Kate
van Orden
Professor
University of California Berkeley Music Department
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Kate
van Orden |
University of California Berkeley Music Department |
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220 Morrison Hall
642-2692
email: vanorden@berkeley.edu
Office
Hours
Biography | Career | Publications and Creative Work
Biography
Professor van Orden specializes
in cultural history. She has produced major studies of vernacular culture and
the Renaissance chanson, edited a volume of essays on Music and the Cultures
of Print (New York, 2000), and is currently engaged in researching the
interrelationships between material culture, Renaissance humanism, and the chanson
in print and manuscript.
Her recent book, Music, Discipline, and Arms in Early Modern France (Chicago, 2005), develops a political argument about music and military culture. Through detailed studies of dance, kingship, and warfare, it shows how music became a disciplinary agent of the absolutist state both on the battlefield and off. It won the Lewis Lockwood Award from the American Musicological Society.
After receiving a Ph.D. in Music History and Theory at The University of Chicago in 1996, Prof. van Orden held fellowships at the Warburg Institute in London and the Columbia Society of Fellows in the Humanities. Since coming to Berkeley in 1997, her work has been supported by an AAUW American Post-Doctoral Fellowship, the Hellman Faculty Fund, the Townsend Center for the Humanities, and two President’s Fellowships. She held a Studium Fellowship from the Centre National de la Recherche Scientifique from 2003-2005, during which time she was affiliated with the Centre d’Études Supérieures de la Renaissance in Tours, France.
National awards include the Noah Greenberg Award, the Lewis Lockwood Award, and the Paul Pisk Prize, all from the American Musicological Society, as well as the Nancy Lyman Roelker Prize from the Sixteenth Century Society for her article titled “Female Complaintes” (Renaissance Quarterly, 2001). Her publications have received subvention awards from the American Musicological Society and the Newberry Library.
Prof. van Orden has published articles in Early Music History, Renaissance Quarterly, the Journal of the American Musicological Society, Musical Quarterly, Revue de Musicologie, the Journal of Musicological Research, and the Yearbook of Comparative and General Literature , as well as chapters in books of essays and conference proceedings. She has been interviewed on the BBC’s “Spirit of the Age” and NPR’s “All Things Considered,” given colloquia at Cambridge, Colorado, Oxford, Pennsylvania, Toulouse, and Utrecht universities, King’s College London, and UCLA, lectured at the Newberry Library and the Clark Library, and given many pre-concert talks.
She serves on the editorial boards of Acta Musicologica and the series The New Cultural History of Music (Oxford University Press). She is the incoming Editor-in-Chief of the Journal of the American Musicological Society (2008-2010).
Prof. van Orden also specializes in historical performance on the bassoon. She began her career in Europe, performing and recording with ensembles such as Les Arts Florissants (dir. William Christie), Collegium Vocale Ghent (dir. Philippe Herreweghe), and La Petite Bande (dir. Sigiswald Kuijken). Since returning to America, she has appeared regularly with Tafelmusik (dir. Jeanne Lamon), Philharmonia Baroque Orchestra (dir. Nicholas McGegan), and American Bach Soloists (dir. Jeffrey Thomas). She has over forty CDs to her credit and has performed at the London Proms, Utrecht Festival, Salzburg Festival, and in concerts across the North America and Europe. Her recordings are available on Sony, Virgin Classics, Glossa, Teldec, and Harmonia Mundi. Recent releases include a recording of Michel Corrette’s Les délices de la solitude on ATMA Baroque (2006) with Les Voix Humaines, Montreal.
By extending her historical research to the domain of reconstruction, Prof. van Orden brings a performer’s sensibility to the interpretation of archival materials—with some extraordinary results. Her research for Music, Discipline, and Arms enabled her to reconstruct the famous equestrian ballet performed for the engagement of Louis XIII in 1612. Under her direction, the work received its modern premiere at the Berkeley Festival of Early Music in 2000 to the acclaim of the San Francisco Chronicle, the New York Times, and the Wall Street Journal. It was revived in 2002.
Education:
Ph.D., University of Chicago (History and Theory of Music), dissertation defended with distinction, "Vernacular Culture and the Chanson in Paris, 1570-80."
Studies in historical performance practice and baroque bassoon, Koninklijk Conservatorium, Den Haag, The Netherlands
M.A., Northwestern University (Music History), Sigma Alpha Iota
Performance Certificate in modern bassoon, Sweelinck Conservatorium, Amsterdam, The Netherlands
B.A. , University of Iowa (English), graduated cum laude, Phi Beta Kappa, Iowa Writers Poetry Workshop
Academic Positions:
1995-96 University of Chicago, Center for Continuing Studies, Winter, “The Power of Song: The Nineteenth Century”
1996-97 Columbia University, Mellon Fellow
1997-present University of California, Berkeley
1997 Assistant Professor 2003 Associate Professor 2007 Professor Professional Activities:
Professional Memberships American Handel Society American Musicological Society 1998-99 AMS Council AMS Council Outreach Committee Program Chair, Northern California Chapter 1999-00 AMS Council Co-Chair, AMS Council Outreach Committee Committee on Honorary and Corresponding Members Program Chair, Northern California Chapter 2000-01 AMS Council Co-Chair, AMS Council Outreach Committee Program Chair, Northern California Chapter Hosted Fall Meeting, Northern California Chapter of the American Musicological Society 2001-02 AMS Council 2002- Noah Greenberg Award Committee, American Musicological Society 2003- Editorial Board, Journal of the American Musicological Society 2005-06 Chair, Noah Greenberg Award Committee, American Musicological Society 2007- Editor-in-Chief, Journal of the American Musicological Society International Musicological Society 1999- Editorial Board, Acta Musicologica, Journal of the International Musicological Society Renaissance Society of America San Francisco Early Music Society 1998- Board Member Berkeley Festival Committee 1998-99 Affiliates Committee Screening committee for concert submissions 1999- Chair, Program Committee 2002-03 Program Co-Chair, San Francisco Early Music Society Honors & Awards:
1990-94 Century Fellowship, University of Chicago, tuition, $9000 annual stipend 1993-94 Stuart Tave Teaching Fellowship in the Humanities, University of Chicago, to teach a class of my own design in the college: “French Lyric Poetry and Song” 1994 Gilbert Chinard Scholarship, Institut Français de Washington, for support during research in France in the fields of French history or French literature 1994-95 American Association of University Women Dissertation Fellowship Chicago Humanities Institute Fellowship Fulbright Grant to France (honorary) 1995 Paul Pisk Prize for the best graduate student paper read at the Annual Meeting of the American Musicological Society 1996-97 Columbia Society of Fellows in the Humanities Post-Doctoral Fellowship Warburg Institute, London, Frances A. Yates Short-Term Fellowship, Spring 1997-98 Noah Greenberg Award for Historically Informed Performance of Early Music, American Musicological Society, November 1998-99 Humanities Research Fellowship (declined) Townsend Center Fellowship (declined) ICA Grant for Fête at Fontainebleau Consortium for the Arts Grant for Fête at Fontainebleau 1999-00 President’s Research Fellowship in the Humanities ($25,000) American Association of University Women Post-Doctoral American Fellowship ($27,000) and research funding ($1000) 2001-02 Townsend Center Fellow Hellman Faculty Fund Awardee ($12,000) Humanities Research Fellowship (declined) Nancy Lyman Roelker Prize, awarded by the Sixteenth Century Studies Conference for the best article published in English on early modern French History, Renaissance Quarterly article “Female Complaintes” 2003-05 Studium Fellowship from the Centre National de la Recherche Scientifique to work at the Centre d’Études Supérieures de la Renaissance, Tours, France 2004-05 Weiss/Brown Publication Subvention Award from the Newberry Library ($3000) Lloyd Hibberd Publication Endowment from the American Musicological Society ($1900) Consortium for the Arts Grant for “A Masque at Ludlow Castle” 2005-06 Townsend Center Fellowship to participate in the Strategic Working Group “Art as Research” (50% course relief for one semester) Programme d’incitation à la publication d’ouvrages scientifiques et techniques en langue française année 2005. Ministère de la Recherche de France, for the publication of L’édition musicale: du codex à l’écran , co-authored under the direction of Philippe Vendrix (5000 euros) 2006-07 President’s Research Fellowship in the Humanities, University of California, Office of the President ($25,000) Humanities Research Fellowship ($22,000) Lewis Lockwood Award given by the American Musicological Society for a musicological book of exceptional merit published by a scholar in the early stages of his or her career, awarded to Music, Discipline, and Arms.
Publications and Creative Work
Books |
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2000 |
Music and the Cultures of Print, ed. Kate van Orden, afterword by Roger Chartier (New York: Garland Publishing Inc.) | |
| “Introduction,” Music and the Cultures of Print, ed. Kate van Orden (New York: Garland Publishing Inc.) ix-xxi | ||
| “Cheap Print and Street Song following the Saint Bartholomew’s Massacres of 1572,” in Music and the Cultures of Print, ed. Kate van Orden (New York: Garland Publishing Inc.) 271-323 | ||
2005 |
Music, Discipline, and Arms in Early Modern France (Chicago: The University of Chicago Press) | |
Articles |
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1994 |
“Imitation and ‘la musique des anciens’ in Le Roy & Ballard’s 1572 Mellange de chansons,” Revue de musicologie, 80: 5-37 | |
| “Constructing an Open Site: Gary Tomlinson’s Music in Renaissance Magic,” an essay-length book review, Journal of Musicological Research, 14: 113-22 | ||
| “Modern Poetics of Chance: Boulez, Mallarmé, Cage,” Yearbook of Comparative and General Literature, 42: 70-82 | ||
1995 |
“Sexual Discourse in the Parisian Chanson: A Libidinous Aviary,” Journal of the American Musicological Society, 48: 1-42 | |
1996 |
“Les vers lascivs d’Horace: Arcadelt’s Latin Chansons,” Journal of Musicology, 14: 338-69 | |
1997 |
“De la chanson à l’ode: Musique et poésie sous le mécénat du cardinal Charles de Lorraine,” written with Philippe Desan, in Le Mécénat et l’influence des Guises, ed. Yvonne Bellenger (Paris: H. Champion), 463-87 | |
1998 |
“On the Side of Poetry and Chaos: Mallarméan hasard and Twentieth-Century Music,” Meetings with Mallarmé, ed. Michael Temple (Exeter: University of Exeter Press), 160-79 | |
| “Historical Performance as Cultural Performance,” (position paper for symposium of the same title) Fifth Biennial Berkeley Festival & Exhibition Program (Cal Performances—University of California, Berkeley), 12-14 | ||
1999 |
“An Erotic Metaphysics of Hearing in Early Modern France,” The Musical Quarterly, 82: 678-91 | |
| “The Reign of Music,” in The Empire Resounds: Music in the Days of Charles V. ed. Frances Maes (Leuven: Leuven University Press), 64-81 (published concurrently in Flemish as De Klanken van de Keizer: Karel V en de Polyfonie) | ||
2000 |
“Music and the Spectacular,” (position paper for symposium of the same title) Sixth Biennial Berkeley Festival & Exhibition Program (Cal Performances—University of California, Berkeley), 14-16 | |
| “Joachim Du Bellay,” MGG (Kassel: Bärenreiter), 5: 1464-1465 | ||
| “Ficino’s Lyre in Baudelaire’s Paris ,” La Renaissance et sa musique au XIXe siècle, ed. Philippe Vendrix (Paris: Klincksieck), 209-226 | ||
2001 |
“Female Complaintes: Laments of Venus, Queens, and City Women in Late Sixteenth-Century France,” Renaissance Quarterly, 54: 1-44 | |
| “La chanson vulgaire and Ronsard’s Poetry for Music,” in Poetry and Music in the French Renaissance, ed. Jeanice Brooks, Philip Ford, and Gillian Jondorf (Cambridge: Cambridge French Colloquia), 79-109 | ||
2002 |
“Descartes on Musical Training and the Body,” in Music, Sensibility, and Sensuality, ed. Linda Austern (New York: Routledge), 17-38 | |
2003 |
“Chorégraphies courtoises et militaires,” L’Equitation à la Renaissance, ed. Patrice Franchet d’Espèrey (Arles: Actes Sud) | |
| Della corte alla città: la chanson nei secoli XV e XVI” in Enciclopedìa della musica, general ed. Jean-Jacques Nattiez, volume editor, Margaret Bent (Turin: Einaudi). 4: 242-266 | ||
2005 |
“Tielman Susato and the Cultures of Print,” in Tielman Susato and the Music of His Time, ed. Keith Polk (Stuyvesant, NY: Pendragon Press), 143-163 | |
| “From Gens d’armes to Gentilshommes: Dressage, Civility, and the Ballet à Cheval” in The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker (New York: Palgrave), 197-222 | ||
2006 |
“Chanson and Air,” in European Music, 1520-1640, ed. James Haar (Suffolk: Boydell & Brewer Ltd.), 193-224 | |
| “Children’s Voices: Singing and Literacy in Sixteenth-Century France,” Early Music History 25 (2006): 209-256 | ||
| “Le plaisir de pouvoir et le pouvoir du plaisir,” in Le Plaisir musical en France au XVIIe siècle (Sprimont: Mardaga), 131-144 | ||
| “Un sacre à Toulouse? Les cérémonies de la paix de 1596,” in L’humanisme à Toulouse (1480-1596), ed. Nathalie Dauvois-Lavialle (Paris: Éditions Honoré Champion) | ||
| Stage Productions | ||
| 1998-99 | “Fête at Fontainebleau,” historical reconstruction of musical score, staging, dance; performance produced in collaboration with Mark Franko, Theater Arts UCSC, who directed the performance, and David Douglass, director of The King’s Noyse, Boston, who led the Collegium in the performance. Responsible for artistic conception, production management and musical reconstruction. | |
| 1999-00 | Le Carrousel du Roi, director, Sixth Biennial Berkeley Festival of Early Music, performances on 9 and 10 June. This production was based on my reconstruction of an equestrian ballet performed in 1612 for the engagement of Louis XIII. | |
| 2001-02 | Le Carrousel du Roi, director, Seventh Biennial Berkeley Festival of Early Music, (3 performances). A reworked presentation of the Equestrian Ballet from 2000, with an added ballet, entre’acts, and new fanfares. | |
| Discography | ||
| 1989 | Bach, Christmas Oratorio, Collegium Vocale Ghent, dir. Philippe Herreweghe, Virgin Classics (2 discs) | |
| Purcell, The Fairy Queen, Les Arts Florissants, dir. William Christie, Harmonia Mundi France (2 discs) | ||
| Bach, Cantatas, 82, 152, 202, Ricercar Consort, Ricercar | ||
| German Baroque Cantatas, Ricercar Consort, Ricercar | ||
| Haydn, Symphonies 90, 91, La Petite Bande, dir. Sigiswald Kuijken, Virgin Classics | ||
| 1990 | Bach, Masses 234, 235, Collegium Vocale Ghent, dir. Philippe Herreweghe, Virgin Classics | |
| Bach, Cantatas 21, 42, Collegium Vocale Ghent, dir. Philippe Herreweghe, Harmonia Mundi France | ||
| Bach, Magnificat, Collegium Vocale Ghent, dir. Philippe Herreweghe, Harmonia Mundi France | ||
| Mozart, Piano Concertos 8, 12, 28, Anima Eterna, dir. Jos van Immerseel, Channel Classics | ||
| Mozart, Piano Concertos 5, 9, Anima Eterna, dir. Jos van Immerseel, Channel Classics | ||
| 1991 | Beethoven, Chamber Music for Winds, Ricercar Academy, Ricercar | |
| Handel, Concerti Grossi, Op. 3, Tafelmusik, dir. Jeanne Lamon, Sony | ||
| Mozart, Symphonies after Serenades, K. 100, 185, 203, 204, 250, 320, Tafelmusik, dir. Bruno Weil, Sony (2 discs) | ||
| Gluck, Orfeo ed Euridice, Kammerchor Stuttgart and Tafelmusik, dir. Frieder Bernius, Sony (2 discs) | ||
| Bach, Mass in B Minor, Arnold Schoenberg Choir, Salzburg Baroque Orchestra, dir. Hans-Jurgen Walther, Teldec | ||
| 1992 | Haydn, Symphonies 44, 51, 52, Tafelmusik, dir. Bruno Weil, Sony | |
| Haydn, Symphonies 41, 42, 43, Tafelmusik, dir. Bruno Weil, Sony | ||
| 1993 | Mozart, Rondo and Horn Concertos, Ab Koster, Tafelmusik, dir. Bruno Weil, Sony | |
| Gluck, Ballet Pantomimes Don Juan, Semiramis, Tafelmusik, dir. Bruno Weil, Sony | ||
| Boccherini, Concertos for Violincello and Orchestra, Overture, Octet, Sinfonia, Anner Bylsma, Tafelmusik, dir. Jeanne Lamon, Sony | ||
| Mozart, Piano Concertos, 15, 16, Anima Eterna, dir. Jos van Immerseel, Channel Classics | ||
| 1994 | Haydn, Paris Symphonies, 82, 83, 84, Tafelmusik, dir. Bruno Wiel, Sony | |
| Haydn, Paris Symphonies, 85, 86, 87, Tafelmusik, dir. Bruno Wiel, Sony | ||
| Haydn, The Creation, Tölzer Knabenchor, Tafelmusik, dir. Bruno Wiel, Sony (2 discs) | ||
| Mendelssohn, Symphonies 3, 4, Anima Eterna, dir. Jos van Immerseel, Channel Classics | ||
| 1995 | Haydn, Symphonies, 88, 89, 90, Tafelmusik, dir. Bruno Wiel, Sony | |
| Haydn, “Heiligmesse,” Motets, Te Deum for Empress Marie Therese, Tölzer | ||
| Handel, Choruses from Messiah, His Majestie’s Clerks, dir. Anne Heider, Narada Media | ||
| 1996 | Haydn, “Paukenmesse,” Salve Regina, Motet “O coelitum beati,” Tölzer Knabenchor, Tafelmusik, dir. Bruno Wiel, Sony | |
| Handel, Water Music, Suite from Il pastor fido, Tafelmusik, dir. Jeanne Lamon, Sony | ||
| Beethoven, Piano Concertos 1, 2, Jos van Immerseel, Tafelmusik, dir. Bruno Weil, Sony | ||
| 1997 | Handel, Messiah, Apollo’s Fire, dir, Jeannette Sorell, Electra (2 discs) | |
| All Soul’s Vespers: Requiem Music from Cordoba Cathedral, Orchestra of the Renaissance, dir. Richard Cheetham, Virgin Classics | ||
| 1998 | Cherubini, Medée, dir. Bart Folse, Newport Classic (2 discs) | |
| 1999 | The Marriage of England and Spain (reconstruction employing Taverner, Missa Gloria Tibi Trinitas), Orchestra of the Renaissance, dir. Richard Cheetham, Glossa | |
| Arne, Alfred, Philharmonia Baroque Orchestra, dir. Nicholas McGegan, Deutsche Harmonia Mundi USA | ||
| Canticum Canticorum (16th-c. motets), Orchestra of the Renaissance, dir. Richard Cheetham, Glossa | ||
| 2001 | San Francisco Bach Choir, Venetian and German Baroque, dir. David Babbitt | |
| Orchestra of the Renaissance, “Morales Assumption Mass,” dir. Richard Cheetham, Glossa | ||
| 2001 | Orchestra of the Renaissance, Sebastian De Vivanco, “In Manus Tuas,” dir. Richard Cheetham, Glossa | |
| 2005 | Philharmonia Baroque Orchestra, Domenico Scarlatti, “Cecilian Vespers,” dir. Nicholas McGegan, SACD (2 discs) | |
| 2006 | Les Voix Humaines, Michel Corrette, “Les Délices de la Solitude,” dir. Susie Napper and Margaret Little, ATMA (soloist) | |
| American Bach Soloists, Handel, “Messiah,” dir. Jeffrey Thomas, Delos Int. (2 discs) | ||
Updated 05/14/2007