Don Fader

Coordinator of Musicology

  • email:
  • phone (205) 348-4135
  • office location Moody Music Building 246


  • PhD, Musicology, Stanford University
  • AM, Music, Stanford University


Don Fader (Associate Professor of Musicology) joined the tenure-track faculty at the UA School of Music in 2008.  He holds an A.M. 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 17th- and 18th-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). He is the author of numerous articles and book reviews in collections and journals, including Journal of Musicology,Music & Letters, Early Music, Revue de musicologie, and the Journal of Seventeenth-Century Music, among others. His article, “The ‘Cabale du Dauphin,’” received the Westrup Prize as distinguished contribution to Music & Lettersfor 2005, and the collective volume, Itinéraires d’André Campra, in which his essay “Campra et le Régent” appeared, won the 2013 Prix du patrimoine (ACDA, Paris) for the best francophone collection of essays on music. Dr. Fader is also the author of two editions, one of which, Antonio Biffi’s Miserere(ca.1702), received its modern premiere at the Utrecht Early Music Festival in 2013. In 2016, he was awarded a fellowship from the National Endowment for the Humanities, and he is currently completing a book for Boydell & Brewer (London) based on discoveries in a trove of documents at the French national library: Between Paris and Milan: Music, Dance, and European Cultural Exchange in the Early 18th Century.

Dr. Fader has given research and public talks all over the United States and Europe, and recently served on the organizing committee for the conference “Rethinking Music in France During the Baroque Era / Repenser la musique en France à l’époque Baroque” held at the Université Paris-Sorbonne, the Bibliothèque Nationale de France, the Centre de Musique Baroque de Versailles, and the Abbaye de Royaumont, 19–23 June 2018, for which he participated in the concluding panel discussion. He also currently serves as Reviews Editor for the Journal of Seventeenth-Century Music.

A professional recorder player and amateur harpsichordist, 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 Ensemblesin 2009. Dr. Fader has played, lectured, and given master classes on performance practice at numerous festivals and institutions.  He 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, the Staunton Music Festival, TroisdorfBAROCK, the Dayton Bach Society, SarabandaBonn, and the Palo Alto Chamber Orchestra.

Selected Publications

Between Paris and Milan: Music, Dance, and European Cultural Exchange at the Turn of the Eighteenth Century (in preparation for Boydell and Brewer, UK).

“Monsieur and Philippe II d’Orléans: A Cultural Influence Beyond their Residences,” Les Foyers artistiques à la fin du règne de Louis XIV,ed. Anne-Madeleine Goulet, Michel da Vinha, and Jean Duron(Turnhout, Belgium: Brepols, 2019), 37-49.

“Music in the Service of the King’s Brother: Philippe I d’Orléans (1640-1701) and Court Music Outside Versailles,” Journal of Seventeenth-Century Music19 (2013) [published in 2017],

“’Les Ornemens de l’art’: Marc-Antoine Charpentier et la tradition du sublime harmonique,” À la croisée des arts – Sublime et musique religieuse en Europe, ed. Sophie Hache and Thierry Favier (Paris: Garnier, 2015), 275-294.

“La duchesse de Bourgogne, le mécénat des Noailles, et les arts dramatiques à la cour autour de 1700,” Etudes sur le XVIIIesiècle 41 (2014): 175-190

 “Campra et le Régent : querelles, rivalités et avancées de l’harmonie française,” Itinéraires d’André Campra(1660-1744), d’Aix à Versailles, de l’Église à l’Opéra, ed. Catherine Cessac (Wavre, Belgium: Mardaga; Versailles, France: Centre de musique baroque, 2012), 15-29.

 “The Goûts-réunisin French Vocal Music through the Lens of the Recueil d’airs sérieux et à boire (1695-1710),” Revue de musicologie96/2 (2010): 321-63.

 “Philippe II d’Orléans’s ‘chanteurs italiens,’ the Italian cantata, and the Goûts-réunisunder Louis XIV,” Early Music35/2 (May 2007): 237-249.

 “The ‘Cabale du Dauphin,’ Campra and Italian Comedy: The Courtly Politics of French Musical Patronage Around 1700,” Music and Letters86/3 (Aug. 2005): 380-413.

 “The Honnête hommeas Music Critic: Taste, Rhetoric, and Politessein the 17th-Century French Reception of Italian Music,” Journal of Musicology20/1 (Winter 2003): 3-44.


Jean Martin, “Serenade” and “A Force de branler la mâchoire” from Premier livre d’airs (Paris: Christophe Ballard, 1688), Web Library of Seventeenth-Century Music vol. 25 (June 2012), Premiered by the Nordic Baroque Band, Stockholm, Sweden, 6 Nov. 2015.

Antonio Biffi, Miserere mei, Deus (ca.1702), for soloists, chorus, and orchestra, Web Library of Seventeenth-Century Music, vol. 15 (Oct. 2009), Premiered at the Utrecht Early Music Festival (Netherlands) by the ensemble Le Parnasse français, directed by Louis Castelain, 24 Aug. 2013.