Newsletter of the Westfield Center, Volume xxv, Number 1 A National Resource for the Advancement of Keyboard Music, Serving Professionals and the Public Since 1979 Winter 2014 Tilman Skowroneck, Editor very warm welcome to the first issue ofWestfield Westfield International Organ Competition, Malcolm A for 2014! Providing a decidedly optimistic outlook, Matthews, who talks about, among other things, com- Westfield executive directorAnnette Richards opens with petitions, artistic growth, repertoire and instruments. A a report about renewed funding by the Mellon Founda- report on the competition and academy by Mia Tootill tion, news about future projects and the board meeting and Matthew Hall follows. The events at the 2013EROI which took place in January. Annette continues with Festival in Rochester are covered by Zachary Zwahlen—a news about Keyboard Perspectives, with some small addi- doctoral student at the Eastman School of Music. Mike tions by myself toward the end: Volume V will will ship Lee kindly contributes a feature on Cornell’s Viennese next week, Volume VI is well underway, and we are now Fortepiano Collection. Several conference and course calling for contributions for Volume VII. announcements conclude the newsletter. The main feature of this newsletter is, of course, - Tilman Skowroneck an interview with the winner of the first prize of the Contents Executive Director’s Report .................................2 An update on Keyboard Perspectives . 2 An interview with Malcolm Matthews . 3 A report on the Organ Competition and Academy ...............5 2013 EROI Festival Report .................................8 A Short Feature on Cornell’s Viennese Fortepiano Collection .......10 Announcements .........................................12 – 1 – Executive Director’s Report As we tumble into 2014, I’m glad to be able to announce are afoot, including a major international fortepiano fes- good news: the Mellon Foundation has agreed to help tival (developing out of the 2011 Westfield fortepiano support the Westfield Center’s activities, through its competition) for 2015, and all sorts of events for our affiliation with Cornell, for four more years. This, in organist and harpsichordist members too. combination with the support of our members, means News from the board itself includes the election of that we can now get to work on our next set of projects. Matthew Dirst as Board President for 2014, with An- The Westfield board met in early January—warm- drew Willis as Treasurer, and Roger Moseley as Clerk (and est thanks to all our board members for sharing their I have agreed to stay on as Executive Director). We are energy and expertise—and we are working on a full pro- very happy to welcome to the board new members Tom gram of events. You’ll see more information on those Beghin, Paul Fritts, Kathryn Stuart and Peter Sykes. in the coming months, but for now please mark your As ever, input from members is always appreciated. calendars for the weekend of October 2–5, 2014, for a Please get in touch with your thoughts on events and conference-festival celebrating C . P . E . Bach, featuring ideas for collaborations, and please do remember to a plethora of 18th-century keyboard instruments and renew your annual membership, if you haven’t already focusing particularly on the clavichord (the conference done so. will be held at Cornell University). Many more projects - Annette Richards An update on KEYBOARD PERSPECTIVES Activity at the (virtual) headquarters of Keyboard Perspec- Yearbook of the tives is fast and furious. The rather belated 2012 volume Keyboard Westfield Center for Historical Keyboard Studies will ship next week; Keyboard Perspectives VI (2013), edited by Tilman Skowroneck, is following fast behind— Perspectives eyboard K Perspectives this volume includes contributions by Robert Giglio, vol. v / 2012 Dana Gooley, Randall Harlow, Mathieu Langlois, Stefania Neonato, Sezi Seskir, Luk Vaes and Lance Whitehead. vol. v / It’s time to turn our attention now to Keyboard 2012 Westfield Center for Historical Keyboard Studies / Perspectives VII: as ever, we are interested in your mostISSN: 1943-0809 recent work on keyboard culture in all its depth and variety. Please consider sending it along. We have not yet decided upon a theme, or even if there will be a theme. So here is your chance to make a difference by www.westfield.org WESTFIELD EDITED BY setting the tone! Contributions can be sent, as always to Annette Richards [email protected]. - Annette Richards (and Tilman Skowroneck) – 2 – An interview with MALCOLM MATTHEWS Winner of the first prize at the WESTFIELD INTERNATIONAL ORGAN COMPETITION. In early December I successfully penetrated the e-mail balance thoughts about the taste of the juries or the audienc- accumulation of the, naturally busy, prizewinner of the es with “staying yourself”? Westfield International Organ Competition, Malcolm Matthews. Malcolm generously took the time to answer I do not usually have a set routine or schedule before a few questions about this competition, about competi- a competition, but rather goals that I strive to achieve. tions and musicianship in general, about repertoire and Whether they be learning notes, or having a piece ready instruments, and about his career plans. to perform, my goals are usually dates I set so that I – Tilman Skowroneck know I will be ready when the competition date arrives. In regard to catering to a 1) Malcolm, congratulations particular jury panel or au- on your prize! As we learn dience, I actually try to pay from your CV, this isn’t your no particular attention to first competition, but your the perceived tastes of indi- third; you started young . vidual members; I attempt What makes competitions at- to play solely to satisfy my tractive for you? own musical desires. I find that competitions, 3) I’ve experienced myself regardless of the outcome, that it is very easy to lose are a great motivator and focus between competition a catalyst for growth. They rounds; you play one round also provide an excellent relatively well, and then all of opportunity to meet organ- a sudden you have to gear up ists with established careers again and get into the mind and those similar to my space of the next chunk of own situation. Having the music—it’s difficult . How do pressure of preparing a set you manage that? Any tricks repertoire for a specific date for keeping mentally and psy- helps focus my work and chologically in shape during a ensures that I keep my prac- competition? tice on track. Becoming so familiar with the repertoire I’ve found that consistency during its preparation and between rounds is directly performing it for a jury and related to consistency when Malcolm Matthews audience is one of the best performing a single piece: ways for me to mature as an artist. It’s usually after a If I can routinely rid myself of outside distractions and period of intense preparation, such as that preceding disappear into the music when playing a piece of mu- a competition, that I realize that I have improved and sic, then it is simply a matter of doing this every time developed my musical views and ability to effectively I perform. If I have prepared sufficiently so that I can convey my emotions in the music. focus on musicality without being hindered by mistakes in note accuracy, then I am set up to convey exactly what 2) What are your routines when you gear up for a compe- I intend. tition—it may be of help for your colleagues! What are the dos and don’ts when you prepare your pieces? How do you – 3 – 4) The most visible benefits of a competition are, of course, competition in which I return to the same music daily the career-related ones . Tell us a little about what we are to to practice ensures I discover new ways to play the notes expect from you as a result of the prize . How many concerts and bring out the emotional content contained within. will you play next season, where will these be, which reper- toire are you planning to include? 7) What musical styles are your favorites? Composers? What makes them special for you? Apart from the concerts given as a direct result of the prize, I am as-of-yet unsure how many concerts I will The Baroque has always been my favorite. Since I was play next season. I hope that an advertising campaign a young child, the music of J.S. Bach has always held a in organ publications can help kickstart my career by special place in my life, and the harpsichord has shown making me more visible to potential audiences. Incor- me a much larger picture of the Baroque than even the porating repertoire such as that from the competition is organ has afforded me thus far. Bruhns, Froberger, Ra- always nice as it is still in my fingers and ear, however I meau, and Buxtehude are other favorites of mine, but I do try to most effectively take advantage of the partic- attempt to maintain a balanced repertoire inclusive of a ular traits of an instrument, so pulling pieces from my variety of styles. I enjoy all periods of musical composi- larger repertoire is always an option! tion as long as I can relate to and convey the emotional content of the music. 5) Let’s talk about the musical benefits of an event such as the Westfield organ competition . What’s the artistic gain for 8) Let’s turn to instruments with the same question . How you? How does it further your development as an organist? does your favorite workplace look like? How does it sound? This question is, for me, related to why I like competi- My predilection for Baroque composition makes spend- tions.