ALICE EHLERS*, Harpsichord EVA HEINITZ, Viola Da Gamba

Total Page:16

File Type:pdf, Size:1020Kb

ALICE EHLERS*, Harpsichord EVA HEINITZ, Viola Da Gamba University of Washington School of Music and the Office of Lectures and Concerts present ALICE EHLERS*, harpsichord and EVA HEINITZ, viola da gamba 8:30 p.m. Friday, October 5, 1956 Health Sciences Auditorium PROGRAM Sonata in D major for Viola da Gamba and Harpsichord J. S. Bach Adagio Allegro Andante Allegro Couplets des Folies D'Espagoe for Viola da Gamba and Figwed Bass. .. .Marin Marais (1656-1728) (First Performance) Tombeau pour Monsieur de Lully for Viola da Gamba and Figured BasS-. .. ...... Marin Marais (First Perj0rJ1ia1lce) Fantasie in C minor... J. S. Bach Chromatic Fantasie and Fugue for Harpsichord .. J. S. Bach INTERMISSION Pieces en Concert for Viola da Gamba and Harpsichord .....Fran~ois Coupe.dn (1668·1733) Gravement SicilU~ne La Tromba Plainte Air de Diable Les Fastes de la grande et ancienne menestrandise for Harpsicbord...Fran~ois Couperin I'll 1693 a group of composers, illc/uding COl/perin, made a protest 10 the king agaitJSt the /ow standards used in acceptilJg members ill the m'1Iestr(mdise, the musiciam' guild. Couperin portrays the members of the cuild in a satirical parade. FIRST ACT: The flO/abies and the jurors SECOND ACT: The old and the beggars THIRD ACT: The jllgglers, acrobats, and clowm with the bem·s and the mOllkeys FOURTH ACT: The /impitlg invalids OIJ crutches in the seN,ice of the Grande meoestrandise Fll'TH ACT: Disorder ami chaos of the entire troupe, callsed by the strollilJg players, 111 Otlk eys, alld bears Suite in A major for Viola da Gamba and Figured Bass ...... ........ .... ...... .. .... .... Marjn Marais Prelude Caprice Allemande L'Enfantine Sarabande 1a Gracieuse Gigue Le Bout Entrain Rondeau L'Agreable Le Basque '" Madame Ehlers is a member of the faculty at the University of SOlllhem Cali/omw .
Recommended publications
  • Keyboard Arrangements of Music by Jean-Baptiste Lully: Introduction
    Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 Introduction, p. i Abbreviations Bonfils 1974 Bonfils, Jean, ed. Livre d’orgue attribué à J.N. Geoffroy, Le Pupitre: no. 53. Paris: Heugel, 1974. Chung 1997 Chung, David. “Keyboard Arrangements and Their Significance for French Harpsichord Music.” 2 vols. PhD diss., University of Cambridge, 1997. Chung 2004 Chung, David, ed. Jean-Baptiste Lully: 27 brani d’opera transcritti per tastiera nei secc. XVII e XVIII. Bologna: UT Orpheus Edizioni, 2004. Gilbert 1975 Gilbert, Kenneth, ed. Jean-Henry d’Anglebert, Pièces de clavecin, Le Pupitre: no. 54. Paris: Heugel, 1975. Gustafson 1979 Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sources with Commentary. 3 vols. Ann Arbor: UMI Research Press, 1979. Gustafson 2007 Gustafson, Bruce. Chambonnières: A Thematic Catalogue—The Complete Works of Jacques Champion de Chambonnières (1601/02–72), JSCM Instrumenta 1, 2007, r/2011. (http://sscm- jscm.org/instrumenta_01). Gustafson-Fuller 1990 Gustafson, Bruce and David Fuller. A Catalogue of French Harpsichord Music 1699-1780. Oxford: Clarendon Press, 1990. Harris 2009 Harris, C. David, ed. Jean Henry D’Anglebert: The Collected Works. New York: The Broude Trust, 2009. Howell 1963 Howell, Almonte Charles Jr., ed. Nine Seventeenth-Century Organ Transcriptions from the Operas of Lully. Lexington: University of Kentucky Press, 1963. LWV Schneider, Herbert. Chronologisch-Thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully. Tutzing: Hans Schneider, 1981. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed.
    [Show full text]
  • Thanks Are Due Sainte Colombe – the Soundtrack from “Tous Les Matins De Monde” Has Some Wonderful Examples to Danny, Tommie, Belinda, of Sainte Colombe’S Music
    directed by Jennifer Eriksson In 2007, ABC Classic FM initiated the Lute Project ABC Classics. Daniel has performed and recorded and commissioned four Australian composers with “The Marais Project” on several occasions. to write for him. Tommie Andersson appears on more than 35 CDs and lectures in Lute at Jennifer Eriksson completed her initial musical the Sydney Conservatorium of Music. He is a studies at the Sydney Conservatorium of founding member of The Marais Project. Music. She subsequently studied the viola da gamba with Jaap ter Linden at the Rotterdam Daniel Yeadon has a worldwide career as a cellist Conservatorium where she completed post- and viola da gamba player; his repertoire ranges graduate studies in baroque music. She founded from renaissance to contemporary. His regular The Marais Project in 2000 and also directs 3.00pm Sunday 23rd October 2011 | Recital Hall East, Sydney Conservatorium of Music chamber music collaborators in Australia include the Musica Viva in Schools ensemble, Sounds Daniel Yeadon & Jennifer Eriksson – viola da gamba | Tommie Andersson – theorbo Neal Peres Da Costa, Genevieve Lacey, Ironwood, Baroque. Jennifer is widely recognised as one ”The Marin-ettes“ featuring Belinda Montgomery, Narelle Evans & Mara Kiek – voice Romanza, Kammer, Elision and The Collective. of Australia’s best known and most versatile He has appeared as soloist with the Australian viola da gambists having released several CDs Brandenburg Orchestra, tours frequently with the and recorded frequently for the ABC. She has He was travelling without his renowned 17th century French Australian Chamber Orchestra, plays every year also commissioned numerous new Australian Welcome from viol and borrowing instruments maker.
    [Show full text]
  • This Paper Is a Revised Version of My Article 'Towards A
    1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th ­century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279­280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) Bach­Jahrbuch '68.
    [Show full text]
  • Marin Marais
    Florence Bolton MARIN MARAIS PIÈCES DE VIOLE la rêveuse Florence Bolton, basse de viole - Benjamin Perrot, théorbe & guitare baroque Carsten Lohff, clavecin - Robin Pharo, basse de viole MARIN MARAIS (1656-1728) - Pièces de viole 1 Prélude 2’16 2 Le Jeu du Volant 1,2 1’57 3 Le Petit Badinage 2’05 4 Le Rondeau Villeneuve 1,2 2’50 5 Rondeau Le Troilleur 1,2 4’07 6 Les Barricades Mystérieuses* François Couperin (1668-1733) 3’04 7 Prélude 1 2’47 8 Gavotte Singulière 1,2 1’50 9 Rondeau Le Bijou 1,2 4’15 10 Fête Champêtre 1 4’34 11 La Biscayenne 1,2 2’49 12 Le Badinage 6’19 13 La Paraza 1,2 3’54 14 Le Tact 1 1’50 15 Le Dodo ou l’Amour au Berceau* François Couperin 4’16 16 Rondeau Le Doucereux 1 5’06 17 La Provençale 1,2 3’08 18 La Rêveuse 6’19 * Transcription pour théorbe, Benjamin Perrot TRACKS 2 PLAGES CD LA RÊVEUSE Florence Bolton, basse de viole Benjamin Perrot, théorbe & guitare baroque (+ basse de viole « tact » dans Le Tact) Carsten Lohff, clavecin (1) Robin Pharo, basse de viole (2) Instruments Florence Bolton Basse de viole 7 cordes François Bodart 2010 d’après Barak Norman Archets Fausto Cangelosi – Craig Ryder Benjamin Perrot Théorbe Maurice Ottiger 2005 d’après Matteo Sellas Guitare baroque Stephen Murphy 2002 d’après Stradivari Carsten Lohff Clavecin Michel de Mayer 1998, d’après Pierre Donzelague 1716 Robin Pharo Basse de viole 7 cordes Judith Kraft 2012 d’après Guillaume Barbey Archet Pierre Patigny Enregistrement du 6 au 9 septembre 2016 au Château de Chambord, et le 13 juin 2017 à l’église de Franc-Waret (Belgique) (plages 6 et 15) / Prise de son et direction artistique : Hugues Deschaux / Montage numérique : Hugues Deschaux, Florence Bolton & Benjamin Perrot / Accord du clavecin : Thomas de Grunne / Administration et suivi de production La Rêveuse : Marion Paquier / Photos noir & blanc : Robin Davies / Conception et suivi artistique : René Martin, François-René Martin et Christian Meyrignac / Design : Jean-Michel Bouchet – LM Portfolio / Réalisation digipack : saga illico / Fabriqué par Sony DADC Austria / & © 2017 MIRARE, MIR386.
    [Show full text]
  • M4^CHORAL UNION SERIES-Ms SIXTEENTH SEASON SECOND CONCERT (No
    UNIVERSITY MUSICAL SOCIETY F. W. KELSEY, President A. A. STANLEY, Director m4^CHORAL UNION SERIES-ms SIXTEENTH SEASON SECOND CONCERT (No. CXXXI1. Complete Series) University Hall, Thursday Evening, December 8, 1904 At Eight O'clock MUSIC OF BY-GONE CENTURIES Interpreted by Arnold Dolmetsch Mrs. Arnold Dolmetsch Miss Kathleen Salmon PROGRAM PART I 1. Two Pieces for the Lute i, Cascarda. ii. Canaries . Anonymous c iboo Mr. Arnold Dolmetsch 2. Song accompanied by the Lute " O Mistris Myne " .... Anonymous c, 1550 Miss Kathleen Salmon 3. A Piece for the Virginals "Muscadin" ..... Anonymous c. 1610 Mr Arnold Dolmetsch 4. Fantazie for Treble and Bass Viols " La Caccia" ..... Thomas Morley 1595 Mr. Arnold Dolmetsch. Mrs. Mabel Dolmetsch 5. Two Pieces for the Viola da Gamba accompanied by the Harpsichord i. Divisions On a Ground . Christopher Sympson 1656 ii. Prelude and Sarabande .... Marin Marais I6QS Mrs. Mabel Dolmetsch PART II 6. Two Pieces for the Harpsichord. i. " Le COUCOH" . Claude Daquin c. ijao ii. Sonata in A major .... Domenico Scarlatti c, 1720 Mr. Arnold Dolmetsch 7. Song, accompanied by the Harpsichord ** Qia il Sole" ... Alessandro Scarlatti c. 1700 Miss Kathleen Salmon 8. "The Harmonious Blacksmith," with variations for the Harpsichord . , G, F, Handel 1721 Miss Kathleen Salmon 9. Sonata for the Viola d'Amore, accompanied by the Harpsichord : Attilio Ariosto c. IJ15 Mr. Arnold Dolmetsch 10. "Troisieme Concert " for the Viola d'Amore, Viola da Gamba and Harpsichord i. «« La Lapopliniere," ii. " La Timide," Hi. Deux Tambourins . J. P. Rameau 1731 Mr. Arnold Dolmetsch Mrs. Mabel Dolmetsch Miss Kathleen Salmon The next Concert in the Choral Union Series will be given by The Kneisel Quartette, January 13, 1905, • Lockwood Lecture Recitals A series of six Historical lecture-Recitals will be given by Albert Lockwood, head of the Pianoforte Department of the University School of Music, on the following dates, at 4.30 p.
    [Show full text]
  • Download Booklet
    95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’.
    [Show full text]
  • PROGRAM NOTES: Marin Marais
    PROGRAM NOTES: Marin Marais (1656-1728) established himself as a virtuoso of the viola da gamba at a young age, earning the opportunity to study gamba with Monsieur de Saint Colombe and composition with Jean-Baptiste Lully. Marais became one of the most prolific composers of bass viola da gamba repertoire. Marais approached composition differently than his predecessors. Rather than leaving ornamentation to the discretion of the performer, Marais created his own system of symbols depicting specific graces. His desire to have complete control over every gesture stemmed from his studies with Lully, a composer who was also notorious for adding precise ornamentation instructions. La Gamme en forme d’un petit Opera (1723) is one of several trio sonatas Marais composed for violin, viola da gamba, and harpsichord. Each instrumental part in this piece is equally challenging, creating a contrast of virtuosic lines throughout each voice. The title “a scale in the form of a petit opera” suggests that Marais’ goal through this composition was to depict the same drama and variation as a short opera. Beginning in the key of C Major, Marais travels through each step of the scale to create these various operatic scenes. Unlike Marais’ earlier works, this piece has very few instructions on where to ornament. Therefore, the biggest challenge as a performer is finding ways to embellish nuances in order to depict the vast amounts of character changes that take place in this enormous work. Because the piece was composed in the last year of his life, Marais probable assumed anyone performing it would have studied his earlier music and would therefore understand the style of ornamentation he demands.
    [Show full text]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • Meet Our New Officers and Board Members
    Volume 24, No. 6 June 2010 Meet Our New Officers and Board Members The Pacifica Chapter Board happily announces the election of three new officers, the re-election of its Vice- President, and the appointment of two new Members at Large. The new Board officers and members will serve two-year terms beginning June 1. Dalton Cantey will be our new President. We could say he has been re-elected, since he was president of the chapter in 1994, but a few years have intervened. Dalton also serves as the coordinator of playday groups, driving up from Santa Cruz every month to combine people with music. Ricardo Hofer has been re-elected as Vice President, for his third term, proving himself to be a tireless leader on behalf of the chapter. Our new Secretary is Carolyn Butler, who recently joined the Ricardo Hofer chapter. And our new Treasurer is Alice Benedict, who Vice-President has been a playing member for 10 years but is new to the Board. The two new Members at Large are Ellen Fisher and Betsy St. Aubin. ~ Mary Elliott and Lyle York Carolyn Butler Secretary Dalton Cantey Alice Benedict President Treasurer Ellen Fisher Betsy St. Aubin Board Member at Large Board Member at Large Membership Address Update Donating to VdGS-Pacifica Pj Savage The Pacifica Chapter is an affiliate of the San Francisco 20 Glengreen St. Early Music Society (SFEMS), and along with other Santa Rosa CA 95409 privileges this affiliation confers, we can receive tax- (707) 843-7266 deductible donations. These include not only cash but [email protected].
    [Show full text]
  • L ' O P E R a a U S a L
    L ' O P E R A A U S A L O N ܟ a suite with airs from the great french baroque operas of the siècle d'or français Des éclats la sombre origine, Les progrès, l'éclat, la ruine Repassent encore sous nos yeux ; Et, présents à tout, nous y sommes Contemporains de tous les hommes, Et citoyens de tous les lieux. A. H. de La Motte ܟ Scène I Heureux qui peut être assuré de disposer de son coeur à son gré ! C'est un secret digne d’envie ; Mais de tous les secrets, c'est le plus ignoré. Ph. Quinault OUVERTURE (from "Roland" LWV 65, J.-B. Lully) MENUETS I & II (from "L'Europe galante", A. Campra) RITOURNELLE (from "Alcyone", M. Marais) PETIT AIR (from "Phaëton", J.-B. Lully) AIR DES FURIES (from "Sémélé", M. Marais) Scène II Chacun porte en son cœur son plus grand ennemi. Ph. Quinault PRÉLUDE POUR LE PREMIER CAVALIER ESPAGNOL (from "L'Europe galante") AIR POUR LE DEUXIMÈME CAVALIER ESPAGNOL (from "L'Opera galante") AIR POUR LES DÉMONS ET LES MONSTRES (from "Amadis", J.-B. Lully) Scène III Le dépit est plus fort, moins il est apparent, et l'orage est à craindre où le calme est trop grand. Ph. Quinault PRÉLUDE (from "Alcyone") TREMBLEMENT DE TERRE (from "Sémélé") TEMPÊTE (from "Alcyone") Scène IV Mort, le dernier pas qu'on fait, et souvent un faux pas. Ph. Quinault SOMMEIL (from "Atys", J.-B. Lully) CHACONNE (from "Sémélé", M. Marais) ܟ Featured composers in this programme: Jean-Baptiste Lully (1632 – 1687); Marin Marais (1656 – 1728); André Campra (1660 – 1744) ܟ In the French Golden Age, during the reign of Louis XIV, «the Sun King», France becomes the most powerful nation in Europe.
    [Show full text]
  • JIJI, GUITAR Sunday, January 28, 2018, at 3Pm Foellinger Great Hall PROGRAM CONCERT ARTISTS GUILD WINNER: JIJI, GUITAR
    PHOTO BY LAUREN CHUN CONCERT ARTISTS GUILD WINNER: JIJI, GUITAR Sunday, January 28, 2018, at 3pm Foellinger Great Hall PROGRAM CONCERT ARTISTS GUILD WINNER: JIJI, GUITAR FACES OF MODERNITY I. Isaac Albéniz Asturias (Leyenda) (1860-1909) II. TWENTIETH CENTURY GROOVES Leo Brouwer Paisaje con Cubano Campanas (1986) (b. 1939) Benjamin Verdery Tread Lightly (b. 1955) Paul Lansky Gigue for Solo Guitar (b. 1944) (from Partita for Guitar and Percussion) III. Gulli Björnsson Dimmar Öldur Rísa (Dim waves rise) (b. 1991) for electric guitar and electronics 1. mig langar Landsýn í 2. Dökkt er á Djúpi **Written for Jiji 20-minute intermission IV. BAROQUE SET IN D Dominico Scarlatti Sonata D Minor (for keyboard), K.10 (1685-1757) Marin Marais Le Voix Humaines (for viola da gamba) (1656-1728) Johann Sebastian Bach Allegro, from Prelude, Fugue & Allegro, BWV 998 (1685-1750) 2 V. Steve Reich Electric Counterpoint (1987) (b. 1936) Fast Slow Fast VI. Alberto Ginastera Sonata for Guitar, Op. 47 (1976) (1916-1983) Esordio Scherzo Canto Finale Jiji is First Prize Winner of the 2016 Concert Artists Guild Victor Elmaleh International Cpmetition and appears by special arrangement with Concert Artists Guild, 850 Seventh Avenue, PH-A, New York, NY 10019 (www.concertartists.org) Audience and rising young performers share the stage of the Foellinger Great Hall in these events, fostering a close mutual connection. The stage ticket price includes light refreshments; balcony seating, which does not include refreshments, is available at a reduced price. The 2017-18 series includes Young Concert Artists Winner: Nathan Lee, piano (November 5), Concert Artists Guild Winner: Jiji, guitar (January 28), M-Prize Winner: Calidore String Quartet (March 4), and Krannert Center Debut Artist (April 22).
    [Show full text]
  • Download As A
    Malcolm Proud Language English Nationality Irish Country of Residence Ireland Year of birth 1952 Website Address www.malcolmproud.ie Year(s) in which you received lessons from Gustav Leonhardt 1980-81 The lessons were As a guest student at the Conservatorium van Amsterdam (Amsterdamsch Conservatorium, Sweelinck Conservatorium) Individual private lessons In public masterclasses as a player (participant) In summer courses as a player How did you first come into contact with Gustav Leonhardt, and how did you get the opportunity to study with him? Did you have to wait before you could become his student? I arranged a private lesson with him at his home in the Bartolotti House in Amsterdam in early December 1977, and over the next couple of years attended courses he gave in Cologne and Dartington. He was on the jury of the ‘Festival estival de Paris’ harpsichord competition in September 1979 which I entered. Afterwards he complimented me on my performances of Scarlatti and Baumgartner. He accepted me as a guest student at the Sweelinck Conservatorium for the academic year 1980-81. Briefly describe your level of musical education when you started lessons with Gustav Leonhardt. How many years had you studied an early keyboard instrument? What academic qualifications did you have, if any? I graduated with my B Mus from Trinity College Dublin in 1973. Over many years I received organ lessons in Dublin from David Lee (himself a student of Thurston Dart) and in 1974 harpsichord lessons from John Beckett at the Royal Irish Academy of Music. I was awarded a Danish Government Scholarship enabling me to continue my keyboard studies during the academic year 1974-75 at the Conservatory in Copenhagen where my harpsichord professor was Karen Englund.
    [Show full text]