Center & Clark Core Program, 2004-2005
Structures
of Feeling in Seventeenth-Century Cultural Expression
Directed
by Susan McClary, Musicology, UCLA
The seventeenth century witnessed significant transformations in conceptions of the self. Following the waning of the Renaissance and prior to the period of consolidation we call the Enlightenment, many fundamental aspects of human behavior — ideals of bodily deportment, modes of channeling the passions, constructions of gender and the erotic, expressions of religious devotion, ways of experiencing time and space — changed radically. Historians who take the eighteenth century as normative often trace forerunners of various elements back into the previous period, and they have contributed a great deal, for the 1600s did indeed usher onto the cultural stage many of the practices we still count as our own: the rise of experimental science, the increased emphasis on the individual, the invention of opera. But we can only identify these seventeenth-century manifestations as "us” if we ignore details such as Isaac Newton's lifelong commitment to alchemy, the idiosyncratic utterances of religious mystics, or the internationally adored stars of operatic representation — the castrati.
This year's series of core conferences concentrates on various modes of seventeenth-century cultural expression, understood not as embryonic forms that later reached maturity but as ways developed for making sense of a world strikingly different from our own. Its title draws upon Raymond Williams' phrase "structures of feeling," which yokes together dimensions of human experience often regarded as unique or subjective with scholarly methods of formal analysis and research. Like Michel Foucault and others, Williams regards "feelings” as phenomena shaped by culture and therefore as crucial elements of the historical record. But how do we go about studying such ephemeral qualities when the people who embodied them lived 400 years ago?
Some of the radical transformations of this period were explicitly acknowledged in verbal texts. Others, however, left their most vivid traces in cultural media — the visual and plastic arts, literature, theater, music, dance — that do not always explain their motivations in words. They manifest themselves rather through explorations of affective extremes, violations of traditional stylistic principles, transgressions against officially condoned behaviors. So long as we demand verbal confirmation as evidence for historical arguments, we will continue to neglect some of the most profound changes in European subjectivities.
Nonetheless, the task of deriving dependable information from cultural practices remains daunting. It is for this reason that scholars and performers from a wide range of disciplines and areas of expertise have been invited to participate in this year's Clark Library conferences. Many of the presentations will count as experimental, as speakers dare to put into words issues that appear absolutely fundamental and yet unprovable — at least as judged by usual academic criteria. Over the course of four conferences, we will try to find ways of discussing and arguing over presumably ineffable aspects of seventeenth-century culture.
The sessions will combine the latest historical research with live performances of seventeenth-century music and dance. Although the performances will provide aesthetic pleasure, they will count as sources of historical knowledge as participants strive to translate their responses into words and ideas. By bringing together historians, philosophers, legal theorists, and specialists in the arts, Structures of Feeling in Seventeenth-Century Cultural Expression aspires to spark new questions for the study of seventeenth-century — and subsequent — conceptions of subjectivity.
The yearlong program of 2004-05 will explore these transformations
across a range of arts and disciplines. A series of interdisciplinary
conferences
and seminars will focus on the following four topics:
Academic and Public Programs,
2004-2005
Unless otherwise noted, all programs will be held at the
Clark Library, 2520 Cimarron Street, in the West Adams district of
Los Angeles.
Limited seating at the Clark makes advance
registration necessary for all programs.
Registration fees cover the cost of lunches and refreshments and,
where applicable, the distribution of advance copies of papers.
Inquiries should be addressed to the Center
office at 310 Royce Hall, UCLA
October 8–9(Friday & Saturday),
Imposters:
Identity
and Pretense in Europe and the Atlantic World, 1600–1800
arranged by
Margaret C. Jacob,
UCLA
Mary Lindemann, University of Miami
Jeffrey S. Ravel, Massachusetts Institute of Technology
The topic of imposture in
the seventeenth and eighteenth centuries is one that is ripe
for examination in a cross-cultural, transnational perspective.
While the adventures of Giacomo Casanova or the Chevalier d’Eon
were well known at the time and remain notorious today, they
offer but two examples of the many forms of imposture by individuals
and groups that occurred throughout Europe and the Atlantic
world between 1600 and 1800. This program will address several
questions, including: What distinguished imposture in this
period from that which took place before and after in the
West? How do imposters at this time differ from "aventuriers" or
those who engage in masquerade, or from the temporary slippage
of identities on stage? Is there a shift from group imposture
in the seventeenth century (motivated primarily by religious
intolerance) to individual imposture in the eighteenth century
(encouraged by new financial and commercial possibilities)?
Does institutional change, as much as political and cultural
discourse, account for new and changing opportunities to counterfeit
identity? Is the nature of imposture different in the colonies
than in the metropole? And, finally, how might such a broad-based
inquiry into imposture address scholarship on the nature of “identity” and “self” in
the West?
Conference
papers will be accessible from this page as they are
received, two weeks before and two weeks after
the conference. They will be mailed to registrants by request.
Registration
deadline—September
24
Registration fees—UC faculty & staff:
$15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form.
Fees are not refundable. Lunch and other refreshments are provided.
October 17 (Sunday), 2:00 p.m.
— Chamber Music at the Clark
—
New
Zealand String Quartet
Helene Pohl, Violin
Douglas Beilman, Violin
Gillian Ansell, Viola
Rolf Gjelsten, Cello
Acclaimed for its powerful
communication, dramatic energy, and beauty of sound, the New
Zealand String Quartet performs
more than sixty concerts annually in New Zealand, Europe, Asia,
and North America. The NZSQ concert repertoire includes standard
items from Beethoven to Bartók, as well as premieres of compositions
by New Zealand’s “native sons.” The group has been featured in North
America on Public Radio’s Saint Paul Sunday and has recorded for Deutsche Welle,
CBC in Canada, and Australia’s ABC. It appears regularly on Radio New Zealand’s
Concert FM. An NZSQ performance of Bartók’s Six String Quartets was released
in 1998, on the BMG label. Other recordings by the ensemble may be found
on the Atoll Ltd. label.
—
P R O G R A M
—
Ludwig van Beethoven, String Quartet in B-Flat Major, Op. 18, No. 6,
La Malinconia
György Ligeti, String Quartet No. 1, Métamorphoses nocturnes
—
I N T E R M I S
S I O N —
Bedrich Smetana, String Quartet
No. 1 in E Minor,
Z mého života
(From My Life)
—
R E C E P T I O
N —
Reservation lottery submission
deadline: September 20
Admission: $20 per person
For an explanation of
the reservations lottery system, to access printable reservation-by-lottery
forms for upcoming concerts, and for direct links to the ensembles'
home pages, please see Music
Programs, 2004–05.
October 22–23(Friday & Saturday),
Oscar
Wilde at 150
A
Legend in the Making
arranged by
Joseph
Bristow,
UCLA
Oscar Wilde (1854-1900), by any account, was a legend in his lifetime.
The legend began in the mid-1870s when the undergraduate Wilde told his Oxford peers that he found it hard to “live up”
to the fancy blue china that decorated his rooms at Magdalen College. No sooner had he moved into London’s artistic
circles than he gained notoriety for his outlandish mannerisms as the ultimate aesthete of the age. Within a few years
his celebrity as a “Professor of Aesthetics” led to his twelve month lecture tour of North America, where his discussion of
“The English Renaissance of Art” and “House Decoration” caused a stir.
By the late 1880s, Wilde had established his name as a writer
of ambitious critical prose in the tradition of Arnold,
Ruskin, and Pater, and his gifted epigrammatic wit caught
the public’s attention. In 1890 his remarkable novel, The Picture
of Dorian Gray, was withdrawn from sale by booksellers in
England because reviewers were offended by what they perceived
to be its homosexual subtext. Thereafter, Wilde turned his hand
to Society Comedies,
which started with the immensely successful Lady Windermere’s Fan (1892).
Meanwhile, his interest in experimental drama resulted in his French-language
play, Salomé, upon which the Lord Chamberlain’s office imposed a ban
because it was found to be “half-biblical, half-pornographic.”
In early 1895, his enduringly controversial career reached its
peak. At the time, his plays, An Ideal Husband and
The Importance of Being Earnest, were attracting large audiences at two of the most eminent theatres in London’s West End.
But just at the point when he achieved a level of fame almost unmatched by his contemporaries, Wilde entered a disastrous
libel suit against the Marquess of Queensberry, father of Wilde’s closest male companion, Lord Alfred Douglas. The failure
of this trial unexpectedly prompted the Solicitor-General to charge Wilde with offenses under the eleventh section of the
Criminal Law Amendment Act (1885). On 25 May 1895 Wilde was found guilty of committing acts of “gross indecency” and of
conspiracy to commit such acts.
As a consequence, Wilde served a brutal two-year prison sentence,
during which time his experience of solitary confinement with hard
labor almost broke his spirit and certainly ruined his physical
health.
Toward the end of his jail term he gained permission to write the
great autobiographical and philosophical work that readers would
know from 1905 onward as De Profundis. After his release,
Wilde completed only one further literary work, The Ballad
of Reading Gaol (1898). Since there remained much embarrassment about his
fall from grace, Wilde issued this highly popular poem under the pseudonym “C.3.3.” (the number of his prison cell).
On 30 November 1900 he died of meningitis in a shabby hotel room in the Latin Quarter of Paris. He was forty-six years old.
Ever since Wilde’s untimely demise, aspects of his legendary career have exerted extraordinary influence on modern culture.
In the name of commemorating the 150 years that have passed since his birth, the William Andrews Clark Memorial Library—which
houses the largest Wilde archive in the world—is hosting this conference which will explore the ways his literary contemporaries
and his cultural heirs made and remade his legend. The program ranges widely across the nineteenth, twentieth, and twenty-first
centuries to consider how Wilde became such an iconic figure in his own time and why his legend retains such power in ours.
Scholars drawn from a variety of disciplines will address such topics as Wilde’s relations with literary culture, photography,
the law, homosexual rights, anarchist politics, modern dance, and recent Hollywood film.
Registration
deadline—October 15
Registration fees—UC faculty & staff:
$15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form.
Fees are not refundable. Lunch and other refreshments are provided.
November 19 (Friday),
The Third Annual Richard H. and Juliet G. Popkin Lecture in Intellectual History and the History of Philosophy
Religion and the Rights of Women: Mary Astell to Mary Wollstonecraft
SARAH HUTTON
Professor of Early Modern Studies at Middlesex University
This lecture will focus on some of the women who argued for equality, education and the expansion of female agency in the century prior to the publication of Mary Wollstonecraft's A Vindication of the Rights of Woman (1792). Since, prior to Wollstonecraft, women did not use the terminology of rights as such, this lecture sets out to trace continuities in the ways they make their case. The central thesis is that the religious and ethical views of politically-conscious women were central to the way they articulated their case for what subsequently came to be discussed as women's rights. This lecture will center on the work of Mary Astell, Elizabeth Carter, Catherine Macaulay Graham and Mary Wollstonecraft.
Following the lecture, a special presentation will be made by Richard and Juliet Popkin to the Clark Library of a copy of the 1562 edition of the works of Sextus Empiricus. This rare work is the first printed version, in any language, of the text believed to have started modern interest in scepticism. The presentation will be followed by a reception.
This lecture is made possible by the generous support of Richard H. and Juliet G. Popkin.
Registration
deadline—November 15th
Admission is complimentary, but advance registration is required.
December 12th (Sunday), 2:00 p.m.
— Chamber Music at the Clark
—
The Bennie Maupin Ensemble
Bennie Maupin, Composer, Woodwinds
Darek Oles, Acoustic Bass
Michael Stephans, Drums/Spoken Word
Munyungo Jackson, Percussionist
Someone once said that the smaller the ensemble, the fewer places there are to hide. Musicians—notably jazz musicians—are pretty much in agreement that the most intimate small-group settings require greater levels of responsibility on the part of all hands. Taking this notion a step further, when there is no chordal instrument (such as the piano or the guitar) in a small ensemble, then the responsibility is heightened even more. Saxophone-bass-drums trios have been around for quite a while, beginning back in the late 1950's with the Sonny Rollins trio being the most notable example. Since that time, there has been a wildly diverse population of creative saxophonists who have jumped into the fray; there is truly no place to hide in this setting—no chords to weave into and out of, no other horns to play counterpoint with—what you see is definitely what you hear. To negotiate this tough trio terrain, The Bennie Maupin Ensemble creates a different kind of musical tapestry, weaving their music in around and through itself—sort of a musical warp and woof, with all threads different from one another, yet all leading into symmetrical, unified patterns. The Maupin Ensemble came about as a result of Maupin's continuing musical association and friendship with drummer/percussionist Michael Stephans. Internationally renowned bassist Darek Oles was a natural addition because of his open approach to interpretation and improvisation, as well as his masterful bass playing. In early 2003 world-class percussionist Munyungo Jackson joined the trio and the Ensemble was born.
—
P R O G R A M
—
The Journey
Tapping Things
Vapors
Mirror Image
Level Three
Penumbra
—
I N T E R M I S
S I O N —
Mr. DePriest
Trope on a rope
Freetown
Blinkers
Equal Justice
Message to Prez
—
R E C E P T I O
N —
Reservation lottery submission
deadline: November 15th
Admission: $20 per person
For an explanation of
the reservations lottery system, to access printable reservation-by-lottery
forms for upcoming concerts, and for direct links to the ensembles'
home pages, please see Music
Programs, 2004–05.
January 21-22
Structures of Feeling in Seventeenth-Century Cultural Expression
Core Program, Session I
Genders and Sexualities
The first conference in the series deals with the seventeenth-century shaping of genders and sexualities. Long treated as immutable universals, these dimensions of selfhood have become particularly important concerns for cultural and social historians, especially during this period. Recall, for instance, the elaborate wigs worn by men, the Venetian opera plots that revolve around mistaken gender identity (easy mistakes to make when the male characters usually sang in the soprano range!), or sexually explicit images circulated in both secular and religious contexts. Topics to be pursued include the gendered performances in court and public opera, contemporary debates over costume and fashion, instances of transgressive erotic expression, the ideological shaping of masculinity and femininity, and tensions between feminist and queer explanations of such historical phenomena.
Registration deadline—January 14
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
January 30th (Sunday), 2:00 p.m.
— Chamber Music at the Clark
—
The Boston Trio
Irina Muresanu, Violin
Allison Eldredge, Cello
Heng-Jin Park, Piano
Since their formation in 1997, the Boston Trio has quickly become one of today’s most exciting young piano trios. They enjoy a devoted following in Boston and a steadily growing reputation throughout the United States, as they continue to have great success wherever they play. Soon after their debut, they were asked to become Trio-in-Residence at the American Academy of Arts and Sciences, where they continue to be in residence. The trio has coached chamber music at the Tanglewood Institute of Music, and individually the members of the trio serve on the faculties of the New England Conservatory, Boston Conservatory and MIT.
The Boston Trio released a CD in March 2000 with trios by Ravel, Brahms, and Suk, and also have been guests for numerous occasions on the WGBH-radio programs, “Classics in the Morning” and “Classical Performances.”
—
P R O G R A M
—
Felix Mendelssohn, Trio No. 2 in C Minor, Op. 66
Paul Schoenfield, Café Music
—
I N T E R M I S
S I O N —
Johannes Brahms, Sextet for Strings No. 1 in B-Flat Major, Op. 18, arranged
for piano trio by Theodor Kirchner
—
R E C E P T I O
N —
Reservation lottery submission
deadline: January 3rd
Admission: $20 per person
This concert is made possible by the generous support of The Ahmanson Foundation of Los Angeles.
For an explanation of
the reservations lottery system, to access printable reservation-by-lottery
forms for upcoming concerts, and for direct links to the ensembles'
home pages, please see Music
Programs, 2004–05.
February 11-12
Structures of Feeling in Seventeenth-Century Cultural Expression
Core Program, Session II
Culture and the Law
Controversial behaviors of the sort explored in the first conference in our series did not occur without concomitant attempts at reining in or imposing reason upon modes of expression. The second conference focuses on the relationships between cultural forms and law, power, and theory. In certain instances, authorities appropriated art for purposes of propaganda and self-aggrandizement: many of the monuments of baroque culture were commissioned by the Jesuits or absolutist rulers, and the preferences of these powerful patrons influenced the subject matter and styles of the resulting works. Several of the speakers at this conference will deal with differences between Italy, Spain, England, and the New World in the shaping of official art. Others will examine the ways individuals experienced their own potentials and constraints within the courts, which attempted to impose behavioral conformity through overt regulation or more subtle means such as ridicule. The practice of rationalizing art through abstract theory often resembles in form and agenda the development of legal codes, and a cluster of presenters — some from the discipline of music theory, others from law — will examine the quite literal structuring of feeling during this period.
Registration deadline—February 4
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
February 25-26
Atlantic Knowledges: The Sciences and the Early Modern Atlantic World
Arranged by Margaret C. Jacob, UCLA, James Delbourgo, McGill University and Nicholas Dew, McGill University
Sponsored by the UCLA Center for 17th-& 18th-Century Studies and the William Andrews Clark Memorial Library
How did the natural sciences shape the Atlantic world, and how did the Atlantic shape the sciences? This symposium is the first to discuss the simultaneous creation of natural knowledge and the Atlantic world in early modern Spanish, Portuguese, French, British and Dutch colonial experience. Instead of assuming a purely metropolitan or colonial perspective, Atlantic Knowledges will place transoceanic and intercultural processes center-stage. The program will explore the complex relations between heterogeneous knowledges and distinct colonial experiences before science and empire respectively assumed their more stable modern forms.
Conference papers will be accessible from the program schedule page as they are received, and will remain online for two weeks after the conference. They will be mailed to registrants by request.
Registration deadline—February 7
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
March 4-5
Politicizing Jane Austen
Arranged by Anne K. Mellor, UCLA and Jonathan H. Grossman, UCLA
For years the work of Jane Austen was thought to focus narrowly on, in her own terms, “two or three families in a country village.” But in recent years scholars have drawn increasing – but still insufficient – attention to the way in which a British country village in the late eighteenth-century was necessarily caught up in the influential social and political issues of the day. This conference is based on the belief that Jane Austen, razor-sharp shaper of novelistic form, was a profoundly political writer, one who not only saw herself as having a significant role to play in the formation of the newly conceived British nation that was coming into being in the wake of the French Revolution, but also one capable of striking penetration into such contemporary issues as the crisis over the slave trade, the expanding empire of colonial commerce, the birth of mass literacy in a newly steam-driven print culture, and the increasing demands for women’s and worker’s rights and education. The conference will address specific ways in which the writings of Jane Austen (both her fiction and her letters) refer to and comment upon the social movements and political events of her times.
In conjunction with the opening up to new examinations of Austen’s political acuity, the conference also will examine the varied ways that Jane Austen has been put to specific political uses in our own era. In the last few years Austen has, for instance, emerged as a marker of a new British national identity, one located in a post-colonial, post-modern moment. The current obsessions with Austen, marked by the plethora of films based on her novels, the distribution of Jane Austen tee-shirts, teacups, and memorabilia of all kinds, the growth of the Jane Austen societies around the world, underscore the continued political potency of the speciously apolitical Austen, whose multiform political engagements this conference seeks to uncover.
Registration deadline—February 25
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
Click here to view the program schedule.
Click here for a printable registration form.
March 13th (Sunday), 2:00 p.m.
— Chamber Music at the Clark
—
This concert is made possible by the generous support of The Ahmanson Foundation of Los Angeles.
The series Chamber Music at the Clark is sponsored by the UCLA Center for 17th- & 18th-Century Studies and the William Andrews Clark Memorial Library.
Quartetto di Venezia
Andrea Vio, Violin
Alberto Battiston, Violin
Luca Morassutti, Viola
Angelo Zanin, Cello
Founded just over twenty years ago, the Quartetto di Venezia is familiar to chamber music audiences in Europe, North and South America, Japan, and South Korea. Comprised of four musicians who were students together at the Benedetto Marcello Music Conservatory in Venice, Italy, the ensemble’s unique artistic personality derives from its conceptions of quality of sound, bowing technique, and vibrato, as well as from the emphasis given to individual instruments within the fabric of any particular composition. The group acknowledges artistic indebtedness to two major European string quartet traditions: one, Italian, associated with the Quartetto Italiano and with the teaching of Piero Farulli, the second Central European, represented by the Végh Quartet and its members Sándor Végh and Paul Szabo.
—
P R O G R A M
—
Wolfgang Amadeus Mozart, Quartet in A Major, K. 464
Ferruccio Busoni, Quartet No. 1 in C Minor, Op. 19
—
I N T E R M I S
S I O N —
Franz Schubert, Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”
—
R E C E P T I O
N —
Reservation lottery submission
deadline: February 14th
Admission: $20 per person
This concert is made possible by the generous support of The Ahmanson Foundation of Los Angeles.
For an explanation of
the reservations lottery system, to access printable reservation-by-lottery
forms for upcoming concerts, and for direct links to the ensembles'
home pages, please see Music
Programs, 2004–05.
April 1-2
Women, Religion, and the Atlantic World (1600-1800)
Arranged by Daniella Kostroun, Stonehill College and Lisa Vollendorf, Wayne State University and the University of California, Santa Barbara
This colloquium aims to encourage interdisciplinary study of women’s spiritual history in the Atlantic world by bringing together scholars of the Americas, the Caribbean, the African diaspora, and Europe for a “transatlantic” discussion. In addition to exploring gender and religion through such experiences as slavery, migration, convent life, religious conflict, and conversion, this colloquium seeks to raise provocative questions about interdisciplinary methods and about future research in Atlantic World studies.
Conference papers will be accessible from the program schedule page as they are received, and will remain online for two weeks after the conference. They will be mailed to registrants by request.
Registration deadline—March 18
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch (Saturday only) and other refreshments are provided.
Click here to view the program schedule.
Click here for a printable registration form.
April 8-9
Jesuit Accounts of the Colonial Americas: Textualities, Intellectual Disputes, Intercultural Transfers
Arranged by Marc André Bernier, Université du Québec à Trois-Rivières, Clorinda Donato, California State University, Long Beach and Hans-Jürgen Lüsebrink, Universität des Saarlandes
The primary focus of this conference is the Jesuit new-world narrative and its evolving legacy. Although the Jesuits were responsible for the vast majority of the production and diffusion of knowledge about the New World--both in Europe and in the New World itself--no systematic assessment of the numerous editions and translations of these French, German, Italian and Spanish narratives has ever been conducted. This conference addresses the accounts of the New World in the histories, chronicles, relaciones, relations and récits written by the Jesuits, focusing on the Jesuits’ role in fixing a particular image of the New World through their writings.
Registration deadline—April 1
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
April 17th (Sunday), 2:00 p.m.
— Chamber Music at the Clark
—
A Special Fundraising Event to Support the Clark Library Chamber Music Endowment Fund.
This concert is made possible by the generous support of Catherine and Ralph Benkaim.
The series Chamber Music at the Clark is sponsored by the UCLA Center for 17th- & 18th-Century Studies and the William Andrews Clark Memorial Library.
Artemis Quartet
Natalia Prischepenko and Heime Müller, violins
Volker Jacobsen, viola
Eckart Runge, cello
The Artemis Quartet was formed at the Musikhochschule in Lübeck, Germany, and quickly became renowned throughout Europe. They have won numerous awards, including the 1995 German Music Competition, the Munich Competition in 1996, and the Borciani Competition in 1997. The Artemis has appeared in such major venues as the Concertgebouw in Amsterdam, the Salzburg Festival, the Beethovenhaus in Bonn and Wigmore Hall in London. In 2001, the Quartet was honored with the Rheingau Music Award, and was the first quartet ever to be awarded the Music Prize of the Association of German critics. On its fourth North American tour, in the spring of 2002, the Artemis Quartet confirmed its preeminence among the world’s young string quartets, winning extraordinary praise from critics and the public across the continent from Boston to Los Angeles. The New York Times’ Anthony Tommasini declared that “the Berlin-based Artemis Quartet increasingly seems the most impressive quartet among the new generation.”
This group focuses constantly on the quality of its musicianship, enlarging and deepening their repertoire and musical knowledge during various residences. In 1999, they accepted an invitation from the Berlin Science Academy to live and work intensively for three months with luminaries from other fields such as physics, literature, art, history and mathematics. During this time, the Artemis scheduled no concerts in order to concentrate on its residency experience.
The Artemis Quartet records on the Ars Musici label, and several of their recordings have been awarded a Diapason d’Or and the magazine named the Quartet “Artists of the Year 2002.” The Quartet is featured in Bruno Monsaingeon’s 2001 film Strings Attached, and on the sound track of the movie Death and the Maiden.
—
P R O G R A M
—
Ludwig van Beethoven, Quartet in F Minor, Op. 95, “Quartetto serioso”
Béla Bartók, Quartet No. 2, Op. 17
—
I N T E R M I S
S I O N —
Ludwig van Beethoven, Quartet in F Major, Op. 59, No. 1
—
R E C E P T I O
N —
April 30
Five Ways To Write LA: Asian-American Poets and Writers
A program in the series “Poetry Afternoons at the Clark”
Arranged by Estelle Gershgoren Novak and Russell Charles Leong
Five literary views by award-winning Korean, Japanese, and Chinese-American poets and writers, who, by hook or by crook, were born, immigrated to, write about, or who have been influenced by being Asian in LA and in the West. Fearlessly, satirically and seductively, their poems and prose speak about race, gender, spirituality—(and ballroom dance and poetics too!)
Chungmi Kim (Glacier Lily, 2004)
Jeffery Paul Chan (Eat Everything Before You Die, 2004)
George Uba (Disorient Ballroom, 2004)
Amy Uyematsu (Nights of Fire, Nights of Rain, 1998)
Russell Charles Leong (Phoenix Eyes and Other Stories, 2000)
Reception to follow program.
Registration deadline—April 22
Registration fees—$5.
Please be aware that space at the Clark is limited and that registration closes when capacity is reached. No confirmation will be sent, but we will contact you if we receive your registration should we reach capacity.
Click here for a printable registration form.
May 14th (Saturday), 2:00 p.m.
The Eighth Annual Stephen A. Kanter Lecture
on California Fine Printing
‘post~letterpress’
a lecture by Gerald Lang
— A reception will follow the lecture —
Admission: Free of charge.
Reservations: R.S.V.P. to 323-735-7605.
Seating is limited.
This program is made possible by the generous support of Dr. Stephen A. Kanter
May 15th (Sunday), 2:00 p.m.
— Chamber Music at the Clark
—
Members of the Miró Quartet
with special guest Pei-Yao Wang
Daniel Ching, violin
John C.A. Largess, viola
Joshua Gindele, cello
Pei-Yao Wang, piano
This concert is made possible by the generous support of donors who wish to remain anonymous.
The Miró Quartet is increasingly recognized as one of America’s brightest and most exciting young chamber groups. Since winning First Prize at the 1998 Banff International String Quartet Competition and the prestigious Naumburg Chamber Music Award in 2000, the Miró Quartet has captivated audiences around the world, dazzling listeners with its youthful intensity and mature interpretations. Formed in the fall of 1995, the Quartet met with immediate success, winning the First Prize at the 50th annual Coleman Chamber Music Competition in April 1996, and the following month taking both the First and Grand prizes at the Fischoff National Chamber Music Competition. The Miró Quartet is Faculty String Quartet at The University of Texas at Austin.
Pianist Pei-Yao Wang is recognized as an accomplished soloist and chamber musician. Ms. Wang made her official orchestral debut with the Taipei Symphony Orchestra at age 8 and has since performed as soloist with such orchestras as the Stamford Symphony, Orlando Symphony, and the Taipei Philharmonic. She has performed throughout the United States, Canada, Europe and Asia, appearing at such venues as the Carnegie, Avery Fisher, Alice Tully, 92nd Street Y and Merkin Halls in New York City, the Kennedy Center in Washington D.C., as well as Salle des Varietes in Monte-Carlo, Suntory Hall in Tokyo and the National Concert Hall in Taipei Taiwan.
Members of the Miró Quartet with special guest Pei-Yao Wang appear courtesy of ICM Artists, Ltd.
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P R O G R A M
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Wolfgang Amadeus Mozart, Piano Quartet in E-flat Major, K. 493
William Walton, Piano Quartet in D Minor
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I N T E R M I S
S I O N —
Johannes Brahms, Piano Quartet No. 1 in G Minor, Op. 25
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R E C E P T I O
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Reservation lottery submission
deadline: April 11th
Admission: $20 per person
Seats at the Clark Library concerts are awarded by lottery because of high demand and limited capacity.
To participate in the lottery, please print and complete the lottery form (no more than two names per form) and mail it or hand-deliver it to the Center for 17th- and 18th-Century Studies at the address provided.
Your application must be postmarked, or hand-delivered no later than April 11, 2005.
Reservation by lottery form.
For an explanation of
the reservations lottery system, to access printable reservation-by-lottery
forms for upcoming concerts, and for direct links to the ensembles'
home pages, please see Music
Programs, 2004–05.
May 20-21
Structures of Feeling in Seventeenth-Century Cultural Expression
Core Program, Session III
Temporalities
Saint Augustine famously quipped that he knew what time was unless he was asked. The third conference in the series deals with the emergence during the seventeenth century of new, sometimes mutually antagonistic ways of rendering and experiencing time, as well as space. For example, Italian composers of the period experimented with ways of manipulating the temporal dimensions of their music — producing dizzying sequences of headlong propulsions into the future, balloons of hovering motionlessness, sudden dilations and just as sudden compressions. By contrast, the French court insisted on the kind of moderating regularity associated with dance, and Italianate excesses were strictly prohibited. Of course, this antagonism involved not just matters of taste but also of deeply held ideological convictions. The presenters at this conference include historians of philosophy examining articulations concerning time and affect in written documents of the time, literary theorists seeking to identify the shaping of time in poetry and narrative, dance historians analyzing the deployment of bodies through space and time, and musicologists investigating the impact of architectural sites on musical structures or the influence of musical conceptions of time and space on the modern subject.
Registration deadline—May 13
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
May 22
—An Afternoon of Acquisitions, 2005—
This annual fund-raising program provides individual donors with the opportunity to sponsor books or manuscripts recently acquired by the Clark Library. Renowned actors Jean Simmons and Ian Abercrombie will read from materials in the Clark collection. This performance is followed by an elegant garden party held on the beautiful grounds of the Library.
For the first time, the event also will include a silent auction.
Admission: $100.00 per person, applicable toward a book sponsorship ($80.00 is tax-deductible).
Reservations deadline: May 13.
To receive an invitation, please contact the Center:
310-206-8552 or
c1718cs@humnet.ucla.edu.
June 3-4
Structures of Feeling in Seventeenth-Century Cultural Expression
Core Program, Session IV
Performing Bodies
The final event in the series concentrates on the seventeenth-century body as medium for performance, as witness to performance, as subject of mystical transport, as object of medical research and speculation. Some of the practices considered over the course of this conference may seem familiar to our own:, but even performance and spectatorship at the time followed different conventions and relate to significantly different notions of selfhood. Others will appear quite alien — as, for instance, when medical authorities modeled their work on the structures of music theory. A cluster of presentations will deal specifically with the most physical form of theatre at the time: commedia dell'arte.
Registration deadline—May 27
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
June 10-11
Fashion in the Age of Louis XIV
a conference co-sponsored by the French Consulate of Los Angeles
and the Los Angeles County Museum of Art
arranged by
Kathryn Norberg, UCLA
Sandra L. Rosenbaum, Los Angeles County Museum of Art
Michael J. Hackett, UCLA
This conference explores fashion during the reign of Louis
XIV, when modern fashion was born through the widely
circulated fashion print. At Versailles, styles of dress changed
constantly and these changes were publicized through engravings
disseminated throughout France and the rest of Europe.
In 2002, the Los Angeles County Museum of Art acquired a
bound folio of 190 such engravings which portray men and
women dressed for a variety of venues (court, church, theater),
and activities (fencing, writing letters, practicing instruments).
Prints of French peasants, Parisian street vendors and
characters from Lully's court operas are also included. The
folio is the centerpiece of an exhibition, Images of Fashion at
the Court of Louis XIV, curated by conference organizer
Sandra L. Rosenbaum.
The conference celebrates the LACMA folio and explores the
creation of fashion in the last quarter of the seventeenth century.
Scholars from a variety of disciplines (history, art history, anthropology
and literature) from Europe and the U.S. will analyze
how fashion was produced and publicized as well as how it
altered the behavior of elites in France, England and Germany.
The conference will conclude with a demonstration of a court
dance organized by Michael J. Hackett and Emma Lewis
Thomas, accompanied by musicians from Musica Angelica.
Images of Fashion at the Court of Louis XIV is currently on
display through June 26, 2005 at the Los Angeles County
Museum of Art. For additional information, please visit http://www.lacma.org or call 323-857-6000.
Registration deadline—June 3
Registration fees—UC faculty & staff: $15; students with ID: no charge;* others: $25.
*Students should enclose a photocopy of their current ID with the registration form. Fees are not refundable. Lunch and other refreshments are provided.
Unless otherwise noted,
all academic and public programs will be held
at the Clark Library, 2520 Cimarron Street,
in the West Adams district of Los Angeles.
Printed publicity and program registration
forms
will be mailed to subscribers at the beginning of fall, winter, and
spring terms.
Inquiries should be addressed to the
Center office at 310 Royce Hall, UCLA
Phone: 310-206-8552; E-mail: c1718cs@humnet.ucla.edu
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