International Symposium: “Understanding Bach's B-minor Mass”

School of Music and Sonic ArtsInternational Symposium: “Understanding Bach’s B-minor Mass”2-4 November 2007, School of Music and Sonic Arts, Queen’s University BelfastDraft Programme as of 10 June 2007Friday, 2 November 2007Session 1 (16:00-18:00): Historical Background (1): seen from wider context (Chair: George B.Stauffer, Rutgers University, USA)Tanya Kevorkian (Millersville University, USA): “Cultural Transfer, Cultural Competition, and ReligiousDiversity in Leipzig during the Baroque Era”Jasmin Cameron (Aberdeen University): “Placing the Et incarnatus est and Crucifixus in Context:Bach and the Panorama of the Baroque Mass Tradition”Michael Maul (Bach-Archiv Leipzig, Germany): “How relevant are the Counts Sporck andQuestenberg for the Genesis and Early Reception of the B-Minor Mass?”Response by Christoph Wolff (Harvard University, USA)DiscussionDinner & ConcertSession 2 (20:00-21:30): Historical Background (2): seen through Bach’s contemporaries inDresden (Chair: George B. Stauffer)Szymon Paczkowski (University of Warsaw, Poland): “On the Role and Meaning of the Polonaise inthe Mass in B minor by Johann Sebastian Bach”Janice Stockigt (University of Melbourne, Australia): “Consideration of Bach’s Kyrie e Gloria BWV232/1 within the Context of Dresden Catholic Mass Settings, 1728-1733”Response by Ulrich Siegele (University of Tübingen, Germany)DiscussionSaturday, 3 November 2007Session 3 (09:30-11:10): Composition and Meaning (1): Aesthetics (Chair: Reinhard Strohm,Oxford University)Melvin Unger (Baldwin-Wallace College, USA): “Chiastic Reflection in the B-Minor Mass: Lament’sParadoxical Mirror”George B. Stauffer (Rutgers University, USA): “The Symbolum Nicenum of the B-Minor Mass andBach’s Choral Ideal”Response by Paul Walker (University of Virginia, USA)DiscussionCoffee break

2Session 4 (11:30-13:00): Composition and Meaning (2): Proportion (Chair: Reinhard Strohm)Ruth Tatlow (Stockholm University, Sweden): “Parallel Proportions, Final Revisions and the Status ofthe Manuscript P180”Ulrich Siegele (University of Tübingen, Germany): “Some Observations on the Formal Design ofBach’s B-minor Mass”Response by John Butt (University of Glasgow)DiscussionLunch breakSession 5 (14:00-15:40): Theology (Chair: Robin A. Leaver, Westminster Choir College of RiderUniversity, USA)Mary Dalton Greer (Cambridge, MA, USA): “Bach’s Calov Bible and his Quest for the Title of RoyalCourt Composer”Robin A. Leaver (Westminster Choir College of Rider University, USA): “How ‘Catholic’ is Bach’s‘Lutheran’ Mass?”Response by Anne Leahy (DIT Conservatory of Drama and Music, Ireland)DiscussionTea breakSession 6 (15:40-17:40): Sources and Editions (Chair: Ulrich Leisinger, Internationale StiftungMozarteum Salzburg, Austria)Tatiana Shabalina (St. Petersburg State Conservatoire «Rimsky-Korsakov», Russia): “ManuscriptScore No. 4500 in St. Petersburg: A New Source of the B-minor Mass” Uwe Wolf (Bach-Archiv Leipzig, Germany): “Many Problems, Different Solutions? Editing Bach’s B-Minor Mass”Hans-Joachim Schulze (Bach-Archiv Leipzig, Germany): “Tracing the Sources of the B-minor Massbefore 1800”Response by Daniel Boomhower (Kent State University, USA)DiscussionReceptionKeynote Paper by Christoph Wolff (Harvard University, USA): “Past, Present, and Future—Perspectives on Bach’s B-Minor Mass” (introduced by Ian Woodfield, Queen’s University Belfast)Conference DinnerSunday, 4 November 2007Session 7 (09:30-11:30): Performance Issues (Chair: John Butt, University of Glasgow)Jan-Piet Knijiff (Queens College & Hofstra University, USA): “Performing Bach’s B-minor Mass: SomeNotes by Heinrich Schenker”Uri Golomb (Tel Aviv, Israel): “Intensity, Complexity and Musical Rhetoric in Performances of theMass in B minor”

3 Andrew Parrott (Oxford): “Vocal Ripienists and the Mass in B minor” Response by Yo Tomita (Queen’s University Belfast) DiscussionCoffee breakPublic Q&A Session (12:00-13:00)LunchSession 8 (14:00-15:20): Reception History (1): Awakening and Reception (Chair: Jan Smaczny,Queen’s University Belfast)Ulrich Leisinger (Internationale Stiftung Mozarteum Salzburg, Austria): “Haydn’s Copy of the B-MinorMass and Mozart’s Mass in C Minor”Anselm Hartinger (Schola Cantorum Basiliensis, Switzerland): “A ‘Fairly Correct Copy of the Mass?’Mendelssohn’s Score of the B-minor Mass as a Document of the Romantics’ View on Matters ofPerformance Practice and Source Criticism”Response by Robin A. Leaver (Westminster Choir College of Rider University, USA)DiscussionTea breakSession 9 (15:40-17:50): Reception History (2): Roundtable—B-minor Mass in continuum (Chair:Jan Smaczny)Katharine Pardee (Oxford University): “The B-Minor Mass in Nineteenth-Century England”Jan Smaczny (Queen’s University Belfast): “Bach and the B-minor Mass in the Fabric of Music in mid19th-Century Prague”Tatiana Shabalina (St. Petersburg State Conservatoire «Rimsky-Korsakov», Russia): “ReceptionHistory of the B-minor Mass in Russia” Paul Luongo (Florida State University, USA): “Theodore Thomas’s 1902 Performance of Bach’s B-minor Mass: Working within the Grand American Festival”DinnerTadashi Isoyama (Kunitachi College of Music, Japan): “The B-minor Mass and Japanese People: aProblematical Issue of ‘Universality’”Response by Barra Boydell (NUI Maynooth, Ireland)DiscussionConcert: The Mass in B minor. The Dunedin Consort directed by John Butt (at Clonard Monastery)Party