Friday, June 8, 2012 at 2:00 pmVenetion Ballroom Berkeley City Club

Presented by Western Keyboard Association (WEKA)

and MusicSources

Appreciating Gustav Leonhardt

ProgramOrlando Gibbons (1583-1625) - Pavan

Elaine Funaro

Jan Pieterzoon Sweelinck (1562-1621) - Pavana LachrimaeWebb Wiggins

Girolamo Frescobaldi (1583-1643) - Toccata Primo, Bk. IILenora McCroskey

Johann Jacob Froberger (1616-1757) Lamentation faite sur la mort très douloureuse de Sa Majesté Imperial Ferdinand III, et se

joue lentement avec discrétion. An 1657. Tamara Loring

Johann Sebastian Bach (1685-1750) - Aria from the “Goldberg Variations” BWV 988Linda Burman-Hall

Johann Sebastian Bach - Chromatic Fantasie, BWV 903Elaine Thornburgh

Johann Sebastian Bach - Trio Sonata from the “Musical Offering” BWV 1079Largo

Allegro Andante Allegro

Stephen Schultz, fluteAnthony Martin, violin

Joshua Lee, viola da gambaLisa Goode Crawford, harpsichord

Louis Couperin (1626-1661) - Prelude and Chaconne in DElisabeth Wright

Jean-Henri D’Anglebert (1629-1691) - Prelude in D minorJungHae Kim

J.H. D’Anglebert - Tombeau de ChambonnièresLisa Goode Crawford

Armand-Louis Couperin (1727-1789) - L’Arlequine ou la Adam/Rondeau La Chéron/La Blanchet

Charlotte Mattax Moersch

Antoine Forqueray (1671-1745) [arr. Jean-Baptiste Forqueray (1699-1742)] - La LeclairJillon Stoppels Dupree

John Fesperman 1955 - 56Alan Curtis 1957 - 59James Weaver 1957 - 59Leonard Raver 1958 - 60Clyde Holloway 1959 - 60Thomas Spacht 1959 - 60Bill Tinker 1959 - 60Carl Fudge 1961 - 62Nina Key-Campbell 1961- 63Anthony Newman 1962 - 63John Turnbull 1962 - 63James Tallis 1963 - 64Larry Palmer (Haarlem Summer Academies) 1964, 1967Lisa Goode Crawford 1965 - 66R. Peter Wolf 1965 - 66Laurette Goldberg 1965 - 66 Marion Anderson 1965 - 66Kenneth Dorsch 1967 - 68John Gibbons 1967 - 68Jean Nandi 1967 - 68Martin Pearlman 1967 - 68Fred Renz 1967 - 68Dale Carr 1967 - 69David Boe 1968Lenora McCroskey 1968 - 69Paul Jenkins 1969Elisabeth Wright 1970 - 73Robert Hill 1970 - 74

Glen Wilson 1971 - 75Ed Parmentier 1975Rhona Freeman 1975 - 77Tamara Loring 1975 - 77Beverly Biggs 1976Martha Cook 1976

Frances Fitch 1976 - 79Linda Burman-Hall ±1978 - ±1985, every Winter breakCharlene Brendler 1979Bruce Alan Brown 1979 - 80Jillon Stoppels Dupree 1979 - 81Deborah Brown 1980Karyl Louwenaar 1980Elaine Funaro 1980 - 1981Elaine Thornburgh 1980,1982Davitt Moroney 1981Douglas Amrine 1981 - 1982Jeanne Jennings 1981 - 1982Skip Sempé 1981 - 82Charlotte Mattax 1982 - 83Webb Wiggins 1983 - 84Kenneth Weiss 1986 - 87Patrick Allen 1988 - 89Gretchen Elicker Dekker 1989 - 91Jeannette Sorrell 1990 - 91Yuko Tanaka 1993JungHae Kim 1993 - 1994

List of American harpsichordists and organists or those who now teach in America who once studied with Leonhardt in the Netherlands.

Remembering Gustav LeonhardtBy Alan Curtis

I first read the name Gustav Leonhardt in 1955 on the LP record jacket of Alfred Deller’s recording of Elizabethan and Jacobean Music. I think it was Deller’s first recording to be distributed in the US, and it was, for many of us, an initiation into the previously unknown world of the countertenor and the notion of “Baroque singing”. But it seemed to me that the harpsichordist on that recording was every bit as shockingly new and revolutionary as the singer. I don’t think I knew then what “articulation” at the keyboard was, but I could hear it, for the first time, on that LP. Of course not everyone felt as I did, and my fellow student at the University of Illinois, Sterling Jones, gave me a disc he was about to throw away (be preferred Landowska) of Leonhardt playing the Goldberg Variations on a Neupert (not, of course, Leonhardt’s preferred instrument, but there was at the time no alternative). That did it. I decided I had to study with him, and I convinced my friend Jim Weaver to do the same, in 1957-59. We were not his first American students, though I know of only one prior: John Fesperman. How lucky we were to benefit from the generous free time that he was able and willing to give students in those days. It was also a time of exciting exploration and experimentation. Those who know Leonhardt only from later years will be surprised to learn that when I proposed to study a Louis Couperin unmeasured prelude with him, he at first refused to hear it, saying only “ the notation prevents us today from knowing how it was performed then.” He later consented to listen to my rendition and, still later, even to give me his comments. But it was only quite a few years later that he began to play these pieces in public, with ever more conviction. One of the last things I heard him play, last year, was an unmeasured prelude, and I remember feeling that EVERY NOTE was placed with exactly the most appropriate split-second timing. I feel that timing, in the sense of when exactly you play a note and when you release it, in a context

of rhythmic nuance, is more important on the harpsichord than on any other instrument, and that Leonhardt is the person who first made us all aware of this fact, and who was able, better than anyone I have ever heard, to demonstrate it.

Jim Weaver and I also had the good fortune to arrive at the Amsterdam conservatory the very year that they purchased one of the earliest ‘historically informed’ versions of an 18th-century harpsichord (a Rueck copy of a Graebner). It was also then that Leonhardt “discovered” Skowroneck as a harpsichord and recorder maker and Ahrend and Brunzema as makers and restorers of organs, a discovery that he, of course, shared with us. I placed an order with Skowroneck immediately, and by the time my studies were completed it was ready to return, with me, to the US (I later sold it to the University, who foolishly then sold it to a dealer from whom it was fortunately salvaged by Skip Sempé). When I accepted an offer to join the faculty at UC Berkeley, I drove it across the country, packed into an old Plymouth station wagon, arriving in Berkeley in late August, 1960. I remember Laurette Goldberg calling me that same autumn for advice about buying a harpsichord. She had never heard of Leonhardt, and like everyone else, had also never heard of Skowroneck. So she bought a Neupert, which she later much regretted. I’m not quite sure when she “came around”, but I think it didn’t take long. And of course it helped that I was able, with the backing of Prof. Lawrence Moe, to invite for the CAL performances series both Leonhardt and the Concentus Musicus (their first time in the US!). Larry was not alone in helping me diffuse the new “early music” movement in the Bay Area, and I had a lot of help from other colleagues, including Professors Heartz and Kerman. I think it was at a dinner with Joe Kerman, after I played him a recent recording, that the idea came up to invite Leonhardt for a Froberger Festival which, if I remember correctly, included three sublime concerts by the master, plus some master classes, and of course dinner parties, though it was only later (I believe in Texas) that I’m told Leonhardt

astonished a waitress by ordering a “Fro-burger.”

Those who only came to know him later may also be astonished to learn of the breadth of his interests when he was younger. Many people think he ignored the 19th and 20th centuries and in some ways that’s true. We were standing in the garden I designed for him (in Baroque style) at the rear of the magnificent Bartolotti canal mansion on the Herengracht that he rented from about 1970, where his wife Marie still lives. The Westerkerk carillon began to play the Habanera from Carmen. We both laughed but to my amazement he did not know the piece, and only laughed at its inappropriateness. Yet when one day, visiting a museum, we happened on a playable piano of about 1840, he improvised a perfectly convincing “Fantasiestuck” in the style of Schumann (whose music he disliked: “Schubert was a good composer in a bad period. Schumann was a bad composer.”) He admired the paintings of Cezanne and loved the short stories of Somerset Maughm and the novels of Thomas Mann, especially Felix Krull. While studying with him I asked my parents to send me for Christmas the new recording by Robert Craft of the complete works of Anton Webern. When I told him, he asked to borrow it, kept it for a long time, obviously listening to everything with great care, but in the end found little to admire, and declared that “Schoenberg is at least more human.”

His interpretation of others’ music has been preserved and can continue to be studied and enjoyed, through recordings. However, those of us who have heard him improvise will never forget how he could move us as well as astonish us with his ability not only to spontaneously “compose” in the most varied styles, but also to bring out the best qualities of whatever keyboard instrument he was playing (when it was a good one) or the worst (when it was not). One of my favorite anecdotes about him reveals at once his fabulous ability to improvise, his respect for noble titles, his relative lack of admiration for Domenico Scarlatti, but above all his sense of humor. After a concert in Cologne, there was a reception at the home of a Countess who later

died and left him a Tiepolo drawing, and who had just acquired an Italian-style cembalo. He obligingly improvised on it, at her request. After one spectacular “sonata”, she exuded “Dass MUSS doch eine Sonate von Scarlatti sein.” (Surely that MUST be a Scarlatti sonata!). He replied “Dass kann sein, ich kenne sie nicht alle.” (It could be, I don’t know them all.)

However, the greatest, most enduring passion of his life was not music at all, but collecting. He owned a painting or two, but furniture and objets (porcelain, Delftware, silver etc.) were his field. If one disregards royal and other longstanding family collections, his is perhaps the most extraordinary private collection formed in the past half-century and still extant. He never invested in real estate, but his collection is worth millions, and reflects a highly refined and personal taste along with extraordinary connoisseurship and good business sense. He recently confessed to me that when I spoke to him years ago about Magnasco, he didn’t know who I was talking about, and I confessed that when he gave me a catalogue of the works of Jamnitzer, I had never heard of him. The difference is telling: not only was he less interested in paintings and I less interested in the “minor” arts, but his point of view remained Northern and mine became ever more Italianate. (“Italianate” for him included the theatrical, the operatic, hence his ignorance of Carmen and his notorious dislike for the music of Handel!). I once asked why he did not collect paintings and he replied “With the same money one pays for second-rate old-master paintings, one can buy first-rate antique furniture.” Yet collecting was, for him, never an investment. He bought what he passionately desired to own and be able to admire daily. This passion inevitably had an educational effect on most of his pupils, perhaps especially the American ones, and even on THEIR pupils. Witness Elaine Thornburgh’s interest in the Humanities, or the importance of visual arts in the Music Sources presentations of Gilbert Martinez. But though Leonhardt was certainly pleased to see and hear the effects of his influence in the field of music and the fine

arts, his greatest wish, I would guess, remained unfulfilled. He would like to have led others, by his example, to return not only to the art, the lifestyle, the joys (not ignoring the sorrows) of a long-gone age, but also to its religion. In his last years he confessed that he could no longer stomach “Catholic composers”, and in his last days, having expressed the wish that God would find him “not too great a sinner”, he told me that he no longer had any desire to hear music at all. I suggested, only half in jest, that by removing himself from earthly music, he was preparing himself for heavenly harmony. I couldn’t resist adding “I hope that in Heaven, you will hear only Bach and no Handel.” It was the last time I saw him smile.

American Disciples of Gustav LeonhardtLinda Burman-Hall

Currently Professor of Music (musicology, theory, ethnomusicology, early keyboards) at UC-Santa Cruz. I became a harpsichordist 50 years ago during my freshman year at UCLA when the Music Department

added Malcolm Hamilton, a student of Alice Ehlers, to the faculty. My own student, Joseph Spencer, soon introduced me to the keyboard recordings of Gustav Leonhardt. By 1970, I was studying harpsichord with Alan Curtis, an early Leonhardt student. Following the completion of my Ph.D. at Princeton University, I attended a performing summer course at which Leonhardt was teaching, the Akademie für Alte Musik in Bremen, Germany, and then through the late 70s and 80s continued to study privately with Leonhardt each chilly winter

break in Amsterdam. In 1984, I played organ at Leonhardt’s American conducting debut in a program of Bach Cantatas and Purcell verse anthems with Philharmonia Baroque. I have directed the Santa Cruz Baroque Festival for almost 40 years, hosting solo recitals and ensemble concerts by Leonhardt and Alan Curtis, and sometimes performing with musicians associated with Leonhardt, including Max van Egmond and Anner Bylsma. My more than 20 solo and ensemble recordings on harpsichord, fortepiano, 19th century piano, organ and/or tack piano include works of Hardel and Richard for Wildboar, solo works of J. S. Bach and of Erik Satie for MSR Classics, solo early keyboard works of Lou Harrison for New Albion, solo harpsichord works by Boismortier for Musical Heritage, Corelli for Gourd, Vivaldi Cantatas (with Randall Wong et al) for Helicon, and music of Milhaud for Kleos Classics. I’ve directed Lux Musica in ‘Celtic Caravans’ (with Julianne Baird) for MSR Classics, ‘Haydn and the Gypsies’ (with Monica Huggett) for Kleos, and works by Ottoman music from Istanbul and Europe around 1700 (Cantemir project with Ihsan Özgen) for Golden Horn. With my colleagues, I’ve also recorded several CDs: C. P. E. Bach flute sonatas (with Leta Miller) and computer-generated compositions in Bach and Mozart style (with David Cope) for Centaur. My most recent commissions include recording works for harpsichord and Asian long-board zithers (koto, zheng, kacapi). In addition activities in early music, I’m active as an ethnomusicologist specializing in Indonesia. My latest project is as artist-composer of a feature-length experimental multimedia bio-music audio-visual project, Mentawai: Listening to the Rainforest.

Lisa Goode Crawford

I heard Gustav Leonhardt for the first time when I was an undergraduate at Radcliffe, already committed to playing the harpsichord as a career. I had studied with David Fuller and then briefly with Albert Fuller during my college years. A Fulbright grant enabled me to go to Amsterdam to study with Leonhardt in

1965-66, and I returned to Boston after that year with my mind blown and with a completely new way of understanding early music and of playing the harpsichord. I started teaching at Oberlin Conservatory in 1973 and remained there until my retirement in 2006. While at Oberlin I helped to establish and develop the historical performance program, played with the Oberlin Baroque Ensemble, taught at the summer Baroque Performance Institute (where I still teach), and worked with many wonderful students. A number of them went on to study with Leonhardt, among them Jillon Stoppels Dupree, JungHae Kim, Skip Sempé, Jeannette Sorrell and Kenneth Weiss. Always attracted to French music, and mindful of Leonhardt’s insights into the rhetoric and gesture in this repertoire, I became fascinated by the music of Pancrace Royer. I recorded his harpsichord music and edited it for Heugel, later producing and directing his ballet-héroique, Le Pouvoir de l’Amour at Oberlin in 2002, and making a critical edition of the opera for the Centre de Musique Baroque de Versailles (2006). I am currently preparing an edition of Royer’s 1730 tragédie lyrique, Pyrrhus, together with a concert version to be performed at the Château de Versailles in September. I have been fortunate enough to record on some marvelous antique harpsichords (Gaspard le Roux in two-harpsichord arrangements with Mitzi Meyerson on the Taskin and Goermans harpsichords in the Russell Collection at the University of Edinburgh; Bach and François Couperin on the 1624 Ruckers at the Musée d’Unterlinden, Colmar, France). My love of fine original instruments, dating back to my years of study in Boston and Amsterdam, is yet another debt I owe to my mentors and teachers: David Fuller,

William Dowd, and Gustav Leonhardt.

Jillon Stoppels Dupree

Described as “one of the most outstanding early musicians in North America” (IONARTS) and “a baroque star” (Seattle Times), harpsichordist Jillon Stoppels Dupree has captivated audiences in

cities ranging from London to Amsterdam to New York. Her 2006 world premiere recording of Philip Glass’s Concerto for Harpsichord and Chamber Orchestra was acclaimed as “superb” by theNew York Times. Her playing can also be heard on the Meridian, Wild Boar, Decca and Delos record labels. Ms. Dupree has been a featured artist at early music festivals in York (England), Bostonand Berkeley, as well as at the National Music Museum, the National Gallery, the Cleveland and Santa Barbara Museums of Art, and numerous universities and colleges. Her chamber music collaborations include performances with violists da gamba Wieland Kuijken and Margriet Tindemans, singers Julianne Baird and Ellen Hargis, and recorder virtuosi Marion Verbruggen and Vicki Boeckman. She is currently harpsichordist and organist with Magnificat Baroque Ensemble, based in the San Francisco Bay area, as well as with the Seattle Symphony. Ms. Dupree’s teachers included Lisa Goode Crawford, Ton Koopman, and Gustav Leonhardt, the last of whom had an especially profound and inspiring influence on her playing. A recipient of a Fulbright Fellowship and the National Endowment for the Arts Solo Recitalists grant, Ms. Dupree has taught at the Oberlin College Conservatory of Music, the University of Washington, and the University of Michigan.

break in Amsterdam. In 1984, I played organ at Leonhardt’s American conducting debut in a program of Bach Cantatas and Purcell verse anthems with Philharmonia Baroque. I have directed the Santa Cruz Baroque Festival for almost 40 years, hosting solo recitals and ensemble concerts by Leonhardt and Alan Curtis, and sometimes performing with musicians associated with Leonhardt, including Max van Egmond and Anner Bylsma. My more than 20 solo and ensemble recordings on harpsichord, fortepiano, 19th century piano, organ and/or tack piano include works of Hardel and Richard for Wildboar, solo works of J. S. Bach and of Erik Satie for MSR Classics, solo early keyboard works of Lou Harrison for New Albion, solo harpsichord works by Boismortier for Musical Heritage, Corelli for Gourd, Vivaldi Cantatas (with Randall Wong et al) for Helicon, and music of Milhaud for Kleos Classics. I’ve directed Lux Musica in ‘Celtic Caravans’ (with Julianne Baird) for MSR Classics, ‘Haydn and the Gypsies’ (with Monica Huggett) for Kleos, and works by Ottoman music from Istanbul and Europe around 1700 (Cantemir project with Ihsan Özgen) for Golden Horn. With my colleagues, I’ve also recorded several CDs: C. P. E. Bach flute sonatas (with Leta Miller) and computer-generated compositions in Bach and Mozart style (with David Cope) for Centaur. My most recent commissions include recording works for harpsichord and Asian long-board zithers (koto, zheng, kacapi). In addition activities in early music, I’m active as an ethnomusicologist specializing in Indonesia. My latest project is as artist-composer of a feature-length experimental multimedia bio-music audio-visual project, Mentawai: Listening to the Rainforest.

Lisa Goode Crawford

I heard Gustav Leonhardt for the first time when I was an undergraduate at Radcliffe, already committed to playing the harpsichord as a career. I had studied with David Fuller and then briefly with Albert Fuller during my college years. A Fulbright grant enabled me to go to Amsterdam to study with Leonhardt in

She is currently on the early music faculty at Seattle’s Cornish College of the Arts and is the founding director of the Gallery Concerts early music series in Seattle.

Elaine Funaro

Upon returning to Oberlin in the fall of 1973, from studying harpsichord at the Conservatorio Cherubini in Florence, for my “junior year abroad”, I started studying with the newly hired harpsichord teacher, Lisa Goode Crawford. This was the first time I heard about Gustav Leonhardt. During BPI at Oberlin that summer I met Frances Fitch who recommended that I go to Boston following graduation to study with John Gibbons (also a Leonhardt student). So, after getting a masters degree in harpsichord (1978)at NEC, the obvious next step was to go to Amsterdam and study with Mr. Leonhardt himself. One memorable Saturday there, I was let into the house by Mrs. Leonhardt and waited silently by the living room door while Mr. Leonhardt played a very personal and moving rendition of the Gibbons pavan, which I will be performing in his memory.

Upon returning to the US in 1982, I was contacted by George Lucktenberg (during high school in the 1960’s I was in his first harpsichord class at Interlochen) to join the fledgling SEHKS society and to premier a piece for the first Aliénor composition competition. Fast forward now 30 years, I run Aliénor as a non-profit organization, have performed contemporary pieces for the harpsichord on five continents and am the president of the newly merged Historical Keyboard Society of North America.

JungHae Kim

Harpsichordist JungHae Kim holds a Bachelors Degree from Peabody Conservatory in Harpsichord; a Masters Degree in Historical Performance from Oberlin Conservatory; and a Performer’s Certificate from

Sweelinck Conservatorium in Amsterdam. She has studied under Webb Wiggins, Lisa Goode Crawford, Elizabeth Wright, and Gustav Leonhardt. Ms. Kim has always considered her year of study with Mr. Leonhardt the most inspiring and valuable experience of her musical life; relishing each lesson’s astonishing insights into the language of the baroque. After returning to the United States, Ms. Kim has performed widely as a soloist and with numerous historical instrument ensembles including Musica Angelica, Music’s ReCreation, American Baroque, Agave Baroque and Ensemble Mirable. As a soloist, Ms. Kim has performed with New Century Chamber Orchestra, Musica Angelica, Brandywine Baroque, and with the San Francisco Symphony. Ms. Kim frequently teaches and performs at summer music festivals throughout the world and in recent years has performed at the Hawaii Performing Arts Festival, the Music in The Vineyards Festival in Napa, the Britt Festival in Oregon, and as a soloist at the Assisi Music Festival in Italy. JungHae Kim’s performances have been described as inspired, fluid, engaging, emotionally exquisite, warm, and inviting. Her unique style blends a sparkling virtuoso technique with a gentle and lyrical sensibility that makes music of this genre instantly accessible to the modern ear. Her recent recording of harpsichord works by Jean Henri D’Anglebert has been described as sumptuous and exquisite.

Joshua Lee

Cited for his “stylish and soulful playing,” Josh Lee performs on viols and double bass with some of the world’s leaders in early music. Josh is an alumnus of the Peabody Conservatory and the Longy

School of Music where he studied double bass with Harold Hall Robinson and viol with Ann Marie Morgan and Jane Hershey. Founder of the ensemble Ostraka, he has performed with the Los Angeles Philharmonic, Carmel Bach Festival, Musica Pacifica, Boston Early Music Festival Orchestra, Seattle Baroque Orchestra, Les Délices, and Philharmonia Baroque Orchestra. Josh’s performances have been heard on National Public Radio’s Performance Today and Harmonia, and he has recorded for Dorian, Koch International and Reference Recordings. Recently praised as “a master of the score’s wandering and acrobatic itinerary” by the Cleveland Plain Dealer, Josh is director of the Viola da Gamba Society of America Young Players’ Weekend.

Tamara Loring

I literally ran into Gustav Leonhardt in 1975 at a reception for performers in the Bruges Harpsichord Competition. I had recently

dropped out of the competition but was kindly invited to the reception anyway. So there I was, happily sipping some lovely French champagne-probably a second glass-and enjoying the lack of pressure, when I found myself leaning back against something smooth and solid. It was the well-dressed back of Mr. Leonhardt! Emboldened, I quickly apologized, introduced myself and asked if I could schedule an audition with him in Amsterdam. Characteristically polite, he took out his pocket calendar and gave me a date to play for him in two weeks at his home. I was accepted and became his pupil. I traveled from my home in northern California to Amsterdam several times over the following years for intensive periods of lessons. During this time he would repeat an admonition, like the grand refrain in a rondeau, “Music is half, you are the other half ”. This succinct message encourages me even into the present. Keeping those ‘halves’ in balance, particularly in performance, has become my primary musical cchallenge. I also fell in love with the Dulcken harpsichord that I played at my lessons and ordered an instrument from Martin Skowroneck in Bremen. At the time he was building harpsichords only for Leonhardt. When I made my order Mr. Skowroneck told me I would be on a very long waiting list and that I should send him my forwarding address whenever I moved. It would be twenty-one years before my wonderful Ruckers copy arrived but I have it now and it has become my voice. Sometime in the later seventies I was finishing a series of lessons and asking for confirmation of my next visit when I was startled to hear Leonhardt say to me, but gently, ”You don’t need more lessons from me. Just do what you do, only do more of it.” It was many years before I understood that this was not a rejection but actuallty an endorsement of me as “the other half ”. Tamara Loring studied with Gustav Leonhardt and also with viola da gambistWieland Kuijken. . She teaches keyboard and chamber music in Berkeley and San Francisco and directs Baroque Ensemble Seminar, a forum for in-depth study of Baroque style for chamber ensembles. She

performs nationally and has recorded the works of F. Dieupart and J.J. Froberger. Loring founded and directed “La Poplinière”, the S.F. Bay area’s first Baroque orchestra. The fledgling orchestra, one player on a part, debuted an orchestral performance of ”The Musical Offering”. After several seasons of performances under Loring’s leadership and with many of the same musicians, Laurette Goldberg formed the group now known as Philharmonia. Loring played with Les Filles de Sainte Colombe, The Hague Baroque Ensemble and was the solo harpsichord recitalist at the 1998 Berkeley Festival and Exhibition. She has taught and performed for all of the early music societies on the west coast and has given graduate seminars at The Banff Centre and the Early Music Institute at Bloomington, Indiana. She performed at M.I.T., Boston University, Museum of Fine Arts in Boston, and The Isabella Stewart Gardner Museum in Boston. She founded, and, for ten years, directed “Historic Music in the Galleries” for the Fine Arts Museums of San Francisco. It was through this connection that Loring was asked to perform a solo recital for Queen Elizabeth II at the M. H. de Young Memorial Museum in March, 1983.

Dr. Lenora McCroskey

Dr. Lenora McCroskey (professor emerita, UNT) first met Leonhardt at Stetson University in 1962, where he was a guest artist on the dedicatory season for the new von Beckerath organ. We (students, Paul Jenkins, and Leonhardt) all piled into a van to go to Sarasota Ringling Brothers Museum to see the old French

double housed there. No keyboards, no jacks, no strings, as I recall, but measurable. He bought Slinkys for his girls. After attending the Haarlem Summer Organ Academy in 1964, taking his and Heiller’s classes, I became entranced with performance practice (didn’t know the term at the time). That summer and the year I spent studying with him in 1968-69 changed my life. Success in my professional career–assistant organist/choirmaster in the Memorial Church, Harvard, four years of teaching and study for the DMA at Eastman, and 30 years teaching and performing in Denton, TX–all trace back to those two weeks at Haarlem and the year in Amsterdam.

Anthony Martin

Anthony Martin worked with Gustav Leonhardt on several memorable occasions, first in 1984 in a program of Bach and Purcell. Laurette Goldberg had put those concerts together for Philharmonia Baroque Orchestra—Leonhardt’s American conducting debut. He returned again to lead PBO in 1986 and at the Berkeley Festival in 1992. Two years later Leonhardt conducted Orchestra of the Eighteenth Century in programs of Bach & Purcell and Haydn & Mozart, a dozen concerts in France, Finland, and the Netherlands. His conducting style was angular, articulate, and included gestures not often seen on the podium, including raising his right hand suddenly to his mouth, indicating a sudden withdrawal of sound, in preparation for a fresh impetus. Unforgettable!

Charlotte Mattax Moersch

I first met Gustav Leonhardt at Ed Parmentier’s summer master class on Froberger’s toccatas

double housed there. No keyboards, no jacks, no strings, as I recall, but measurable. He bought Slinkys for his girls. After attending the Haarlem Summer Organ Academy in 1964, taking his and Heiller’s classes, I became entranced with performance practice (didn’t know the term at the time). That summer and the year I spent studying with him in 1968-69 changed my life. Success in my professional career–assistant organist/choirmaster in the Memorial Church, Harvard, four years of teaching and study for the DMA at Eastman, and 30 years teaching and performing in Denton, TX–all trace back to those two weeks at Haarlem and the year in Amsterdam.

Anthony Martin

Anthony Martin worked with Gustav Leonhardt on several memorable occasions, first in 1984 in a program of Bach and Purcell. Laurette Goldberg had put those concerts together for Philharmonia Baroque Orchestra—Leonhardt’s American conducting debut. He returned again to lead PBO in 1986 and at the Berkeley Festival in 1992. Two years later Leonhardt conducted Orchestra of the Eighteenth Century in programs of Bach & Purcell and Haydn & Mozart, a dozen concerts in France, Finland, and the Netherlands. His conducting style was angular, articulate, and included gestures not often seen on the podium, including raising his right hand suddenly to his mouth, indicating a sudden withdrawal of sound, in preparation for a fresh impetus. Unforgettable!

Charlotte Mattax Moersch

I first met Gustav Leonhardt at Ed Parmentier’s summer master class on Froberger’s toccatas

and suites at the University of Michigan. Listening to Leonhardt perform these magnificent works was simply awe-inspiring. A god on earth, Leonhardt played with an expressivity and beauty I have never forgotten. My next encounter

with Leonhardt was when I was a contestant at the Bruges Competition. Playing for him was so exciting I forgot to be nervous. I went on to study with him in Amsterdam in the early 1980’s. He frequently gestured upwards when discussing the music, which convinced me he was evoking the heavens during our lessons. His insights into the music and harpsichord playing specifically were extraordinary; the analogies he made between music, painting and architecture were also enlightening. After each lesson, I went back to my flat and wrote down everything he had said. I treasure these notebooks. Asked recently after a concert if I had a role model, I unhesitatingly said, Gustav Leonhardt.

Since capturing First and Third Prizes at the International Harpsichord Competitions in Paris and Bruges, in basso continuo and solo harpsichord performance, Charlotte Mattax Moersch has performed at major venues in the United States and Europe, including New York’s Carnegie Hall, London’s Royal Albert Hall, Salzburg’s Mozarteum, and Oxford’s historic Sheldonian Theatre, among others. As a guest artist, she has been heard at international music festivals, including the Festival of the Associazione Musicale Romana, Tage alter musik Regensburg, and the Bethlehem Bach Festival. The recipient of several important awards and prizes, she was honored with a Solo Recitalist Grant from the National Endowment for the Arts and a Woolley Scholarship for

study in Paris. A specialist in 17th-century French music, she is the author of the book, Accompaniment on Theorbo and Harpsichord: Denis Delair’s Traité of 1690, published by Indiana University Press. She has recorded for Koch, Analekta, Dorian, Newport Classic, and Amon Ra Records. Recent recording projects for Centaur include the complete solo harpsichord works of Armand-Louis Couperin, Charles Noblet and Pierre Février. Currently Professor of Harpsichord and Musicology at the University of Illinois, Charlotte Mattax Moersch studied harpsichord with Gustav Leonhardt from 1982-1983. She holds degrees from Yale University, Stanford University, and the Juilliard School of Music.

Stephen Schultz

Stephen Schultz, called “among the most flawless artists on the baroque flute” by the San Jose Mercury News, and “flute extraordinaire” by the New Jersey Star-Ledger, is solo

and co-Principal flutist with the Philharmonia Baroque Orchestra and performs with other leading early music groups such as Musica Angelica, Tafelmusik Baroque Orchestra, Chatham Baroque, and Apollo’s Fire. He is an Associate Teaching Professor in Music History and Flute at Carnegie Mellon University and director of the Carnegie Mellon Baroque Orchestra. As solo, chamber, and orchestral player, Schultz appears on fifty recordings for such labels as Dorian, Naxos, Harmonia Mundi USA, Centaur, New Albion, Amon Ra, and Koch International Classics. He has also been very active in commissioning new music written for his instrument and in 1998, Carolyn Yarnell wrote 10/18 for solo, processed Baroque Flute. The Pittsburgh composer Nancy Galbraith

wrote Traverso Mistico, which is scored for electric Baroque flute, solo cello, and chamber orchestra. It was given itsworld premiere at Carnegie Mellon University in April 2006 and this highly successful collaboration was followed in 2008 with Galbraith’s Night Train and Other Sun in 2009. When I was a student at the Royal Conservatory in Den Haag, I had the good fortune to hear Gustav Leonhardt perform and conduct numerous times and his recordings were always a revelation.

Elaine Thornburgh

My love of Bach’s music brought me to knock on Alan Curtis’ door as a freshman at UC Berkeley in 1968. (Fortunately I had never seriously considered thumb-tacking the hammers of my childhood piano!) The harpsichord room was full of unique and wonderful instruments beyond the Skowroneck historical copies, my first practice instruments, and Alan’s musical understanding inspired serious devotees on many of them. My study with Gustav Leonhardt began with his performances at UC Berkeley, his recordings, his legacy carried through Alan Curtis’ teachings and performances, and finally arriving on his doorstep. I knew that my life again would be profoundly transformed when I rang his doorbell. His kindness, knowledge, passionate devotion to artistic truth, and profound understanding of musical line and the underpinning harmony continue to inform my musical journey. We continued my exploration of Froberger, Bach, Frescobaldi, Byrd, Peter Philips, Gibbons, Sweelinck, Duphly, Louis Couperin, Rameau, Scarlatti and Forqueray. Those pivotal moments of entry, the first at 16 years of age, inspired a career

as performer (cash-prize winner at the 1980 Bruges International Harpsichord Competition, 1984 National Endowment for the Arts Solo Recitalist, and for many years California Arts Council Touring Artist), recording artist (“It is a real pleasure to welcome an artist whose playing mirrors the freshness and vitality of Scarlatti’s fecund invention and wit. . . . infectious merriment . . . brilliant . . . ebullient . . .”, Lionel Salter in Gramophone), and ultimately anchored as Stanford’s harpsichord teacher. Inspired by my lessons with Leonhardt, I became the Founding President (1983) and Director of Humanities West (1983-1994), a San Francisco organization that presents multidisciplinary themed weekend lecture and performance programs in the arts and humanities. My recent development as a Navajo-style weaver reflects a similar love of color, detail and pattern.

As one of my students recently announced at his performance of Froberger’s “Memento Mori”, “I dedicate this to Gustav Leonhardt. Although I never studied with him, my teacher did, and I know him to be my ‘grand-teacher’, as I am part of his lineage.” My gift to Leonhardt’s memory and our lineage is today’s appreciation.

Webb Wiggins

Webb Wiggins, recognized and lauded internationally for his innovative and musical continuo realizations, has performed and recorded with many US ensembles: the Folger Consort, the Dryden Ensemble,

Kings Noyse, Chatham Baroque, Hesperus, the Oberlin Baroque Ensemble, the Catacoustic Consort, the Baltimore Consort, the Violins of Lafayette, Apollo’s Fire, the Smithsonian Chamber Players and Orchestra, the Atlanta

Symphony Orchestra, the National Symphony, and the Baltimore Chamber Orchestra. His collaborations with soloists, both vocal and instrumental, have earned him high respect among his colleagues in the world of baroque music.

He is associate professor of harpsichord at the Oberlin College Conservatory of Music and serves on the faculty of the Oberlin Baroque Performance Institute and the Amherst Early Music Festival. For over fifteen years, Wiggins was coordinator of the early music program at the Peabody Conservatory of Music. His recordings can be heard on the Dorian, EMI, Bard, Smithsonian, and PGM labels.

Webb holds degrees in organ performance from Stetson University and the Eastman School of Music with additional harpsichord studies at the Sweelinck Conservatory in Amsterdam with Anneke Uittenbosch and Gustav Leonhardt.

Elisabeth Wright

Before my piano teacher at Sarah Lawrence College, Joel Spiegelman, suggested that I play a Bach French suite on the harpsichord, I had dismissed the instrument as a cute little toy,incapable of being expressive! Immediately enamored with the instrument and its repertoire, and moved by discovering Monteverdi with fellow student Barbara Thornton in Joel’s Collegium, I went on to study with Gustav Leonhardt, intending to stay for three months, instead staying for three years! This good fortune changed my life and opened every imaginable window of perception, not only about his beautifully understood world of harpsichords or its music for which he had such

a unique affinity, but also about their cultural context. He taught one how to think, to observe, to listen and ways to express: immeasurable gifts of which I am constantly aware, and, for which I am eternally grateful. It was an extraordinary education by an extraordinary man who left an indelible mark on us all.

Acclaimed for her versatility, Elisabeth Wright has performed in noted international festivals and concert series and recorded as soloist, as member of Duo Geminiani with violinist Stanley Ritchie, with Música Ficta, an ensemble devoted to 17th century Spanish and Latin American music, and with numerous other distinguished artists. In demand as teacher, she is Professor of harpsichord and fortepiano at Indiana University ‘s Early Music Institute in Bloomington. A perpetual student of languages and interested in the relationship between music and text, she has done extensive research about musical settings of poetry by Giambattista Marino, contributing a chapter to The Sense of Marino: Literature, Fine Arts and Music. Translator for part of Max Sobel’s edition of the Complete Works of Francesco Bonporti for IU Press, she has written several reviews for Early Keyboard Journal. Founding member of The Seattle Early Music Guild and Bloomington Early Music, she served on the board of Early Music America, and as panelist for the NEA, PEW and PennPat. She has recorded for Milan-Jade, ARTS, Arion, Focus,Centaur, Classic Masters and Pro Musica Antiqua.

2012/2013 SeasonGilbert Martinez, Artistic Director

The Sacred Made Real:Religious Art, Drama and Music from the Middle Ages to the Baroque.

SeaSon HigHligHtS include: * Le Roman de Fauvel, a religious satire from 13th century France* Monteverdi’s Vespers of 1610* Alessandro Scarlatti’s sacred drama “La Giuditta”

Recital SeRieS Christophe Rousset (France)Maude Gratton (France) Anthony Romaniuk (Australia)Lillian Gordis (France)Byron Schenkman JungHae Kim Gilbert Martinez

In January, 2013, MusicSources is proud to be part of a collaboration with Berkely/West Edge Opera in a major production of Claudio Monteverdi’s “L’Incoronazione di Poppea” in 3 fully staged performances, featuring Christine Brandes and an all star cast. Mark Streshinsky, stage directorGilbert Martinez, conductor.

MusicSourcesPO Box 6882, Albany CA, 94706(510) 528-1685info@musicsources.orgwww.musicsources.orgContact us to receive our season brochure

WEKA and MusicSources would like to thank Lisa Goode Crawford

Alan Curtis

Kevin Devine

MIchelle Futornick

Peter Hobe

Margot Komarmy

Lee Lovallo

Harvey Malloy

Marilyn Marquis

John Phillips

Skip Sempé

Jean Spencer

Michelle and Kwei U

David Van Ness

Berkeley Festival

Musical Offering

San Francisco Early Music Society

“Gustav Maria Leonhardt (May 30, 1928 – January 16, 2012), A Personal Tribute” by Davitt Moroney can be found here:

Newsletter of the Westfield Center, Volume xxiii, Number 1a, Special Issue (March 2012)