The main site of this year's Southeastern Historical
Keyboard Society Conclave was the University of Virginia in Charlottesville.
Appropriately, then, many presentations were centered around the musical and
intellectual life of our third President, Thomas Jefferson.
The first session, Thursday, March 15, opened with James
Holyer's presentation of "A Survey of the Literature on Thomas
Jefferson and Music" in the University of Virginia's Alderman
Li-brary. Representing a new generation of scholars, Holyer is pursuing a
master's degree in sacred music at Southern Methodist University where he
studies organ with Larry Palmer. He provided us with a complete bibliography of
publications on Jefferson and music, and guided us through a review of this literature,
describing the extent to which individual biographers discussed
Jefferson's musical life.
Following this session, University of Virginia librarians
Jane Penner and Heather Moore showed items from the Special Collections
Department. The ninth edition of the Bay Psalm Book, published in the
seventeenth century, was of particular interest since it represents the
"earliest printed music in Colonial America." We were also able to
view portions of the Jefferson family's Monticello Music Collection.
Unfortunately, the music composed by Thomas Jefferson has been lost. On
Thursday evening, the conferees enjoyed a private tour of Monticello.
The Friday morning sessions on March 16 opened with a
presentation by Karen Hite Jacob--"Thomas Jefferson: Finding
Inspiration Beyond Our Borders." In her paper and accompanying handout,
Dr. Jacob focused upon Jefferson's lifelong interest in learning. While
he always took an active part in his family's and friends'
education, Jefferson became interested in public education only later in his
life.
It was great to see harpsichordist and musicologist David
Chung again; we missed him at the SEHKS Conclave 2000 in Greensboro, North
Carolina. Having completed his doctoral work at Cambridge University a couple
of years ago, David returned home to Hong Kong where he is currently assistant
professor at the Hong Kong Baptist University. "The Development of French
Overtures in French Keyboard Music c. 1670-1730" was the topic of
his paper. Composers such as d'Anglebert made transcriptions for
harpsichord of Lully's overtures, including the "Ouverture
d'Isis" and the "Ouverture de Cadmus." An extensive
handout showed the progression of d'Anglebert's various methods of
arranging a Lully overture. Chung also discussed post-Lully (original)
overtures for harpsichord by Dieupart, Siret, Dandrieu and François
Couperin. In summary, he noted several important elements in the French
overtures for keyboard: the union of French ornamentation and Italian harmonic
progressions and counterpoint; the art of accompaniment from a figured bass;
and composers' incorporation of virtuosic writing.
Joyce Lindorff, associate professor of keyboard studies at
Temple University, presented a lecture-recital: "Perfect Vibrations:
Pasquali's 'Art of Fingering' and the New Keyboard Aesthetic."
Pasquali's compact treatise (Edinburgh, 1758), published after the
composer's death in 1740, dealt with fingering, ornamentation, technique
and tuning; it reflected the newly emerging keyboard aesthetic--namely,
the preference for legato performance.
The ideas of Domenico Alberti (1710-1746), one of the
first composers of keyboard music to adopt the new Classical texture, impressed
Pasquali. He agreed that, in order to produce a full tone on the harpsichord,
one must not release the key too soon; further, the harpsichordist must play
with legato fingering. While C. P. E. Bach still re-ferred to the detached
style as the usual one, Pasquali insisted that it should be used rarely. Dr.
Lindorff rounded out her lecture-recital with selected passages from Handel's
Concerto, op. 4, no. 1, and Alberti's Sonata I; she played each example
twice, first in a more detached style--secondly, in the newer legato
style. Most of the audience concurred with Pasquali that the harpsichord gains
power of sound when played with more legato.
Friday morning's second session started with Sarah
Mahler Hughes (associate professor of music at Ripon College in Ripon,
Wisconsin) who presented a paper on "Two 18th-Century Keyboard Settings
of 'Adeste Fideles' from London and Philadelphia." After
tracing the origin of the tune "Adeste Fideles," which turned up in
Portugal, France, and later in London, Dr. Hughes contrasted two settings by
Veronika Dussek Cianchettini (1769-1833) and Rayner Taylor
(1747-1825). The former, a Bohemian pianist/composer, was the younger
sister of well-known pianist/composer Jan Ladislav Dussek (1760-1812).
Both Dusseks moved to London where they taught and performed; Veronika
eventually married the publisher Cianchettini. Rayner Taylor (1747-1825)
emigrated from London to America in 1793. Taking the post of organist and music
director at St. Peter's Episcopal Church in Philadelphia, he was also a
composer and teacher and one of the founders of The Musical Fund Society. Dr.
Hughes found both Cianchettini and Taylor's settings of "Adeste
Fideles" "pleasing and diverting," but noted important
differences between them. While Cian-chettini's version, composed for a
pianoforte with an expanded range, is more technically demanding than Taylor's,
the latter's setting was meant to be played in church, on the organ with
a limited compass.
Once again, Dr. Larry Palmer (Southern Methodist University)
amused, entertained and educated his audience by taking a fresh new ap-proach
to historical material. Assuming the role of French organist and composer
Balbastre (1727-1799), he sent us an E-mail message in the form of a
memoir --"Claude-Benigne Balbastre: From Dijon to Citoyen." In keeping with
the Jeffersonian theme of this SEHKS Conclave, Palmer à la Balbastre
recounted his meeting Jefferson's wife Martha and daughters Patsy and
Polly during their stay in Paris. In fact, Balbastre owes his fame not only to
Charles Burney, who also met him in Paris, but largely to Polly Jefferson, an
accomplished harpsichord pupil. And Mrs. Jefferson, also a devotée of
the harpsichord, copied out the composer's pieces "La Canonade" and "War March," as well as Rameau's "Les Sauvages." Dr. Palmer informed us that these pieces by
Balbastre can be seen on microfilm at the University of Virginia Library.
Balbastre reminisced about the turbulent cultural, political
and musical changes he witnessed in the late eighteenth century, including the
waning and subsequent eclipse of the clavecin by the new pianoforte. The
composer endured the worst insult--seeing his Pascal Taskin
clavecin's innards re-moved and replaced by a pianoforte mechanism! Dr.
Palmer's lecture was enhanced by tape recordings of his performance of
several of Balbastre's clavecin pieces.
On Friday afternoon the conferees enjoyed an excursion to the
Hebron Lutheran Church in Madison, Virginia, for more presentations and
concerts. Judy Ann Fray, docent of the historic church, told us about the
historical background of the building and the organ. The original organ, made
by David Tannenberg in Lititz, Pennsylvania, was hauled by ox cart to Madison
and installed in 1802; it has been in use ever since. In 1970, when the organ
was refurbished by George Taylor and Norman Ryan, all parts were documented.
MANUAL (54 notes) (Stop names perhaps not original.)
8'
style='mso-tab-count:1'> Principal
dulci (#1-12 quintadena basses)
8'
style='mso-tab-count:1'> Gedackt
(All stopped wood)
4'
style='mso-tab-count:1'> Octave
(All open metal)
4'
style='mso-tab-count:1'> Flute
(All open wood)
22⁄3'
style='mso-tab-count:1'> Quinte (All open metal)
2'
style='mso-tab-count:1'> Octave
(All open metal)
13⁄5'
style='mso-tab-count:1'> Terzian (breaking to
31⁄5' at middle c)
Mixture
II (#1-24: 19-22; #25-54: 8-12)
We were then treated to a recital on the Tannenberg organ by
Joseph Butler (associate professor and associate dean of the College of Fine
Arts, Texas Christian University). His program included works by Froberger,
Pelham, Handel, J. S. Bach, Böhm, Brahms and Muffat.
Andrew Willis, immediate past president and current
secretary of SEHKS, then introduced George Lucktenberg, founder of SEHKS almost
21 years ago. In his address, entitled "The Southeastern Historical
Keyboard Society--An Idea Whose Time Had Come," he looked back over
his career as a harpsichordist and founder of SEHKS and pondered the future of
our organization. "We're at another turning point," stated
Lucktenberg. Now that the specialty of early music has established itself, he
cautioned against undermining its progress with an "earlier than
Thou" attitude. He shared his many thoughts about how SEHKS can continue
to be a significant force in the musical world. SEHKS President Peter Dewitt
then presented an award to Dr. Lucktenberg.
After the group was treated to a wonderful catered buffet in
the Hebron Lutheran Church Parish Hall, Peter Dewitt presented awards to Karyl
Louwenaar Lueck and Karen Hite Jacob, past presidents, for their many years of
significant contributions to the organization. The evening's concert of
German Vespers was provided by Zephyrus, a Charlottesville-based vocal ensemble
directed by Dr. Paul Walker, professor of organ and harpsichord at the
University of Virginia. Joined by Brad Lehman at the Tannenberg organ, Jennifer
Myer and Eva Lundell, violins, and Sarah Glosson, viola da gamba, Zephyrus
performed music by Böhm, Schütz, Buxtehude, Scheidt, and Praetorius.
The Saturday morning session opened with John Watson,
conservator of instruments at the Colonial Williamsburg Foundation, whose paper
ad-dressed "America's Only Surviving Harpsichord and Other Glimpses
of Jefferson's Keyboard Milieu." Although Jefferson was neither a
harpsichordist nor a composer, he sought the best available keyboard instruments
for his wife and two daughters throughout his life.
Vera Kochanowsky and Thomas MacCracken, duo harpsichordists
and forte-pianists from Washington, D.C., then performed Mozart's only
sonata for two fortepianos, K. 448 in D Major. MacCracken played an instrument
made by John Lyon in 1986, modeled on a Walther; and Steve Dibbern made
available a fortepiano he constructed from a Zuckerman kit (Stein replica) for
Kochanowsky.
The next presentation, "Once Again: Expressive Devices
on Eighteenth-Century Harpsichords," was given by Edward Kottick,
musicologist and retired professor from the University of Iowa. He challenged
the widely-held opinion that the devices added to harpsichords by late
eighteenth-century French and English builders, in order to accommodate the
growing desire for dynamic gradations, were "accretions or
encrustations." Builders created devices such as machine stops, swells
and the peau de buffle, not to compete with fortepiano makers, but rather to
meet the needs of a changing aestshetic.
Perhaps it is only the twentieth-century
viewpoint--"anti-pedal and anti-dy-namic," even with regards
to late eighteenth-century keyboard music--which misunderstands the raison
d'etre of these "improvements."
Judith Conrad, an active keyboard performer and technician
from Fall River, Massachusetts, evoked "Tranquility at Home" in the
late eighteenth century with "A Bit of Musick upon the Fretted
Clavichord." She performed music by Handel, Balbastre, Alexander
Reinagle, John Snow and William Boyce on a clavichord made by Steve Barrell
(Amsterdam, 1990).
Stan Pelkey, an assistant professor of music at Gordon
College in Wenham, Massachusetts, presented a paper on "Approaches to
Sonata Procedures in British Keyboard Music from 1760-1820." He
focused mainly upon the contributions of Samuel Wesley and Charles Wesley.
Conferees were able to rotate among three
"No-fear" instrument repair workshops Saturday afternoon: Edward
Kottick, changing a plectrum; Ted Robertson, changing a string; Ed Swenson,
leathering a hammer. At the annual Builder's Instrument Showcase,
conferees had a final opportunity to view and hear instruments exhibited by
Steve Dibbern, Ted Robertson, Ed Swenson, Steven Barrell, Richard Abel, and
Willard Martin. Joyce Lindorff's demonstrations were all the more
effective because she selected repertoire appropriate for each instrument.
The afternoon session concluded with a performance of Madame
Brillon's "Trio en Ut Mineur a Trois Clavecins" (1780) by
Virginia Pleasants, David Chung and Joyce Lindorff. Intended for one English
fortepiano, one German fortepiano and one harpsichord, Brillon's Trio was
played in 2001 on a fortepiano made by Steve Dibbern from a Zuckerman kit, a
harpsichord built by Willard Martin, and an 1855 Erard grand pianoforte restored
by Ed Swenson.
The beautiful Dome Room of the Rotunda at the University of
Virginia was the site of the Conclave's final event. This building, like
many others on the campus, was designed by Thomas Jefferson. Harpsichordist
Charlotte Mattax Moersch played an unmeasured prelude by Jean-Henry
d'Anglebert and three pieces by Lully arranged by d'Anglebert.
Karyl Louwenaar Lueck performed harpsichord pieces by An-toine Forqueray, four
of which were arranged by his son Jean-Baptiste Forqueray. Andrew Willis, fortepianist,
played works by J.G. Albrechtsberger, C.P.E. Bach and Georg Benda. After
enjoying J.S. Bach's Concerto in C Major for Two Harpsichords (BWV 1061),
played by Mattax and Louwenaar, the audience was treated to a hilarious
performance of "Das Dreyblatt" by Wilhelm Friedrich Ernst Bach, a
grandson of J.S. Bach. All six hands negotiated, or attempted to negotiate,
their way around a single fortepiano!
The SEHKS Conclave 2001 was successful in all respects, from
excellent presentations and recitals to terrific hospitality; the experience
was enhanced by the rich historical setting of the Charlottesville, Virginia
area. Thanks to Vicki Dibbern for making all the local arrangements, to builder
liaison Steve Dibbern, to the program committee (Ardyth Lohuis, Ed Kottick and
Andrew Willis), to Karen Hite Jacob for the program book, and to Dr. Paul
Walker for making arrangements at the University of Virginia.
Dana Ragsdale is professor of harpsichord and piano and
director of Southern Arts Pro Musica at the University of Southern Mississippi.
Having played her New York debut harpsichord recital in 1977 in Weil Recital
Hall, she has also been a guest artist on the Winterfest Concerts and with the
Fiati Chamber Players in New York City. A participant in the Performing Arts
Touring Program, Dr. Ragsdale has also made numerous appearances at Piccolo
Spoleto USA in Charleston, South Carolina. Promenade, the Baroque ensemble in
which she performs, can be heard on a compact disc, "Music from the Court
of Versailles."
