The Early Romantic Solo Concerto
Partenaire
Organized by Centro Studi Opera Omnia Luigi Boccherini and Palazzetto Bru Zane – Centre de musique romantique française (Venice). Lovere (BG), Library of Centro Studi Opera Omnia Luigi Boccherini, 17-19 October 2025.
Scholarly Committee : Roberto Illiano, Étienne Jardin, Massimiliano Locanto, Fulvia Morabito, Luca Lévi Sala, Massimiliano Sala
Keynote Speakers : Simon P. Keefe, John D. Wilson
Programme
Keynote Speaker 1
John D. Wilson – Publishing the Virtuoso Concerto around 1800: Between Brand-Building and Intellectual Property
Adapting Virtuosity
Magdalena Oliferko-Storck – The Early Romantic Instrumental Concert as a Single Branding Platform
Mateusz Kawa – Mozart. Hummel. Chopin. Piano Concerto
Formal Boundaries
Benjamin Guillaume Glorieux – «On a abandonné les formes sérieuses!»: Reflections on Form and Content in Solo Works by François Servais
David E. Schneider – Formal Innovation in the first Movements of Ludwig Spohr’s and Carl Maria von Weber’s First Clarinet Concertos
Aviram Freiberg – Early Romantic Concerti. General Characteristics
Alison Sanders McFarland – Sterndale Bennett’s First Piano Concerto: Early Romanticism in Britain
Performance Practice
Scot Buzza & Lluís Heras Fortuny – Joseph Haydn and the 5-string Cello
Judith Valerie Engel – Vienna’s Greatest Pianists Were Dilettantes
Adapting Virtuosity
Siegwart Reichwald – Felix Mendelssohn’s Grand Tour: Touring Piano Virtuoso or Evangelist in the Wilderness
Pascal Schiemann – Beyond the Mozartian Model? Dussek, Cramer, and Virtuosity’s Impact on Form in the Early Romantic Piano Concerto
Mark McFarland – Schubert’s Concerto (1816) and the Composer’s Developing Conception of Solo Violin Writing Coffee
Keynote Speaker 2
Simon P. Keefe – On Pragmatism and Principles: Keeping Mozart’s Piano Concertos Alive in the Early Nineteenth Century
Rhetoric and Musical Narrative
Dan Deutsch – The Romantic Fragment in the Early Nineteenth-Century Concerto
Malwina Marciniak – The Early Romantic Narrative Piano Concerto
Between Tradition and Innovation
Vjera Katalinić – The Violinist and Composer Giovanni Giornovichi (1747-1804): A Romantic Classicist?
Kateryna Ielysieieva – Female Leadership and Musical Innovation: Marianna Bottini’s Clarinet Concerto with Orchestra
Francesco Monti – ‘Virtuosismo senza orchestra’: Hélène de Montgeroult e Louise Farrenc tra esclusione sinfonica e invenzione concertante nel pianismo romantico
Sociological Issues – Reception
Sara Tabuenca Agramonte – Female Pianists and Schubert’s Reception in 19th-Century Spain: A Study Through Historical Press
Isabella Rossi – Il concerto solista nel catalogo Ricordi: tra tradizione cameristica e virtuosismo orchestrale
Sara Amoresano – In dialogo con l’Europa. Francesco Lanza e le origini del concertismo pianistico a Napoli Coffee Break
Sociological Issues – Reception
Livia Laifrova – De Krumpholtz à Moscheles : la diffusion et la réception des concertos pour un instrument soliste des compositeurs tchèques à Paris (1790-1830) New Sonorities
Clément Noël & François-Pierre Goy – « Un instrument peu connu, et qui mériterait de l’être davantage »: l’apparition du cor anglais à Paris au tournant du XIXe siècle
Jack Adler-McKean – Lost Music for a Lost Instrument: Nineteenth-Century Solo Repertoire for Bass Tuba
Aesthetic Issues
Amon Sokolski – «L’Incendie par l’orage»: Musical Depictions of Storms in Early 19th-Century Concertante Piano Music
Mara Lacchè – Tra natura e leggende, la dimensione del sublime nei concerti per pianoforte e orchestra di primo Ottoce nto: da Field e Hummel
Dominik Mitterer – Concerto Politics: «Vormärz» Violin Virtuosi and the Aesthetic Regimes of Self-Expression
Guillaume Tardif – A Key for the Times: Four Early Romantic Violin Concertos in F-Sharp Minor
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publication date : 02/01/26