spring 2015 newsletter pages 1-12

President/Editor’s Message ........................................................................................................................................22015 Montreal Meeting Tentative Schedule ..............................................................................................................32015 Aliénor Winners Announced.............................................................................................................................62015 Montreal Meeting Registration Form................................................................................................................8Remembering George Lucktenberg (1930–2014)......................................................................................................9The Eighth Mae and Irving Jurow International Harpsichord Competition...............................................................11Bringing Back a William Geib Square Piano.............................................................................................................14A Note from the EKJ Editor ......................................................................................................................................16HKSNA 2015 Soundscape Series at BEMF...............................................................................................................19Upcoming Workshops ...............................................................................................................................................20New Publications .......................................................................................................................................................21In Memoriam .............................................................................................................................................................22Membership News & Notes .......................................................................................................................................24

The Historical Keyboard Society of North Americawill hold its Fourth Annual Meeting, coincidingwith the Ninth Aliénor Harpsichord Composition

Competition, at the Schulich School of Music of McGillUniversity in Montreal, Canada, May 21−24, 2015.

The conference, entitled “French Connections: Net-works of Influence and Modes of Transmission ofFrench Baroque Keyboard Music,” aims to deepen un-derstanding of French baroque keyboard music, its style,influence, transmission, and the different teaching traditionsthat nourished it. Although it is difficult to speak of a singleFrench baroque keyboard style, it remains true that thegrand siècle generated a musical classicism cultivated bykeyboardists not only in France but transnationally. Often,the terms “baroque” and “classical” are used interchangea-bly in relation to both the repertoire and instruments of theperiod.

Evening events will include an organ-harpsichord re-cital by Peter Sykes on Thursday (May 21), an organ-harpsichord concert given by former students of John Grew,Organist Emeritus at McGill University, on Friday (May22), and the Aliénor Finals Concert on Saturday (May 23).

Guest artist Peter Sykes will give a master class on Fri-day May 22 at 9:30am-12:30pm.

The 2015 conference website can be found at:http://hksna2015.com/.

REGISTRATIONTo register, download the 2015 HKSNA Registration

Form at https://hksna2015.files.wordpress.com/2015/01/

fillable-pdf_registration-form-hksna2015.pdf or print outthe form attached with this newsletter (p. 8).

Complete and return with payment BY MAIL TO:Schulich School of Music | HKSNA 2015555 Sherbrooke OuestMontreal, QCH3A1E3, CanadaOR SCAN AND EMAIL TO: [email protected]

All prices are quoted in Canadian Dollars (CAD).Early registration fees (before May 1) are: Students

(Continued on page 2)

TABLE OF CONTENTS

FOURTH ANNUAL MEETING TO BE HELD IN MONTREAL, CANADA

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

Strathcona Music Building, Schulich School of Music,McGill University

Photo © www.aviewoncities.com

2

Greetings! Our fourth annual meeting will be heldin the beautiful city of Montreal, Canada, duringMay 21-24, 2015 at the Schulich School of Music

of McGill University, marking the first time that our an-nual meeting is being held outside of the U.S. In thisnewsletter, you will find details about the conference,including a tentative schedule, registration, and travel andaccommodation information. For the most updated con-ference information, please visit our conference web-site at: http://hksna2015.com/. The upcoming confer-ence will also include the Finals Concert of the NinthAliénor International Harpsichord Composition Competi-tion, where six finalist compositions will be performed,along with the premiere of two duo-harpsichord composi-tions by Mark Janello and Edwin McLean.

Since the last newsletter we have been greatly sad-dened by the passing of several long-time members:George Lucktenberg, the founder of SEHKS, a parentorganization of HKSNA; David Justus Johnson Jr., hus-band of Jane Johnson, an active member of the formerSEHKS; and International Advisory Board MembersRichard Rephann and Christopher Hogwood. At the up-coming meeting in Montreal we will hold a special me-morial session, coordinated by Karen Hite Jacob, inhonor of the members who have passed away in thepast year. Karen invites us to submit items and proposalsto her (music, performances, photos, stories, etc.) [email protected] (see p. 10 of this newsletter for de-tails).

This summer, HKSNA will again return to the BEMFFringe Series. Thanks to our member Glenn Giuttari—theHarpsichord Clearing House will present members ofHKSNA in two concerts on Thursday June 11, at 10:30amand 1pm, at the Courtyard Boston Downtown Hotel (seep. 19). If you are attending BEMF this year, please comeand support our society's SoundScape Series 2015!

The 2016 Eighth Mae and Irving Jurow InternationalHarpsichord Competition has been announced earlier thisyear and is scheduled to be held at Oberlin College, Ohio,on March 22-24, 2016, in conjunction with our 2016 An-nual Meeting on March 21-23, 2016. Please mark yourcalendar for the 2016 conference-competition and circu-late the competition announcement (p. 11) to anyone whomay be interested in participating—the application dead-line is October 1, 2015!

Upon the recommendation of the Nominating Com-mittee, chaired by Judith Conrad, Jordan Friedman wasappointed to the Board of Directors in October to fill thevacancy left by David Schrader. The committee has alsoworked on the important task of preparing a slate of offi-cers and board members (see p. 15) for next year for pres-entation to the membership at the Montreal meeting.

Finally, I would like to thank Bethany Cencer for herremarkable service as the Advertising Manager for theEarly Keyboard Journal for more than four years. We arecurrently actively looking for somebody to assume theposition of EKJ Advertising Manager; if interested pleasecontact Oliver Finney, EKJ Business Manager, [email protected].

I hope to see many of you in Montreal and Boston!

THE HKSNANEWSLETTER

Sonia Lee, editorE-mail: [email protected]

The Historical Keyboard Society ofNorth America Newsletter ispublished semiannually in Marchand September. Short articles,reports on member activities,announcements of upcoming events,as well as reviews of publicationsand recordings are welcome.

Contributions can be sent in thebody of an email or as a MicrosoftWord document. Images or photo-graphs should be in high resolutionand sent as separate files. It is thecontributor’s responsibility to obtainpermission for the use of anymaterial from the appropriatecopyright holders. Contributionsand questions regarding the newslet-ter should be directed to the News-letter Editor.

Deadlines for submissions to thenewsletter are February 15 (for theMarch issue) and August 15 (for theSeptember issue).

HKSNA OFFICERS

AND BOARD OFDIRECTORS

Sonia Lee,President (2016)

Frances Conover Fitch,Vice President (2016)

David C. Kelzenberg,Secretary (2015)

Helen Skuggedal Reed,Treasurer (2015)

Elaine Funaro,Immediate Past President

Alan Cole (2015)Nicholas Good (2015)

Boyd Jones (2015)Sally Todd (2016)

Larry Palmer (2016)Judith Conrad (2016)Anne Acker (2017)

Michael Tsalka (2017)Jordan Friedman (2017)

INTERNATIONAL

ADVISORY BOARD

Malcolm BilsonJane Clark

Jorg DemusKenneth Gilbert

Christopher Hogwood (+)Richard Kingston

Gustav Leonhardt (+)Davitt Moroney

Lilian PruettRichard Rephann (+)

Peter Williams

(Members), $210; Students (Non-Members),$270; Members, $300; Non-Members, $390.Late registration (after May 1) are Students(Members), $265; Students (Non-Members),$325; Members, $340; Non-members, $430.

TRAVEL TO MONTREAL AND GETTING TOTHE SCHULICH SCHOOL OF MUSIC

McGill University’s beautiful downtowncampus resides in the heart of the cosmo-politan city of Montreal. The SchulichSchool of Music’s Strathcona Building andNew Music Building are only a coupleblocks east of the main campus gates onSherbrooke Street. For detailed informationabout traveling to Montreal and gettingaround, please visit McGill University’sTravel to Montreal site: http://www.mcgill.ca/undergraduate-admissions/introducing-mcgill/visit-mcgill/travel-montreal.

TRAVELING WITH INSTRUMENTSIt is highly recommended to carry docu-

mentation (an appraisal or other officialdocument from an expert or the maker) de-scribing the materials in your instruments.

Here are some useful links and docu-ments pertaining to traveling with your in-struments containing protected speciessuch as ivory, rosewood, tortoise shell,and other material.

Traveling from U.S.:G e ne r a l In fo r ma t i on : h t t p : / /

www.fws.gov/international/pdf/factsheet-musical-instruments-2014.pdf.

Traveling Across International Borderswith Your Musical Instrument: http://www.fws.gov/international/permits/by-activity/musical-instruments.html.

Federal Fish and Wildlife Permit Appli-cation Form: http:/ /www.fws.gov/international/pdf/permit-application-form-3-200-88.pdf.

ACCOMMODATIONSPresbyterian College(http://presbyteriancollege.ca/)3495 University Street (one block from theSchulich School of Music)Private rooms with shared bath-rooms. Kitchen facilities available (limitedutensils and dishes), towels and bedding pro-vided. Secure building, key entry. Ceilingfans, no air conditioning. RATES: $50/night

(Continued from page 1)


PRESIDENT/EDITOR’S MESSAGESonia Lee

3

for the first night; $35 for each following night; $245/week. Parking $10/night. To book a room, fill inthe Presbyterian College Booking Request Form: https://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 SocietyConference. Booking requests can be sent by email to:[email protected] OR by fax 514.288.8072. In-formation: 514.288.5256, ext. 200; Mon-Fri 8.30am-12pm.

McGill University ResidencesMcGill University Residences provide quality hotel-styleaccommodations as well as comfortable lodging for over1,000 budget-minded travelers in the dormitory-style resi-dences and student apartments. First class shopping, restau-rants and art galleries, outdoor cafés and street festivals areall around the corner. HKSNA has reserved a block ofrooms in the residence below – they will be on hold untilApril 23, 2015.

Royal Victoria College (RVC)http://www.mcgill.ca/accommodations/summer/rvc3425 University StreetRoom Rates: $40/night, single occupancy

Carrefour Sherbrooke Residencehttp://www.mcgill.ca/accommodations/summer/cs475 Sherbrooke WestRoom Rates: $104/night, Single/Double Room

List of Nearby Hotels*always be sure to ask for the “McGill Rate*Residence Inn by Marriott2045 Peel St. Montreal, QC H3A 1T6Tel.: 514-982-6064 / 1-888-999-9494

Delta Montreal Hotel475 President Kennedy Ave., Montreal, Quebec H3A 1J7Tel.: 514-286-1986 / 1-877-286-1986

Sofitel Montreal Golden Square Mile1155 Sherbrooke Street West, Montreal, QC H3A 2N3Tel: 514-285-9000 / 1-877-285-9001

Château Versailles1659 Sherbrooke St. West, Montreal, QC H3A 1B4Tel: 514-933-8111 / 1-888-933-8111

Meridien Versailles-Montréal1808 Sherbrooke St. West, Montreal, QC H3A 1B4Tel.: 514-933-8111 / 1-888-933-8111

FOR UPDATES ABOUT THE MEETING, VISIT:HTTP://HKSNA2015.COM/.

IF YOU HAVE ANY QUESTIONS REGARDING THE MEETINGPLEASE EMAIL: [email protected].

THURSDAY, MAY 21, 2015

9am – 2pm – A832/A833, New Music BuildingConference Registration

1pm – Tanna Schulich HallKeynote Speech

2pm – 7:30pm – Wirth Opera StudioInstrument and Scores Exhibition

2:30pm – 5pm – Tanna Schulich HallMini Recitals

2:30pmKaren Flint (Brandywine Baroque)The Father of It All: Chambonnières and His Followers3pmRuta Bloomfield (The Master’s College)Music from Versailles: French Harpsichord Music byBernard de Bury3:30pm Break4pmAya Hamada (Independent Scholar)French Collection- Sparkle and Depth: Before theStorming of the Bastille (Music in Eighteenth-CenturyParis)4:30pmRebecca Pechefsky (Brooklyn Baroque)François Couperin’s Huitième Ordre

7:30pm – Redpath HallOrgan and Harpsichord Recital – Guest Soloist: Peter Sykes(Boston University)

FRIDAY, MAY 22, 2015

8:30am-7:30pm – Wirth Opera StudioInstrument & Score Exhibition

9:30am-12:30pm – Redpath HallPeter Sykes Masterclass

9:30am-4:30pm – A832/833, New Music BuildingPerformance Practice: Styles, Genres, and Discourses

9:30amMargot Martin (El Camino and Mt San Antonio Col-


2015 MONTREAL MEETINGTENTATIVE SCHEDULE

4

leges)What the Conversation Writings of Polite Society SayConcerning Good Taste in Performance: St Lambert’sHarpsichord Treatise and Tasteful Conversation10amMaria Rose (RILM International Office, New York)“He thought one of the parts was sung by a womanstanding behind the instrument…”: Perceptions of18th-Century Keyboard Instruments as Mediators be-tween Science and Illusion at the Académie Royale desSciences10:30amPeter Strauven (Royal Conservatory of Antwerpand Leuven)“Des courtisans en présence du Maître”: The Genre ofthe French Accompanied Keyboard Sonata in theSouthern Netherlands (1760-1785)11am Break11:30amMarcos Krieger (Susquehanna University)French Influences on the Sonatas of Carlos Seixas(1704–1742), Lisbon Royal Chapel Organist and CourtComposer12pmApril Greenan (University of Mary Washington)Boieldieu’s Piano Sonatas and Evolution of Repertoire12:30pm Lunch

Instruments: Organology, Technology, Revivalism

1:30pmLarry Palmer (Southern Methodist University)Pedaling the French: A “Tour de France” of RevivalHarpsichordists2pmÉlizabeth Gallat-Morin (Independent Scholar)The Presence of French Baroque Keyboard Instru-ments and Music in New France2:30pm Break3pmGraham Sadler (Oxford University)When Rameau met Scarlatti?: Reflections of a Prob-able Encounter in the 1720s3:30pmCarlotta Marturano (McGill University)François-Adrien Boieldieu’s Piano Sonatas and theEvolution of Piano and keyboard Writing4pmVivian S. Montgomery (Longy School of Music)A Broadwood Square as Refuge and Companion: ThePrivate Musical Practice of a Georgian Prodigy

1:30pm-4:30pm – Clara Lichtenstein HallLecture-Recitals

1:30pmJonathan Addleman (McGill University)Harpsichord Suites of Giovanni Battista Draghi2pmChelsea Barton (McGill University)Kyrie Cunctipotens genitor in Four Organ Massesfrom the Grand Siècle2:30pmKatelyn Bouska (Temple University)The Czech Connection in Eighteenth-Century Europe3pm Break3:30pmMark Edwards (Leiden University)Under the Fingers: Chambonnières, d’Anglebert, andthe Musical Work4pmSonia Lee (Independent Scholar)The Legacy of French Harpsichord Music in Nine-teenth-Century Germany

4:30pm-6pm – Tanna Schulich HallPedagogy Roundtable & Tributes to John Grew

6pm-7:30pm – TBCHKSNA Board Meeting

7:30pm – Redpath HallA Gift of Music for John Grew: Recital of Former Students(Harpsichord & Organ)

SATURDAY, MAY 23, 2015

8:30am – 7:30pm – Wirth Opera StudioInstrument & Scores Exhibition

9:30am – 12:30pm – Clara Lichtenstein HallLecture-Recitals

9:30amLysiane Boulva (University of Toronto)Revealing the Essence of Nature, Evoking the Intangi-bility of Expression: French Aesthetics in Eighteenth-Century Harpsichord Music10amJohanne Couture (Conservatoire de musique de Gati-neau)Airs de cour pour clavecin dans le manuscrit Gen-2350/57 : reflet d’une pratique clavecinistique profes-sionnelle avant 1630?10:30amJoseph Gascho (University of Michigan)Jean-Henri d’Anglebert’s Harpsichord Transcriptionsof Jean-Baptiste Lully’s Opera Works



5

11:00am Break11:30amSandra Mangsen (University of Western Ontario)Geminiani’s Pièces de Clavecin12pmJudith Conrad (Independent Scholar)A Seventeenth-Century French Clavichord Recital

9:30am – 12pm – Tanna Schulich HallMini-Recitals

9.30amMartha Folts (University of Michigan)Works by Johann Jacob Froberger and Louis Couperin10amMax H. Yount (Beloit College)Louis Marchand (1669-1732)Pièces de claveçin, Livre Premier (1702) (Suite in dMinor)10:30am Break11amCharlotte Mattax-Moersch (University of Illinois)Suites from the Babell Manuscript11.30amDavid Louie (Glenn Gould School of the Royal Con-servatory of Toronto)Rameau’s Pièces de clavecin en concert (arranged forSolo Harpsichord)

1:30pm – 3pm – Clara Lichtenstein HallHKSNA Annual General Meeting & In MemoriamGeorge Lucktenberg

3pm – 5:30pm – Redpath HallMini-Recitals

3pmJohn Brock (University ofTennessee)Organ Works by André Rai-son and Nicolas Cléram-bault3:30pmMargaret Irwin-Brandon(Independent Scholar)Color-Play from the Preludeto the Plein Jeu, by Compos-ers from Titelouze tod’Grigny4:00pm Break4:30pmJoseph Butler (Texas Christian University)André Raison: Messe du deuxième ton5pmHelen Skuggedal Reed (University of Evansville)The Livre d’orgue tradition and the Wolff organ at

Redpath Hall, McGill University

3pm-5:30pm – A832/833, New Music BuildingSources: Repertoire, Influence and Transmission

3pmBruce Gustafson (Franklin & Marshall College)The Transmission of Chambonnières’s Works: What itSays about “The Piece”3:30pmCalvert Johnson (Agnes Scott College)Amélie-Julie Candeille (1767-1834)4pmThérèse de Goede (Conservatorium Amsterdam)Continuo Playing in the French Galant Style4:30pm Break5pmSylvain Caron (Université de Montréal)Analyser l’interprétation : une étude comparative desvariations de tempo dans la Sarabande I du premierlivre de Pièces pour clavecin de Rameau

5:30pm – McGill Faculty ClubHKSNA Gala Dinner

8pm – Tanna Schulich Hall2015 Aliénor Harpsichord Composition Competition

SUNDAY, MAY 24, 2014

9:30am – 12pm – Clara Lichtenstein HallLecture Recitals

9:30amMatthew J. Hall (Cornell University) and BenjaminKatz (University of London)Concerts Royaux: Collective Improvisation as Compo-sition10amRobin Morace and Stephanie Schmidt (University ofNorth Carolina at Greensboro)The French Unmeasured Prelude10:30am Break11amJoyce Lindorff (Temple University)Albert Fuller’s Edition and Recording of Gaspard LeRoux’s Pièces de clavessin11:30amHank Knox (McGill University)“Vaucanson’s Duck”: An Automated System for Per-forming a Figured Bass Realisation with a Live Per-former in Real Time

TBC – 12pm – 12:30pm – Tanna Schulich HallClosing Words


Organ by Hellmuth WolffPhoto courtesy: McGill University

6

Ivan Božičević (Croatia)If There Is a Place Between

Ivan Božičević is a Croa-tian composer, organist, pian-ist, arranger, and jazz musi-cian. His opus encompassesthree symphonies, orchestral,chamber, choral, and soloisticworks, as well as numerouselectronic compositions. He isinterested in a variety of gen-res (early and baroque, electronic, jazz, world music) andthe possibility of “cross-fertilizations“ between those gen-res, always aiming for the stylistic amalgamation on adeeper level. His works have been performed in Serbia,Croatia, Sweden, Germany, France, Denmark, Switzerland,the Czech Republic, Russia, Bulgaria, Ireland, Great Brit-ain, and the USA. Numerous recordings of his composi-tions have been made for Serbian national radio and televi-sion, Swedish national radio, and Croatian national radioand television. Božičević received composition prizes inSerbia, Croatia, Czech Republic, the United Kingdom, andUSA (ArtsLink Fellowship Award, Garth Newel Prize,Aliénor Award, AGO/ECS Publishing Award, Prague Phil-harmonic Choir Prize, John Clare Society Award, AsylumQuartet Prize, Sofia Soloists Award.) He is one of thefounding members of the Splithesis ensemble for new mu-sic in Split, Croatia.

Andrew Collett (UK)Sonatine for Harpsichord

Andrew Collett was born andeducated in Surrey, England. Afterleaving school he completed thePerformer Course at Trinity Col-lege of Music, studying piano withAnthony Peebles and early musicwith John Henry and PhilipThorby. During this time he hadmuch success in competition, win-ning senior classes at many festi-

vals and was a finalist in the North London Piano Prize.Since graduating from Trinity, Collett has managed to com-bine a successful teaching practice with performing. Nota-ble concerts have included a Mozart concerto with theRosamund Chamber Orchestra and, in Sri Lanka, a sold outrecital in the Cathedral of Christ the Living Saviour Co-lombo, which was broadcast live on television. Andrewhas, from a young age, had an interest in early music. Hehas built several clavichords, which have “appeared” atmany of his piano recitals and he now divides his perform-ing equally between harpsichord and piano.

James Dorsa (USA)Martinique

Harpsichordi s t JamesDorsa is a native of SouthernCalifornia's San Fernando Val-ley as well as a California StateUniversity, Northridge musicalumnus. He performs harpsi-chord concerts both locally andabroad, strongly favoring therarely performed modern reper-toire. He is known for his com-position "Jupiter's Moons,"which enjoyed the first placeaward at the 2008 Aliénor Com-position Competition and wasselected for the semi-final round at the 2012 Jurow Harpsi-chord Competition. All of his compositions feature idio-matic writing for the harpsichord in a very "maximalist"setting. He is a regular performer at the Aliénor Competi-tion and frequently represents modern composers duringthe Boston Early Music festival Fringe concerts. He spentpart of his recent life in Ann Arbor where, against properCalifornian temporal decency, he found the change of sea-sons refreshingly dynamic, and he secretly longs to returnto a place where shoveling snow and raking leaves are an-nual activities. He holds a DMA in harpsichord from theUniversity of Michigan in Ann Arbor. Dr. Dorsa joined thefaculty at California State University Northridge in 2008.


2015 ALIÉNOR WINNERS ANNOUNCED

The following six Aliénor winners were selected from forty-eight entries from allaround the world. The jury included Thomas Donahue, Sonia Lee, Rebecca Pechefsky,and Tracy Richardson. The winning compositions will be performed at the AliénorFinals 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 featurethe premiere of two Aliénor commissioned duo-harpsichord pieces by Mark Janelloand Edwin McLean.

7

Sviatoslav Krutykov (Ukraine)Little Monkey Ten Snapshots

Sviatoslav Krutykov was borninto a family of musicians in Tbilisi,Georgia, with a Ukrainian, Czech,German, Russian, and Kazan-Tatar background. His primaryschooling was in Tbilisi. In fifthgrade he became a resident of Kyivand studied at the Kyiv Conservatorybut did not finish his schooling on account of his ideology.He has, however, composed since childhood and has pur-sued drawing as well, leading to a number of exhibitions.He has founded and led three early-music ensembles, play-ing medieval and baroque music of Europe, as well as thatof the Ukrainian baroque. All three groups played pe-riod instruments that he collected or made himself. Hewrites music for the most part in an academic manner aswell as a chamber-symphonic style. Krutykof is a memberof Societies of Composers and Cinematographists ofUkraine and has composed for more than 60 films.

Dina Smorgonskaya (Israel)Three Dances for Harpsichord

Dina Smorgonskaya was born inVitebsk, Belarus and was originally aviolinist before studying compositionat the St. Petersburg (Leningrad) StateConservatory. She has written musicfor cinema and theatre, as well as fordifferent instrumental ensembles. Shehas lived in Israel since 1990; in 2001her “Three Poems by Federico GarciaLorca” was a winner of the Athena Festival Competitionof Compositions for Mixed Chorus (Murray University,

USA), and in 2005, she became a recipient of the prestig-ious Prime Minister’s Award for Music and Composition.Her chamber and symphonic compositions have been fea-tured at festivals in St. Petersburg, Tel-Aviv, Prague, and inother countries. Ms. Smorgonskaya is currently teachingcomposition and theory at the Jerusalem Conservatory.“Three Dances for Harpsichord” was written for MarinaMinkin in 2007 and is Smorgonskaya’s second work forthe instrument; in 2006 she wrote “The Suite in the Ba-roque Style” for the Tel-Aviv Baroque Trio (recorder, harp-sichord and baroque cello).

Laura Snowden (UK)French Suite

Recently commissioned by theInternational Guitar Founda-tion, Laura Snowden has hadher music played on BBC Ra-dio 3 and premiered at SadlersWells, Deal Festival, and Han-del House. Her commissionshave subsequently been per-formed at the Wigmore Hall and in Italy, Spain, Romania,and Japan. She has collaborated both with the Royal BalletSchool and with the London Film School. Her song LiveFree, composed for the charity Voices For Hospices, wasperformed at over 300 simultaneous concerts in 60 coun-tries. Laura writes and performs for folk group Tir Eolas,recipients of a City Music Foundation Award, whose debutalbum Stories Sung, Truths Told is set for release in early2015. Possessing an “exceptional range of colour and so-nority” (Classical Guitar Magazine 2014), Laura Snowdenis also a winner of numerous national and internationalawards as a guitarist, including First Prize at the 2014 IvorMairants Guitar Award.

Satono Norizuki (USA)Flavor of D Prelude

Dina Smorgonskaya (Israel)Three Dances for Harpsichord Andantino

Pauletta Gianandrea (Italy)Deux Pièces Croisées Premier Andante

Laura Snowden (England)French Suite La Joyeuse

Andrew Collett (UK)Sonatine for Harpsichord Parler du fond du coeur

Adam Rothenberg (USA)Partita Tambourin (Vivace)

Sviatoslav Krutykov (Ukraine)Little Monkey Ten Snapshots Nos. 6, 8 & 10

Daniel Basford (UK)Four Postcards for Harpsichord Pudu in the Forest

Yuri Ban (Japan)Vestigio per Clavicembalo Vivo

Ivan Božičević (Croatia)If There is a Place Between Fandango

THE FOLLOWING TEN PIECES WERE SELECTED TO BE INCLUDED IN THE2015 ALIÉNOR ANTHOLOGY (PRB PUBLICATIONS).

8

(Save $30 or more!)

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

9

Artist Walt Kuhn’s serious butjaunty painting of a horse jockeygraced a color postcard from

George Lucktenberg, received in Dallason October 26. Morose information over-flowed the small space for writing on thereverse side of the card: sad news of thesuicide of a mutual friend. George contin-ued with several lines about his own dete-riorating health: “MY news isn’t quiteTHAT bad, but I AM in less-good shapethan before . . .” Later the same day, whileI sat at my computer trying to formulatesome comforting words as a response, ane-mail arrived from harpsichord makerRichard Kingston with the shocking re-port of George’s massive heart attack anddeath that very day.

A person who contributed a great deal to the growth ofan American harpsichord culture in our time, Dr. Luckten-berg was indeed a man of many talents. We first met duringmy Virginia years (1963–70) when he and his violinist wifeJerrie Cadek Lucktenberg stopped the charmingly labelled“Harpsi-cart” in Norfolk during one of their many tours asa violin-harpsichord duo. George “looked me up” since weboth owned German instruments from the Passau factory ofKurt Sperrhake. In 1969 George returned alone to marvel atmy new William Dowd harpsichord, which he told me washis first experience with an instrument constructed in a his-torically accurate style. George soon joined the swellingranks of advocates for these ear-opening instruments.

After my move to Texas there was another memorableencounter with George during the second harpsichordweekend organized by Bruce Gustafson and Arthur Law-rence at St. Mary’s College in Indiana (1979). A walk to-gether back to the motel after an evening program gaveopportunity for George to float the idea of organizing anearly keyboard society. I, being inherently shy of organiza-tions as time-consuming distractions from writing and prac-ticing, suggested that perhaps the American Guild of Or-ganists was already enough, and we interested playersshould try to include more harpsichord information withinthe context of programs presented by that august body.

Obviously not sharing my reluctance, George returnedto Converse College in Spartanburg, South Carolina (wherehe served on the faculty from 1960 until 1990), and withina few years he became the founding president of a new

group: the Southeastern Historical Keyboard Society(1980). An offshoot of this organization was the foundingof Aliénor: a privately funded interest group promoting thecreation of contemporary repertoire for the harpsichord. Itprobably comes as no surprise that George was its first ex-ecutive director. Happily, if not surprisingly, both groupshave flourished—sometimes together, sometimes sepa-rately. Currently both are included in the recently formedHistorical Keyboard Society of North America, whosefourth annual conclave will take place May 21–24, 2015, inMontreal, and is scheduled to include the most recent itera-tion of Aliénor’s harpsichord-composition competition asthe culminating event of the meeting.

Following retirement from Converse, George and hisinstruments moved to Georgia, where he taught in Atlantaand served as artist-in-residence at Reinhardt College inWaleska. There he was genial host to the annual meeting ofhis own offspring organization, SEHKS, a meeting madememorable by the incredible artistry of the jazz harpsi-chordist Don Angle. Incidentally, George was very proudof the double meaning that occurred in his society’s acro-nym. At Reinhardt, Dr. Lucktenberg remained musicallyactive, presenting his final public concert on February 17,2013, in the college’s Falany Performing Arts Center.

There was so much more to George’s legacy than suc-cessful organizing and artistic performing, not the least ofwhich included his 52 summers of teaching eager youngstudents at the Interlochen Arts Academy in Michigan.


REMEMBERING GEORGE LUCKTENBERG (1930–2014)

Larry Palmer

Dr. Lucktenberg, with Dorothy (Dordie) Freeman, primary patron of Aliénor

10

Among his printed contributions are volumes of early mu-sic, editions of contemporary works, and, as a result of hismany trips across the Atlantic Ocean to visit historic instru-ments, a 1997 Indiana University Press book, Early Key-board Instruments in European Museums, co-authored withUniversity of Iowa musicologist and harpsichord builderEd Kottick. From the preface to this volume:

. . . The more I found out about historical keyboard instru-ments, the more I wanted to know. A delightful discoverywas the extent to which a similar passion existed in kindredspirits; a thirst for firsthand knowledge and a professorialcompulsion to share it with others led to the LucktenbergHistorical Keyboard Tours of Europe. On all but my earliestventures I have been ably abetted and seconded by my es-teemed colleague Edward Kottick, whose amiable presenceand broad knowledge soon made him indispensable to theendeavor.

My own copy of this useful book came to me from thepersonal library of another departed friend, the notedscholar of early keyboards Dr. Martha Clinkscale. When Iretrieved the volume from my overstocked bookshelves, Ifound, inside its cover, a gracious note from George to

Martha, thanking her for her helpful reading of the originalmanuscript. Included as well were Martha’s penciled jot-tings of possible corrections and some linguistic sugges-tions. Many years ago, another treasured colleague, Dr.Betty Louise Lumby, assured me that each departed friendleaves us a gift if only we are acute enough to realize whatit is! I hope that George and Martha will let me know whatthey have discovered about even more resonant keyboardinstruments in the hereafter (thereby joining J. S. Bach andClaude-Bénigne Balbastre in correspondence with yourHarpsichord Editor, who will, of course, share any suchcommunications with our esteemed readers). But for now, Iremain content with their substantial earthly contributionsand keep in memory the warmth of their friendship.

This article originally appeared in THE DIAPASON,February 2015. Used with permission of

Scranton Gillette Communications.


SEHKS Presidents 1980–2006, by Jane Johnson;George Lucktenberg is at far left

Email Karen at: [email protected]

At the meeting in May we will rememberGeorge Lucktenburg and his contributions to ourorganization. We will also remember memberswho have passed on.

Karen Hite Jacob will co-ordinate this session.She invites people to submit items and proposalsto her (music, performances, photos, stories,etc.)

If you plan to attend and wish to participate“live” please propose what you would like to do.Others who cannot attend are still encouraged tosend or email items.

We plan on a power point presentation so havingprinted items in advance would make this possi-ble. Please make this a group effort.

11

March 22-24, 2016

12

WE NEED YOUR HELP!Each year, the Historical Keyboard Society of North Amer-ica presents several awards and scholarships to deservingindividuals.

The Ben Bechtel Award and the Martha ClinkscaleScholarship encourage the participation of young people byproviding financial support to students to enable them toattend a HKSNA annual conference. The Funaro FundAward provides financial support to HKSNA members tohelp defray travel expenses to special events such as classes,masterclasses, and workshops.

All of these funds are supported and perpetuated by contri-butions provided by generous members and friends. YOURsupport is critical to ensure our continued ability to offerthese awards!

Please consider a donation to one or more of these spe-cial scholarship/award funds. Your help is greatly appre-ciated by your Society and by the recipients of these awards.Thank you!

SCHOLARSHIP/AWARD CONTRIBUTION FORM

Name_________________________________________

Address_______________________________________

City ____________________State ____Zip Code _____

E-mail:________________________________________

Contribution (amount): Total Enclosed: $_________

$_________ (Bechtel) $_________ (Clinkscale)$_________ (Funaro) $________ (general fund)

Make checks payable to HKSNA and send to:

David C. Kelzenberg, SecretaryHistorical Keyboard Society of North America

2801 Highway 6 East, Suite 344Iowa City, Iowa 52240, USA

Thank You!

2801 Highway 6 East, Suite 344,Iowa City, Iowa 52240, USA

www.historicalkeyboardsociety.org

March, 2015

Dear Friend of Early Keyboard Music:

Have you renewed your membership yet?

Memberships now run concurrently with the calendar year.If you have not yet renewed for 2015, your membership haslapsed.

I’m pleased to announce an exciting change in membershipopportunities, new this year. As part of the Society’s newbylaws which were recently approved, a new category ofmembership has been created: ASSOCIATE MEMBERSHIP.Associate membership is available to spouses, partners, orsame-household family members of regular members, andannual dues are just half of regular membership dues! Asso-

ciate members are entitled to all rights and privileges of regu-lar membership, except they do not receive a separate copyof Early Keyboard Journal. Take advantage of this new op-portunity--we look forward to welcoming many new familymembers!

Please take a moment to complete the membership applica-tion form contained herein, and return it with your check tothe address at the top of this note. Or, you can now renewat our website, using Paypal. And, if you are able, pleaseconsider making an additional donation. It really does makea difference. I look forward to hearing from you soon!

Cordially,David C. KelzenbergSecretary

spring 2015 newsletter pages 1-12

Documents