Ronald Ebrecht presents his traditional annual recital, “Bach to School,” at Wesleyan University’s Memorial Chapel on September 11 in Middletown, Connecticut. The program will include works by Mendelssohn, Bach, Franck, Widor, and Neely Bruce. The program is a preview of his appearance in concert at the Minsk Philharmonic, September 24, in Belarus.
Felix Aprahamian, noted music critic, died in London on January 15. Born in London on June 5, 1914, he was honorary secretary of the Organ Music Society 1935–70; concert manager of the London Philharmonic Orchestra 1940–46; and deputy music critic, Sunday Times 1948–89.
Mr. Aprahamian attended Tollington High School and studied organ with Eric Thiman, whom he assisted at Park Chapel, Crouch End. He worked for the Organ Music Society from the age of 17, and as assistant secretary was in correspondence with the leading organists of the day. His interest in and knowledge of French music led him to become organizer of the Concerts de Musique Française for the Free French in London in 1942. From 1946–84, he worked for United Music Publishers, the principal agent for French music in the UK. He served on the BBC Central Music Advisory Committee 1958–61.
Aprahamian wrote record reviews for Gramophone from 1964 to 1975. He also wrote many articles, reminiscences and introductions to books, and edited and translated Claude Samuel’s Conversations with Olivier Messiaen (1976). He lectured widely, including at Morley College, the City Literary Institute and Surrey University, and from 1989 was visiting professor at the University of East London. In 1991 he was Regents Lecturer at the University of California. He was made an honorary member of the Royal College of Organists in 1973 and an honorary fellow in 1994. He lived in the same house in Muswell Hill for 85 years, where his music room had an organ inherited from André Marchal, two pianos, scores and books.
Robert Baker died on January 24 at his home in Hamden, Connecticut, at the age of 88. He was predeceased by his wife of 61 years, Mary Frances Depler Baker, who died on July 23, 2004. He is survived by a son, a daughter, and two grandchildren. A memorial service took place at Spring Glen Congregational Church in Hamden.
Born in 1916 in Pontiac, Illinois, Robert Baker began playing the organ at the age of 12. He attended Illinois Wesleyan University, where he studied the organ with Frank Jordan. After graduation he moved to New York City and studied with Dr. Clarence Dickinson at Union Theological Seminary. There he earned the Master of Sacred Music degree in 1940 and the Doctor of Sacred Music degree in 1944.
He served as organist/choirmaster at Hitchcock Presbyterian Church, Scarsdale, New York 1938–41; at First Presbyterian Church, Brooklyn Heights 1941–53; and in New York City at Temple Emanu-El 1945–61, St. James Episcopal Church 1969–74, and First Presbyterian Church 1975–88.
He was named director of the School of Sacred Music at Union Theological Seminary in 1961 and dean in 1965. He was the founding director of Yale Institute of Sacred Music, New Haven, Connecticut 1973–76, and retired from the Yale faculty in 1987.
As a concert artist (under the Lilian Murtagh Concert Management for many years), he played recitals on virtually every important organ in the United States, including those at St. John the Divine, West Point Naval Academy, Grace Cathedral, and many others. In 1966, he was one of two American organists to perform for the 900th anniversary of Westminster Abbey. He held honorary doctorates from Illinois Wesleyan University, Bradley University, Westminster Choir College, and Susquehanna University.
Memorial services are scheduled for May 1 at First Presbyterian Church, New York City, and October 10 at Yale University’s Woolsey Hall.
Mary McCall Stubbins died December 25 in Washington, DC at the age of 90. Mrs. Stubbins served for 55 years as organist of First United Methodist Church, Ann Arbor until her retirement in 1997. Born in Toluca, Illinois, she began piano study at age seven in Homewood, Illinois, a suburb of Chicago. This led to lessons and competitions at Mary Wood Chase School of Musical Arts, Columbia School of Music and the Chicago Conservatory of Music. She began playing church services on the piano for the Chicago Heights Christian Science Church at age 16. She studied organ with Edgar Nelson in Chicago, and earned a BA in music at the University of Chicago. In 1939 she married William H. Stubbins and they moved to Ann Arbor, where Mr. Stubbins taught clarinet at the University of Michigan until his death in 1975.
After moving to Ann Arbor, Mary Stubbins began playing organ and later directed the choir at First Congregational Church. In September 1942 she was appointed organist at First United Methodist Church. She received her MMus degree in organ from the University of Michigan, studying with the late Palmer Christian. She served as organist for more than 25 years with the University Musical Society, and played with the Philadelphia Orchestra when the Choral Union sang at the May Festival.
Mrs. Stubbins was a member of two international honorary musical fraternities—Mu Phi Epsilon and Phi Kappa Lambda—as well as a member of the American Guild of Organists. She was a charter member of the Ann Arbor chapter and served as treasurer and a member of the executive board. She is survived by two daughters and four granddaughters.
10 years ago in the March 2000 issue of The Diapason
Cover: T. R. Rench & Company, Trinity United Methodist Church, Racine, Wisconsin
Third International Organ Competition sponsored by the City of Paris announced winners
Patrick Allen appointed organist and master of the choristers, Grace Church, New York City
Robert Jones appointed organist and choir director, St. Luke’s Anglican Church, Ottawa, Ontario, Canada
Norm Kinnaugh appointed to the drafting/engineering department, Reuter Organ Company
Robert Names awarded the Medal of Honor and Diploma for Achievement by the Albert Schweitzer Society in Brussels, Belgium
Keith S. Toth received a Golden Ear Award from The Absolute Sound Journal for his CD Paris on Park Avenue
Andrew Pennells, managing director of J. W. Walker & Sons, died at age 37
“Johann Sebastian Bach and Die Kunst der Fuga,” by Herbert Anton Kellner
“Musical Rhetoric in Three Praeludia of Dietrich Buxtehude,” by Leon W. Couch III
New Organs: Glatter-Götz/Rosales, Nichols & Simpson
25 years ago, March 1985
Cover: J. S. Bach, 300th birthday
Douglas Butler appointed organist-choirmaster, St. Boniface Catholic Church, San Francisco, California
Mary Preston appointed director of music and organist, Walnut Hill United Methodist Church, Dallas, Texas
Valentin Radu under the management of Artist Recitals Talent Agency
Obituaries: Robert D. MacWilliams, Rachel (nee Boldt) MacKay, and Grace Muszynski
“Symposium: The Organ Chorales of Bach, Arizona State University,” by Margaret R. Evans
“The Advent & Christmas Chorales of the Orgelbüchlein: Their Histories and Settings,” by Paul B. Boehnke
“The University of Michigan 24th Annual Conference on Organ Music,” by James Hammann
New Organs: Hendrickson Organ Co., Lewis & Hitchcock, Inc.
50 years ago, March 1960
André Marchal to play and teach at Northwestern University’s tenth annual midwinter conference on church music
Catharine Crozier plays winter recital series at Rollins College, Winter Park, Florida
Frederick Swann plays dedication recital of Aeolian-Skinner organ at Epworth Methodist Church, Norfolk, Virginia
People: Ronald Arnatt, Feike Asma, Richard Ellsasser, Bertha Hagarty, Ralph Kneeream, Gerald Knight, Marilyn Mason, Russell Hancock Miles, Ashley Miller, Robert Requa, William Teague, Everett Titcomb
Aeolian-Skinner to build 98-rank organ for Philharmonic Hall at Lincoln Center for the Performing Arts, New York City; specification drawn up by Charlotte Garden, Robert Baker, and Searle Wright
Aeolian-Skinner installed 110-rank organ in the Auditorium of the Reorganized Church of Jesus Christ of Latter Day Saints, Independence, Missouri, designed by G. Donald Harrison and Harold Gleason
Completion of two new Aeolian-Skinner organs at St. Mark’s Episcopal Church, Shreveport, Louisiana
1804 Tannenberg organ restored at York, Pennsylvania Historical Socity
Illinois Wesleyan University to replace its Hinners organ with a new three-manual Schantz
Organs: Austin, Casavant, Delaware, Hillgreen, Lane and Co., Holloway, Holtkamp, Möller, Pels, Reuter, Wicks
75 years ago, March 1935
People: Paul Allen Beymer, E. Power Biggs, William C. Carl, Ralph Downes, Marcel Dupré, Edward Eigenschenk, Virgil Fox, Porter Heaps, Bernard R. LaBerge, Charlotte Lockwood, Hugh McAmis, Renee Nizan, Mario Salvador, Melville Smith, Parvin Titus, Clarence Watters, Ernest White, David McK. Williams, Nesta Williams, Pietro Yon
Organs: Aeolian-Skinner, Austin, Frazee, Kilgen, Kimball, Möller, Pilcher
David Spicer began as Minister of Music and the Arts at First Church of Christ in Wethersfield, Connecticut, in 1986. In 1996 he and Harold Robles founded the Albert Schweitzer Organ Festival. Spicer is a graduate of the Curtis Institute of Music, where he studied with Alexander McCurdy, and is a graduate of the Eastern Baptist Theological Seminary.
It hardly seems possible that twelve years have gone by since we began the Albert Schweitzer Organ Festival! We have experienced outstanding applicants, who reflected wonderful, superb teaching, outstanding adjudicators, and a remarkable and consistently high level of music making.
Beautiful New England weather gave an idyllic setting for the festival. On Friday evening, September 10, our traditional opening concert was held. The service/choral portions were played by the writer:
Prelude: Benedictus, op. 59, no. 9, Max Reger (played also at the first annual festival)
Psalm 150, César Franck
Hymn: Christ Is Made the Sure Foundation (tune: Christ Church), Richard W. Dirksen
Kyrie (from Messe Solennelle, op. 16), Louis Vierne
He Comes to Us (text by Albert Schweitzer), Jane Marshall
Go Ye into All the World, Robert Wetzler
Hymn: Let Heaven Rejoice (tune: Rock Harbor) (text by Hal M. Helms), Alan MacMillan
The three judges were each invited to play a selection of their own choosing. The artists’ playing from the balcony was projected onto a screen downstairs in the historic Meetinghouse. Frederick Hohman played his arrangement of Arioso (Suite No. 3 in D) by J. S. Bach. Wilma Jensen played Méditation à Ste. Clothilde by Philip James. John Weaver then played Chorale Prelude on Ellers followed by Fantasy on Sine Nomine, both his own compositions.
Saturday morning, from 9 to noon, the three high school division finalists played the required repertoire. At 2 pm the young professional division finalists were heard. The combined repertoire of these six finalists included hymn tunes: St. Thomas (Williams), Coronation, Ein’ Feste Burg, Diademata, Slane, and Veni Creator; Bach: Fantasia and Fugue in G Minor, BWV 542, Prelude and Fugue in A Minor, BWV 543, Prelude and Fugue in D Minor, BWV 539, Trio Sonata No. 1 in E-flat Major, BWV 525, and Trio Sonata No. 5 in C Major, BWV 529; Widor: Cantabile (from Symphony No. 6 in G Minor), Andante Cantabile (from Symphony No. 4 in F), and Andante Sostenuto (from Symphonie Gothique); Franck: Choral No. 2 in B Minor and Choral No. 3 in A Minor; Eben: Moto Ostinato (from Sunday Music); Jongen: Sonata Eroïca, op. 94; Jehan Alain: Aria; Duruflé: Scherzo, op. 2; Messiaen: Dieu parmi nous (Nativité du Seigneur, IX).
Immediately afterwards, all finalists and judges had a chance for interaction and discussion over a delicious meal provided by Dana Spicer at Mainly Tea, directly across the street from the Meetinghouse.
On Sunday, September 12, all finalists played portions of the 8, 9:15, and 11 am worship services. At 1:30 pm, a masterclass with the three judges was held. Many important topics were covered, and awards were presented.
The judges’ decisions
High School Division: first place, Bryan Anderson from Stockbridge, Georgia, a student of Sarah L. Martin; second place, Deniz Uz from Longwood, Florida, a student of Terry Yount and currently with Thomas Bara at the Interlochen Arts Academy; third place, Clarence Chaisson from South Lancaster, Massachusetts, a student of Christa Rakich.
Young Professional Division: first place, Adam Pajan from New Haven, Connecticut, formerly a student of Charles Boyd Tompkins at Furman University in Greenville, South Carolina and currently with Martin Jean at Yale University; second place, Clayton Roberts from Houston, Texas, a student of Robert Bates at the University of Houston; third place: Jonathan Hehn from South Bend, Indiana, a student of Craig Cramer at the University of Notre Dame.
We are very grateful to Charles Callahan for serving as the screening judge for initial recorded examples of these organists and other applicants.
We are also grateful to Leigh and Betty Standish for the $2000 award for first prize in the high school division. The young professional division first prize of $3500 was given by Robert Bausmith and Jill Peters-Gee, M.D. Thanks go to John Gorton and Richard Pilch for providing $750 for the David Spicer Hymn Playing Award, which was awarded to high school division finalist Bryan Anderson. Other prizes and gifts toward the festival—including the high school division second prize of $1000 and the young professional division second prize of $1500—came from Austin Organs, Inc., Marilyn Austin & the Austin family, and several individuals in the First Church family. We also thank Dr. Paul Bender for his gift to this festival.
Special thanks go to Bon Smith of Austin Organ Service Company of Avon, Connecticut, who was on hand throughout the Saturday competition to offer assistance, should the organ need it, as well as his gracious gift of tuning and maintenance for this festival. Austin Organ Service Company is the regular curator of this instrument, serviced by Alex Belair and Michael Tanguay.
Our thanks to William Dean, music committee chair; Andrea Volpe, ASOF chair; and Linda Henderson, assistant, for so ably performing the organizational work that made the festival run smoothly and efficiently.
Churches that allowed their instruments to be used for additional practice include Trinity Episcopal Church, Wethersfield, Bruce Henley, organist-choirmaster; St. John’s Episcopal Church, West Hartford, Ralph Valentine, organist-choirmaster; St. James’ Episcopal Church, also in West Hartford, Jason Roberts, organist-choirmaster; First Church of Christ, Glastonbury, Angela Salcedo, director of music ministries; Cathedral of St. Joseph, Hartford, Ezequiel Menéndez, music director; and Bethany Covenant Church, Berlin, Olga Ljungholm, minister of music.
The 2009 first-place winners, Bryan Anderson and Adam Pajan, will perform in recital on Sunday, June 13, 2010, at 7 pm at the First Church of Christ, Wethersfield, Connecticut.
The 2010 Albert Schweitzer Organ Festival will have the following judges for the competition: Joyce Jones, Charles Callahan, and Frederick Hohman. Plans are underway to feature these organists in the opening concert of the festival on Friday evening, September 10, at 7:30 pm. The ASOF committee is hoping to invite six qualified young organists to compete in the two divisions on Saturday, September 11. Information about the Albert Schweitzer Organ Festival and current requirements for the competition are available by telephone at 860/529-1575 ext. 209, by e-mail at [email protected], or by viewing the ASOF website: www.firstchurch.org/ASOF.
September 5–7, 2014
David Spicer began as Minister of Music and the Arts at First Church of Christ in Wethersfield, Connecticut, in 1986. In 1996, he and Dr. Harold Robles founded the Albert Schweitzer Organ Festival. Spicer is a graduate of the Curtis Institute of Music, where he studied with Dr. Alexander McCurdy, and is a graduate of the Eastern Baptist Theological Seminary.
To encourage young organists—this has been our raison d’être for the past seventeen years of the Albert Schweitzer Organ Festival, something with which all of us in the profession agree.
It was indeed a treat to hear such wonderfully prepared young organists at the Albert Schweitzer Organ Festival in September! One can marvel at these students developing their talents and be grateful for their excellent teachers. That, combined with wonderful organ music, set the stage for the seventeenth annual festival. We are grateful to be able to encourage young organists with this competition. We had some wonderful applicants who sent in outstanding CDs. Judges for this year’s festival were Diane Meredith Belcher, Charles Callahan, and Ken Cowan.
On Friday evening, September 5, our traditional opening concert was held. The service/choral portions were played by the author: Andante (Grand Pièce Symphonique, op. 17), Psalm 150, Franck; Christ Is Made the Sure Foundation (Christ Church), Dirksen; Kyrie (from Messe Solennelle, op. 16), Vierne; He Comes to Us (text by Albert Schweitzer), Marshall; Go Ye Into All the World, Wetzler; Let Heaven Rejoice (text by Hal M. Helms; tune, Rock Harbor, by Alan MacMillan).
Each of the judges played selections of their own choosing on the Austin organ at the opening event. A video camera, via closed-circuit television, projected a view of the organists in the balcony onto a screen downstairs. The selections were: Allein Gott in der Höh sei Ehr, BWV 662, Bach, and Passacaglia on a Theme by Dunstable, Weaver, played by Diane Meredith Belcher; Lyric Prelude and Fugue, Callahan, and Risoluto, op. 68, Parker, played by Charles Callahan; Fantasie in F Minor, K. 608, Mozart, played by Ken Cowan.
Saturday morning, from 9 a.m. to 12 noon, the high school division finalists played the required repertoire; at 2 p.m. the young professional division finalists were heard. All finalists were required to play the hymn tune St. Thomas (Williams).
The high school division finalists and the works they played were:
Clara Gerdes—Bach, Prelude and Fugue in A Minor, BWV 543; Widor, Adagio (from Symphony No. 5); Messiaen, Transports de Joie (from L’Ascension); hymn, Coronation.
Alexander Pattavina—Bach, Fantasia and Fugue in C Minor, BWV 537; Widor, Meditation (from Symphony No. 1); Langlais, Fête; hymn, Ein’ Feste Burg.
Richard Gress—Bach, Prelude and Fugue in G Major, BWV 541; Widor, Andante Cantabile (from Symphony No. 5 in F Minor); Messiaen, Transports de Joie (from L’Ascension); hymn, Veni Creator (1940 Hymnal #217).
The young professional division finalists and the works they played were:
Evan Cogswell—Franck, Choral No. 2 in B Minor; Messiaen, Communion (from Messe de la Pentecôte); Bach, Fantasy and Fugue in G Minor, BWV 542; hymn, Slane.
Brian Glikes—Bach, Trio Sonata No. 5, BWV 529; Franck, Choral No. 2 in B Minor; Messiaen, Offrande et Alléluia final; hymn, Diademata.
Nicholas Quardokus—Bach, Prelude and Fugue in D Major, BWV 532; Franck, Choral No. 1 in E Major; Vierne, Finale (from Symphonie VI); hymn, Ein’ Feste Burg.
Later that evening, all finalists and judges had a chance for interaction and discussion over a delicious meal provided by Dana Spicer at the Solomon Welles House in Wethersfield.
On Sunday, September 7, the young professional finalists played portions of the 8:45 a.m. worship service. In addition, we thank Ezequiel Menéndez, who invited the finalists to play portions of the 11 a.m. Mass at the Cathedral of St. Joseph in Hartford. In Wethersfield at 1:30 p.m., a masterclass with the three judges was held. Many important topics were covered and awards were presented.
The judges’ decisions
High school division: first place, Clara Gerdes from Davidson, North Carolina, a student of Alan Morrison at the Curtis Institute of Music; second place, Alexander Pattavina from Stoughton, Massachusetts, a student of Paul Jacobs at the Juilliard School of Music; third place, Richard Gress from Newmarket, New Hampshire, student of Bruce Adami.
Young professional division: first place, Nicholas Quardokus from Bridgeman, Michigan, student of Janette Fishell at the Jacobs School of Music at Indiana University; second place, Brian Glikes from Rochester, New York, student of David Higgs at the Eastman School of Music; third place, Evan Cogswell from Glastonbury, Connecticut, student of Patricia Snyder, and a recent graduate of the Hartt School of Music.
We are grateful to Robert Bausmith and Jill Peters-Gee, M.D. for giving the young professional division first prize of $3,500; the young professional division second prize of $1,500 came from several individuals in the First Church of Christ community and others. Our thanks to the Helen L. Reinfrank Music Fund for the $2,000 award for first prize in the high school division and to Marilyn Austin and family for the high school division second place prize of $1,000. Thanks go to John Gorton and Richard Pilch for providing $1,000 for the David Spicer Hymn Playing Award, which was given to young professional division finalist Nicholas Quardokus.
Special thanks go to Bon Smith of Austin Organ Service Company of Avon, Connecticut, who was on hand throughout the Saturday competition to offer volunteer assistance, should the organ have needed it. Thanks to Linda Henderson, festival coordinator and associate, for so ably performing the organizational work that made the festival run smoothly and efficiently.
Churches that allowed their instruments to be used for additional practice included the Cathedral of St. Joseph, Hartford, Ezequiel Menéndez, director of music; First Church of Christ, Glastonbury, Angela Salcedo, director of music ministries; and Trinity Episcopal Church, Wethersfield, the Reverend Lois Keen, interim rector.
We are taking steps to move this festival to a more community-based organization. Robert Bausmith is the chairperson, and a board of directors has been formed; I will remain as the artistic director. We are looking forward to having this wonderful event at alternate sites in the future. In our efforts to make this happen, the two first-place winners, Clara Gerdes (high school division) and Nicholas Quardokus (young professional division) will return to play their recitals at Trinity College Chapel, Hartford, Connecticut, on June 14, 2015, at 7 p.m.
Plans are underway for the 2015 Albert Schweitzer Organ Festival September 11–13, 2015. Information about the festival and current competition requirements are available by telephone at 860/529-1575, ext. 209, by e-mail at [email protected], or at the ASOF website: www.firstchurch.org/ASOF.
One of the greatest benefits of an academic life is the annual summer break, usually a time for professional renewal as well as for rest and relaxation. For the past decade and a half an anchoring activity has been my involvement with a yearly harpsichord workshop, most of them held at Southern Methodist University's satellite campus near Taos, in the majestic forested mountains of northern New Mexico.
Of course there are other summer offerings devoted to the harpsichord. For this report I have invited two eminent colleagues to join me in describing our summer programs from 2002 and in sharing information about plans for 2003.
Arthur Haas spends his summers involved with a number of festivals and workshops. The earliest among them occurs in California. Sponsored by the San Francisco Early Music Society, baroque solo and chamber music workshops, including the Dominican Ba-roque Workshop, are offered at Do-minican College in San Rafael. Here each day's activities divide into solo master classes in the mornings and chamber music coachings in the afternoons. Last year's faculty included Michael Sand, baroque violin; Marion Verbruggen, recorder; Martha McGaughey, viol; and others. Well balanced between hard work and relaxation, the workshop took place during the last week of June, which is also the time for next summer's course.
Mid-July brings an intense International Baroque Institute at the Longy School of Music in Cambridge, Massachusetts. Solo master classes and chamber music coachings fill the mornings. During the afternoons there are lectures on performance practice topics as well as baroque orchestra rehearsals. Colleagues here last year included co-directors Phoebe Carrai, baroque cello, and Paul Leenhouts, recorder.
In Rochester, New York, the Eastman [School of Music] Continuo Institute met from July 10–15. The full-time, all-day course provides two sections: one for beginners, who concentrate on learning to read the figures, and another for more advanced players, who "romp" through 150 years of continuo repertoire.
Last year was Haas' first year as director of the Baroque Academy at the Amherst Early Music Festival, which, despite its name, meets on the campus of the University of Connecticut in Storrs. This is a huge festival and workshop, of which the Academy is the highest level, meant for burgeoning young professionals and advanced students. Here harpsichord participants spend the day in their own master class, accompany other master classes, participate in chamber music coachings, listen to lectures, and play in the Amherst theater project. All this takes place during the first two weeks in August.
* * *
Two separate week-long workshops drew harpsichordists to the School of Music, University of Michigan (Ann Arbor) last July. The first was concerned with the harpsichord music of John Bull and Peter Philips; the second, with the harpsichord sonatas of Domenico Scarlatti.
Taught by Edward Parmentier, Professor of Harpsichord and Director of the UM Early Music Ensemble, these workshops offered sessions in which participants played to receive detailed feedback about their own playing ("small groups"); analysis of the music and performance issues generally, but without discussion of a student's playing ("large groups"); and informal concerts, where the music was played without discussion.
Optional, free-for-all sessions ("open class") in which participants could play and discuss repertoire of their own choosing were offered in the evenings. Emphasis throughout was on the projection of one's own ideas about the music, harpsichord touch and technique, and analysis of various aspects of the compositions.
Topics for July 2003 have not been finalized, but may include aspects of basso continuo playing; music by Louis Couperin, Chambonnières, and D'Anglebert; and variations by J. S. Bach and others.
From July 29 through August 3, the fourteenth summer workshop offered at SMU-in-Taos drew nine participants from seven states and the District of Columbia to study music of "Byrd and the B's." Larry Palmer and Barbara Baird (herself a busy B) were joined by harpsichord maker Ted Robertson, graciously and efficiently filling in for Richard Kingston, whose wife Robin died early in July.
During the two-hour morning repertoire sessions Palmer and Baird coached students in works of Byrd and Bull; Toccatas, Inventions, and selected Preludes and Fugues from the Well-Tempered Clavier II (J. S. Bach); Polonaises (W. F. Bach) and Württemburg Sonata in E minor (C. P. E. Bach); plus several pieces by Balbastre and contemporary works of Bartók, Cathy Berberian, Boris Blacher, Busoni, and Neely Bruce.
Afternoons were filled with individual private lessons, practice, and harpsichord maintenance classes. "Talks at Tea Time," late-afternoon informal sessions, dealt with such subjects as performance anxiety, program building, and, in one afternoon at St. James Episcopal Church in Ranchos de Taos, the chorale preludes for organ of Johannes Brahms.
Monday evening's traditional opening faculty recital was played in the resonant Arts Auditorium on the campus at Fort Burgwin. Using a Willard Martin Saxon double harpsichord, Dr. Baird presented Sonatas by the Bach "boys" and J. S.'s F minor Prelude and Fugue (WTC II); Dr. Palmer programmed the Bach Toccata in E minor, Neely Bruce's Nine Variations on an Original Theme (1961), and works by Busoni and Balbastre. As an encore the two played the second movement of Benda's duet Sonata in E-flat Major.
The closing event of the workshop was the popular informal Saturday noon buffet luncheon at the home of Charles and Susan Mize (Tesuque, near Santa Fe). This annual send-off provides both food and fellowship for departing participants, as they head for the Albuquerque Airport.
Changing the venue to London (England), the 2003 workshop is set for the week of July 28-August 2, at Southlands College. Jane Clark will lead classes on selected Ordres by François Couperin, using her newly-published book about the composer, his times, and his titles. Larry Palmer's sessions will center on Herbert Howells' works for early keyboard, as well as works by J. S. Bach. Planned activities include visits to the Handel House Museum and a private instrument collection, tea with Virginia Pleasants, and a closing party at the nearby home of Jane Clark and Stephen Dodgson.
