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Greenwood Organ Company Recitals Charlom, NORTH CAROLINA 21205 THE DIAPASON il.N ~NTERNATIONAL MONTHLY DEVOTED TO THE ORGil.N, THE HARPSICHORD il.ND CHURCH MUSIC Sixty·Filth Year, No. 11 - Whole No. 779 OCTOBER. 1974 The Fourth International Harpsichord Competition and Festival in Brugge July 27 - August 2 by Larry Palmer In the pattern ot me it is now a habit (or me to travel to Belgium every third summer to spend a week. in the tem­ por:ny capital of the harpsichord world. Top I.ft: Alan Curtis playing th. harpsj.. As readers of Tile DIAPASON know. this chord by Keith Hill. yea~ marks tlle: third time 1 have cov­ ered this impOrl.::ml international C\'cnt in Brugge. Perhaps the most intercsting MiddJe: "nalilh and jury ",em,",. (I. to of the observations lhis time arc cen­ r.) - Martin Pearlman, Erie.Lynn Kelley, tered about the activities of the harpsi. Alan Curtil, Gordon Murray, Larry Phillips, chord builders, (or it seemed that this Kenneth Gilbert, Gustav Leonhardt. Hedwig year they were the stars of the festival. Bilgram. Mlsling from photo - Henlr: Cup­ As wua! for Brugge. there was no £int­ p.,I, Calin Tilney, Christiane JanoHet. place winner in the solo competition; with only four entrants in the basso­ continuo competition no one reached a Boltam right: Henk Cuppe" playing Bach sc:cond round; so, while some: of the solo Concerto with Collegium Instruntentale playing was certainly of a high level. it Brusenl.. Patrick Peir., conduding. Oowd may be seen lbat there was no·one of harplichord. star magnitude to grab tile imagination of the audience. and tbe truly exciting events of the week had to be sought else­ Pl':ota. court.lY of Lue Bove., Bruss • . where. The exhibition halls of the Concert­ gebouw sounded like a continua. per· formance of John Cage', HPSCHD most For me the absolute lOp of the exhibi­ of the days. 1'here were at least 71 harp. tion was :J. " Paris" Dowd (a(tcl" sichords. !I fortepianos. and 5 clavichords lUallchet) which was decotilwd in from 27 builders: from the United chinoiserie on red lacquer; the instru­ States, Frank Hubbard, Keith Hill and, ment, which belongs to I'rofcs50T Fritz via Paris. WilliiUll Dowd: Great Britain, Neumeycr, has an action of Iightne1s with a huge contingent of 5even maken. :lnd responsiveness such as we have come to expect from William Dowd. WOll represented by Adlam and Burnett. Clayson and Garrett, Feldberg-Whale. The tone was clear. pungent, resonant: Goble. Homiblow. Rubio, and Mark and the workmanship. throughout, ex· Stevenson; from Belgium, Jagenau, emplary. Kaufmann. Maene. and Toumay. hom Keith Hill's harpsichord after J" I'. the Netberbmds. Jiskoot. KJop and Em­ Bull (1789) was a remarkable musical merit; Switzerland: Extennann. Iten. instrument, as was the Blanchet copy Maillefer: Heugel of France: what I by Adl:lm and Burnett. Another instru­ might call the Zuckermann group: kit ment which I found particularly impres­ representative! £rom England, Nether­ shoe was the one-manual harpsichord lands and Berlin, all dealing in the after J. and A. Kird;.h:un (1i76) built by CI:I.)'son and Garrell. Here again Zuckermann product: and from Ger· louch and lone were all thaL onc could many, a much-reduced group of build· ask, and the case was a work of art in ers: Mendorf. Neupert. Sassmann, and veneered and cross-banded mahogany. Schuetze (abo representing Ortega of Sp:lin) • The Competition It was, in this collection. the year of ThirlJ.three competitors actually par­ the peacock. Harpsichords of many ticipate in the harpSichord elimma­ this free repertoire the most popular pert harpsichOrd with :I. 16' register and colon - some successful. some garish. tions this year: 7 from the United States. picces were works of Louis Cou~rin, pedals for registration changes had been but all with some ho~ful identification 5 from Canada, 4 each from Great Frescobaldi. and the English Virginal~ provided for the Ligeli: four of the nine with an historic model. Not a single Dritain, France. and Japan: 2 from iSlS. although we also heard works by semi-finaHsts elected to use this instru­ instrument maker dared in this fourth Switzerland, 2 £rom Germany. 2 from I:robcrger. Galuppi. Soler. Rameau. and ment which, in my opinion, gave the edition of the Brugge exhibition to the Netherlands. and one each (rom Bach. best opportunities for realizing the com· bring an instrument of the German pro­ South JUrica. Belgium, and Israel. This Of the !IS playen. an o\'erwhelming poser's intended hazy and continuing duction type with open bottom, Ilanting tabulation tells its own story: notice the majority (27) chose the 1975 Paris sound-curtain. keydteeks, and pedals. These instru· total absence o( contestants from e3.stern Dowd. The other six played on the Players in this iCcond round included men~ are, of coune, ltill produ~; Europe this year. Seemingly. since the Schuetze Blanchet instrument, also an Elic-Lynn Kelley (USA), Marie Mar· but the message of past preferences in old style of ralher pianistic harpsichord­ extremely fine-sounding instrument. but rouDet (France), Anne Dugas (Can­ Brugge has been heard clearly: for tbb playing has never done well in Brugge. one which was usually out of tune. ada), Arthur Haas (USA): and on festival. at le:lst. the classic instrument lhe residents of those countries cut off On Wednesday afternoon the (our Thursday afternoon, Larry Phillips has triumphed. from current trends ha\'e simply elected candidates in the basso·continuo con· (USA). Martin Pearlman (USA). Gor. It was, in rcality, an embatTi1SaDent not to participate. test were heard: then the fint four of don Murray (Canada), Christine Sarto· of fine harpsichords. There was not a For the first round. ~nning on the nine pla)'crs chosen for the second retti (Switzerland). and Henlt CUppeh single star. but rather a constellation of Saturday afternoon and divided into round played their difficult programs: (Netherlanlh) . favorites. The instruments on ltage for four afternoon sessions, the required the rcquired works were Toccata II, Five of these nine were chosen to ap­ the actual competition were a 1975 pieces were Prelude and Fugue in F Froberger: VariaUons on "Ik voer ol pear in the final round: Murray. Kelly. Dowd and a 1974 Schuetze Blanchet Major from The Well-Tempered over Rhijn", SweeHnck; the Prelude "carlman, Phillips. and Cuppen - all model. For the various concats instru· Clavier, II, of J. S. Bach: the Sonata in from Suite in A Major, Handel; LeI from North America except Cuppers of ments from the total exhIbition were A Alojor, K. 24, D. Scarlatti; and a J'ieux Seigneurs, Les /eunes Seigneurs, Hollandl The audience for the finale chosen. and these will be commented piece, composed between 1550 and and L'Arnphibie from Ordre 24. F. Cou· in the Royal Opera on Friday night upon in the remarb about each event. 1800, of the player" own choice. In perin; and Continuum, Uged. A Neu- (Contmued, p. 3) THE DIAPASON Charles Ives and Us Established in 1909 An International Monthly Devoted to the Organ, A Guest Essay the Harpsichord Gnd Church M wic by Harold Staver OCTOBER. 1974 Ecllfor ROBERT SCHUNEMAN FEATIJIIES BUlin ... Manager This year marks the lOOth annivenary of the birth of Charles Ins, and the DOROTHY ROSER 20th anniversary of his death. but the impact of his music has not dulled with Th. Fourth InwnsaUoaal Harpsichord Competition in Brugg•• Assistant Edllor either time or familiarity; indeed, the long time that it has taken for his innova­ July 21·Auguat 2 tions to be absorbed into the mainstream. of musical composition and perfonn­ by Larry Palm.r 1. 3,,( WESLEY VOS ance makes his musical pioneering seem even more remarkable. Contributing EmtD,. The details of his career are by now well·known: by day he was an insurance Chad.. IYH and Us - A Cu.. 1 Eo • .., LARRY PAlMER executive. conservative. respectable, true to the orthodoxies of turn-oE.the-century by Harold Stoftr 2 American business. but by night he was one of the most wildly unconventional Harpsichord creative minds in the history of music. He led a double life. but any attempts Darius MlIhaud. 1182·1914 br RolUn Smith 5 VICTOR wElIn at analogy with Jekyll and Hyde. or suggestions of split personality, will not work; Cllorol Music the same energy and optimism that made him a successful businessman give his Orqan. and Organ Music 01 South music its rugged strength. Germany The music, so negletted in the yean immediately after it was written, is now by W. G. Marivold 1-1 ,,:ell·known, too. The usc of most of the techniques of 20th century composition (usuaUy years before other men got the credit for "discovering" them) and the I y,.-$7.5() application of those techniques to the musical material of Ives' native New 2 yrs.-$J3.00 .England result in sound·collages of American lire that touch the deepest memories. S,ng'. Copy-$J,OO oonscious and subconscious. in all of us. Much of his current popularity prob· mmCD~S 1 Bad Number-$J.75 ably spring, from the bonds with our nostalgic past which such works as Three Places In NtuJ England and the Second Symphony fonn. They are a musical APPOINTMENTS 12 (more titan 2 yrs. old) antidote to future shock. lETTERS TO THE EDITOR II Behind htes the pop artist, though, there stands another persona, a more com· plex and intellectual one, that of the philosopher·composer who could cast the CALENDAR 11.11 first movement of a piano sonata in the form of an essay on Emersonian trans. ORGAN RECITAL PROGRAMS 20-21 THE DIAPASON cendentalism.
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