which originally did not excite this grandeur without pomposity, a writer's enthusiasm, has turned into a virtuosity in the best and rarest sense superb instrument, a pleasure to play that few of his younger colleagues can and to hear. The excellent Hubbard match. Wieland Kuijken, with the mother-and-child virginal kits shown noted young in Bruges were again on view. While John Gibbons, played J. S. Bach, not of such wide musical utility as an Abel, Forqueray and Marais; and Joel Italian or Flemish , they Cohen's exuberant Boston Camerata are much simpler to build. (The presented a joyous Venetian Festival. Hubbard workshop, like many of the Much more could, indeed should, nearby establishments, held open be said about the festival and house during the festival. Indeed, a exhibition. Drew Minter, counter- Handmade number of famous workshops, like tenor, received the Erwin Bodky Downloaded from https://academic.oup.com/em/article/9/4/581/506865 by guest on 01 October 2021 traditional that of William Dowd, that did not Award, presented annually by the exhibit, nevertheless received Cambridge (Mass.) Society for Early panpipes numerous visitors for whom special Music, after a full day of semi-final displays had been set up on their rounds before an international jury. A Professional or student home ground.) minimal description of Philip Levin's exquisite woodwind instruments models, 15 to 26 pipes The shown by Tourin Musica, would consume at least a paragraph. a family enterprise tucked away in Martin Pearlman's version of Duxbridge, a tiny Vermont village, Monteverdi's Poppea as produced by Bernard NOUHET seemed exquisitely finished and Bannewaad 78 the Boston Lyric Opera would be tonally very rich indeed. The bows for worth at least two more. Given the 1824EDAlkmaar viols and early violins made by Steven great success of the first Boston The Netherlands A. Marvin (New York) excited Festival, let us await and then attend considerable interesl among string the second, set for 1983. It surely will players. Harps by Robert Hadaway not disappoint. HOVVARD SCHOTT (Tregaron, Wales), Lynne Lewandowski (Brattleboro, Vermont) Strings and Jay Witcher (Houlton, Maine) The Boston Festival and Exhibition also attracted attention, both for their Sources in the second half of the 17th proved innovatory in various ways, century noted the innovation of a metal sound and their tine craftsmanship. winding on a gut or silk core for bass starting with the handsome John R. McCann (Bonn, Germany) strings. Before the 20th century, the programme book designed by M. Sue metals mentioned were: copper (plain showed an assortment ol beautifully and silver plated), brass and silver. These Ladr and Scott Martin-Kosofsky of made cornetts. Matthew James Redsell materials differ mainly in density, Boston's Philidor Press. Their flair for appearance and cost. (Toronto) displayed one ol the most A solid silver string has a somewhat reanimating past styles with a light more brilliant sound than a copper or attractive Italian virginals, as did and elegant touch extended to the brass string of the same weight, mainly Malcolm Rose (Mayfield, Sussex). because it is 6% thinner and therefore exhibition admission cards and (he less stiff. In an overspun string, the winding metal is in the shape of a spring, Ot the many events, special interest lettering above individual stands. One whose stiffness similarly has a small greatly looks forward to the effect on the sound quality. Therefore a attached to the lecture by Ralph silver-wound string sounds slightly Kirkpairick recounting his half- instrument catalogue and other brighter than a copper-wound one of publications they are engaged on and equal weight. This difference is most century ol public performance as a evident to sharp-eared musicians playing harpsichordist and pianist. He was a envies New England's instrument very resonant instruments. The sound of windings of brass or silver-plated copper pioneer in the revival of the forte- makers, that they can draw on such is much closer to that of copper than that resources for their promotional of silver. piano and then, as he added with an Consequently, the discerning player ironic twinkle, abandoned it in 1956 material. Innovatory too were the who requires the best irrespective of cost demonstrations in the Museum of buys our silver-wound strings. The player in honour of Mozart's bicentenary! who enjoys the look of luxury but is His harpsichord recital com- Fine Arts of original instruments satisfied with an excellent second-best memorating the 50th anniversary of alongside modern copies. In the buys our strings wound with silver-plated museum's basement, Barbara copper. Almost the same excellent his Boston debut was more than a second-best is still available in our Lambert gallantly looks after one of copper-wound strings, and these are for sentimental occasion. In spite of age the world's finest collections, housed those players most concerned with sound and blindness, Kirkpatrick brought per pound. in dungeon conditions which recall Couperin, Rameau and Scarlatti to 18 Moorfield Road, West Didsbury, i those of the V&A before its resur- . Manchester M20 8UY J vivid life with a breadth of line, a

EARLY MUSIC OCTOBER 1981 581 rection (the Boston collection happily the Italian Concerto on each entirely without point. At the lively will soon be moving into a new instrument in turn. Undoubtedly the wind instrument panel, chaired by extension). Upstairsjeffrey Cohan, a presence of the Hemsch cast its spell Edgar Hunt, Alec Loretto described sensitive Baroque flautist, with Mark and it might be fairer next time to put how he had once submitted one of his Kroll at the harpsichord, played a all the instruments behind a screen! own instruments to several celebrated transverse flute by Chevalier (Paris, If the panel discussions fared less players; each commented that he had c 1680), showing an ease with the well, this is a fate shared with many found a note or two unsatisfactory, instrument and its modern replicas musicological papers and talks: alter and each named different notes. 'What that belied the small amount of time many years of listening in diverse and do 1 do?' appealed Loretto. 'Easy— he had had to become acquainted curious places, one inevitably open a restaurant', came a voice from with them. Subsequent discussion was concludes that the standard of such the audience. It was that of the maker like discussing the characteristics of discourse is low, that orderliness and Andreas Glatt. Also at the Museum of various vintages; but instead of clarity seem rejected as irrelevant Fine Arts, Sheridan Germann Downloaded from https://academic.oup.com/em/article/9/4/581/506865 by guest on 01 October 2021 climate, soil and viticultural tech- simplicities; all distinction between delivered with panache a virtuosic niques, there was talk of woods, the spoken and written style is ignored survey of French harpsichord sizes of the holes, and embouchure, all and audiences deserve medals if they decorators based on a brilliant such technical questions being eagerly stay the course. It is often difficult to selection of slides. absorbed by a large, predominantly escape the impression on such An exhibition of'Musical Instru- youthful audience. On subsequent occasions that listeners have become ments in Books and Prints 1491-1908' occasions Judith Davidoff played a like drugged churchmice, suffering was prepared by Frederick R. Selch, gamba by Claude Pierray (Paris, from a new disease, musicological president of the American Musical 1708), and James Weaver demon- malnutrition, caused principally by Instrument Society, with Gene Bruck strated the superb Hemsch harpsi- the nature of the diet offered, low in and Marianne Wurlitzer of the firm of chord (Paris, 1766—.sic) and modern ideas content, high in indigestible fact, Wurlitzer-Bruck. They had gathered replicas. How much easier it was to totally lacking in ease or elegance, all in the Goethe Institute over a hundred notice the differences when James part of some outmoded ritual. books, many of them rarities, with Weaver played a short extract from The morning discussions were not prints, manuscripts and instru-

Boston Early Music The 15th Annual Festival & Exhibition INTERNATIONAL We wish to thank our friends throughout BODKY the world for helping to make this year s Festival a great success. We are now COMPETITION planning the next one for Spring, 1983. for excellence in If you would like our 100-page program the performance of early music book or our 18"A" x 25" color poster, will be held on please send a check ( US%, drawn on US bank) for: June 5,1982 Poster — S5.00 Program — $3.00 Age limit: 30 years. Please add §2.00 (US and Canada) 0^5.50 (overseas, airmail) For information please write to: for postage and handling. Mrs. Betty Burroughs Boston Early Music Festival, Inc. 9 Park A venue 25 Huntington Avenue Boston, Massachusetts 02116 Belmont, Massachusetts 021 78, U.S.A.

582 EARLY MUSIC OCTOBER 1981 ments—a pointer perhaps to future pitch and the sounding pitch of the strings. Similarly, for voices, one similar exhibitions which the Boston Renaissance and Baroque music is a could analyse the range of a reper- Festival might come to develop and matter of scholarly dispute that is of toire, compare it with another reper- specialize in. vital interest to performers. Several toire, and conclude, if the total ranges Festivities culminated in the conventions have arisen over the last varied consistently, that there was a Venetian gala dinner, preceded by a few years—that Baroque music should change of pitch. This was done most Renaissance jam session' with the be roughly a semitone below

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