Appreciating Friday, June 8, 2012 at 2:00 pm Venetion Ballroom Berkeley City Club

Presented by Western Keyboard Association (WEKA) and MusicSources Program

Orlando Gibbons (1583-1625) - Pavan Elaine Funaro

Jan Pieterzoon Sweelinck (1562-1621) - Pavana Lachrimae Webb Wiggins

Girolamo Frescobaldi (1583-1643) - Toccata Primo, Bk. II Lenora McCroskey

Johann Jacob Froberger (1616-1757) Lamentation faite sur la mort très douloureuse de Sa Majesté Imperial Ferdinand III, et se joue lentement avec discrétion. An 1657. Tamara Loring

Johann Sebastian Bach (1685-1750) - Aria from the “Goldberg Variations” BWV 988 Linda Burman-Hall

Johann Sebastian Bach - Chromatic Fantasie, BWV 903 Elaine Thornburgh

Johann Sebastian Bach - Trio Sonata from the “Musical Offering” BWV 1079 Largo Allegro Andante Allegro Stephen Schultz, flute Anthony Martin, violin Joshua Lee, viola da gamba Lisa Goode Crawford,

Louis Couperin (1626-1661) - Prelude and Chaconne in D Elisabeth Wright

Jean-Henri D’Anglebert (1629-1691) - Prelude in D minor JungHae Kim

J.H. D’Anglebert - Tombeau de Chambonnières Lisa Goode Crawford

Armand-Louis Couperin (1727-1789) - L’Arlequine ou la Adam/Rondeau La Chéron/La Blanchet Charlotte Mattax Moersch

Antoine Forqueray (1671-1745) [arr. Jean-Baptiste Forqueray (1699-1742)] - La Leclair Jillon Stoppels Dupree List of American harpsichordists and organists or those who now teach in America who once studied with Leonhardt in the Netherlands. John Fesperman 1955 - 56 Glen Wilson 1971 - 75 Alan Curtis 1957 - 59 Ed Parmentier 1975 James Weaver 1957 - 59 Rhona Freeman 1975 - 77 Leonard Raver 1958 - 60 Tamara Loring 1975 - 77 Clyde Holloway 1959 - 60 Beverly Biggs 1976 Thomas Spacht 1959 - 60 Martha Cook 1976 Bill Tinker 1959 - 60 Carl Fudge 1961 - 62 Frances Fitch 1976 - 79 Nina Key-Campbell 1961- 63 Linda Burman-Hall ±1978 - ±1985, every Anthony Newman 1962 - 63 Winter break John Turnbull 1962 - 63 Charlene Brendler 1979 James Tallis 1963 - 64 Bruce Alan Brown 1979 - 80 Larry Palmer (Haarlem Summer Academies) Jillon Stoppels Dupree 1979 - 81 1964, 1967 Deborah Brown 1980 Lisa Goode Crawford 1965 - 66 Karyl Louwenaar 1980 R. Peter Wolf 1965 - 66 Elaine Funaro 1980 - 1981 Laurette Goldberg 1965 - 66 Elaine Thornburgh 1980,1982 Marion Anderson 1965 - 66 Davitt Moroney 1981 Kenneth Dorsch 1967 - 68 Douglas Amrine 1981 - 1982 John Gibbons 1967 - 68 Jeanne Jennings 1981 - 1982 Jean Nandi 1967 - 68 Skip Sempé 1981 - 82 Martin Pearlman 1967 - 68 Charlotte Mattax 1982 - 83 Fred Renz 1967 - 68 Webb Wiggins 1983 - 84 Dale Carr 1967 - 69 Kenneth Weiss 1986 - 87 David Boe 1968 Patrick Allen 1988 - 89 Lenora McCroskey 1968 - 69 Gretchen Elicker Dekker 1989 - 91 Paul Jenkins 1969 Jeannette Sorrell 1990 - 91 Elisabeth Wright 1970 - 73 Yuko Tanaka 1993 Robert Hill 1970 - 74 JungHae Kim 1993 - 1994 Remembering Gustav Leonhardt of rhythmic nuance, is more important on the harpsichord than on any other instrument, and By Alan Curtis that Leonhardt is the person who first made us all aware of this fact, and who was able, better I first read the name Gustav Leonhardt in than anyone I have ever heard, to demonstrate it. 1955 on the LP record jacket of Alfred Deller’s recording of Elizabethan and Jacobean Music. Jim Weaver and I also had the good fortune I think it was Deller’s first recording to be to arrive at the Amsterdam conservatory distributed in the US, and it was, for many of the very year that they purchased one of the us, an initiation into the previously unknown earliest ‘historically informed’ versions of an world of the countertenor and the notion of 18th-century harpsichord (a Rueck copy of “ singing”. But it seemed to me that the a Graebner). It was also then that Leonhardt harpsichordist on that recording was every bit as “discovered” Skowroneck as a harpsichord and shockingly new and revolutionary as the singer. recorder maker and Ahrend and Brunzema I don’t think I knew then what “articulation” at as makers and restorers of organs, a discovery the keyboard was, but I could hear it, for the first that he, of course, shared with us. I placed an time, on that LP. Of course not everyone felt as order with Skowroneck immediately, and by the I did, and my fellow student at the University time my studies were completed it was ready of Illinois, Sterling Jones, gave me a disc he was to return, with me, to the US (I later sold it to about to throw away (be preferred Landowska) the University, who foolishly then sold it to a of Leonhardt playing the Goldberg Variations dealer from whom it was fortunately salvaged by on a Neupert (not, of course, Leonhardt’s Skip Sempé). When I accepted an offer to join preferred instrument, but there was at the time the faculty at UC Berkeley, I drove it across the no alternative). That did it. I decided I had to country, packed into an old Plymouth station study with him, and I convinced my friend Jim wagon, arriving in Berkeley in late August, Weaver to do the same, in 1957-59. We were 1960. I remember Laurette Goldberg calling not his first American students, though I know me that same autumn for advice about buying a of only one prior: John Fesperman. How lucky harpsichord. She had never heard of Leonhardt, we were to benefit from the generous free time and like everyone else, had also never heard of that he was able and willing to give students Skowroneck. So she bought a Neupert, which in those days. It was also a time of exciting she later much regretted. I’m not quite sure exploration and experimentation. Those who when she “came around”, but I think it didn’t know Leonhardt only from later years will be take long. And of course it helped that I was surprised to learn that when I proposed to study able, with the backing of Prof. Lawrence Moe, a Louis Couperin unmeasured prelude with to invite for the CAL performances series both him, he at first refused to hear it, saying only “ Leonhardt and the Concentus Musicus (their the notation prevents us today from knowing first time in the US!). Larry was not alone how it was performed then.” He later consented in helping me diffuse the new “early music” to listen to my rendition and, still later, even to movement in the Bay Area, and I had a lot of give me his comments. But it was only quite a help from other colleagues, including Professors few years later that he began to play these pieces Heartz and Kerman. I think it was at a dinner in public, with ever more conviction. One of with Joe Kerman, after I played him a recent the last things I heard him play, last year, was an recording, that the idea came up to invite unmeasured prelude, and I remember feeling Leonhardt for a Froberger Festival which, if I that EVERY NOTE was placed with exactly remember correctly, included three sublime the most appropriate split-second timing. I feel concerts by the master, plus some master classes, that timing, in the sense of when exactly you and of course dinner parties, though it was only play a note and when you release it, in a context later (I believe in Texas) that I’m told Leonhardt astonished a waitress by ordering a “Fro-burger.” died and left him a Tiepolo drawing, and who had just acquired an Italian-style cembalo. He Those who only came to know him later may obligingly improvised on it, at her request. After also be astonished to learn of the breadth of his one spectacular “sonata”, she exuded “Dass interests when he was younger. Many people MUSS doch eine Sonate von Scarlatti sein.” think he ignored the 19th and 20th centuries (Surely that MUST be a Scarlatti sonata!). He and in some ways that’s true. We were standing replied “Dass kann sein, ich kenne sie nicht alle.” in the garden I designed for him (in Baroque (It could be, I don’t know them all.) style) at the rear of the magnificent Bartolotti canal mansion on the Herengracht that he However, the greatest, most enduring passion rented from about 1970, where his wife Marie of his life was not music at all, but collecting. still lives. The Westerkerk carillon began to play He owned a painting or two, but furniture and the Habanera from Carmen. We both laughed objets (porcelain, Delftware, silver etc.) were but to my amazement he did not know the piece, his field. If one disregards royal and other and only laughed at its inappropriateness. Yet longstanding family collections, his is perhaps when one day, visiting a , we happened the most extraordinary private collection on a playable of about 1840, he improvised formed in the past half-century and still a perfectly convincing “Fantasiestuck” in the extant. He never invested in real estate, but style of Schumann (whose music he disliked: his collection is worth millions, and reflects a “Schubert was a good composer in a bad period. highly refined and personal taste along with Schumann was a bad composer.”) He admired extraordinary connoisseurship and good the paintings of Cezanne and loved the short business sense. He recently confessed to me that stories of Somerset Maughm and the novels of when I spoke to him years ago about Magnasco, Thomas Mann, especially Felix Krull. While he didn’t know who I was talking about, and studying with him I asked my parents to send I confessed that when he gave me a catalogue me for Christmas the new recording by Robert of the works of Jamnitzer, I had never heard of Craft of the complete works of Anton Webern. him. The difference is telling: not only was he When I told him, he asked to borrow it, kept it less interested in paintings and I less interested for a long time, obviously listening to everything in the “minor” arts, but his point of view with great care, but in the end found little to remained Northern and mine became ever more admire, and declared that “Schoenberg is at least Italianate. (“Italianate” for him included the more human.” theatrical, the operatic, hence his ignorance of Carmen and his notorious dislike for the music His interpretation of others’ music has been of Handel!). I once asked why he did not collect preserved and can continue to be studied and paintings and he replied “With the same money enjoyed, through recordings. However, those one pays for second-rate old-master paintings, of us who have heard him improvise will never one can buy first-rate antique furniture.” Yet forget how he could move us as well as astonish collecting was, for him, never an investment. He us with his ability not only to spontaneously bought what he passionately desired to own and “compose” in the most varied styles, but also to be able to admire daily. This passion inevitably bring out the best qualities of whatever keyboard had an educational effect on most of his pupils, instrument he was playing (when it was a good perhaps especially the American ones, and even one) or the worst (when it was not). One of my on THEIR pupils. Witness Elaine Thornburgh’s favorite anecdotes about him reveals at once interest in the Humanities, or the importance of his fabulous ability to improvise, his respect for visual arts in the Music Sources presentations noble titles, his relative lack of admiration for of Gilbert Martinez. But though Leonhardt was Domenico Scarlatti, but above all his sense of certainly pleased to see and hear the effects of humor. After a concert in Cologne, there was a his influence in the field of music and the fine reception at the home of a Countess who later arts, his greatest wish, I would guess, remained break in Amsterdam. In 1984, I played organ unfulfilled. He would like to have led others, by at Leonhardt’s American debut his example, to return not only to the art, the in a program of Bach Cantatas and Purcell lifestyle, the joys (not ignoring the sorrows) of verse anthems with Philharmonia Baroque. I a long-gone age, but also to its religion. In his have directed the Santa Cruz Baroque Festival last years he confessed that he could no longer for almost 40 years, hosting solo recitals and stomach “Catholic composers”, and in his last ensemble concerts by Leonhardt and Alan days, having expressed the wish that God would Curtis, and sometimes performing with find him “not too great a sinner”, he told me that musicians associated with Leonhardt, including he no longer had any desire to hear music at all. Max van Egmond and Anner Bylsma. My I suggested, only half in jest, that by removing more than 20 solo and ensemble recordings on himself from earthly music, he was preparing harpsichord, , 19th century piano, himself for heavenly harmony. I couldn’t resist organ and/or tack piano include works of Hardel adding “I hope that in Heaven, you will hear and Richard for Wildboar, solo works of J. S. only Bach and no Handel.” It was the last time I Bach and of Erik Satie for MSR Classics, solo saw him smile. early keyboard works of Lou Harrison for New Albion, solo harpsichord works by Boismortier American Disciples of Gustav for Musical Heritage, Corelli for Gourd, Vivaldi Cantatas (with Randall Wong et al) for Helicon, Leonhardt and music of Milhaud for Kleos Classics. I’ve Linda Burman-Hall directed Lux Musica in ‘Celtic Caravans’ (with Julianne Baird) for MSR Classics, ‘Haydn and Currently the Gypsies’ (with Monica Huggett) for Kleos, Professor of Music and works by Ottoman music from Istanbul (musicology, and Europe around 1700 (Cantemir project theory, with Ihsan Özgen) for Golden Horn. With my ethnomusicology, colleagues, I’ve also recorded several CDs: C. early keyboards) P. E. Bach flute sonatas (with Leta Miller) and at UC-Santa computer-generated compositions in Bach and Cruz. I became a Mozart style (with David Cope) for Centaur. harpsichordist 50 My most recent commissions include recording years ago during works for harpsichord and Asian long-board my freshman zithers (koto, zheng, kacapi). In addition year at UCLA activities in early music, I’m active as an when the Music ethnomusicologist specializing in Indonesia. My Department latest project is as artist-composer of a feature- added Malcolm Hamilton, a student of Alice length experimental multimedia bio-music Ehlers, to the faculty. My own student, Joseph audio-visual project, Mentawai: Listening to the Spencer, soon introduced me to the keyboard Rainforest. recordings of Gustav Leonhardt. By 1970, I was studying harpsichord with Alan Curtis, Lisa Goode Crawford an early Leonhardt student. Following the I heard Gustav Leonhardt for the first time completion of my Ph.D. at Princeton University, when I was an undergraduate at Radcliffe, I attended a performing summer course at already committed to playing the harpsichord which Leonhardt was teaching, the Akademie as a career. I had studied with David Fuller für Alte Musik in Bremen, Germany, and then and then briefly with Albert Fuller during my through the late 70s and 80s continued to study college years. A Fulbright grant enabled me to privately with Leonhardt each chilly winter go to Amsterdam to study with Leonhardt in break in Amsterdam. In 1984, I played organ , and Gustav Leonhardt. at Leonhardt’s American conducting debut in a program of Bach Cantatas and Purcell Jillon Stoppels Dupree verse anthems with Philharmonia Baroque. I have directed the Santa Cruz Baroque Festival Described as for almost 40 years, hosting solo recitals and “one of the most ensemble concerts by Leonhardt and Alan outstanding Curtis, and sometimes performing with early musicians musicians associated with Leonhardt, including in North Max van Egmond and Anner Bylsma. My 1965-66, and I returned to Boston after that America” more than 20 solo and ensemble recordings on year with my mind blown and with a completely (IONARTS) and harpsichord, fortepiano, 19th century piano, new way of understanding early music and of “a baroque star” organ and/or tack piano include works of Hardel playing the harpsichord. I started teaching at (Seattle Times), and Richard for Wildboar, solo works of J. S. Oberlin Conservatory in 1973 and remained harpsichordist Bach and of Erik Satie for MSR Classics, solo there until my retirement in 2006. While at Jillon Stoppels early keyboard works of Lou Harrison for New Oberlin I helped to establish and develop the Dupree has Albion, solo harpsichord works by Boismortier historical performance program, played with captivated for Musical Heritage, Corelli for Gourd, Vivaldi the Oberlin Baroque Ensemble, taught at the audiences in Cantatas (with Randall Wong et al) for Helicon, summer Baroque Performance Institute (where cities ranging from London to Amsterdam to and music of Milhaud for Kleos Classics. I’ve I still teach), and worked with many wonderful New York. Her 2006 world premiere recording directed Lux Musica in ‘Celtic Caravans’ (with students. A number of them went on to study of Philip Glass’s Concerto for Harpsichord and Julianne Baird) for MSR Classics, ‘Haydn and with Leonhardt, among them Jillon Stoppels Chamber Orchestra was acclaimed as “superb” the Gypsies’ (with Monica Huggett) for Kleos, Dupree, JungHae Kim, Skip Sempé, Jeannette by theNew York Times. Her playing can also be and works by Ottoman music from Istanbul Sorrell and Kenneth Weiss. Always attracted heard on the Meridian, Wild Boar, Decca and and Europe around 1700 (Cantemir project to French music, and mindful of Leonhardt’s Delos record labels. Ms. Dupree has been a with Ihsan Özgen) for Golden Horn. With my insights into the rhetoric and gesture in this featured artist at in York colleagues, I’ve also recorded several CDs: C. repertoire, I became fascinated by the music (England), Bostonand Berkeley, as well as at the P. E. Bach flute sonatas (with Leta Miller) and of Pancrace Royer. I recorded his harpsichord , the National Gallery, computer-generated compositions in Bach and music and edited it for Heugel, later producing the Cleveland and Santa Barbara of Mozart style (with David Cope) for Centaur. and directing his ballet-héroique, Le Pouvoir Art, and numerous universities and colleges. My most recent commissions include recording de l’Amour at Oberlin in 2002, and making Her collaborations include works for harpsichord and Asian long-board a critical edition of the opera for the Centre performances with violists da gamba Wieland zithers (koto, zheng, kacapi). In addition de Musique Baroque de Versailles (2006). I Kuijken and Margriet Tindemans, singers activities in early music, I’m active as an am currently preparing an edition of Royer’s Julianne Baird and Ellen Hargis, and recorder ethnomusicologist specializing in Indonesia. My 1730 tragédie lyrique, Pyrrhus, together with virtuosi Marion Verbruggen and Vicki latest project is as artist-composer of a feature- a concert version to be performed at the Boeckman. She is currently harpsichordist and length experimental multimedia bio-music Château de Versailles in September. I have been organist with Magnificat Baroque Ensemble, audio-visual project, Mentawai: Listening to the fortunate enough to record on some marvelous based in the San Francisco Bay area, as well as Rainforest. antique (Gaspard le Roux in two- with the Seattle Symphony. Ms. Dupree’s harpsichord arrangements with Mitzi Meyerson teachers included Lisa Goode Crawford, Ton Lisa Goode Crawford on the Taskin and Goermans harpsichords Koopman, and Gustav Leonhardt, the last of in the Russell Collection at the University of whom had an especially profound and inspiring I heard Gustav Leonhardt for the first time Edinburgh; Bach and François Couperin on influence on her playing. A recipient of a when I was an undergraduate at Radcliffe, the 1624 at the Musée d’Unterlinden, Fulbright Fellowship and the National already committed to playing the harpsichord Colmar, France). My love of fine original Endowment for the Arts Solo Recitalists grant, as a career. I had studied with David Fuller instruments, dating back to my years of study Ms. Dupree has taught at the Oberlin College and then briefly with Albert Fuller during my in Boston and Amsterdam, is yet another debt I Conservatory of Music, the University of college years. A Fulbright grant enabled me to owe to my mentors and teachers: David Fuller, Washington, and the University of Michigan. go to Amsterdam to study with Leonhardt in She is currently on the early music faculty at JungHae Kim Seattle’s Cornish College of the Arts and is the founding director of the Gallery Concerts early Harpsichordist music series in Seattle. JungHae Kim holds a Bachelors Elaine Funaro Degree from Peabody Conservatory in Harpsichord; a Masters Degree in Historical Performance from Oberlin Conservatory; and a Performer’s Certificate from Sweelinck Conservatorium in Amsterdam. Upon returning to Oberlin in the fall of 1973, She has studied under Webb Wiggins, Lisa from studying harpsichord at the Conservatorio Goode Crawford, Elizabeth Wright, and Gustav Cherubini in Florence, for my “junior year Leonhardt. Ms. Kim has always considered abroad”, I started studying with the newly hired her year of study with Mr. Leonhardt the harpsichord teacher, Lisa Goode Crawford. most inspiring and valuable experience of her This was the first time I heard about Gustav musical life; relishing each lesson’s astonishing Leonhardt. During BPI at Oberlin that summer insights into the language of the baroque. After I met Frances Fitch who recommended that I returning to the United States, Ms. Kim has go to Boston following graduation to study with performed widely as a soloist and with numerous John Gibbons (also a Leonhardt student). So, historical instrument ensembles including after getting a masters degree in harpsichord Musica Angelica, Music’s ReCreation, American (1978)at NEC, the obvious next step was to go Baroque, Agave Baroque and Ensemble Mirable. to Amsterdam and study with Mr. Leonhardt As a soloist, Ms. Kim has performed with New himself. One memorable Saturday there, I was Century Chamber Orchestra, Musica Angelica, let into the house by Mrs. Leonhardt and waited Brandywine Baroque, and with the San Francisco silently by the living room door while Mr. Symphony. Ms. Kim frequently teaches and Leonhardt played a very personal and moving performs at summer music festivals throughout rendition of the Gibbons pavan, which I will be the world and in recent years has performed performing in his memory. at the Hawaii Performing Arts Festival, the Upon returning to the US in 1982, I was Music in The Vineyards Festival in Napa, the contacted by George Lucktenberg (during high Britt Festival in Oregon, and as a soloist at the school in the 1960’s I was in his first harpsichord Assisi Music Festival in Italy. JungHae Kim’s class at Interlochen) to join the fledgling SEHKS performances have been described as inspired, society and to premier a piece for the first fluid, engaging, emotionally exquisite, warm, Aliénor composition competition. Fast forward and inviting. Her unique style blends a sparkling now 30 years, I run Aliénor as a non-profit virtuoso technique with a gentle and lyrical organization, have performed contemporary sensibility that makes music of this genre pieces for the harpsichord on five continents and instantly accessible to the modern ear. Her recent am the president of the newly merged Historical recording of harpsichord works by Jean Henri Keyboard Society of North America. D’Anglebert has been described as sumptuous and exquisite. Joshua Lee dropped out of the competition but was kindly invited to the reception anyway. So there I was, Cited for his happily sipping some lovely French champagne- “stylish and probably a second glass-and enjoying the soulful playing,” lack of pressure, when I found myself leaning Josh Lee back against something smooth and solid. It performs on was the well-dressed back of Mr. Leonhardt! and double Emboldened, I quickly apologized, introduced bass with some myself and asked if I could schedule an audition of the world’s with him in Amsterdam. Characteristically leaders in early polite, he took out his pocket calendar and gave music. Josh is me a date to play for him in two weeks at his an alumnus of home. I was accepted and became his pupil. I the Peabody traveled from my home in northern California Conservatory to Amsterdam several times over the following and the Longy years for intensive periods of lessons. During School of Music where he studied double bass this time he would repeat an admonition, with Harold Hall Robinson and with Ann like the grand refrain in a rondeau, “Music Marie Morgan and Jane Hershey. Founder of is half, you are the other half ”. This succinct the ensemble Ostraka, he has performed with message encourages me even into the present. the Los Angeles Philharmonic, Carmel Bach Keeping those ‘halves’ in balance, particularly in Festival, Musica Pacifica, Boston Early Music performance, has become my primary musical Festival Orchestra, Seattle Baroque Orchestra, cchallenge. Les Délices, and Philharmonia Baroque I also fell in love with the Dulcken harpsichord Orchestra. Josh’s performances have been that I played at my lessons and ordered an heard on National Public Radio’s Performance instrument from in Bremen. Today and Harmonia, and he has recorded At the time he was building harpsichords for Dorian, Koch International and Reference only for Leonhardt. When I made my order Recordings. Recently praised as “a master of the Mr. Skowroneck told me I would be on a very score’s wandering and acrobatic itinerary” by long waiting list and that I should send him the Cleveland Plain Dealer, Josh is director of my forwarding address whenever I moved. It the Viola da Gamba Society of America Young would be twenty-one years before my wonderful Players’ Weekend. Ruckers copy arrived but I have it now and it Tamara Loring has become my voice. Sometime in the later seventies I was finishing a series of lessons and asking for confirmation of my next visit when I was startled to hear Leonhardt say to me, but gently, ”You don’t need more lessons from me. Just do what you do, only do more of it.” It was many years before I understood that this was not a rejection but actuallty an endorsement of me as “the other half ”. Tamara Loring studied with Gustav Leonhardt and also with viola da gambistWieland Kuijken. . She teaches keyboard and chamber music in I literally ran into Gustav Leonhardt in 1975 Berkeley and San Francisco and directs Baroque at a reception for performers in the Bruges Ensemble Seminar, a forum for in-depth study Harpsichord Competition. I had recently of Baroque style for chamber ensembles. She performs nationally and has recorded the works double housed there. No keyboards, no jacks, no of F. Dieupart and J.J. Froberger. Loring founded strings, as I recall, but measurable. He bought and directed “La Poplinière”, the S.F. Bay area’s Slinkys for his girls. After attending the Haarlem first Baroque orchestra. The fledgling orchestra, Summer Organ Academy in 1964, taking his one player on a part, debuted an orchestral and Heiller’s classes, I became entranced with performance of ””. performance practice (didn’t know the term at After several seasons of performances under the time). That summer and the year I spent Loring’s leadership and with many of the same studying with him in 1968-69 changed my life. musicians, Laurette Goldberg formed the group Success in my professional career–assistant now known as Philharmonia. organist/choirmaster in the Memorial Church, Loring played with Les Filles de Sainte Colombe, Harvard, four years of teaching and study for The Hague Baroque Ensemble and was the the DMA at Eastman, and 30 years teaching solo harpsichord recitalist at the 1998 Berkeley and performing in Denton, TX–all trace back Festival and Exhibition. She has taught and to those two weeks at Haarlem and the year in performed for all of the early music societies Amsterdam. on the west coast and has given graduate seminars at The Banff Centre and the Early Anthony Martin Music Institute at Bloomington, Indiana. She performed at M.I.T., Boston University, Museum of Fine Arts in Boston, and The Isabella Stewart Gardner Museum in Boston. She founded, and, for ten years, directed “Historic Music in the Galleries” for the Fine Arts Museums of San Francisco. It was through this connection that Loring was asked to perform a solo recital for Queen Elizabeth II at the M. H. de Young Memorial Museum in March, 1983. Anthony Martin worked with Gustav Leonhardt on several memorable occasions, first in 1984 Dr. Lenora McCroskey in a program of Bach and Purcell. Laurette Goldberg had put those concerts together for Philharmonia Baroque Orchestra—Leonhardt’s American conducting debut. He returned again to lead PBO in 1986 and at the Berkeley Festival in 1992. Two years later Leonhardt conducted Orchestra of the Eighteenth Century in programs of Bach & Purcell and Haydn & Mozart, a dozen concerts in France, Finland, and the Netherlands. His conducting style was angular, articulate, and included gestures not often seen on the podium, including raising his right hand suddenly to his mouth, indicating a Dr. Lenora McCroskey (professor emerita, sudden withdrawal of sound, in preparation for UNT) first met Leonhardt at Stetson University a fresh impetus. Unforgettable! in 1962, where he was a guest artist on the dedicatory season for the new von Beckerath Charlotte Mattax Moersch organ. We (students, Paul Jenkins, and I first met Gustav Leonhardt at Ed Parmentier’s Leonhardt) all piled into a van to go to Sarasota summer master class on Froberger’s toccatas Ringling Brothers Museum to see the old French double housed there. No keyboards, no jacks, no and suites at study in Paris. A specialist in 17th-century strings, as I recall, but measurable. He bought the University French music, she is the author of the book, Slinkys for his girls. After attending the Haarlem of Michigan. Accompaniment on Theorbo and Harpsichord: Summer Organ Academy in 1964, taking his Listening to Denis Delair’s Traité of 1690, published by and Heiller’s classes, I became entranced with Leonhardt perform Indiana University Press. She has recorded for performance practice (didn’t know the term at these magnificent Koch, Analekta, Dorian, Newport Classic, and the time). That summer and the year I spent works was simply Amon Ra Records. Recent recording projects for studying with him in 1968-69 changed my life. awe-inspiring. Centaur include the complete solo harpsichord Success in my professional career–assistant A god on earth, works of Armand-Louis Couperin, Charles organist/choirmaster in the Memorial Church, Leonhardt Noblet and Pierre Février. Currently Professor of Harvard, four years of teaching and study for played with an Harpsichord and Musicology at the University the DMA at Eastman, and 30 years teaching expressivity and of Illinois, Charlotte Mattax Moersch studied and performing in Denton, TX–all trace back beauty I have harpsichord with Gustav Leonhardt from 1982- to those two weeks at Haarlem and the year in never forgotten. 1983. She holds degrees from Yale University, Amsterdam. My next encounter Stanford University, and the Juilliard School of with Leonhardt was when I was a contestant at Music. Anthony Martin the Bruges Competition. Playing for him was so exciting I forgot to be nervous. I went on Stephen Schultz to study with him in Amsterdam in the early Stephen 1980’s. He frequently gestured upwards when Schultz, called discussing the music, which convinced me he “among the was evoking the heavens during our lessons. His most flawless insights into the music and harpsichord playing artists on the specifically were extraordinary; the analogies he baroque flute” made between music, painting and architecture by the San Jose were also enlightening. After each lesson, I went Mercury News, Anthony Martin worked with Gustav Leonhardt back to my flat and wrote down everything he and “flute on several memorable occasions, first in 1984 had said. I treasure these notebooks. Asked extraordinaire” in a program of Bach and Purcell. Laurette recently after a concert if I had a role model, I by the New Goldberg had put those concerts together for unhesitatingly said, Gustav Leonhardt. Jersey Star- Philharmonia Baroque Orchestra—Leonhardt’s Since capturing First and Third Prizes at the Ledger, is solo American conducting debut. He returned International Harpsichord Competitions in and co-Principal flutist with the Philharmonia again to lead PBO in 1986 and at the Berkeley Paris and Bruges, in basso continuo and solo Baroque Orchestra and performs with other Festival in 1992. Two years later Leonhardt harpsichord performance, Charlotte Mattax leading early music groups such as Musica conducted Orchestra of the Eighteenth Century Moersch has performed at major venues in Angelica, Tafelmusik Baroque Orchestra, in programs of Bach & Purcell and Haydn & the United States and Europe, including New Chatham Baroque, and Apollo’s Fire. He is an Mozart, a dozen concerts in France, Finland, York’s Carnegie Hall, London’s Royal Albert Associate Teaching Professor in Music History and the Netherlands. His conducting style was Hall, Salzburg’s Mozarteum, and Oxford’s and Flute at Carnegie Mellon University and angular, articulate, and included gestures not historic Sheldonian Theatre, among others. As a director of the Carnegie Mellon Baroque often seen on the podium, including raising his guest artist, she has been heard at international Orchestra. As solo, chamber, and orchestral right hand suddenly to his mouth, indicating a music festivals, including the Festival of the player, Schultz appears on fifty recordings for sudden withdrawal of sound, in preparation for Associazione Musicale Romana, Tage alter such labels as Dorian, Naxos, a fresh impetus. Unforgettable! musik Regensburg, and the Bethlehem Bach USA, Centaur, New Albion, Amon Ra, and Koch International Classics. He has also been very Charlotte Mattax Moersch Festival. The recipient of several important awards and prizes, she was honored with a Solo active in commissioning new music written for I first met Gustav Leonhardt at Ed Parmentier’s Recitalist Grant from the National Endowment his instrument and in 1998, Carolyn Yarnell summer master class on Froberger’s toccatas for the Arts and a Woolley Scholarship for wrote 10/18 for solo, processed Baroque Flute. The Pittsburgh composer Nancy Galbraith wrote Traverso Mistico, which is scored for as performer (cash-prize winner at the 1980 electric Baroque flute, solo , and chamber Bruges International Harpsichord Competition, orchestra. It was given itsworld premiere at 1984 National Endowment for the Arts Solo Carnegie Mellon University in April 2006 and Recitalist, and for many years California Arts this highly successful collaboration was followed Council Touring Artist), recording artist (“It is a in 2008 with Galbraith’s Night Train and Other real pleasure to welcome an artist whose playing Sun in 2009. When I was a student at the Royal mirrors the freshness and vitality of Scarlatti’s Conservatory in Den Haag, I had the good fecund invention and wit. . . . infectious fortune to hear Gustav Leonhardt perform and merriment . . . brilliant . . . ebullient . . .”, Lionel conduct numerous times and his recordings Salter in Gramophone), and ultimately anchored were always a revelation. as Stanford’s harpsichord teacher. Inspired by my lessons with Leonhardt, I became the Elaine Thornburgh Founding President (1983) and Director of Humanities West (1983-1994), a San Francisco organization that presents multidisciplinary themed weekend lecture and performance programs in the arts and humanities. My recent development as a Navajo-style weaver reflects a similar love of color, detail and pattern. As one of my students recently announced at his performance of Froberger’s “Memento Mori”, “I dedicate this to Gustav Leonhardt. Although I never studied with him, my teacher did, and I My love of Bach’s music brought me to knock on know him to be my ‘grand-teacher’, as I am part Alan Curtis’ door as a freshman at UC Berkeley of his lineage.” My gift to Leonhardt’s memory in 1968. (Fortunately I had never seriously and our lineage is today’s appreciation. considered thumb-tacking the hammers of my childhood piano!) The harpsichord room Webb Wiggins was full of unique and wonderful instruments Webb Wiggins, beyond the Skowroneck historical copies, my recognized first practice instruments, and Alan’s musical and lauded understanding inspired serious devotees on internationally for many of them. My study with Gustav Leonhardt his innovative and began with his performances at UC Berkeley, musical continuo his recordings, his legacy carried through Alan realizations, Curtis’ teachings and performances, and finally has performed arriving on his doorstep. I knew that my life and recorded again would be profoundly transformed when with many US I rang his doorbell. His kindness, knowledge, ensembles: the passionate devotion to artistic truth, and Folger Consort, profound understanding of musical line the Dryden and the underpinning harmony continue to Ensemble, inform my musical journey. We continued my Kings Noyse, Chatham Baroque, Hesperus, the exploration of Froberger, Bach, Frescobaldi, Oberlin Baroque Ensemble, the Catacoustic Byrd, Peter Philips, Gibbons, Sweelinck, Consort, the Baltimore Consort, the Violins Duphly, Louis Couperin, Rameau, Scarlatti and of Lafayette, Apollo’s Fire, the Smithsonian Forqueray. Those pivotal moments of entry, Chamber Players and Orchestra, the Atlanta the first at 16 years of age, inspired a career Symphony Orchestra, the National Symphony, a unique affinity, but also about their cultural and the Baltimore Chamber Orchestra. His context. He taught one how to think, to observe, collaborations with soloists, both vocal and to listen and ways to express: immeasurable gifts instrumental, have earned him high respect of which I am constantly aware, and, for which among his colleagues in the world of baroque I am eternally grateful. It was an extraordinary music. education by an extraordinary man who left an indelible mark on us all. He is associate professor of harpsichord at the Oberlin College Conservatory of Music and Acclaimed for her versatility, Elisabeth Wright serves on the faculty of the Oberlin Baroque has performed in noted international festivals Performance Institute and the Amherst Early and concert series and recorded as soloist, Music Festival. For over fifteen years, Wiggins as member of Duo Geminiani with violinist was coordinator of the early music program Stanley Ritchie, with Música Ficta, an ensemble at the Peabody Conservatory of Music. His devoted to 17th century Spanish and Latin recordings can be heard on the Dorian, EMI, American music, and with numerous other Bard, Smithsonian, and PGM labels. distinguished artists. In demand as teacher, she is Professor of harpsichord and fortepiano at Webb holds degrees in organ performance from Indiana University ‘s Early Music Institute in Stetson University and the Eastman School of Bloomington. A perpetual student of languages Music with additional harpsichord studies at and interested in the relationship between music the Sweelinck Conservatory in Amsterdam with and text, she has done extensive research about Anneke Uittenbosch and Gustav Leonhardt. musical settings of poetry by Giambattista Elisabeth Wright Marino, contributing a chapter to The Sense of Marino: Literature, Fine Arts and Music. Translator for part of Max Sobel’s edition of the Complete Works of Francesco Bonporti for IU Press, she has written several reviews for Early Keyboard Journal. Founding member of The Seattle Early Music Guild and Bloomington Early Music, she served on the board of Early Music America, and as panelist for the NEA, PEW and PennPat. She has recorded for Milan- Jade, ARTS, Arion, Focus,Centaur, Classic Before my piano teacher at Sarah Lawrence Masters and Pro Musica Antiqua. College, Joel Spiegelman, suggested that I play a Bach French suite on the harpsichord, I had dismissed the instrument as a cute little toy,incapable of being expressive! Immediately enamored with the instrument and its repertoire, and moved by discovering Monteverdi with fellow student Barbara Thornton in Joel’s Collegium, I went on to study with Gustav Leonhardt, intending to stay for three months, instead staying for three years! This good fortune changed my life and opened every imaginable window of perception, not only about his beautifully understood world of harpsichords or its music for which he had such 2012/2013 Season Gilbert Martinez, Artistic Director The Sacred Made Real: Religious Art, Drama and Music from the Middle Ages to the Baroque.

Season Highlights include: * Le Roman de Fauvel, a religious satire from 13th century France * Monteverdi’s Vespers of 1610 * Alessandro Scarlatti’s sacred drama “La Giuditta”

Recital Series Christophe Rousset (France) Maude Gratton (France) Anthony Romaniuk (Australia) Lillian Gordis (France) Byron Schenkman JungHae Kim Gilbert Martinez

In January, 2013, MusicSources is proud to be part of a collaboration with Berkely/West Edge Opera in a major production of Claudio Monteverdi’s “L’Incoronazione di Poppea” in 3 fully staged performances, featuring Christine Brandes and an all star cast. Mark Streshinsky, stage director Gilbert Martinez, conductor.

MusicSources PO Box 6882, Albany CA, 94706 (510) 528-1685 [email protected] www.musicsources.org Contact us to receive our season brochure

WEKA and MusicSources would like to thank Lisa Goode Crawford Alan Curtis Kevin Devine MIchelle Futornick Peter Hobe Margot Komarmy Lee Lovallo Harvey Malloy Marilyn Marquis John Phillips Skip Sempé Jean Spencer Michelle and Kwei U David Van Ness Berkeley Festival Musical Offering San Francisco Early Music Society

“Gustav Maria Leonhardt (May 30, 1928 – January 16, 2012), A Personal Tribute” by Davitt Moroney can be found here: Newsletter of the Westfield Center, Volume xxiii, Number 1a, Special Issue (March 2012)