UMD NEWS SERVICE 724-8801, Ext 210 September 2, 1966 DULUTH

Release on receipt UMD NEWS SERVICE 724-8801, Ext 210 September 2, 1966 DULUTH -- As a student and teacher of baroque music (1700s), music styles and history, UMD Associate Professor C. Lindsley Edson inherited a per- former's desire for accuracy and precision and an "interest in (musical) instruments of the time." The keyboard instrument of the baroque period was the harpischord. In his quest for authenticity, Edson took a sabbatical leave in England dur- ing 1964-65. While there he decided to purchase a harpsichord. When the instrument arrived on the ocean-going vessel Manchester Shipper in July via the St. Lawrence Seaway, the Edsons were settled in their new home at 3500 London Road and a special music room was ready. The harpsichord was made by Robert Goble & Son, Limited (Oxford, England) and, in contrast to the piano, the strings are plucked and not struck. It has a larger range than the piano and Edson's model has two keyboards. "You can create more dependable subtleties, combinations and tonal qualities on a harpsichord than are possible on a piano because the mechani- cal plucking of the strings is more accurate than the human touch," said Edson. He explained that the force with which each key of the harpsichord is struck does not matter, since each one of the plectrum (plucking devices) creates the same note strength as any other. There are five sets of plectrum and they engage the strings through the use of six pedals. "The pedals give you several interesting combinations," he said. "Actually, I have four harpsichords in one." Edson's music room is soundproof and has independent temperature control to protect the instrument. Even seasonal variations in room temperature would he harmful. (more) ... Edson - pg . 2 The harpsichord' s cabinet is constructed of figured walnut. The keys are African blackwood and, ironically, the plectrum are plastic, made in the United States and obviously mass produced. Edson went to Oxford, England on his sabbatical to do research in baroque music. Eventually, he began taking private harpsichord lessons from Mrs. Goble and observed the workmanship, care and quality that goes into a Goble harpsichord. "It is something of a family business," said Edson. "Goble has brought his son into the business. They have about a dozen employees in a small factor,y at their home in Hedington , a few miles outside of Oxford." Edson explained that the 20th century has brought about a revival of the harpsichord through "the growth of musicology (the study of the develop- ment of musical styles throughout history) and with it a desire and need for accuracy by playing music on the instrument for which it was written." One of the most distinguished musicologists of the 20th century was an Englishman named Arnold Dolmetsch . He also was a maker of baroque and renaissance instruments, particularly the harpsichord and clavichord . While he was an apprentice in Dolmetsch's shop , Robert Goble met a young music student who was to become his wife . -1-.

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GOLDBERG VARIATIONS - English Suite No
BHP 901 - BACH: GOLDBERG VARIATIONS - English Suite No. 5 in e - Millicent Silver, Harpsichord _____________________________________________________________________________________________________________________ This disc, the first in our Heritage Performances Series, celebrates the career and the artistry of Millicent Silver, who for some forty years was well-known as a regular performer in London and on BBC Radio both as soloist and as harpsichordist with the London Harpsichord Ensemble which she founded with her husband John Francis. Though she made very few recordings, we are delighted to preserve this recording of the Goldberg Variations for its musical integrity, its warmth, and particularly the use of tonal dynamics (adding or subtracting of 4’ and 16’ stops to the basic 8’) which enhances the dramatic architecture. Millicent Irene Silver was born in South London on 17 November 1905. Her father, Alfred Silver, had been a boy chorister at St. George’s Chapel, Windsor where his singing attracted the attention of Queen Victoria, who had him give special performances for her. He earned his living playing the violin and oboe. His wife Amelia was an accomplished and busy piano teacher. Millicent was the second of their four children, and her musical talent became evident in time-honoured fashion when she was discovered at the age of three picking out on the family’s piano the tunes she had heard her elder brother practising. Eventually Millicent Silver won a scholarship to the Royal College of Music in London where, as was more common in those days, she studied equally both piano and violin. She was awarded the Chappell Silver Medal for piano playing and, in 1928, the College’s Tagore Gold Medal for the best student of her year.
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