The full programme booklet, with abstracts, can be downloaded by clicking on the following link:


The programme includes a concert by Anna Schivazappa and Dan Tidhar on baroque Neapolitan mandolin and harpsichord and a recital by João Vaz on the 1765 João Fontanes de Maqueira organ at São Vicente de Fora, Lisbon. The keynote lecture will be given by David J. Smith (University of Aberdeen).

Sessions 1-6 and the keynote lecture take place in Sala Multiusos 3 (I&D Building, 4th floor). Session 7 (Saturday, late morning) will be in Torre B within the FCSH campus grounds.

All refreshment breaks are in Cardápio Mágico (I&D Building, 1st floor), but lunch on Friday is at Com Sabor (FCSH plaza)

Thursday 7th June

1100-1300: Registration

1345-1400: Welcome

1400-1600: Session 1. Print and concepts of authorship in the 16th and 17th centuries

Authorship in sixteenth-century Italian keyboard music

Cristina Cassia (Fachhochschule Nordwestschweiz)

Hans Buchner's Fundamentum: A Case Study and Suggestions for a New Historiographic Framework

August Rabe (University of Vienna)

The curious case of the Wegweiser: an organ tutor 'compiled by several good friends'

John McKean (Boston)

Manuel Rodrigues Coelho, Flores de musica (1620): challenges for the preparation of a new edition

João Vaz (Escola Superior de Música de Lisboa).

1600-1630: Refreshments

1630-1810: Session 2. Stylistic analysis

Style and attribution in the music of 'Louis' Couperin

Dan Tidhar, with Francis Knights and Pablo Padilla (Wolfson College, University of Cambridge)

Analysing Francisco Xavier Baptista's works: Attribution of his Last Keyboard Sonatas

Mafalda Nejmeddine (Universidade de Évora)

Tracing Spanish Style in the eighteenth century: The Essercizi in context

Luisa Morales (University of Melbourne and FIMTE Festival)

1810-1820: Interval

1820-1900: Concert: Anna Schivazappa (IReMus/Paris-Sorbonne University) (baroque Neapolitan mandolin) and Dan Tidhar (University of Cambridge) (harpsichord): music by Domenico Scarlatti, Francesco Mancini, Francesco Bartolomeo Conti, Alessandro Scarlatti, and Nicola Francesco Haym.

Friday 8 June

0900-1100: Session 3. Transmission of musical texts in manuscript and print

Tabulated motets in the Giordano 4 volume of the Turin Tablature

Alberto Macrì (Genoa)

'Cette manière de verset est à mon avis la plus belle & la plus considérable de l'orgue': Le Livre d'orgue de Montréal as an Important Link for the Early Manuscript Transmission of Nicolas-Antoine Lebègue's Récits en taille from his Pièces d'orgue (Paris, 1676)

Walter Kreyszig (University of Saskatchewan)

Authorship and creative copying in Braga, Arquivo Distrital, MS 964

  • Andrew Woolley (Universidade Nova de Lisboa)

From opera arias to solo sonatas: the case of the Sonates pour le clavecin [...] Opera IV by Domenico Scarlatti (F-Pn VM7-4428)

Anna Schivazappa (IReMus/Paris-Sorbonne University)

1100-1130: Refreshments

1130-1300: Session 4. Concepts of authorship and authenticity in the 19th and 20th centuries

Liszt and Busoni: Bach and the Vocation of the Art of Transcription The Dilemma of Authorship; from an Artistic and Pedagogical tool to a Music-Philosophical Statement

Jan Lust (KU Leuven)

Composers' Recordings from the Turn of the Century: changing historical concepts of authorship and intentionality

Inja Stanovic (University of Huddersfield)

Can piano learn to speak the organ language? Comparative analysis of Busoni's and Kempff's transcriptions of organ chorale Nun komm' der Heiden Heiland BWV 659

Marija Golubović (Belgrade)

1300-1430: Lunch at Com Sabor (FCSH plaza)

1430-1630: Session 5. Authorial identity

Rule and Rivalry: José de Torres, the Imprenta Musica, and their Influences on the Spanish Aesthetic

Michael Quinn (Case Western Reserve University)

Authorship, improvisation and identity in José Maurício Nunes Garcia's Método de pianoforte

Luciana Câmara (Federal University of Pernambuco)

Empress Leopoldina of Brazil and the two-hand piano transcription: performing Haydn in the New World

Erasmo Estrada (Recife)

Mozart's Earliest Slurring and the Significance of Leopold Mozart's involvement in the Young Mozart's Compositions

Beth Chen (Manchester)

1630-1700: Refreshments

1700-1800. Keynote lecture: David J. Smith (University of Aberdeen), Authorship and Identity: Composer, Performer and Scribe in Early (English) Keyboard Music


2030. Concert: João Vaz (Escola Superior de Música de Lisboa) on the 1765 João Fontanes de Maqueira organ at São Vicente de Fora, Lisbon: music for the organ in Portugal (c.1550-c. 1800) by António Carreira, Manuel Rodrigues Coelho, Frei Diogo da Conceição, Domingos de S. José, Carlos Seixas, Frei Francisco de São Boventura, and anonymous.

Saturday 9th June

0930-1030: Session 6: Authorial intention in the 18th century

A Hypocrite Called Rameau? Thoughts on the Similarities and Differences in the Treatment of Tonality in Rameau's Theories on Harmony vs. his Practice in his Harpsichord Compositions

Nikola Komatović (Serbia)

The performance practice of the organ works of Johann Sebastian Bach in relation to the central German organ of the eighteenth century in general and the instruments of Gottfried Silbermann in particular

Jolanda Zwoferink (KU Leuven)

1030-1100: Refreshments

1100-1300: Session 7 (in Torre B): Intent and authorship in piano transcriptions

A Suitable Case for Treatment: Multiple Layers of Authorship and the Practice of Keyboard Arrangements

Katrina Faulds with Penelope Cave (University of Southampton)

Variation of authorship: a study of Ludwig Schuncke's Grandes Variations based on Robert le Diable

Nana Wang (University of Southampton)

Pen and paper? Authorship in transcriptions for the piano from the beginning of the twentieth century

Laia Martin Hernandez (Universidade de Aveiro)

1300: conference lunch at the Grand' Elias.

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