Music Preferred

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. Professor Dr Thomas Hochradner Chair of the Department of Musicology University of Music and Dramatic Arts Mozarteum Salzburg

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CONTENTSNOTES ON CONTRIBUTORSFOREWORD by Gerard GillenINTRODUCTION by Lorraine Byrne Bodley and Robin ElliottPART ONE: THE MUSICAL BAROQUEJulian Horton: J. S. Bach's Fugue in C sharp minor, Well-Tempered Clavier, Book I and the Autonomy of the Musical WorkLorenz Welker: Johann Joseph Fux's Sonata à 4 in G (K. 347): Further Considerations on its Source, Style, Context and AuthorshipTassilo Erhardt: Johann Joseph Fux' Church Music in its Spiritual and Liturgical ContextsJen-yen Chen: The Musical Baroque in China: Interactions and Conf lictsDenis Collins: Canon in Baroque Italy: Paolo Agostini's Collections of Masses, Motets and Counterpoints from 1627PART TWO: MUSIC IN IRELANDKerry Houston: John Mathews: A Specimen of Georgian Ignorance?Ita Beausang: There is a calm for those who weep: William Shore's New Edition of a Chorale by John [sic] Sebastian BachAxel Klein: "No, Sir, the Irish are not musical": Some Historic (?) Debates on Irish MusicalityAdrian Scahill: "That vulgar strummer": The Piano and Traditional Music in the Gaelic RevivalMaria McHale: "Hopes for regeneration": Opera in Revivalist Dublin, 19001916Karol Mullaney-Dignam: "What do we mean by Irish music?" The Politics of State-Sponsored Music Publication in Independent IrelandRuth Stanley: "Jazzing the soul of the Nation away": The Hidden History of Jazz in Ireland and Northern Ireland During the Interwar YearsGearóid Ó hAllmhuráin: Sonic Icon, Music Pilgrimage: Creating an Irish World Music CapitalMéabh Ní Fhuartháin: "In the mood for dancing": Emigrant, Pop and FemaleGareth Cox: Aloys Fleischmann's Games (1990)Denise Neary: The Development of Music Performance as Artistic Research in IrelandMichael Murphy: "Irish" Musicology and Musicology in IrelandPART THREE: MUSIC AND LITERATUREDeclan Kiberd: The New PolicemanGerry Smyth: Moore, Wagner, Joyce: Evelyn Innes and the Irish Wagnerian NovelJohn O'Flynn: Alex North, James Joyce, and John Huston's The Dead (1987)Patrick Zuk: L'ami inconnu: Nataliya Esposito and Ivan BuninPART FOUR: AUSTRO-GERMANIC TRADITIONSMichael Hüttler: Hof- and Domkapellmeister Johann Joseph Friebert (17241799) and his SingspieleAnne Hyland: Tautology or Teleology? Reconsidering Repetition and Difference in Two Schubertian Symphonic First MovementsSusan Youens: Of Anthropophagy, the Abolitionist Movement, and BrahmsShane McMahon: The Moth-Eaten Musical BrocadeDavid Cooper: "Die zweite Heimat": Musical Personae in a Second HomeGlenn Stanley: Brechtian "Fidelio". Performances in West GermanyNicole Grimes: Brahms as a Vanishing Point in the music of Wolfgang RihmPART FIVE: MUSIC IN BRITAINPauline Graham: Intimations of Eternity in the Creeds from William Byrd's Five-Voice Mass and Great ServiceJohn Cunningham (Bangor University): "An Irishman in an opera!":Music and Nationalism on the London Stage in the Mid1770sJeremy Dibble: Canon Thomas Hudson, Clergyman Musician, Cambridge Don and the Hovingham 'Experiment'William A. Everett: The Great War, Propaganda, and Orientalist Musical TheatreRichard Aldous: "Flash Harry": Sir Malcolm Sargent and the Progress of Music in EnglandPART SIX: MUSIC HISTORIES WORLDWIDEPhilip V. Bohlman: Worlds Apart: Resounding Selves and Others on Islands of Music HistoryIvano Cavallini: A Counter-Reformation. Reaction to Slovenian and Croatian ProtestantismStanislav Tuksar: Musical Prints from c.17501815 in the Dubrovnik Franciscan Music CollectionVjera Katalinic: Routes of Travels and Points of Encounters Observed Through Musical BorrowingsJan Smaczny: Antonín Dvoák in the SalonJaime Jones: Singing the WayPART SEVEN: MUSIC AND POETRYJohn Buckley: A Setting of Harry White's Sonnet Bardolino from Polite Forms (2012) for Baritone and PianoAFTERWORD by Iain FenlonHARRY WHITE: PUBLICATIONS