DOCSLIB.ORG

MAY 2017 First Presbyterian Church Tuscaloosa, Alabama Cover Feature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MAY 2017 First Presbyterian Church Tuscaloosa, Alabama Cover Feature THE DIAPASON MAY 2017 First Presbyterian Church Tuscaloosa, Alabama Cover feature on pages 30-32 PHILLIP TRUCKENBROD CONCERT ARTISTSLLC 50th ANNIVERSARY 1967 - 2017 ^ŝŶĐĞ ŝƚƐ ŝŶĐĞƉƟŽŶ ŝŶ ϭဓϲϳ ĂƐ ͞Zd^ /D' — The /ŶƚĞƌŶĂƟŽŶĂů ŐĞŶĐLJ ĨŽƌ ŽŶĐĞƌƚ KƌŐĂŶŝƐƚƐ͕͟ ǁĞ ŚĂǀĞ ǀĞƌLJ ƉƌŽƵĚůLJƌĞƉƌĞƐĞŶƚĞĚŚƵŶĚƌĞĚƐŽĨƚŚĞĮŶĞƐƚŵĂƐƚĞƌƐŽĨƚŚĞƉŝƉĞ ŽƌŐĂŶ ĨƌŽŵ ƚŚĞ hŶŝƚĞĚ ^ƚĂƚĞƐ͕ ƵƌŽƉĞ͕ ĂŶĚ ƐŝĂ͕ ĂŶĚ ŚĂƉƉŝůLJ ƉĂƌƚŶĞƌĞĚ ǁŝƚŚ ƚŚŽƵƐĂŶĚƐ ŽĨ ƉƌĞƐĞŶƚĞƌƐ ƚŚƌŽƵŐŚŽƵƚ EŽƌƚŚ ŵĞƌŝĐĂ ƚŽ ďƌŝŶŐ ƚŚĞ ƉŝƉĞ ŽƌŐĂŶ Ăƌƚ ƚŽ ƚŚĞ ƐƚĂŐĞ ĂŶĚ ƚŽ ƚŚĞ ůŝƐƚĞŶĞƌ͘ tĞ ĂƌĞ ƉƌŽĨŽƵŶĚůLJ ŐƌĂƚĞĨƵů ĨŽƌ LJŽƵƌ ŬŝŶĚ ƉĂƚƌŽŶĂŐĞ ŽǀĞƌƚŚĞƉĂƐƚϱϬLJĞĂƌƐĂŶĚůŽŽŬĞĂŐĞƌůLJĨŽƌǁĂƌĚƚŽďŽŽŬŝŶŐLJŽƵƌ ŶĞdžƚ ĐŽŶĐĞƌƚ ĞǀĞŶƚ ĚƵƌŝŶŐ ŽƵƌ ĐĞůĞďƌĂƚŽƌLJ ƐĞĂƐŽŶ ĂŶĚ ďĞLJŽŶĚ͊ Phillip Truckenbrod, Founder Charles Miller, President Anthony & Beard Adam J. Brakel The Chenault Duo :ĂŵĞƐĂǀŝĚŚƌŝƐƟĞ Peter Richard Conte Lynne Davis Isabelle Demers Clive Driskill-Smith Duo MusArt Barcelona Jeremy Filsell Michael Hey Christopher Houlihan David Hurd Simon Thomas Jacobs DĂƌƟŶ:ĞĂŶ Huw Lewis ZĞŶĠĞŶŶĞ>ŽƵƉƌĞƩĞ Robert McCormick Bruce Neswick Organized Rhythm Raúl Prieto Ramírez :ĞĂŶͲĂƉƟƐƚĞZŽďŝŶ Benjamin Sheen Herndon Spillman Carole Terry Johann Vexo Bradley Welch :ŽƐŚƵĂ^ƚĂīŽƌĚ;ϮϬϭϲ>ŽŶŐǁŽŽĚ'ĂƌĚĞŶƐ/ŶƚĞƌŶĂƟŽŶĂůKƌŐĂŶŽŵƉĞƟƟŽŶtŝŶŶĞƌͿ :ŽŚĂŶŶĞƐĞŝŶůĞƌ;ϮϬϭϱ^ƚ͘ůďĂŶƐ/ŶƚĞƌŶĂƟŽŶĂůKƌŐĂŶŽŵƉĞƟƟŽŶtŝŶŶĞƌͿ IT’S ALL ABOUT THE ART Please visit our new website at ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Seventh Year: No. 5, This issue is one of our favorites to assemble each year, Whole No. 1290 the issue that features our new group of 20 Under 30 MAY 2017 young women and men. This year, for our Class of 2017, Established in 1909 we received more than 110 nominations of extraordinary Stephen Schnurr ISSN 0012-2378 candidates who are already making a positive mark in this 847/954-7989; [email protected] world through their work in the organ, harpsichord and www.TheDiapason.com An International Monthly Devoted to the Organ, clavichord, carillon, and church music fields. It was difficult the Harpsichord, Carillon, and Church Music narrowing down this list of people who show great promise Our issue this month truly revolves around our young 20 to our future. Under 30 people. Not only will you read about our Class of CONTENTS Unfortunately, one candidate was nominated and 2017; we also present two other feature articles made possible FEATURES selected, after which it was determined the nomination con- through the work of 20 Under 30 honorees. Joyce Robinson The Class of 2017: tained an erroneous birth date. The candidate has, indeed, interviews Jonathan Rudy, a member of our 20 Under 30 Class 20 leaders under the age of 30 an exemplary list of accomplishments to his credit; however, of 2016, along with Andrew Grams, conductor of the Elgin by The Diapason staff 20 because he is now above the age of 30, we had to remove (Illinois) Symphony Orchestra, regarding their recent collabo- Restoring a 1973 Phelps Practice Organ him from our list of 20. We are grateful for his gracious- ration for performances of Camille Saint-Saëns’ Symphonie by Viktoria Franken 26 ness in this process. This experience proves that all persons III. Also, Viktoria Franken, one of our newest 20 Under 30 Performing Saint-Saëns’ Third Symphony: A who submit nominations to our 20 Under 30 program must members, writes for us about a project to restore a Lawrence conversation with conductor Andrew Grams and organist Jonathan Rudy ensure that they provide accurate and confi rmed birth dates Phelps organ by John-Paul Buzard Pipe Organ Builders. by Joyce Johnson Robinson 28 for all nominees! The staff of The Diapason determined Among our regular writers, in Harpsichord News, Larry this year’s class would thus have 19 people, not 20. Palmer remembers the life of Paul Wolfe, the last surviving NEWS & DEPARTMENTS In order to assure that future classes of our 20 Under 30 American student of Wanda Landowska. Gavin Black, in On Editor’s Notebook 3 program continue the level of excellence of our previous Teaching, begins a discussion of assisting students in choosing Letters to the Editor 3 Here & There 3 three classes, the staff of The Diapason has decided that fi ngering. John Bishop paints a vivid picture of music experi- Appointments 6 this will now be a biennial event. Nominations will again ences in times of war. In Carillon News, Brian Swager brings us Nunc Dimittis 10 open for 20 Under 30 in December 2018 for our Class of up to date on developments in the world of the carillon. Carillon News by Brian Swager 10 2019. Please carefully consider those you may know that As I mentioned, we truly enjoy putting together this particu- Harpsichord News by Larry Palmer 12 deserve this honor and begin to take notes for your nomina- lar issue about the next generation of our best. We know you In the wind . by John Bishop 16 tion. We can only honor those who are nominated. will enjoy reading about them, as well! ■ On Teaching by Gavin Black 18 REVIEWS Letters to the Editor Choral Music 13 Book Reviews 13 New Recordings 14 Austin organ, St. Matthew, Hanover helped considerably in the support of another. Not just a matter of blasting a New Organ Music 14 Some thoughts on the article about the the chancel organ instead of being lost hole through a wall, there would have to New Handbell Music 15 Austin organ at St. Matthew Lutheran as it is now. Perhaps this can be imple- be additional real estate found to relo- Church, Hanover, Pennsylvania (Cover mented by the church at some future cate chests from both divisions, a sig- NEW ORGANS 32 Feature, March 2017): time. It would make very good sense nifi cant wall built, the tone opening into CALENDAR 33 I had the opportunity of meeting to do so. the transept created, and then the tonal ORGAN RECITALS 37 Herb Springer through Tom Guthrie Ken Lundberg egress would be minimal at best. Fur- CLASSIFIED ADVERTISING 38 who was the musician at the church Fairfi eld, Pennsylvania ther, without the diffusion of the Swell, in the early 1970s. It was pointed out I would think that all the Pedal organ that as part of the independent Pedal Michael Fazio replies: blasting through an opening in a far cor- THE DIAPASON additions, which took place in the Talking with the organist at the ner would cause a noticeable imbalance. MAY 2017 mid 1960s, when the left transept was church, this is what I have gathered: Also, let us not forget that every divi- fi nally added to the church, a tonal In the early 1980s, the church sion in this organ is under expression! opening would be provided to allow completed some expansion work that All that said, considering the new the sound of the new division to access included the sanctuary. The transept that tonal specifi cation, with the Walker the church without the need to pass was to become additional Pedal organ digital additions in the Pedal depart- over the massive Swell division to be was instead used for additional seating. ment, the instrument sings out nicely. heard. Apparently this plan was forgot- The structural problem with the Pedal —Michael Brian Fazio ten through changes of the powers department within the Swell is that President and Tonal Director First Presbyterian Church Tuscaloosa, Alabama Cover feature on pages 30-32 that be at the church. This would have the two are rather entangled one with Austin Organs, Inc. COVER Here & There Létourneau Pipe Organs, Saint-Hyacinthe, Québec, Canada; First Presbyterian Church, Tuscaloosa, Alabama 30 Correction In our April issue, the Cover Feature, Berghaus Pipe Organ Builders, page 26, Editorial Director STEPHEN SCHNURR and Publisher [email protected] column 2, the name of Paul Jochum is 847/954-7989 incorrect. The corrected passage should read: “John paired me up with his assistant, President RICK SCHWER [email protected] Fred Lake, who spent time in the Becker- 847/391-1048 ath shop as a general apprentice. When I fi rst met Fred, I assumed that I would be Consulting Editor JOYCE ROBINSON [email protected] the tuner and he would be the key holder.” 847/391-1044 Events Sales Director JEROME BUTERA Emmanuel Church, Chestertown, [email protected] 608/634-6253 Maryland, concludes its music series: Circulation/ May 5, Ken Cowan; 5/25, Evensong. For Subscriptions DONNA HEUBERGER further information: Third Baptist Church, St. Louis, Missouri [email protected] 847/954-7986 www.emmanuelchesterparish.org. St. Luke’s Episcopal Church, Designer KIMBERLY PELLIKAN Third Baptist Church, St. Louis, Evanston, Illinois, continues its con- [email protected] 847/391-1024 Missouri, continues recitals as part of cert series featuring the 1922 Skinner their “Friday Pipes” series, Fridays at Organ Company Opus 327: May 5, 7:30 Contributing Editors LARRY PALMER 12:30 p.m.: May 5, Mitchell Garcia; 5/12, p.m., Dexter Kennedy; 5/20, 7 p.m., Harpsichord Robert Knupp; 5/19, Frederick Hohman; Monteverdi and Bach. For further St. Luke’s Episcopal Church, Evanston, BRIAN SWAGER June 14, James Hicks. For more informa- information: Illinois, Skinner organ Carillon tion: www.fridaypipes.com. www.stlukesevanston.org. ➤ page 4 JOHN BISHOP In the wind . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. GAVIN BLACK 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. On Teaching Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr.
Load more

Recommended publications
  • The Cimbalo Cromatico and Other Italian Keyboard Instruments With
    Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate.
    [Show full text]
  • Commuted Waveguide Synthesis of the Clavichord
    Vesa Va¨lima¨ki,* Mikael Laurson,† Commuted Waveguide and Cumhur Erkut* *Laboratory of Acoustics and Audio Synthesis of the Signal Processing Helsinki University of Technology Clavichord P.O. Box 3000 FIN-02015 HUT Espoo, Finland {Vesa.Valimaki, Cumhur.Erkut}@hut.fi †Centre for Music and Technology Sibelius Academy P.O. Box 86 Helsinki, Finland Downloaded from http://direct.mit.edu/comj/article-pdf/27/1/71/1853827/01489260360613353.pdf by guest on 26 September 2021 laurson@siba.fi The clavichord is one of the oldest keyboard instru- instrument is an Anthony Sidey clavichord manu- ments, and it is still often used in performances factured by Heugel in Paris, France, in 1988. This and recordings of Renaissance and Baroque music. clavichord is an unfretted one, so any combination The sound of the instrument is pleasant and ex- of notes can be played. The range of a clavichord is pressive but quiet. Consequently, the instrument anywhere from three octaves to over five octaves. can only be used in intimate performances for Our clavichord has 51 keys ranging from C2 to D6. small audiences. This is the main reason why the The instrument was tuned about a whole tone clavichord was replaced by the harpsichord and fi- lower than the standard modern tuning Hz): the nominal frequency of A4 is 395 440 ס nally by the modern piano, both of which produce (A4 a considerably louder output. Attempts have been Hz. The Werkmeister tuning system was used. made to amplify the sound of the clavichord using For each key of the clavichord, a pair of strings is a piezoelectric pickup (Burhans 1973).
    [Show full text]
  • Tonal Quality of the Clavichord : the Effect of Sympathetic Strings Christophe D’Alessandro, Brian Katz
    Tonal quality of the clavichord : the effect of sympathetic strings Christophe d’Alessandro, Brian Katz To cite this version: Christophe d’Alessandro, Brian Katz. Tonal quality of the clavichord : the effect of sympathetic strings. Intl Symp on Musical Acoustics (ISMA), 2004, Nara, Unknown Region. pp.21–24. hal- 01789802 HAL Id: hal-01789802 https://hal.archives-ouvertes.fr/hal-01789802 Submitted on 21 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan 1-P1-7 Tonal quality of the clavichord: the effect of sympathetic strings Christophe d'Alessandro & Brian F.G. Katz LIMSI-CNRS, BP133 F-91403 Orsay, France [email protected], [email protected] Abstract part of the strings the “played strings”. Only few works have included efforts specifically devoted to the In the clavichord, unlike the piano, the slanting strings acoustics of the clavichord [2][3][4]. Experiments with between the bridge and the hitch pins are not damped physical modeling synthesis of the clavichord are with felt. The effect of these “sympathetic strings” on described in [5].
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Sound and Science of Musical Instruments Schubert Club Museum About Us
    Schubert Club Museum Teacher Guide Sound and Science of Musical Instruments Schubert Club Museum About Us About Schubert Club Fun Facts! Schubert Club is one of the nation’s most vibrant Schubert Club is the oldest arts organization in music organizations, enriching Minnesota with the midwest and one of the oldest in the country. dynamic concerts, music education programs, and museum exhibits. Schubert Club Museum houses a collection of musical instruments and original manuscripts Schubert Club Museum is located in downtown from all over the globe. Saint Paul’s historic Landmark Center. Schubert Club was founded in 1882 by a group of women, “The Ladies Musicale”, who wanted to cultivate a lively music scene in Saint Paul focused on recitals. They later changed their name to The Schubert Club to honor composer Franz Schubert. You can play historical keyboards and view manuscripts from famous composers—including a handwritten letter from Mozart! Our Project CHEER program provides free music lessons to kids who would not otherwise be able to prioritize private music lessons. Our name may make us sound like a “club”, but Schubert Club welcomes everyone to enjoy our concerts, education programs, and museum. Schubert Club is a part of the Arts Partnership with Minnesota Opera, The Ordway, and Saint Paul Chamber Orchestra, and is a nonprofit organization. Museum school tours are filled with interactive activities that are inspired by making music, exploring how instruments work, and discovering For more information about Schubert Club visit the history and cultures behind the music. www.schubert.org Schubert Club Museum Plan a Trip FAQ Field Trip Checklist Is Schubert Club Museum accessible? Our build- BEFORE ing, Landmark Center is accessible for persons with mobili- ty challenges by way of the entrance from Market Street on the East side of the building.
    [Show full text]
  • MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.
    [Show full text]
  • Williams Symphony Digital Piano
    Important Safety Instructions 1) Do not use near water. 2) Clean only with dry cloth. 3) Do not block any ventilation openings. 4) Do not place near any heat sources such as radiators, heat registers, stoves, or any other apparatus (including amplifiers) that produce heat. 5) Do not remove the polarized or grounding-type plug. 6) Protect the power cord from being walked on or pinched. 7) Only use the included attachments/accessories. 8) Unplug this apparatus during lightning storms or when unused for a long period of time. 9) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. FCC Statements FCC Statements 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation.
    [Show full text]
  • A Brief History of Piano Action Mechanisms*
    Advances in Historical Studies, 2020, 9, 312-329 https://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 A Brief History of Piano Action Mechanisms* Matteo Russo, Jose A. Robles-Linares Faculty of Engineering, University of Nottingham, Nottingham, UK How to cite this paper: Russo, M., & Ro- Abstract bles-Linares, J. A. (2020). A Brief History of Piano Action Mechanisms. Advances in His- The action mechanism of keyboard musical instruments with strings, such as torical Studies, 9, 312-329. pianos, transforms the motion of a depressed key into hammer swing or jack https://doi.org/10.4236/ahs.2020.95024 lift, which generates sound by striking the string of the instrument. The me- Received: October 30, 2020 chanical design of the key action influences many characteristics of the musi- Accepted: December 5, 2020 cal instrument, such as keyboard responsiveness, heaviness, or lightness, which Published: December 8, 2020 are critical playability parameters that can “make or break” an instrument for a pianist. Furthermore, the color of the sound, as well as its volume, given by Copyright © 2020 by author(s) and Scientific Research Publishing Inc. the shape and amplitude of the sound wave respectively, are both influenced This work is licensed under the Creative by the key action. The importance of these mechanisms is highlighted by Commons Attribution International centuries of studies and efforts to improve them, from the simple rigid lever License (CC BY 4.0). mechanism of 14th-century clavichords to the modern key action that can be http://creativecommons.org/licenses/by/4.0/ found in concert grand pianos, with dozens of bodies and compliant elements.
    [Show full text]
  • June 2020 ______Introduction 1
    ISSUE No. 14 Published by ‘The British Harpsichord Society’ JUNE 2020 ________________________________________________________________________________________________ INTRODUCTION 1 A word from our Guest Editor - DAN McHUGH 2 FEATURES • Of keyboard Duets and Chess: REBECCA CYPESS 4 Sympathy and Play in the Enlightenment Salon • Jurow Reflections DAN McHUGH 11 • Writing for the Harpsichord: one Composer’s View MARK JANELLO 16 • Cadence patterns in Bach recitative: FRANCIS KNIGHTS 24 a Guide for Continuo Players • Taking a Walk with Bach: PENELOPE CAVE 34 Interpreting Bach’s 2-part Inventions • A musical celebration: Mark Ransom (1934-2019) Various Contributors 35 A Concert, a Poem and Memories IN MEMORIAM • Elizabeth de la Porte (1941 – 2020) PAMELA NASH 50 • Kenneth Gilbert (1931 – 2020) HANK KNOX 51 REPORT • BHS Recitals at Handel & Hendrix in London 55 Please keep sending your contributions to [email protected] Please note that opinions voiced here are those of the individual authors and not necessarily those of the BHS. All material remains the copyright of the individual authors and may not be reproduced without their express permission. INTRODUCTION ••• Welcome to Sounding Board No.14 ••• It is now a long eight months since our last edition, back then none of us could have foreseen the strange world in which we now live, with all concerts cancelled or at best postponed. Now, making music together is only possible with the aid of technical wizardry and with the audience firmly placed on the other side of a computer screen. The Covid 19 pandemic has certainly had a huge impact on all the Arts but especially on the Music industry.
    [Show full text]
  • Rafael Puyana (1931-2013) Restauró La Identidad Del Clave
    Rafael Puyana (1931-2013) Restauró la identidad del clave Dos extremos marcan el repertorio de la música oída en el siglo XX: el de la mirada contemporánea facilitada por la creación con el estreno de nuevas obras, y el del retorno al pasado apoyado en la recuperación de un corpus de carácter histórico cuyos criterios interpretativos hubo que investigar y reconstruir. A partir de esta doble mirada hay que entender el trabajo del clavecinista Rafael Puyana (Bogotá, Colombia, 14 de octubre de 1931 - París, Francia, 1 de marzo de 2013), un pionero del instrumento. El éxito como intérprete del teclado lo tuvo garantizado desde bien temprano. A los 6 años inició los estudios de piano con su tía, continuándolos con Giacomo Marcenaro. Tiene 13 al hacer su debut en el Teatro Colón de Bogotá y tres más cuando viaja a Boston dispuesto a perfeccionar la técnica en el Conservatorio de Nueva Inglaterra. Allí empieza a interesarse por el clave, entonces difundido por la gran Wanda Landowska, avanzadilla en la investigación de la música antigua pero todavía insatisfecha con la calidad de los instrumentos de época que se restauran. Por ello encarga a la fábrica de pianos francesa Pleyel que construya un clavecín, de curiosa estructura pianística y sonido punzantemente metálico, que inaugura en el festival Bach de Breslau en 1912. Ese instrumento le acompañaría en sus conciertos por todo el mundo llamando la atención de compositores como Francis Poulenc y Manuel de Falla que vieron posibilidades y al poco le dedican, respectivamente, el “Concierto para clave y cinco instrumentos” y el “Concierto campestre”.
    [Show full text]
  • The Interwoven Evolution of the Early Keyboard and Baroque Culture
    Musical Offerings Volume 7 Number 1 Spring 2016 (Special Issue) Article 4 4-11-2016 The Interwoven Evolution of the Early Keyboard and Baroque Culture Rachel Stevenson Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, Music Performance Commons, and the Music Theory Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Stevenson, Rachel (2016) "The Interwoven Evolution of the Early Keyboard and Baroque Culture," Musical Offerings: Vol. 7 : No. 1 , Article 4. DOI: 10.15385/jmo.2016.7.1.4 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss1/4 The Interwoven Evolution of the Early Keyboard and Baroque Culture Document Type Article Abstract The purpose of this paper is to analyze the impact that Baroque society had in the development of the early keyboard. While the main timeframe is Baroque, a few references are made to the late Medieval Period in determining the reason for the keyboard to more prominently emerge in the musical scene. As Baroque society develops and new genres are formed, different keyboard instruments serve vital roles unique to their construction.
    [Show full text]
  • MARCH, 2007 First Church in Oberlin, United
    THE DIAPASON MARCH, 2007 First Church in Oberlin, United Church of Christ Oberlin, Ohio Cover feature on pages 30–31 recording artist) as well as performances series: March 18, Bach birthday con- of Buxtehude’s organ and choral works cert; April 22, Eastertide concert; May THE DIAPASON by David Rothe and Scarlatti sonatas 20, members of the Santa Barbara AGO A Scranton Gillette Publication played on harpsichord, fortepiano, mod- chapter. For information: Ninety-eighth Year: No. 3, Whole No. 1168 MARCH, 2007 ern piano and organ by Robert Bowman. <www.trinitysb.org>. Established in 1909 ISSN 0012-2378 Bowman will also lead a performance of J. S. Bach’s Musical Offering. For infor- The Cathedral of the Madeleine, An International Monthly Devoted to the Organ, mation: <[email protected]>. Salt Lake City, continues its music the Harpsichord, the Carillon and Church Music series: March 18, Founders Day concert The Church of St. Ignatius Loy- (Pärt, Berliner Mass; Rachmaninov, ola, New York City, continues its music Vespers); May 18 and 20, The series: March 14, Michel Bouvard; May Madeleine Festival Concert (Bernstein CONTENTS Editor & Publisher JEROME BUTERA [email protected] 10, Paul Halley, Andrew Henderson, and Ives). For information: 847/391-1045 and Renée Anne Louprette, works for <www.saltlakecathedral.org>. FEATURES organ, piano, and harpsichord by Paul Daniel Pinkham (1923–2006): Halley. The choir and orchestra are fea- The Church of the Covenant, A Memoir tured on March 28, music of Wagner Cleveland, Ohio, has announced its by James McCray 20 Associate Editor JOYCE ROBINSON [email protected] and Mendelssohn (Symphony No.
    [Show full text]