Curriculum Vita, 2008

MARIANNE RICHERT PFAU, Ph.D.
Professor of Music

 College of Arts and Sciences, Music Program
University of San Diego         
5998 Alcala Park             
San Diego, CA 92110‑2492 
(619) 260‑4101 

 mpfau@sandiego.edu

DEGREES

Ph.D.   (Historical Musicology)

Stony Brook University, NY, 1990.

M.A.    (Music History)

Stony Brook University, 1985.

M.M.  (Recorder)

Southern Illinois University - Carbondale, 1983.

L.G.S.M.‑MT (Music Therapy Licentiate)

Guildhall School of Music and Drama, London, UK, 1981.

Diplom (Recorder and Historical Winds, solo performance degree)

Hochschule für Musik   und darstellende Kunst, Hamburg, Germany, 1979.

SMP   (Historical Winds and Performance
Practices, pedagogy degree)

Hochschule für Musik und darstellende Kunst, Hamburg, 1978.

POSITIONS

University of Hamburg , Germany

Lecturer, Summer 2006

University of San Diego

Professor of Music History, 1989-present

Vanderbilt University

Assistent Professor of Musicology, 1988-89

 Stony Brook University

Lecturer Collegium Musicum 1887-88

            

COURSES

University Hamburg

  • Graduate Seminar: Hildegard von Bingen im Historischen Kontext, Summer 2006

University of San Diego

  • Private Harpsichord lessons, recorder, baroque oboe
  • Music in Society, 130
  • Western Music History Survey I, II, III: 330, 331, 332
  • Medieval and Renaissance Music Literature, Writing Course: 430W
  • Baroque and Classical Music Literature (431)
  • Romantic Music Literature (432)
  • 20th Century Music Literature (433)
  • History of Opera (170)
  • History of Liturgical Music (154)
  • Interdisciplinary Courses:
  • Music, Politics, and Identity (Mus/Pol 495)
  • Introduction to the Interdisciplinary Humanities (Hum 60)
  • Voices of the Oppressed: Politics and Music (Social Issues Course, with Dr. Michael Pfau-Pol. Sci.)
  • Days of Knights: An Introduction to the High Middle Ages (Cluster Preceptorial, with Dr. Macy-Theology, Dr. Petersen-Philosophy, and Sr. Walsh-Literature)
  • Music and Politics (Preceptorial, with Dr. Michael Pfau
  • Team-taught Honors Courses:
  • Echoes of Revolt: Expressionism in Art and Music (with Prof. Halaka, Art)
  • The Medieval World: Society, The Bible, and Music (with Dr. Gillman-Theology)
  • Music and Politics (with Dr. Michael Pfau-Pol. Sci.)
  • Rhythms of Love: Machaut and Chaucer (with Sr. Walsh-Litearture)
  • Literature and Opera (with Dr. Branch-Literature)

Oboe and Recorder

  • Adjunct Baroque Oboe Instructor, USC, 2000-02, and Cal Arts, 2002-04
  • LIPS (Lopez Island Performance Seminar, summer workshop), 2002
  • San Diego Early Music Society annual workshops, 1993-98
  • American Recorder Society workshops ( Orange County, San Diego, Nashville) 1988-97.

RESEARCH

Publications

  • Jean-Michel Mueller. 12 Concerti for Oboe, Lund University Library Ms. 76, Engelhart Collection.  I am editing this set, for publication, and for performance and recording by toutes suites: ensemble for early music. Publication forthcoming. Live recording of Concerto #1 for PBS radio station in Santa Cruz, Fall 2006.
  • Johann Georg Linike. Sonata for Hautbois and Basso Continuo, Ms. Landesbibliothek Mecklenburg-Vorpommer Schwerin (Critical Musical Edition). Befoco Publishers (forthcoming).  I have performed this work twice in Gemany last year.
  • Foerster. Concerto for Hautbois and Orchestra, Ms.  Landesbibliothek Mecklenburg-Vorpommer Schwerin,Befoco Publishers (forthcoming).  I have performed this work at the 25th Baroque Festival in Corona del Mar, summer 2005.
  • Heinichen.  Concerto for Hautbois and Orchestra, Ms.  Hessische Landesbibliothek Darmstadt.  With Dr. Burton Carson (CSU-Fullerton),  Befoco Publishers (forthcoming).  I have performed this work at the 25th Baroque Festival in Corona del Mar, summer 2005.
  • „Die Harfe Gottes: Hildegard von Bingen im 21. Jahrhundert,“  in Bilder vom Mittelalter. Dialog mit unserer Vergangenheit, Volcker Mertens and Carmen Stange, eds., series: Avienturen, Berlin and Kassel, in print.
  • Hildegard von Bingen: Der Klang des Himmels, with Stefan Morent.  Vol. 1 of: Europaeische Komponistinnen, A. Kreutziger-Herr and Melanie Unseld, eds., Boehlau: Cologne and Weimar (Spring  2005).
  • "Rigidität und Flexibilität in Hildegards Sequenzen,” in Hildegard in ihrem historischen Umfeld:
  • Kongressbericht (Hildegard in Historical Context: Proceedings from International Hildegard Congress), Wulf Arlt and Joseph Willimann, eds. Basel (forthcoming).
  • Guillaume de Machauts isorhythmische Motetten mit geistlichen lateinischen Texten: Wissenschaftlich‑Praktische Neuausgabe (Machaut’s Isorhythmic Motets with Sacred Latin Texts: Scholarly/Practical Edition), with Helga Weber (Breitkopf und Haertel, forthcoming).
  • "Johann Adolf Hasse's Glasharmonika: 'Musica Coelestis' oder 'Teufelswerk'?” (Hasse’s Glass Harmonica: Celestial Sound or Devil’s Work?) Lichtwark Heft ( Hamburg, 2000) 10-12.
  • "Hildegard von Bingen,"  New Grove Dictionary of Music and Musicians, Stanley Sadie, ed. ( London, 2000).
  • "Echo aus dem zwölften Jahrhundert" (Echo from the 12th century),  Frau und Musik (1998) 2‑11.
  • "Zur 900‑Jahrfeier: Hildegard von Bingens geistliche Gesänge" (900th Anniversary: Hildegard’s Sacred Songs) Musik und Kirche (1998) 3-13.
  • Hildegard von Bingen (1098‑1179): Symphonia Armonie Celestium Revelationum, (musical editions of  Hildegard’s song collection “Symphonia…”), 7 volumes,  (Bryn Mawr, 1993‑98).
  •  Arrangement of Hildegard's chant "O Virtus Sapientie" for CD Early Music by the Kronos Quartet (Nonesuch, 1997).
  • Review of "Visions" recording for German Culture Magazin  German Life (Zeitgeist, 1996).
  • "Stimme aus der Vergangenheit" (Voice from the Past), Annaeherungen VIII (Kassel, 1996).
  • Hildegard von Bingen: Two Responsories, edition (Bryn Mawr, 1996).
  • Hildegard von Bingen: Two Chants for Saint Eucharius of Trier, edition (Bryn Mawr, 1995).
  • Hildegard von Bingen: Songs of the Living Light. Antiphons and Responsories from Scivias, edition (Bryn Mawr, 1995).
  • "Hildegard von Bingen: A Conspectus of her Life and Work,"and "Responsories,
  • " Sequences, and Hymns in Hildegard's Symphonia," two articles in Women Composers: An Historical Anthology, vol. I: Middle Ages and Renaissance. Sylvia Glickmann and Martha Furmann‑Schleiffer, eds. (Macmillan, 1995).
  • "Adam de la Halle (fl. 1280): Le Jeu de Robin et Marion.  Thomas Binkley, musical dir., Schola Cantorum Basiliensis,"  recording review in  Performance Practice Review 6,2  (Fall 93): 183‑85.
  • "The Lauds of Saint Ursula: Hildegard of Bingen (1098‑1179). Thomas Binkley, musical dir.,Schola Cantorum Basiliensis," recording review in Performance Practice Review 6,2 (1993): 185‑91.
  • "Machaut (ca. 1300‑1377) and Dufay (ca. 1400‑1474): Isorhythmische und Freie Motetten,"  booklet co‑authored with Helga Weber for 3‑CD Set Guillaume de Machaut: 7 Isorhythmische geistliche Motetten. Guillaume Dufay: Sämtliche isorhythmischen Motetten, 7 Cantilenen‑ Motetten (first complete recording of Latin isorhythmic motets of Machaut and Dufay), (Hamburg, Renaissance label, 1993).
  • "The Concept of Armonia as a Key to the Antiphons of Hildegard von Bingen," Medieval Perspectives (1992): 154‑170.
  • "Die Isorhythmischen Motetten von Machaut und Dufay,"  Internationale Tage für Alte Musik Frankfurt (1991).
  • "Geistliche Musik des 14. und 15. Jahrhunderts" (concert booklet on sacred music of 14th and 15th centuries) Hamburg, 1991.
  • "Modal Colors and Melody Types in Hildegard von Bingen's Symphonia," Sonus (1990) 53-71.
  • "Armonia in the Songs of Hildegard of Bingen: Manifestations of Compositional Order," Proceedings of XIV ACTA (1988) 69-84.
  •  "Text and Music in Hildegard's Antiphons," St. Hildegard of Bingen: Symphonia. Barbara Newman, ed. (Cornell University Press, 1988)         

Lectures

  • USD, Bridges Academy, Lecture/Demonstration: “Favorite Baroque Wind Instruments: Oboe and Recorder.  Music of Telemann, Bach, and Haendel”, with Ruben Valenzuela - harpsichord, Fall 2006. 
  • Freie Universitaet Berlin, lecture series: Bilder vom Mittelalter. Dialog mit unserer Vergangenheit, Prof. Dr. Volcker Mertens and Dr. Carmen Stange, Department of German Literature, Fall 2004
  • Da Camera Society, 6 lectures for series: “Music in Historic Sites,” LosAngeles, 2000-03
  • USD: University of the Third Age, Campus Ministry (since 1990)
  • San Diego Symphony, 3 pre-concert lectures (1996-97)
  • San Diego Opera, 2 pre-concert lectures (1995)

Conference Presentations

  • "Rigidity and Flexibility in Hildegard's Sequences," Annual Meeting of Medieval Association of the Pacific,Victoria, March 2000.
  • “The Sound of Medieval Song,” Panel discussion on Timothy McGee’s controversial book on Chant by the same title (1999), Claremont Graduate University, March 1999, as well as International Congress on Medieval Studies, Kalamazoo , May 1999.
  • "Music and Text,” International Symposium: Hildegard von Bingen in ihrem historischen Kontext (Hildegard of Bingen and her Historical Context), on her 900th anniversary,1098-1998), Bingen, Germany, Sept.1998.
  • “Rigidität und Flexibilität,” (rigid and flexible compositional structures in Hildegard’s chants), keynote address to Swiss Society of Musicology, Basel, July 1998.
  • " The Peace Motets of Guillaume de Machaut," American Musicological Society‑Pacific Chapter, USD, February 1995.
  • " Horizontal and Vertical Architectural Designs in Guillaume de Machaut's (ca. 1300‑1377) Latin Motets," Medieval Association of the Pacific, Seattle, March 1994.

 

  • “Function and impact of compound rhythms in Machaut’s sacred isorhythmic works,” 28th International Congress on Medieval Studies,
  • Kalamazoo, May 1993.
  • "Participation Mystique: Hildegard von Bingen on Music," 27th International Congress on Medieval Studies, Kalamazoo, 1992.
  • Sound and Sense in the Music of the Middle Ages: Challenge and Reward for the Modern Sensibility," residency at Mozart Akademie, San Luis Obispo Mozart Festival,1990.
  • "Form as Process in the Sequences of Hildegard von Bingen,"American Musicological Society, UCLA, 1989.
  • "Armonia and Symmetry in the Tonalities of Hildegard of Bingen," 24th International Congress on Medieval Studies, Kalamazoo, 1989.
  • "The Concept of Armonia as a Key to the Antiphons of Hildegard of Bingen," South Eastern Medieval Association, University of Richmond, 1988.
  • "Hildegard von Bingen's Music: An Analysis of some Antiphons and Sequences from the Perspective of Process Philosophy," 22nd International Congress on Medieval Studies, 1987.
  • "The 'Feminine Divine' in Three Antiphons of St. Hildegard," Conversations in the Disciplines / Women in Music: Past, Present, Future, SUNY‑New Paltz, 1987.

PERFORMANCE

Recordings

  • Jean-Michel Mueller: Virtuoso Music for Hautbois, ‘toutes suites: ensemble for early music’ (director), recorded June  2007 in Hamburg (Leipzig: genuin, January 2008).
  • Georg Boehm: Es toben die Heiden, with ‘Musica Alta Ripa’, Ralf Popken, director. Sengwarden, January 2007, Edition Chrismon, (winter 2008).
  • Georg Philipp Telemann, Der Getreue Music-Meister: A Musical Journal, ‘toutes suites: ensemble for early music’, recorded January 2007 in Hamburg (Hamburg: virtilia, 2007)
  • “Baroque from A-Z,” Santa Cruz Chamber Players, live recording for local PBS station, aired Dec. 2006.
  • Johann Mattheson: Boris Goudenow (1710), principal oboe, with Cythara Ensemble, Rudolf Kelber, director; 2 CD’s, live recording of modern premiere at Bucerius Kunst Forum Hamburg, Jan. 29. and 30, 2005.
  • Johann Sebastian Bach: Brandenburg Concertos, soloist with Portland Baroque Orchestra, Monica Hugget, director, ( Portland, 2001)
  • Johann Sebastian Bach:  Die Motetten, ‘Saechsiches Vocalensemble’ and ‘Les Hautboistes de Prusse’, Dresden: tacet, 2000.
  • Musicological Consultant and Performer on Guillaume de  Machaut: 7 Isorhythmische geistlicheMotetten. Guillaume Dufay: Sämtliche isorhythmischen Motetten, 7 Cantilenen‑Motetten, Helga Weber, director. Hamburg: Renaissance, 1993.
  • Thomas Stoltzer: Die Deutschen Psalmen, Instrumentalkreis Helga Weber, Hamburg, Christopherus, 1981.
  • Pour L’Amour (Love Songs of the 14th and 15th Centuries), Instrumentalkreis Helga Weber, Hamburg: Teldec, 1981.
  • Geistliche Musik (Sacred music by Hildegard von Bingen and John Dunstable), with Instrumentalkreis Helga Weber, Hamburg: Christopherus, 1980.
  •  Maienzeit (secular medieval songs), with Instrumentalkreis Helga Weber, Teldec,1980.
  • Monteverdi: Marian Vespers of 1610, Frankfurt Barock Orchester, Strassbourg, 1978.

Performance Affiliations

  • American Bach Soloists, San Francisco (since 2002)
  • Hamburg Barockorchester (since 2004)
  • Les Hoboistes de Prusse (since 2000)
  • Corona Del Mar annual Baroque Festival (1997-2006)
  • Berkeley Early Music Festival (2000, 2002)
  • Nota Bene, ensemble for early music, director (1991‑97, 2003-)
  • Toutes Suites: ensemble for early music, director (2006-)
  • Philharmonia Baroque Orchestra (2000)
  • Jubilate Baroque Orchestra, San Francisco (regularly since 1998)
  • Magnificat Baroque Orchestra, San Francisco (since 1994)
  • San Francisco Bach Choir (since 1999)
  • Musica Angelica, Los Angeles (regularly since 1995)
  • Los Angeles Baroque Orchestra (1993-2002)
  • Baroque Choral Guild, Berkeley (since 2000)
  • Portland Baroque Players (1999)
  • Portland Trinity Consort (2004, 2006)
  • Portland Baroque Orchestra (1995, 1997, 1999, 2001)
  • Chamber Ensemble Winthrop Fleet, LA (1994‑96)
  • San Diego Opera: "Rappaccini's Daughter," (1993)
  • Instrumentalkreis Helga Weber, Germany, (medieval shawms, crumhorns, recorders):  numerous concerts in Hamburg, Berlin, Cologne,  Frankfurt, London (1975‑1980, 1989, 1991, 1993)

  • Iranian Folk Music Ensemble (1978-79)
  • Greek Folk/Pop Music, Nicos Apostolides, Lieder in eurer und meiner Sprache (1975)

SERVICE and Committee Work

  • ‘Angelus: Sacred Early Music Concert Series’ in Founders Chapel, artistic director and producer, inaugural concert March 2007
  • “Baroque Soiree” host, USD, 2005, building Baroque chamber orchestra with local musicians.
  •  Early Music Festivals at USD, 2000, 2001, 2005
  • Student visits to SD Opera and SD Symphony performances through EFSI grants
  • Interdisciplinary Humanities Program Steering Committee
  • Faculty Status Committee (Assembly and Senate)
  • Academic Affairs Committee
  • Coordinator of Music Program
  • Faculty Research Committee
  • Executive Committee and Assembly Parliamentarian
  • Member-At-Large, AAUP-USD chapter.
  • Advisory Board Member, San Diego Early Music Society (1989-present).

Honors

  • Project-based University Professorship USD, 2006-07

MEMBERSHIP IN PROFESSIONAL ORGANIZATIONS

  • American Musicological Society
  • Medieval Association of the Pacific (Board 1998-2000) 
  • International Machaut Society
  • Early Music America