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• • .,L . ... FACULTY AND .....,.... GUEST ARTIST RECITAL LIONEL PARTY, harpsichord (guest) KENNETH GOLDSMITH, violin SERGIU LUCA, violin ,. ..;.. NORMAN FISCHER, cello ;,•-· Thursday, September 30, 1999 8:00 p.m. ~ · . Lillian H Duncan Recital Hall ., . _,' . RICE UNIVERSITY School~ of Music PROGRAM Prelude in C Major, B WV 846 Johann Sebastian Bach .. from The Well-Tempered Clavier, Book I (1685-175 0) Prelude in G minor Jean-Henri D'Anglebert l ......, (1635-1691) Mr. Party ... - Trio Sonata for Two Violins and Arcangelo Corelli I - Continuo in F minor, Op. 3 No. 9 (1653-1713) Grave Vivace j ... Largo Allegro Mr. Goldsmith, Mr. Luca, Mr. Party, Mr. Fischer ~· .. Italian Concerto, B WV 971 Johann Sebastian Bach Allegro Andante ,..,.' Presto Mr. Party INTERMISSION Sonata for Violin and Continuo Arcangelo Corelli .,.. in F Major, Op. 5 No. 4 . ...., Adagio Allegro Vivace Adagio Allegro Mr. Luca, Mr. Party, Mr. Fischer Prelude Jean-Philippe Rameau Sarabande (1683-1764) Les Trois Mains Fanfarinette Les Cyclopes Mr.Party Trio Sonata for Two Violins and Johann Sebastian Bach Continuo in C Major, B WV 1031 Adagio Alla breve -.. Largo -· Gigue Mr. Goldsmith, Mr. Luca, Mr. Party, Mr. Fischer THE NEW HARPSICHORD BY D. JACQUES WAY & MARC DUCORNET The new D. Jacques Way & Marc Ducornet harpsichord was built for The Shepherd School of Music in 1999. Lionel Party recommended that the Shepherd School select a harpsichord designed by David Jacques Way. Built in the traditions of the great French builders of the eighteenth century - Blanchet, Hemsch, and Taskin - this double-manual harpsi chord was made using the appropriate materials and techniques through out: the bentside is steam-bent to shape from a solid plank of wood; the soundboard, hand-jointed and thinned, is made of quartered spruce from the Swiss Alps; replicas of eighteenth-century wooden jacks work in leath ered registers and lower guides; and the hand-made body of the instru ment is pail;ted and decorated with genuine gold leaf using centuries-old techniques. David Jacques Way steeped himself in the designs of the original French harpsichords, but he refused to make a "copy " of any particular instrument. "You only copy what you don't understand," he was fond of saying. While he insisted on traditional methods of design and construc tion, David Jacques Way worked constantly to adjust and modify each new harpsichord as it was being built. He voiced and regulated in his shop in an effort to find the best possible sound that each of his instruments could produce. "Until you get enough things right," David Way would say, "nothing makes a difference. But when you begin to get enough things right, everything makes a difference." David Jacques Way died suddenly in his workshop in 1994. His tech niques and traditions were continued by Richard Auber in Stonington, Connecticut, and Marc Ducornet in Paris, each working to make superb harpsichords in the traditions of eighteenth-century France and in the traditions of their teacher and colleague, David Jacques Way. " - Note by Gerald Self BIOGRAPHIES LIONEL PARTY was born in Santiago, Chile. He studied with Elena Waiss at the Escue/a Moderna de Musica, graduating in 1965. In 1966 he was awarded a Deutscher Akademischer Austauschdienst scholarship by the West German government to study piano with Rosi Schmid and harpsi chord with Hedwig Bi/gram at the Musikhochschule of Munich. In 1970 Mr. Party came to The Juilliard School to study harpsichord with Albert Fuller, first as a Fulbright scholar and then as recipient of a Juilliard Alumni grant. He obtained his D.MA. in 1976. He has remained at The Juilliard School as a faculty member teaching baroque music and harpsi chord. He is also a member of the faculty of The Mannes College of Music teaching harpsichord and The Curtis Institute teaching baroque music and harpsichord. He is chairman of the Music Committee of the Interschool Orchestras ofNew York since 1989. He is a member of the National Screen ing Committee for Graduate Study Abroad at the Institute for International Education since 1992. Mr. Party was awarded First Prize in the JS. Bach Fourth International Competition in Leipzig in 1972. Mr. Party has played solo recitals in New York City's major concert halls - The Metropolitan Museum ofArt , Frick Collection, Alice Tully Hall, Abraham Goodman House, 92nd St. Y - as well as in Boston, Washington, and other U.S. cities. He has made numerous appearances with the Orpheus Chamber Orchestra, Waverly Consort, Solisti New York, Craftsbury Cham ber Players, and Lenape Chamber Ensemble. Celebrating Bach's 300th anniversary, he played concertos for one, two, three, and four harpsichords with the Handel and Haydn Society at Boston's Symphony Hall. In Novem ber 1991, he was soloist with the New York Philharmonic under Erich Leins dorf in Poulenc's Concert Champetre. He was a member ofAulos Ensem ble (1974-79) and Y Chamber Symphony (1980-87). He is a member of Aston Magna (197 5-present) and the New York Philharmonic (1984-pre sent). From 1977 to 1997 he was the harpsichordist and organizer of the baroque music programs at the Grand Teton Music Festival. For the past three seasons he has participated in the Cascade Head Music Festival in Lincoln City, Oregon. Abroad he has performed with the English Chamber Orchestra, German Bach Soloists, South German Chamber Orchestra, Col legium Instrumentale of the Gewandhaus of Leipzig, and has given solo recitals in Leipzig, Berlin, Diisseldorf, Geneva, Saint-Saphorin, Vevey, Cha teau de Coppet, Ottawa, and Santiago. In addition, Mr. Party has presented broadcast concerts over the RA! of Rome, the East and West German radio networks and U.S. public radio and television. Lionel Party's recordings include a Bach recital and Frescobaldi Toc catas and Capriccios performed on antique instruments from the collec tion of the Metropolitan Museum ofArt (Desmar Records), the premiere of Livre de Pieces de Clavecin by Chambonnieres (Musical Heritage So ciety), Master Pieces of the High Baroque with the Aulos Ensemble (Des mar Records), Blavet's Sonatas Op. 2 for flute and contilluo with flutist Ransom Wilson (Musical Heritage Society), Vivaldi's Sonatas for cello and continuo with Jehuda Hanani (Orion), Brandenburg Concerto No. 3 with the Aston Magna Orchestra (Smithsonian), and Live from Aston Magna: Concertos and Symphonies by Corelli, Caldara, Handel, and Haydn (Titanic Records). KENNETH GOLDSMITH is violinist of the Mirecourt Trio, an ensem ........ ble that enjoys international acclaim through tours, prize-winning record ings, and television and radio broadcasts. Since 1994 he is also a member of CONTEXT, a chamber group specializing in performance on both orig inal and modern instruments. He is currently Professor of Music at The , · It- Shepherd School ofMusic. As a recitalist and soloist with orchestra, Mr. Goldsmith has toured the United States, Canada, Mexico, Europe, Taiwan, and the People's Republic of China . His teachers include William Kroll, Mischa Mischakoff, and Nathan Milstein, and he holds degrees from George Peabody College and Stanford University. Mr. Goldsmith has given master classes throughout the US., Europe, • ·'T and the Orient, and appears frequently in recital with pianist Jo Anne ' I - ... Ritacca. His extensive recorded repertoire, both solo and with the Mire court Trio and Lyric Art String Quartet, appears on the following labels: ABC, Genesis, CR!, Innova, Grand Prix, Audax, Gasparo, Bay Cities, TR .. .... Records, and Citadel. With the Mirecourt Trio, he has embarked on a com pact disc series for Music and Arts ofAmerica featuring new American music and the standard literature for piano trio. The seven releases on this series have met with unanimous critical acclaim and contain thirty one compositions by seventeen different composers. In 1962 Mr. Goldsmith won the Young Concert Artists Competition in New York City, and he received a special award at the Kennedy-Rockefeller International Violin Competition in Washington, D.C., in 1980. With the Mirecourt Trio he was a finalist at the 1976 Naumburg Chamber Music Competition in New York. Mr. Goldsmith has been Concertmaster of sev eral American symphony orchestras and has peiformed with virtually every major conductor and soloist. His academic career includes faculty posts at Stanford University, Grinnell College, California State University at .... ' Fullerton, University of Iowa, University of California at Irvine, Pomona College, and the University of Houston. "Afiddler'sfiddler"is how violinist SERGIU LUCA was described by a reviewer in the Washington Post. This is typical praise for a concert per ... sonality who has enjoyed a world-wide career. He combines an unparal lelled diversity of repertoire with inspired virtuosity as a soloist with or chestras as well as in recitals annually at major music centers around the world. A native ofRumania, Mr. Luca made his debut with Israel's Haifa Symphony at the age of nine. Following his studies in England and Swit zerland, he came to the United States to study with the legendary peda gogue Ivan Galamian at the Curtis Institute. Soon after his debut with the Philadelphia Orchestra in 1965, he was chosen by Leonard Bernstein to play the Sibelius Violin Concerto with the New York Philharmonic for a special CBS television network tribute to the Finnish composer. He has subsequently peiformed with many of the t•- world's leading orchestras in Europe, Israel, Latin America, and the US., including the Cleveland, St. Louis, Pittsburgh, Detroit, Houston, Baltimore, Atlanta, and National Symphony Orchestras, as well as the Israel Philhar monic, New Philharmonia of London, and the Zurich Tonhalle Orchestra. Sergiu Luca's many recordings attest to his sensitivity for varied styles and periods of music. He made a sensation with his recordings of the com- ~ - p- 1-e~te~u- n-accompanied works ofJ. S. Bach, the first rendering on an original [ instrument.