PhD thesis under the supervision of Thomas Schmidt at the University of Manchester studying the paraphrases of biblical and liturgical texts in the Italian spiritual madrigal. Ginte's research is supported by the AHRC and, the University of Manchester's School of Arts, Languages and Cultures as well as the President's Doctoral Scholarship.
Augusta Campagne (Universität für Musik und darstellende Kunst Wien)
Augusta Campagne studied harpsichord and figuredbass in Amsterdam and Basle and now teaches these subjects at the University of Music and Performing Arts Vienna. She recently finished her PhD titled Simone Verovio: Prints, intabulations and basso continuo.
Gioia Filocamo (Istituto superiore di Studi musicali “G. Briccialdi”, Terni)
Gioia Filocamo teaches at the Istituto superiore di Studi musicali di Terni (Italy). She received a Ph.D. in the Philology of Music (University of Pavia-Cremona, 2001) and a Ph.D. in Modern History (University of Bologna, 2015). She has held post-doctoral research fellowships at Bologna (University), Chicago (Newberry Library) and Wolfenbüttel (Herzog August Bibliothek). She has produced a complete critical edition of an anthology of late fifteenth- and early sixteenth-century music, Florence, BNC, Panciatichi MS 27: Text and Context (Brepols, 2010), and has published articles on various aspects of musical life in Italy between the fifteenth and seventeenth centuries. Her interest focuses mainly on how music interacted with social life.
Angela Fiore (University of Fribourg)
Angela Fiore graduated cum laude in musicology at University of Pavia. Since 2005 to 2011 she has been artistic coordinator of the Fondazione Pietà de’ Turchini, Napoli. She completed her Ph. D. in 2015 at University of Fribourg with Luca Zoppelli. Her Ph. D. Thesis is based on the reconstruction of musical life of the female religious institutions in Naples between 17th and 18th century; recently it has been awarded the Jacques-Handschin Preis 2016 by the Swiss Musicological Society. For her researches she received grants from the Fondazione Pergolesi Spontini Jesi in 2007, Swiss National Science Found in 2011 and Pôle de recherche of University of Fribourg in 2014. In addition she held a diploma in violin and specialized in the baroque violin repertory on period instruments. She is now lecturer at University of Fribourg where she teaches music theory and harmony.
Thomas Schmidt (The University of Manchester)
Thomas Schmidt is Professor of Music and Head of the Division of Art History, Drama and Music at the University of Manchester. He obtained both his PhD (1995) and his Habilitation (2001) at the University of Heidelberg; subsequently he was Heisenberg Senior Research Fellow of the Deutsche Forschungsgemeinschaft, and Professor of Music and Head of School at Bangor University in Wales (from 2005), before moving to Manchester in 2012. His research interests include music of the 15th and 16th centuries, music of the late 18th and 19th centuries (Mozart and Mendelssohn in particular), musical editing, and the history of musical genres (motet, string quintet, sonata). Recent publications include editions of Mendelssohn's 'Scottish' and 'Italian' symphonies for complete Mendelssohn edition; the Cambridge Introduction to the Sonata (2011); and the edited volumes Institutions and Patronage (Ashgate Renaissance Music series, 2012) and The motet around 1500 (Brepols, 2012). He directs the AHRC 'Production and Reading of Music Sources, 1480-1530' project and co-directs the Digital Image Archive of Medieval Music (DIAMM); he is currently working on an edition of Mendelssohn's Reformation Symphony and a monograph on timbre and texture in 19th-century chamber music.
Luca Della Libera (Conservatorio di Musica Licinio Refice Frosinone)
Luca Della Libera (Milan, 1961) completed his music studies in Rome, where he graduated in flute at the Conservatory of Santa Cecilia and in history of music at the University La Sapienza, with Pierluigi Petrobelli. He had discussed his PhD dissertation in University of Rome Tor Vergata, in ‘co-tutelle’ with University of Mainz, titled La musica sacra di Alessandro Scarlatti a Roma: testi, contesti, documenti. He is tenured professor of History of Music in the Conservatory of Frosinone. His main field of research is the music in Rome in the Baroque era, especially sacred music, musical institutions, archival studies. He published articles in Nuova Rivista Musicale Italiana, Rivista italiana di musicologia, Recercare, Studi musicali, Acta Musicologica, Analecta Musicologica, Die Tonkunst. He published four volumes of critical editions of the sacred music of Alessandro Scarlatti. He collaborates for recording and performing projects with some of the most appreciated Italian performers in the baroque music: Rinaldo Alessandrini and Concerto Italiano, Fabio Biondi and Europa Galante, the violinist Enrico Gatti and ensemble Odhecaton. In February 2013 he has been invited to give papers and lectures at Princeton University and Harvard University. He gave lectures and seminars in Manchester, Birmingham, Paris, Lisbon, Mainz, Bremen.
Jeffrey Kurtzman is Professor of Music at Washington University in St. Louis. The founder of the Society for Seventeenth-Century Music, he is on the editorial boards of the Society’s Journal of Seventeenth-Century Music and Web Library of Seventeenth Century Music. He has published and edited 6 books, 14 volumes of critical editions, and numerous articles on Monteverdi and on 16th- and 17th-century Italian music. Together with Anne Schnoebelen, he has published online in the JSCM Instrumenta series a complete, detailed catalogue of all music for the Office, Holy Week and the Mass published in Italy from 1516-1770.
Marianne C.E. Gillion (Universität Salzburg)
Marianne C.E. Gillion is a Postdoctoral Research Assistant for the FWF project ‘Music Printing in German Speaking Lands: From the 1470s to the mid-16th century’ at the University of Salzburg. She studied at the Royal Welsh College of Music and Drama (Cardiff) before graduating from Trinity Western University (Canada). She completed her MA at Bangor University (Wales) in 2011 with a dissertation examining chant revision in the first gradual printed by the Venetian firm of Giunta in 1499/1500. Marianne was awarded her PhD from the University of Manchester in 2015 for her dissertation, ‘“Diligentissime emendatum, atque correctum”? The Transmission and Revision of Plainchant in Italian Printed Graduals, 1499–1653’.
Rosemarie Darby (The University of Manchester)
Rosemarie Darby studied Music in Oxford and in London, where she studied organ with Colin Mawby at Westminster Cathedral, before going on to complete a MusM at Manchester University. The subject of her Master's thesis was The Music of the Roman Catholic Embassy Chapels in London before Catholic Emancipation. Following a career in teaching, she is now engaged in doctoral research at Manchester under the supervision of Thomas Schmidt. The topic for her PhD is The Liturgical Music of the Congregation of the Oratory at the Chiesa Nuova, Rome. She has conducted choirs for the Roman Catholic liturgy in both England and Italy, specialising in the performance of sixteenth century polyphony and plainchant.
Emanuel Signer (Queens’ College, University of Cambridge)
Emanuel Signer is a PhD candidate at the University of Cambridge. He is interested in the printed distribution of Italian polyphonic settings of the mass ordinary between 1563 and 1644. Emanuel is supervised by Iain Fenlon and Thomas Schmidt, and has been awarded scholarships by the Cambridge Trusts, the Swiss National Science Foundation, and the Janggen-Pöhn-Foundation. He studied for both Bachelor and Master of Arts at the University of Zurich, concentrating on neoclassical composition in 20th-century France with an MA thesis on Francis Poulenc. Further education involved a performance diploma in Organ at the Zurich University of the Arts. Emanuel is active as director and performer in choirs and vocal ensembles in Britain and Switzerland. He is College Choir Administrator at Queens’ College, Cambridge, as well as founder and co-director.
Esperanza Rodríguez-García (Universidade Nova de Lisboa)
Esperanza Rodríguez-García is a post-doctoral researcher at the CESEM, Universidade Nova de Lisboa (project 'The Anatomy of Late-15th- and Early-16th-Century Iberian Polyphonic Music'). She obtained postgraduate degrees in Barcelona and Manchester, and has worked at the University of Nottingham. She specialises in Spanish and Italian music of the Early Modern period, in areas such as the interrelations between authorship and printing, performance contexts, source studies, and historiography. She is currently finishing a volume on the composer Tomás Luis de Victoria (funded by the Leverhulme Trust through an Early Career Fellowship) and also co-editing the book Mapping the post-Tridentine motet.
Ginte Medzvieckaite (The University of Manchester)
Ginte Medzvieckaite studied classics at the Vilnius University, Lithuania, and musicology at the Heidelberg University, Germany. Her Master's thesis dealt with the polyphonic settings of the plainchant introit Gaudeamus omnes in Domino. She is currently working on a PhD thesis under the supervision of Thomas Schmidt at the University of Manchester studying the paraphrases of biblical and liturgical texts in the Italian spiritual madrigal. Ginte's research is supported by the AHRC and, the University of Manchester's School of Arts, Languages and Cultures as well as the President's Doctoral Scholarship.
Augusta Campagne (Universität für Musik und darstellende Kunst Wien)
Augusta Campagne studied harpsichord and figuredbass in Amsterdam and Basle and now teaches these subjects at the University of Music and Performing Arts Vienna. She recently finished her PhD titled Simone Verovio: Prints, intabulations and basso continuo.
Gioia Filocamo (Istituto superiore di Studi musicali “G. Briccialdi”, Terni)
Gioia Filocamo teaches at the Istituto superiore di Studi musicali di Terni (Italy). She received a Ph.D. in the Philology of Music (University of Pavia-Cremona, 2001) and a Ph.D. in Modern History (University of Bologna, 2015). She has held post-doctoral research fellowships at Bologna (University), Chicago (Newberry Library) and Wolfenbüttel (Herzog August Bibliothek). She has produced a complete critical edition of an anthology of late fifteenth- and early sixteenth-century music, Florence, BNC, Panciatichi MS 27: Text and Context (Brepols, 2010), and has published articles on various aspects of musical life in Italy between the fifteenth and seventeenth centuries. Her interest focuses mainly on how music interacted with social life.
Angela Fiore (University of Fribourg)
Angela Fiore graduated cum laude in musicology at University of Pavia. Since 2005 to 2011 she has been artistic coordinator of the Fondazione Pietà de’ Turchini, Napoli. She completed her Ph. D. in 2015 at University of Fribourg with Luca Zoppelli. Her Ph. D. Thesis is based on the reconstruction of musical life of the female religious institutions in Naples between 17th and 18th century; recently it has been awarded the Jacques-Handschin Preis 2016 by the Swiss Musicological Society. For her researches she received grants from the Fondazione Pergolesi Spontini Jesi in 2007, Swiss National Science Found in 2011 and Pôle de recherche of University of Fribourg in 2014. In addition she held a diploma in violin and specialized in the baroque violin repertory on period instruments. She is now lecturer at University of Fribourg where she teaches music theory and harmony.
Thomas Schmidt (The University of Manchester)
Thomas Schmidt is Professor of Music and Head of the Division of Art History, Drama and Music at the University of Manchester. He obtained both his PhD (1995) and his Habilitation (2001) at the University of Heidelberg; subsequently he was Heisenberg Senior Research Fellow of the Deutsche Forschungsgemeinschaft, and Professor of Music and Head of School at Bangor University in Wales (from 2005), before moving to Manchester in 2012. His research interests include music of the 15th and 16th centuries, music of the late 18th and 19th centuries (Mozart and Mendelssohn in particular), musical editing, and the history of musical genres (motet, string quintet, sonata). Recent publications include editions of Mendelssohn's 'Scottish' and 'Italian' symphonies for complete Mendelssohn edition; the Cambridge Introduction to the Sonata (2011); and the edited volumes Institutions and Patronage (Ashgate Renaissance Music series, 2012) and The motet around 1500 (Brepols, 2012). He directs the AHRC 'Production and Reading of Music Sources, 1480-1530' project and co-directs the Digital Image Archive of Medieval Music (DIAMM); he is currently working on an edition of Mendelssohn's Reformation Symphony and a monograph on timbre and texture in 19th-century chamber music.
Luca Della Libera (Conservatorio di Musica Licinio Refice Frosinone)
Luca Della Libera (Milan, 1961) completed his music studies in Rome, where he graduated in flute at the Conservatory of Santa Cecilia and in history of music at the University La Sapienza, with Pierluigi Petrobelli. He had discussed his PhD dissertation in University of Rome Tor Vergata, in ‘co-tutelle’ with University of Mainz, titled La musica sacra di Alessandro Scarlatti a Roma: testi, contesti, documenti. He is tenured professor of History of Music in the Conservatory of Frosinone. His main field of research is the music in Rome in the Baroque era, especially sacred music, musical institutions, archival studies. He published articles in Nuova Rivista Musicale Italiana, Rivista italiana di musicologia, Recercare, Studi musicali, Acta Musicologica, Analecta Musicologica, Die Tonkunst. He published four volumes of critical editions of the sacred music of Alessandro Scarlatti. He collaborates for recording and performing projects with some of the most appreciated Italian performers in the baroque music: Rinaldo Alessandrini and Concerto Italiano, Fabio Biondi and Europa Galante, the violinist Enrico Gatti and ensemble Odhecaton. In February 2013 he has been invited to give papers and lectures at Princeton University and Harvard University. He gave lectures and seminars in Manchester, Birmingham, Paris, Lisbon, Mainz, Bremen.