VOLUME 4, NO. 1 Spring 2015 ISSN 2328–5621

FOURTH ANNUAL MEETING TO BE HELD IN , he Historical Keyboard Society of North America will hold its Fourth Annual Meeting, coinciding Twith the Ninth Aliénor Composition Competition, at the of McGill University in Montreal, Canada, May 21−24, 2015. The conference, entitled “French Connections: Net- works of Influence and Modes of Transmission of French Baroque Keyboard Music,” aims to deepen un- derstanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms “baroque” and “classical” are used interchangea- Strathcona Music Building, Schulich School of Music, bly in relation to both the repertoire and instruments of the McGill University period. Photo © www.aviewoncities.com Evening events will include an organ-harpsichord re- cital by Peter Sykes on Thursday (May 21), an organ- fillable-pdf_registration-form-hksna2015.pdf or print out harpsichord concert given by former students of John Grew, the form attached with this newsletter (p. 8). Organist Emeritus at McGill University, on Friday (May Complete and return with payment BY MAIL TO: 22), and the Aliénor Finals Concert on Saturday (May 23). Schulich School of Music | HKSNA 2015 Guest artist Peter Sykes will give a master class on Fri- 555 Sherbrooke Ouest day May 22 at 9:30am-12:30pm. Montreal, QC The 2015 conference website can be found at: H3A1E3, Canada http://hksna2015.com/. OR SCAN AND EMAIL TO: [email protected]

REGISTRATION All prices are quoted in Canadian Dollars (CAD). To register, download the 2015 HKSNA Registration Early registration fees (before May 1) are: Students Form at https://hksna2015.files.wordpress.com/2015/01/ (Continued on page 2)

TABLE OF CONTENTS President/Editor’s Message...... 2 2015 Montreal Meeting Tentative Schedule ...... 3 2015 Aliénor Winners Announced...... 6 2015 Montreal Meeting Registration Form...... 8 Remembering George Lucktenberg (1930–2014)...... 9 The Eighth Mae and Irving Jurow International Harpsichord Competition...... 11 Bringing Back a William Geib Square ...... 14 A Note from the EKJ Editor ...... 16 HKSNA 2015 Soundscape Series at BEMF...... 19 Upcoming Workshops ...... 20 New Publications ...... 21 In Memoriam ...... 22 Membership News & Notes...... 24 PRESIDENT/EDITOR’S MESSAGE (Continued from page 1) Sonia Lee (Members), $210; Students (Non-Members), $270; Members, $300; Non-Members, $390. THE HKSNA Late registration (after May 1) are Students NEWSLETTER reetings! Our fourth annual meeting will be held (Members), $265; Students (Non-Members), Sonia Lee, editor E-mail: [email protected] in the beautiful city of Montreal, Canada, during $325; Members, $340; Non-members, $430. May 21-24, 2015 at the Schulich School of Music The Historical Keyboard Society of G North America Newsletter is of McGill University, marking the first time that our an- published semiannually in March TRAVEL TO MONTREAL AND GETTING TO and September. Short articles, nual meeting is being held outside of the U.S. In this reports on member activities, THE SCHULICH SCHOOL OF MUSIC announcements of upcoming events, newsletter, you will find details about the conference, as well as reviews of publications including a tentative schedule, registration, and travel and McGill University’s beautiful downtown and recordings are welcome. accommodation information. For the most updated con- campus resides in the heart of the cosmo- Contributions can be sent in the ference information, please visit our conference web- body of an email or as a Microsoft politan city of Montreal. The Schulich Word document. Images or photo- site at: http://hksna2015.com/. The upcoming confer- School of Music’s Strathcona Building and graphs should be in high resolution ence will also include the Finals Concert of the Ninth and sent as separate files. It is the New Music Building are only a couple contributor’s responsibility to obtain Aliénor International Harpsichord Composition Competi- permission for the use of any blocks east of the main campus gates on material from the appropriate tion, where six finalist compositions will be performed, copyright holders. Contributions Sherbrooke Street. For detailed information and questions regarding the newslet- along with the premiere of two duo-harpsichord composi- ter should be directed to the News- tions by Mark Janello and Edwin McLean. about traveling to Montreal and getting letter Editor. Since the last newsletter we have been greatly sad- around, please visit McGill University’s Deadlines for submissions to the newsletter are February 15 (for the dened by the passing of several long-time members: Travel to Montreal site: http:// March issue) and August 15 (for the George Lucktenberg, the founder of SEHKS, a parent www.mcgill.ca/undergraduate-admissions/ September issue). organization of HKSNA; David Justus Johnson Jr., hus- introducing-mcgill/visit-mcgill/travel- band of Jane Johnson, an active member of the former SEHKS; and International Advisory Board Members montreal. Richard Rephann and Christopher Hogwood. At the up- HKSNA OFFICERS coming meeting in Montreal we will hold a special me- TRAVELING WITH INSTRUMENTS AND BOARD OF morial session, coordinated by Karen Hite Jacob, in It is highly recommended to carry docu- DIRECTORS honor of the members who have passed away in the mentation (an appraisal or other official Sonia Lee, past year. Karen invites us to submit items and proposals document from an expert or the maker) de- President (2016) to her (music, performances, photos, stories, etc.) at [email protected] (see p. 10 of this newsletter for de- scribing the materials in your instruments. Frances Conover Fitch, tails). Here are some useful links and docu- Vice President (2016) This summer, HKSNA will again return to the BEMF ments pertaining to traveling with your in- David C. Kelzenberg, Fringe Series. Thanks to our member Glenn Giuttari—the struments containing protected species Secretary (2015) Harpsichord Clearing House will present members of such as ivory, rosewood, tortoise shell, Helen Skuggedal Reed, HKSNA in two concerts on Thursday June 11, at 10:30am and other material. and 1pm, at the Courtyard Boston Downtown Hotel (see Treasurer (2015) Traveling from U.S.: p. 19). If you are attending BEMF this year, please come Elaine Funaro, and support our society's SoundScape Series 2015! General Information: http:// Immediate Past President The 2016 Eighth Mae and Irving Jurow International www.fws.gov/international/pdf/factsheet- Harpsichord Competition has been announced earlier this musical-instruments-2014.pdf. Alan Cole (2015) Nicholas Good (2015) year and is scheduled to be held at Oberlin College, Ohio, Traveling Across International Borders Boyd Jones (2015) on March 22-24, 2016, in conjunction with our 2016 An- with Your Musical Instrument: http:// Sally Todd (2016) nual Meeting on March 21-23, 2016. Please mark your www.fws.gov/international/permits/by- Larry Palmer (2016) calendar for the 2016 conference-competition and circu- Judith Conrad (2016) activity/musical-instruments.html. Anne Acker (2017) late the competition announcement (p. 11) to anyone who Michael Tsalka (2017) may be interested in participating—the application dead- Federal Fish and Wildlife Permit Appli- Jordan Friedman (2017) line is October 1, 2015! cation Form: http://www.fws.gov/ Upon the recommendation of the Nominating Com- international/pdf/permit-application-form-3- mittee, chaired by Judith Conrad, Jordan Friedman was 200-88.pdf. INTERNATIONAL appointed to the Board of Directors in October to fill the ADVISORY BOARD vacancy left by David Schrader. The committee has also worked on the important task of preparing a slate of offi- ACCOMMODATIONS Malcolm Bilson cers and board members (see p. 15) for next year for pres- Presbyterian College Jane Clark Jorg Demus entation to the membership at the Montreal meeting. (http://presbyteriancollege.ca/) Kenneth Gilbert Finally, I would like to thank Bethany Cencer for her 3495 University Street (one block from the Christopher Hogwood (+) remarkable service as the Advertising Manager for the Schulich School of Music) Richard Kingston Gustav Leonhardt (+) Early Keyboard Journal for more than four years. We are Private rooms with shared bath- currently actively looking for somebody to assume the Davitt Moroney rooms. Kitchen facilities available (limited Lilian Pruett position of EKJ Advertising Manager; if interested please Richard Rephann (+) contact Oliver Finney, EKJ Business Manager, at utensils and dishes), towels and bedding pro- Peter Williams [email protected]. vided. Secure building, key entry. Ceiling I hope to see many of you in Montreal and Boston! fans, no air conditioning. RATES: $50/night (Continued on page 3) 2 for the first night; $35 for each following night; $245/ 2015 MONTREAL MEETING week. Parking $10/night. To book a room, fill in the Presbyterian College Booking Request Form: https:// TENTATIVE SCHEDULE hksna2015.files.wordpress.com/2015/01/presbyterian- college-booking-request-form-hksna.pdf. Be sure to men- tion your booking is for the Historical Keyboard Society Conference. Booking requests can be sent by email to: HURSDAY AY [email protected] OR by fax 514.288.8072. In- T , M 21, 2015 formation: 514.288.5256, ext. 200; Mon-Fri 8.30am-12pm. 9am – 2pm – A832/A833, New Music Building McGill University Residences Conference Registration McGill University Residences provide quality hotel-style accommodations as well as comfortable lodging for over 1pm – Tanna Schulich Hall 1,000 budget-minded travelers in the dormitory-style resi- Keynote Speech dences and student apartments. First class shopping, restau- rants and art galleries, outdoor cafés and street festivals are 2pm – 7:30pm – Wirth Opera Studio all around the corner. HKSNA has reserved a block of Instrument and Scores Exhibition rooms in the residence below – they will be on hold until April 23, 2015. 2:30pm – 5pm – Tanna Schulich Hall Mini Recitals Royal Victoria College (RVC) http://www.mcgill.ca/accommodations/summer/rvc 2:30pm 3425 University Street Karen Flint (Brandywine Baroque) Room Rates: $40/night, single occupancy The Father of It All: Chambonnières and His Followers 3pm Carrefour Sherbrooke Residence Ruta Bloomfield (The Master’s College) http://www.mcgill.ca/accommodations/summer/cs Music from Versailles: French Harpsichord Music by 475 Sherbrooke West Bernard de Bury Room Rates: $104/night, Single/Double Room 3:30pm Break 4pm List of Nearby Hotels Aya Hamada (Independent Scholar) *always be sure to ask for the “McGill Rate* French Collection- Sparkle and Depth: Before the Residence Inn by Marriott Storming of the Bastille (Music in Eighteenth-Century 2045 Peel St. Montreal, QC H3A 1T6 Paris) Tel.: 514-982-6064 / 1-888-999-9494 4:30pm Rebecca Pechefsky (Brooklyn Baroque) Delta Montreal Hotel François Couperin’s Huitième Ordre 475 President Kennedy Ave., Montreal, H3A 1J7 Tel.: 514-286-1986 / 1-877-286-1986 7:30pm – Organ and Harpsichord Recital – Guest Soloist: Peter Sykes Sofitel Montreal (Boston University) 1155 Sherbrooke Street West, Montreal, QC H3A 2N3 Tel: 514-285-9000 / 1-877-285-9001 FRIDAY, MAY 22, 2015

Château Versailles 8:30am-7:30pm – Wirth Opera Studio 1659 Sherbrooke St. West, Montreal, QC H3A 1B4 Instrument & Score Exhibition Tel: 514-933-8111 / 1-888-933-8111 9:30am-12:30pm – Redpath Hall Meridien Versailles-Montréal Peter Sykes Masterclass 1808 Sherbrooke St. West, Montreal, QC H3A 1B4 Tel.: 514-933-8111 / 1-888-933-8111 9:30am-4:30pm – A832/833, New Music Building Performance Practice: Styles, Genres, and Discourses FOR UPDATES ABOUT THE MEETING, VISIT: HTTP://HKSNA2015.COM/. 9:30am Margot Martin (El Camino and Mt San Antonio Col- IF YOU HAVE ANY QUESTIONS REGARDING THE MEETING (Continued on page 4) PLEASE EMAIL: [email protected]. 3 (Continued from page 3) leges) 1:30pm What the Conversation Writings of Polite Society Say Jonathan Addleman (McGill University) Concerning Good Taste in Performance: St Lambert’s Harpsichord Suites of Giovanni Battista Draghi Harpsichord Treatise and Tasteful Conversation 2pm 10am Chelsea Barton (McGill University) Maria Rose (RILM International Office, New York) Kyrie Cunctipotens genitor in Four Organ Masses “He thought one of the parts was sung by a woman from the Grand Siècle standing behind the instrument…”: Perceptions of 2:30pm 18th-Century Keyboard Instruments as Mediators be- Katelyn Bouska (Temple University) tween Science and Illusion at the Académie Royale des The Czech Connection in Eighteenth-Century Europe Sciences 3pm Break 10:30am 3:30pm Peter Strauven (Royal Conservatory of Antwerp Mark Edwards (Leiden University) and Leuven) Under the Fingers: Chambonnières, d’Anglebert, and “Des courtisans en présence du Maître”: The Genre of the Musical Work the French Accompanied Keyboard Sonata in the 4pm Southern Netherlands (1760-1785) Sonia Lee (Independent Scholar) 11am Break The Legacy of French Harpsichord Music in Nine- 11:30am teenth-Century Marcos Krieger (Susquehanna University) French Influences on the Sonatas of Carlos Seixas 4:30pm-6pm – Tanna Schulich Hall (1704–1742), Royal Chapel Organist and Court Pedagogy Roundtable & Tributes to John Grew 12pm 6pm-7:30pm – TBC April Greenan (University of Mary Washington) HKSNA Board Meeting Boieldieu’s Piano Sonatas and Evolution of Repertoire 12:30pm Lunch 7:30pm – Redpath Hall A Gift of Music for John Grew: Recital of Former Students Instruments: Organology, Technology, Revivalism (Harpsichord & Organ)

1:30pm SATURDAY, MAY 23, 2015 Larry Palmer (Southern Methodist University) Pedaling the French: A “Tour de France” of Revival 8:30am – 7:30pm – Wirth Opera Studio Harpsichordists Instrument & Scores Exhibition 2pm Élizabeth Gallat-Morin (Independent Scholar) 9:30am – 12:30pm – Clara Lichtenstein Hall The Presence of French Baroque Keyboard Instru- Lecture-Recitals ments and Music in New France 2:30pm Break 9:30am 3pm Lysiane Boulva (University of Toronto) Graham Sadler (Oxford University) Revealing the Essence of Nature, Evoking the Intangi- When Rameau met Scarlatti?: Reflections of a Prob- bility of Expression: French Aesthetics in Eighteenth- able Encounter in the 1720s Century Harpsichord Music 3:30pm 10am Carlotta Marturano (McGill University) Johanne Couture (Conservatoire de musique de Gati- François-Adrien Boieldieu’s Piano Sonatas and the neau) Evolution of Piano and keyboard Writing Airs de cour pour clavecin dans le manuscrit Gen- 4pm 2350/57 : reflet d’une pratique clavecinistique profes- Vivian S. Montgomery (Longy School of Music) sionnelle avant 1630? A Broadwood Square as Refuge and Companion: The 10:30am Private Musical Practice of a Georgian Prodigy Joseph Gascho (University of Michigan) Jean-Henri d’Anglebert’s Harpsichord Transcriptions 1:30pm-4:30pm – Clara Lichtenstein Hall of Jean-Baptiste Lully’s Opera Works Lecture-Recitals (Continued on page 5)

4 (Continued from page 4) Redpath Hall, McGill University 11:00am Break 11:30am 3pm-5:30pm – A832/833, New Music Building Sandra Mangsen (University of Western Ontario) Sources: Repertoire, Influence and Transmission Geminiani’s Pièces de Clavecin 12pm 3pm Judith Conrad (Independent Scholar) Bruce Gustafson (Franklin & Marshall College) A Seventeenth-Century French Recital The Transmission of Chambonnières’s Works: What it Says about “The Piece” 9:30am – 12pm – Tanna Schulich Hall 3:30pm Mini-Recitals Calvert Johnson (Agnes Scott College) 9.30am Amélie-Julie Candeille (1767-1834) Martha Folts (University of Michigan) 4pm Works by Johann Jacob Froberger and Louis Couperin Thérèse de Goede (Conservatorium Amsterdam) 10am Continuo Playing in the French Galant Style Max H. Yount (Beloit College) 4:30pm Break Louis Marchand (1669-1732) 5pm Pièces de claveçin, Livre Premier (1702) (Suite in d Sylvain Caron (Université de Montréal) Minor) Analyser l’interprétation : une étude comparative des 10:30am Break variations de tempo dans la Sarabande I du premier 11am livre de Pièces pour clavecin de Rameau Charlotte Mattax-Moersch (University of Illinois) Suites from the Babell Manuscript 5:30pm – McGill Faculty Club 11.30am HKSNA Gala Dinner David Louie (Glenn Gould School of the Royal Con- servatory of Toronto) 8pm – Tanna Schulich Hall Rameau’s Pièces de clavecin en concert (arranged for 2015 Aliénor Harpsichord Composition Competition Solo Harpsichord) SUNDAY, MAY 24, 2014 1:30pm – 3pm – Clara Lichtenstein Hall HKSNA Annual General Meeting & In Memoriam 9:30am – 12pm – Clara Lichtenstein Hall George Lucktenberg Lecture Recitals 3pm – 5:30pm – Redpath Hall 9:30am Mini-Recitals Matthew J. Hall (Cornell University) and Benjamin Katz (University of London) 3pm Concerts Royaux: Collective Improvisation as Compo- John Brock (University of sition Tennessee) 10am Organ Works by André Rai- Robin Morace and Stephanie Schmidt (University of son and Nicolas Cléram- North Carolina at Greensboro) bault The French Unmeasured Prelude 3:30pm 10:30am Break Margaret Irwin-Brandon 11am (Independent Scholar) Joyce Lindorff (Temple University) Color-Play from the Prelude Albert Fuller’s Edition and Recording of Gaspard Le to the Plein Jeu, by Compos- Roux’s Pièces de clavessin ers from Titelouze to 11:30am d’Grigny Hank Knox (McGill University) 4:00pm Break Organ by Hellmuth Wolff Photo courtesy: McGill University “Vaucanson’s Duck”: An Automated System for Per- 4:30pm forming a Figured Bass Realisation with a Live Per- Joseph Butler (Texas Christian University) former in Real Time André Raison: Messe du deuxième ton 5pm TBC – 12pm – 12:30pm – Tanna Schulich Hall Helen Skuggedal Reed (University of Evansville) Closing Words The Livre d’orgue tradition and the Wolff organ at

5 2015 ALIÉNOR WINNERS ANNOUNCED

The following six Aliénor winners were selected from forty-eight entries from all around the world. The jury included Thomas Donahue, Sonia Lee, Rebecca Pechefsky, and Tracy Richardson. The winning compositions will be performed at the Aliénor Finals Concert on Saturday May 23, 2015 at McGill University in Montreal, where three top winners will be selected by the audience. The concert will also feature the premiere of two Aliénor commissioned duo-harpsichord pieces by Mark Janello and Edwin McLean.

Ivan Božičević (Croatia) vals and was a finalist in the North London Piano Prize. Since graduating from Trinity, Collett has managed to com- If There Is a Place Between bine a successful teaching practice with performing. Nota- ble concerts have included a Mozart concerto with the Ivan Božičević is a Croa- Rosamund Chamber Orchestra and, in Sri Lanka, a sold out tian composer, organist, pian- recital in the Cathedral of Christ the Living Saviour Co- ist, arranger, and jazz musi- lombo, which was broadcast live on television. Andrew cian. His opus encompasses has, from a young age, had an interest in early music. He three symphonies, orchestral, has built several , which have “appeared” at chamber, choral, and soloistic many of his piano recitals and he now divides his perform- works, as well as numerous ing equally between harpsichord and piano. electronic compositions. He is interested in a variety of gen- res (early and baroque, electronic, jazz, world music) and James Dorsa (USA) the possibility of “cross-fertilizations“ between those gen- Martinique res, always aiming for the stylistic amalgamation on a deeper level. His works have been performed in Serbia, Harpsichordist James Croatia, Sweden, Germany, France, Denmark, , Dorsa is a native of Southern the Czech Republic, Russia, Bulgaria, Ireland, Great Brit- California's San Fernando Val- ain, and the USA. Numerous recordings of his composi- ley as well as a California State tions have been made for Serbian national radio and televi- University, Northridge music sion, Swedish national radio, and Croatian national radio alumnus. He performs harpsi- and television. Božičević received composition prizes in chord concerts both locally and Serbia, Croatia, Czech Republic, the , and abroad, strongly favoring the USA (ArtsLink Fellowship Award, Garth Newel Prize, rarely performed modern reper- Aliénor Award, AGO/ECS Publishing Award, Prague Phil- toire. He is known for his com- harmonic Choir Prize, John Clare Society Award, Asylum position "Jupiter's Moons," Quartet Prize, Sofia Soloists Award.) He is one of the which enjoyed the first place founding members of the Splithesis ensemble for new mu- award at the 2008 Aliénor Com- sic in Split, Croatia. position Competition and was selected for the semi-final round at the 2012 Jurow Harpsi- Andrew Collett (UK) chord Competition. All of his compositions feature idio- Sonatine for Harpsichord matic writing for the harpsichord in a very "maximalist" setting. He is a regular performer at the Aliénor Competi- Andrew Collett was born and tion and frequently represents modern during educated in Surrey, England. After the Boston Early Music festival Fringe concerts. He spent leaving school he completed the part of his recent life in Ann Arbor where, against proper Performer Course at Trinity Col- Californian temporal decency, he found the change of sea- lege of Music, studying piano with sons refreshingly dynamic, and he secretly longs to return Anthony Peebles and early music to a place where shoveling snow and raking leaves are an- with John Henry and Philip nual activities. He holds a DMA in harpsichord from the Thorby. During this time he had University of Michigan in Ann Arbor. Dr. Dorsa joined the much success in competition, win- faculty at California State University Northridge in 2008. ning senior classes at many festi- (Continued on page 7)

6 Sviatoslav Krutykov (Ukraine) USA), and in 2005, she became a recipient of the prestig- ious Prime Minister’s Award for Music and Composition. Little Monkey Ten Snapshots Her chamber and symphonic compositions have been fea- tured at festivals in St. Petersburg, Tel-Aviv, Prague, and in Sviatoslav Krutykov was born other countries. Ms. Smorgonskaya is currently teaching into a family of musicians in Tbilisi, composition and theory at the Jerusalem Conservatory. Georgia, with a Ukrainian, Czech, “Three Dances for Harpsichord” was written for Marina German, Russian, and Kazan- Minkin in 2007 and is Smorgonskaya’s second work for Tatar background. His primary the instrument; in 2006 she wrote “The Suite in the Ba- schooling was in Tbilisi. In fifth roque Style” for the Tel-Aviv Baroque Trio (recorder, harp- grade he became a resident of Kyiv sichord and baroque cello). and studied at the Kyiv Conservatory but did not finish his schooling on account of his ideology. He has, however, composed since childhood and has pur- Laura Snowden (UK) sued drawing as well, leading to a number of exhibitions. French Suite He has founded and led three early-music ensembles, play- ing medieval and of Europe, as well as that Recently commissioned by the of the Ukrainian baroque. All three groups played pe- International Guitar Founda- riod instruments that he collected or made himself. He tion, Laura Snowden has had writes music for the most part in an academic manner as her music played on BBC Ra- well as a chamber-symphonic style. Krutykof is a member dio 3 and premiered at Sadlers of Societies of Composers and Cinematographists of Wells, Deal Festival, and Han- Ukraine and has composed for more than 60 films. del House. Her commissions have subsequently been per- Dina Smorgonskaya (Israel) formed at the Wigmore Hall and in Italy, Spain, Romania, and Japan. She has collaborated both with the Royal Ballet Three Dances for Harpsichord School and with the London Film School. Her song Live Free, composed for the charity Voices For Hospices, was Dina Smorgonskaya was born in performed at over 300 simultaneous concerts in 60 coun- Vitebsk, Belarus and was originally a tries. Laura writes and performs for folk group Tir Eolas, violinist before studying composition recipients of a City Music Foundation Award, whose debut at the St. Petersburg (Leningrad) State album Stories Sung, Truths Told is set for release in early Conservatory. She has written music 2015. Possessing an “exceptional range of colour and so- for cinema and theatre, as well as for nority” (Classical Guitar Magazine 2014), Laura Snowden different instrumental ensembles. She is also a winner of numerous national and international has lived in Israel since 1990; in 2001 awards as a guitarist, including First Prize at the 2014 Ivor her “Three Poems by Federico Garcia Mairants Guitar Award. Lorca” was a winner of the Athena Festival Competition of Compositions for Mixed Chorus (Murray University,

THE FOLLOWING TEN PIECES WERE SELECTED TO BE INCLUDED IN THE 2015 ALIÉNOR ANTHOLOGY (PRB PUBLICATIONS).

Satono Norizuki (USA) Flavor of D Prelude Adam Rothenberg (USA) Partita Tambourin (Vivace) Dina Smorgonskaya (Israel) Three Dances for Harpsichord Andantino Sviatoslav Krutykov (Ukraine) Little Monkey Ten Snapshots Nos. 6, 8 & 10 Pauletta Gianandrea (Italy) Deux Pièces Croisées Premier Andante Daniel Basford (UK) Four Postcards for Harpsichord Pudu in the Forest Laura Snowden (England) French Suite La Joyeuse Yuri Ban (Japan) Vestigio per Clavicembalo Vivo Andrew Collett (UK) Sonatine for Harpsichord Parler du fond du coeur Ivan Božičević (Croatia) If There is a Place Between Fandango

7 By mail: Schulich School of Music, McGill University (HKSNA 2015 Registration) 555 Sherbrooke Street West, Montreal, Quebec, Canada H3A 1E3

(Save $30 or more!)

8 REMEMBERING GEORGE LUCKTENBERG (1930–2014)

Larry Palmer

rtist Walt Kuhn’s serious but jaunty painting of a horse jockey Agraced a color postcard from George Lucktenberg, received in Dallas on October 26. Morose information over- flowed the small space for writing on the reverse side of the card: sad news of the suicide of a mutual friend. George contin- ued with several lines about his own dete- riorating health: “MY news isn’t quite THAT bad, but I AM in less-good shape than before . . .” Later the same day, while I sat at my computer trying to formulate some comforting words as a response, an e-mail arrived from harpsichord maker Richard Kingston with the shocking re- Dr. Lucktenberg, with Dorothy (Dordie) Freeman, primary patron of Aliénor port of George’s massive heart attack and death that very day.

A person who contributed a great deal to the growth of group: the Southeastern Historical Keyboard Society an American harpsichord culture in our time, Dr. Luckten- (1980). An offshoot of this organization was the founding berg was indeed a man of many talents. We first met during of Aliénor: a privately funded interest group promoting the my Virginia years (1963–70) when he and his violinist wife creation of contemporary repertoire for the harpsichord. It Jerrie Cadek Lucktenberg stopped the charmingly labelled probably comes as no surprise that George was its first ex- “Harpsi-cart” in Norfolk during one of their many tours as ecutive director. Happily, if not surprisingly, both groups a violin-harpsichord duo. George “looked me up” since we have flourished—sometimes together, sometimes sepa- both owned German instruments from the Passau factory of rately. Currently both are included in the recently formed Kurt Sperrhake. In 1969 George returned alone to marvel at Historical Keyboard Society of North America, whose my new William Dowd harpsichord, which he told me was fourth annual conclave will take place May 21–24, 2015, in his first experience with an instrument constructed in a his- Montreal, and is scheduled to include the most recent itera- torically accurate style. George soon joined the swelling tion of Aliénor’s harpsichord-composition competition as ranks of advocates for these ear-opening instruments. the culminating event of the meeting.

After my move to Texas there was another memorable Following retirement from Converse, George and his encounter with George during the second harpsichord instruments moved to Georgia, where he taught in Atlanta weekend organized by Bruce Gustafson and Arthur Law- and served as artist-in-residence at Reinhardt College in rence at St. Mary’s College in Indiana (1979). A walk to- Waleska. There he was genial host to the annual meeting of gether back to the motel after an evening program gave his own offspring organization, SEHKS, a meeting made opportunity for George to float the idea of organizing an memorable by the incredible artistry of the jazz harpsi- early keyboard society. I, being inherently shy of organiza- chordist Don Angle. Incidentally, George was very proud tions as time-consuming distractions from writing and prac- of the double meaning that occurred in his society’s acro- ticing, suggested that perhaps the American Guild of Or- nym. At Reinhardt, Dr. Lucktenberg remained musically ganists was already enough, and we interested players active, presenting his final public concert on February 17, should try to include more harpsichord information within 2013, in the college’s Falany Performing Arts Center. the context of programs presented by that august body. There was so much more to George’s legacy than suc- Obviously not sharing my reluctance, George returned cessful organizing and artistic performing, not the least of to Converse College in Spartanburg, South Carolina (where which included his 52 summers of teaching eager young he served on the faculty from 1960 until 1990), and within students at the Interlochen Arts Academy in Michigan. a few years he became the founding president of a new (Continued on page 10)

9 (Continued from page 9) Martha, thanking her for her helpful reading of the original Among his printed contributions are volumes of early mu- manuscript. Included as well were Martha’s penciled jot- sic, editions of contemporary works, and, as a result of his tings of possible corrections and some linguistic sugges- many trips across the Atlantic Ocean to visit historic instru- tions. Many years ago, another treasured colleague, Dr. ments, a 1997 Indiana University Press book, Early Key- Betty Louise Lumby, assured me that each departed friend board Instruments in European Museums, co-authored with leaves us a gift if only we are acute enough to realize what University of Iowa musicologist and harpsichord builder it is! I hope that George and Martha will let me know what Ed Kottick. From the preface to this volume: they have discovered about even more resonant keyboard instruments in the hereafter (thereby joining J. S. Bach and . . . The more I found out about historical keyboard instru- Claude-Bénigne Balbastre in correspondence with your ments, the more I wanted to know. A delightful discovery Harpsichord Editor, who will, of course, share any such was the extent to which a similar passion existed in kindred communications with our esteemed readers). But for now, I spirits; a thirst for firsthand knowledge and a professorial remain content with their substantial earthly contributions compulsion to share it with others led to the Lucktenberg and keep in memory the warmth of their friendship. Historical Keyboard Tours of Europe. On all but my earliest ventures I have been ably abetted and seconded by my es- teemed colleague Edward Kottick, whose amiable presence and broad knowledge soon made him indispensable to the endeavor. This article originally appeared in THE DIAPASON, February 2015. Used with permission of My own copy of this useful book came to me from the Scranton Gillette Communications. personal library of another departed friend, the noted scholar of early keyboards Dr. Martha Clinkscale. When I retrieved the volume from my overstocked bookshelves, I found, inside its cover, a gracious note from George to SEHKS Presidents 1980–2006, by Jane Johnson; George Lucktenberg is at far left

At the meeting in May we will remember If you plan to attend and wish to participate George Lucktenburg and his contributions to our “live” please propose what you would like to do. organization. We will also remember members Others who cannot attend are still encouraged to who have passed on. send or email items.

Karen Hite Jacob will co-ordinate this session. We plan on a power point presentation so having She invites people to submit items and proposals printed items in advance would make this possi- to her (music, performances, photos, stories, ble. Please make this a group effort. etc.)

Email Karen at: [email protected]

10 March 22-24, 2016

11 2801 Highway 6 East, Suite 344, Iowa City, Iowa 52240, USA www.historicalkeyboardsociety.org

March, 2015 ciate members are entitled to all rights and privileges of regu- lar membership, except they do not receive a separate copy Dear Friend of Early Keyboard Music: of Early Keyboard Journal. Take advantage of this new op- portunity--we look forward to welcoming many new family Have you renewed your membership yet? members!

Memberships now run concurrently with the calendar year. Please take a moment to complete the membership applica- If you have not yet renewed for 2015, your membership has tion form contained herein, and return it with your check to lapsed. the address at the top of this note. Or, you can now renew at our website, using Paypal. And, if you are able, please I’m pleased to announce an exciting change in membership consider making an additional donation. It really does make opportunities, new this year. As part of the Society’s new a difference. I look forward to hearing from you soon! bylaws which were recently approved, a new category of membership has been created: ASSOCIATE MEMBERSHIP. Cordially, Associate membership is available to spouses, partners, or David C. Kelzenberg same-household family members of regular members, and Secretary annual dues are just half of regular membership dues! Asso-

WE NEED YOUR HELP! SCHOLARSHIP/AWARD CONTRIBUTION FORM

Each year, the Historical Keyboard Society of North Amer- Name______ica presents several awards and scholarships to deserving individuals. Address______The Ben Bechtel Award and the Martha Clinkscale Scholarship encourage the participation of young people by City ______State ____Zip Code _____ providing financial support to students to enable them to attend a HKSNA annual conference. The Funaro Fund E-mail:______Award provides financial support to HKSNA members to help defray travel expenses to special events such as classes, Contribution (amount): Total Enclosed: $______masterclasses, and workshops. $______(Bechtel) $______(Clinkscale) All of these funds are supported and perpetuated by contri- $______(Funaro) $______(general fund) butions provided by generous members and friends. YOUR support is critical to ensure our continued ability to offer these awards! Make checks payable to HKSNA and send to:

Please consider a donation to one or more of these spe- David C. Kelzenberg, Secretary cial scholarship/award funds. Your help is greatly appre- Historical Keyboard Society of North America ciated by your Society and by the recipients of these awards. 2801 Highway 6 East, Suite 344 Thank you! Iowa City, Iowa 52240, USA

Thank You!

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