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 Don Fader (Assistant Professor of Musicology) joined the tenure-track faculty at the UA School of Music in 2008.  He holds an A.M. in music with specialization in the performance of historical wind instruments (1993), and a Ph.D. in musicology (2000) from Stanford University. Before coming to UA, he taught at Indiana University, the University of North Carolina at Chapel Hill, and UNC-Greensboro. 

Dr. Fader’s research takes in a broad spectrum of issues relating to the Italian style in 17^th- and 18^th-century France, and his interests range from performance practice to cultural history, and aesthetics to the history of theory.  His work on French baroque music began as laureate of the Bourse Chateaubriand and Chercheur Associé at the Centre de Musique Baroque at Versailles (1997-98).  Dr. Fader is the author of numerous book reviews, an edition of Antonio Biffi’s Miserere for the Web Library of the Society for Seventeenth-Century Music, and articles in Early Music, the Journal of Musicology, Music and Letters, and the Revue de musicologie.  His article, “The ‘Cabale du Dauphin,’ Campra and Italian Comedy,” received the Westrup Prize as distinguished contribution to Music and Letters for 2005.  Dr. Fader has given talks at various scholarly conferences, including regional and national meetings of the American Musicological Society, the Society for Seventeenth-Century Music, the Center for 17th- and 18th-Century Studies at UCLA, the Biennial International Conference on Baroque Music, and the Centre de Musique Baroque, Versailles.  

A former recorder student of Eva Legêne, Judith Linsenberg, and Herbert Meyers, Dr. Fader combines his interests in musicology and performance through courses in performance practice and the coaching of ensembles in various styles of early music.  He collaborated with Gesa Kordes in founding the University of Alabama Early Chamber Ensembles in 2009.  Dr. Fader has performed with orchestras and chamber ensembles in the United States and Europe, and has been heard on National Public Radio’s “Harmonia” and “Performance Today.”  He has been concerto soloist with the Bloomington Early Music Festival Orchestra, the Indianapolis Baroque Orchestra, and the Dayton Bach Society, and the Palo Alto Chamber Orchestra.   He directed the ensemble Les Ordinaires du Palais-Royal, whose program “The Savant and the Débauché: Music at the Court of the Regent” was given at the Bloomington Early Music Festival, and at the Festival Music Society (Indianapolis).  In October 2010, he organized a concert of music from 17^th-century Venice for the “Less is More” series at the UA School of Music. 

Major Publications 

      “The Goûts-réunis in French Vocal Music Through the Lens of the Recueil d’airs sérieux et à boire (1695-1710),” Revue de musicologie 96/2 (2010): 1-43. 

      Critical edition with commentary: Antonio Biffi, Miserere mei, Deus for soloists, chorus, and orchestra (ca. 1703), The Web Library of Seventeenth-Century Music 15 (Oct. 2009), http://aaswebsv.aas.duke.edu/wlscm/. 

     “Philippe II d’Orléans’s ‘chanteurs italiens,’ the Italian cantata, and the Goûts-réunis under Louis XIV,” Early Music 35/2 (May 2007): 237-249. 

     “The ‘Cabale du Dauphin,’ Campra and Italian Comedy: The Courtly Politics of French Musical Patronage Around 1700.” Music and Letters 86/3 (Aug. 2005): 380-413. 

      “The Honnête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music,” Journal of Musicology 20/1 (winter 2003): 3-44.  

      “Let the Buyer Beware: Dieupart’s Six Suittes de Clavessin and Practices of Arrangement for Recorder in the Eighteenth-Century Music Market,” Recorder Education Journal 2 (1995): 32-52. 

Current projects:

      “Campra et Le Régent,” conference paper given at the “Colloque Campra” hosted by the Centre de Musique Baroque Versailles, October 2010; to appear as an essay in a volume of conference proceedings. 

      “Music at the Court of Philippe I d’Orléans,” journal article in progress, supported by an RGC Grant from the Office of the Vice President for Research, University of Alabama. 

      “The Invention of the Cantate françoise: Patronage, Social History, and the Goûts-réunis in ‘Préramiste’ France,” journal article in progress, based on two national AMS presentations. 

      Italian Music, French Polemic, and Princely Patronage Under Louis XIV and Philippe II d’Orléans (1680-1722), provisory title of a book in progress.