Andrew H. Weaver
A specialist in music of the seventeenth and nineteenth centuries, particularly in Austria, Germany, and Italy, Andrew H. Weaver (Ph.D., M.Phil., Yale University; B.Mus., Rice University) has also published on music of the Renaissance. Specific research interests include sacred music, court patronage (especially the Habsburgs), music and politics (with a focus on diplomacy), monarchical representation, early modern print culture, seventeenth-century Italian opera, the Romantic Lied and song cycle (especially Schumann), and the German orchestral tradition (especially Mendelssohn and Richard Strauss). Undergirding all of his research is a concern with musical meaning; regardless of the topic, he engages the music directly, using a variety of methodologies to open works up hermeneutically and offer scholars, performers, and listeners a new understanding of both familiar and unfamiliar repertoires. His approaches have included placing music into its political, cultural, liturgical, and/or aesthetic contexts, performing close analyses of music and text, exploring intertextualities among artworks of varying media, and adapting contemporary literary theory to music.
Prof. Weaver is the author of Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years' War (Ashgate, 2012), co-editor (with Daniel Abraham and Catholic University alumna Alicia Kopfstein-Penk) of Leonard Bernstein and Washington, DC: Works, Politics, Performances (University of Rochester Press, 2020), and editor of A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries (Brill, 2021). He has also edited scholarly editions of seventeenth-century music, including Motets by Emperor Ferdinand III and Other Musicians from the Habsburg Court, 1637–1657, Collegium Musicum: Yale University, second series 18 (A-R Editions, 2012); Giovanni Felice Sances, Motetti a 2, 3, 4, e cinque voci (1642), Recent Researches in the Music of the Baroque Era 148 (A-R Editions, 2008); and works by Antonio Bertali, Giovanni Valentini, and Pietro Verdina in the Web Library of Seventeenth-Century Music. His publications also include articles in the Journal of Musicology, Journal of the Royal Musical Association, Journal of Musicological Research, Music & Letters, Journal of Seventeenth-Century Music, Journal of the American Viola Society, Schütz-Jahrbuch, Early Music, and Nineteenth-Century Music Review, in addition to a number of book chapters, encyclopedia entries, and reviews. His current projects include an exploration of the diplomatic function of musical sources in the sixteenth and seventeenth centuries, for which he received the Claude V. Palisca Fellowship in Musicology from the Renaissance Society of America to do research in Europe and the Martha Goldsworthy Arnold Fellowship to pursue research at the Riemenschneider Bach Institute at Baldwin Wallace University, as well as an examination of aspects of narrative in Schumann’s songs and song cycles, for which he received a grant from the Deutscher Akademischer Austauschdienst to do research in Germany.
Prof. Weaver has served as secretary of the Society for Seventeenth-Century Music, as a member of the Council of the American Musicological Society, and as chair of the AMS Capital Chapter. He sits on the editorial board of the Web Library of Seventeenth-Century Music, and he recently stepped down as editor of the AMS Newsletter.
Prof. Weaver's graduate-level courses have included Music in the Renaissance, Music in the Baroque, Music in the Classical Period, Music in the Romantic Period, Music since 1900, History of Opera, History of Sacred Music, Research Methodology, and special topics courses on Richard Strauss and on Monteverdi’s L’incoronazione di Poppea, the latter of which was fully integrated with a student production of the opera that he produced. He has also taught doctoral seminars on seventeenth-century sacred music and the Romantic Lied and song cycle. With art historian Nora Heimann, he co-created and co-taught an interdisciplinary undergraduate honors course titled “The Mortal and Divine in Art and Music: Catholic Inspiration across the Ages,” and he created an undergraduate seminar on music and society in eighteenth-century England for the Oxford Study Abroad Program. In recognition of his innovative course and curricular development, in 2012 he received the Catholic University of America Provost’s Award for Advancement of Teaching.
With an undergraduate degree in viola performance, Prof. Weaver continues to be active as a chamber music and orchestral musician in the DC area.
Phone: 202-319-5413
Address: 620 Michigan Ave NE
Washington, DC 20064
Prof. Weaver is the author of Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years' War (Ashgate, 2012), co-editor (with Daniel Abraham and Catholic University alumna Alicia Kopfstein-Penk) of Leonard Bernstein and Washington, DC: Works, Politics, Performances (University of Rochester Press, 2020), and editor of A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries (Brill, 2021). He has also edited scholarly editions of seventeenth-century music, including Motets by Emperor Ferdinand III and Other Musicians from the Habsburg Court, 1637–1657, Collegium Musicum: Yale University, second series 18 (A-R Editions, 2012); Giovanni Felice Sances, Motetti a 2, 3, 4, e cinque voci (1642), Recent Researches in the Music of the Baroque Era 148 (A-R Editions, 2008); and works by Antonio Bertali, Giovanni Valentini, and Pietro Verdina in the Web Library of Seventeenth-Century Music. His publications also include articles in the Journal of Musicology, Journal of the Royal Musical Association, Journal of Musicological Research, Music & Letters, Journal of Seventeenth-Century Music, Journal of the American Viola Society, Schütz-Jahrbuch, Early Music, and Nineteenth-Century Music Review, in addition to a number of book chapters, encyclopedia entries, and reviews. His current projects include an exploration of the diplomatic function of musical sources in the sixteenth and seventeenth centuries, for which he received the Claude V. Palisca Fellowship in Musicology from the Renaissance Society of America to do research in Europe and the Martha Goldsworthy Arnold Fellowship to pursue research at the Riemenschneider Bach Institute at Baldwin Wallace University, as well as an examination of aspects of narrative in Schumann’s songs and song cycles, for which he received a grant from the Deutscher Akademischer Austauschdienst to do research in Germany.
Prof. Weaver has served as secretary of the Society for Seventeenth-Century Music, as a member of the Council of the American Musicological Society, and as chair of the AMS Capital Chapter. He sits on the editorial board of the Web Library of Seventeenth-Century Music, and he recently stepped down as editor of the AMS Newsletter.
Prof. Weaver's graduate-level courses have included Music in the Renaissance, Music in the Baroque, Music in the Classical Period, Music in the Romantic Period, Music since 1900, History of Opera, History of Sacred Music, Research Methodology, and special topics courses on Richard Strauss and on Monteverdi’s L’incoronazione di Poppea, the latter of which was fully integrated with a student production of the opera that he produced. He has also taught doctoral seminars on seventeenth-century sacred music and the Romantic Lied and song cycle. With art historian Nora Heimann, he co-created and co-taught an interdisciplinary undergraduate honors course titled “The Mortal and Divine in Art and Music: Catholic Inspiration across the Ages,” and he created an undergraduate seminar on music and society in eighteenth-century England for the Oxford Study Abroad Program. In recognition of his innovative course and curricular development, in 2012 he received the Catholic University of America Provost’s Award for Advancement of Teaching.
With an undergraduate degree in viola performance, Prof. Weaver continues to be active as a chamber music and orchestral musician in the DC area.
Phone: 202-319-5413
Address: 620 Michigan Ave NE
Washington, DC 20064
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Books by Andrew H. Weaver
Ferdinand III offers a fascinating case study in monarchical representation, for the war necessitated that he revise the image he had cultivated at the beginning of his reign, that of a powerful, victorious warrior. Weaver argues that by focusing on the patronage of sacred music (rather than the more traditional visual and theatrical means of representation), Ferdinand III was able to uphold his reputation as a pious Catholic reformer and subtly revise his triumphant martial image without sacrificing his power, while also achieving his Counter-Reformation goal of unifying his hereditary lands under the Catholic church.
Drawing upon recent methodological approaches to the representation of other early modern monarchs, as well as upon the theory of confessionalization, this book places the sacred vocal music composed by imperial musicians into the rich cultural, political, and religious contexts of mid-seventeenth-century Central Europe. The book incorporates dramatic productions such as opera, oratorio, and Jesuit drama (as well as works in other media), but the primary focus is the more numerous and more frequently performed Latin-texted paraliturgical genre of the motet, which has generally not been considered by scholars as a vehicle for monarchical representation. By examining the representation of this little-studied emperor during a crucial time in European history, this book opens a window into the unique world view of the Habsburgs, allowing for a previously untold narrative of the end of the Thirty Years' War as seen through the eyes of this important ruling family.
Articles by Andrew H. Weaver
A straightforward reading of the book is complicated, however, by the exile of Rauch, a Lutheran, from Austria in the 1620s. This musical panegyric, produced by a composer with a troubled relationship to the honoree, opens the door to a reading of the print as an act of diplomacy, in which the composer not only seeks reconciliation by acknowledging the Emperor’s power but also subtly admonishes the Habsburgs in the wake of a peace settlement that was decidedly more favorable to his side. Through close readings of the paratexts and the texts of the musical works against a political and theological backdrop, it is possible to uncover the diplomatic functions of the print for Ferdinand III, the town of Sopron, and Rauch himself. In shedding light on a fascinating cultural artifact, this article offers a fresh perspective on the diplomatic potential of printed music in early modern Europe.
Editions by Andrew H. Weaver
Ferdinand III offers a fascinating case study in monarchical representation, for the war necessitated that he revise the image he had cultivated at the beginning of his reign, that of a powerful, victorious warrior. Weaver argues that by focusing on the patronage of sacred music (rather than the more traditional visual and theatrical means of representation), Ferdinand III was able to uphold his reputation as a pious Catholic reformer and subtly revise his triumphant martial image without sacrificing his power, while also achieving his Counter-Reformation goal of unifying his hereditary lands under the Catholic church.
Drawing upon recent methodological approaches to the representation of other early modern monarchs, as well as upon the theory of confessionalization, this book places the sacred vocal music composed by imperial musicians into the rich cultural, political, and religious contexts of mid-seventeenth-century Central Europe. The book incorporates dramatic productions such as opera, oratorio, and Jesuit drama (as well as works in other media), but the primary focus is the more numerous and more frequently performed Latin-texted paraliturgical genre of the motet, which has generally not been considered by scholars as a vehicle for monarchical representation. By examining the representation of this little-studied emperor during a crucial time in European history, this book opens a window into the unique world view of the Habsburgs, allowing for a previously untold narrative of the end of the Thirty Years' War as seen through the eyes of this important ruling family.
A straightforward reading of the book is complicated, however, by the exile of Rauch, a Lutheran, from Austria in the 1620s. This musical panegyric, produced by a composer with a troubled relationship to the honoree, opens the door to a reading of the print as an act of diplomacy, in which the composer not only seeks reconciliation by acknowledging the Emperor’s power but also subtly admonishes the Habsburgs in the wake of a peace settlement that was decidedly more favorable to his side. Through close readings of the paratexts and the texts of the musical works against a political and theological backdrop, it is possible to uncover the diplomatic functions of the print for Ferdinand III, the town of Sopron, and Rauch himself. In shedding light on a fascinating cultural artifact, this article offers a fresh perspective on the diplomatic potential of printed music in early modern Europe.