Detailed schedule for the Ninth Mae and irving jurow international harpsichord competition

Semifinals and finals for the Ninth Mae and Irving Jurow International Harpsichord Competition will take place August 4-7 in St. Paul, MN. The historic competition includes contemporary repertoire, continuo, improvisation, and performance of a Bach concerto with the acclaimed Lyra Baroque Orchestra (Jacques Ogg, Artistic Director). Semifinals will be live-streamed from The Baroque Room (275 4th St E #280, St Paul) on Thursday 8/4 from 9:00 am to 5:30 pm. The Jurow Competition will culminate in the final round (solo recitals 10:00 am - 4:00 pm & Bach concerto performances 6:00 pm), an awards ceremony, and a reception, all open to the public and viewable remotely, on Saturday August 7 at St. Edward the Confessor Church (865 N. Ferndale Road, Wayzata, MN). A complete schedule and links for remote viewing will be made available on the HKSNA website and as part of the general schedule for the HKSNA virtual conference.

 

The semifinalists for the competition are:

J. Bennett, Steve Bergeron, Anastasia Chin, Michael Delfin, Christophe Gauthier, Han Cheol Kang, Caitlyn Koester, Weronika Kłosiewicz-Paine, Curtis Pavey, Eszter Szedmák, Duang Wattanasak, Zuguang Xiao, and Elena Zamolodchikova. 

 

The judges are: 

Frances Conover Fitch (New England Conservatory & Tufts University); Jacques Ogg (Royal Conservatoire, The Hague); Peter Sykes (Boston University and The Juilliard School); Elisabeth Wright (The Jacobs School of Music, Indiana University, Bloomington); and Continuo Judge Jaap Ter Linden (Royal Conservatory of The Hague, Amsterdam Conservatory). 

 

The competition is directed by Vivian Montgomery (vivian.montgomery@longy.edu ) (Longy School of Music), to whom inquiries can be directed.

 

 

 

*Sponsored by the Historical Keyboard Society of North America, the Mae & Irving Jurow International Harpsichord Competition (formerly SEHKS International Harpsichord Competition) has occurred approximately every 4 years since the first in 1982. 

 

It has been held in Tallahassee, Florida (1982 and 1996), Washington, D.C. (1986), Winston-Salem, North Carolina (1991), Bethlehem, Pennsylvania (2002), Denton, Texas (2007), Cincinnati, Ohio (2012), and Oberlin, Ohio (2016). Karyl Louwenaar was its first director, followed by Charlotte Mattax Moersch until passing the directorship to Vivian Montgomery in 2010.

Detailed Information for the 

Ninth Mae and Irving Jurow International Harpsichord Competition

August 3-9, 2021, St. Paul, MN

 

Tuesday, August 3, 7:00-8:30 pm, The Baroque Room, 275 4th St E #280, St Paul, MN 55101

Understanding the French Unmeasured Prelude – A Masterclass Taught by Dr. Vivian Montgomery (Historical Performance Faculty, Longy School of Music of Bard College, Cambridge, MA). Including performances by Dr. Montgomery and Jurow Semifinalists Michael Delfin, Weronika Klosiewicz-Paine, Duangkamon Wattanasak, & Anastasia Chin. Open to limited local musician participants for a fee of $15. Contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com to register.

 

Wednesday, August 4,  Practice and rehearsal day for Jurow contestants

 

Thursday, August 5, 9:00am-5:30pm, The Baroque Room

Jurow Competition Semifinals, performing with Jurow continuo judge Jaap ter Linden, cello.

 

9:00-9:40   Curtis Pavey

9:40-10:20 Duang Wattanasak

10:20-11:00    Weronika Klosiewicz-Paine

11:10-11:50    Anastasia Chin

11:50-12:40    Steve Bergeron

1:40-2:20   Caitlyn Koester

2:20-3:00   Elena Zamolodchikova

3:00-3:40   Zuguang Xiao

4:00-4:40   Michael Delfin

4:40-5:20   Han Cheol Kang

 

Semifinals are not open to a live audience but will be live-streamed on the Jurow Harpsichord Competition Facebook page or at The Historical Keyboard Society of North America.

Finalists will be announced at 7:30 pm. The following harpsichordists were also semifinalists but are unable to participate: J. Bennett, Christophe Gauthier, and Eszter Szedmák.

 

7:30pm, Concert by Jurow judges Jacques Ogg (Professor, Royal Conservatoire, The Hague) and Jaap Ter Linden (Royal Conservatory of The Hague, Amsterdam Conservatory, Emeritus). Streaming access available through Lyra Baroque Orchestra or The Historical Keyboard Society of North America

 

Friday, August 6

1:30-3:30, Jurow non-finalist recitals will be held, open to limited public audience will be presented at Hennepin Avenue United Methodist Church Art Gallery, 511 Groveland Ave, Minneapolis, MN 55403. Free of charge. For further information, please contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com.  


 

4:30-6:00, The Baroque Room

Class - Musicians as Athletes: How to Perform with More Ease and Comfort by Developing a More Accurate Body Map taught by Jurow judge Frances Conover Fitch (New England Conservatory). Open to limited local musician participants for a fee of $15. Contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com to register.

 

7:30pm, Concert by Jurow judges Peter Sykes (Julliard & Boston University) and Elisabeth Wright (Indiana University). 

Streaming access available through Lyra Baroque Orchestra or The Historical Keyboard Society of North America

 

Saturday, August 7, Jurow finals, Sundin Concert Hall (Hamline University) & live-streaming

Finalist solo recitals, 11:00am-4:00pm:

11:00-11:45    Finalist 1

11:45-12:30    Finalist 2

12:30-1:15       Finalist 3

2:30-3:15   Finalist 4

3:15-4:00   Finalist 5

 

Finals are not open to a live audience but will be live-streamed on the Jurow Harpsichord Competition Facebook page or at The Historical Keyboard Society of North America.

 

6:30pm, Sundin Concert Hall (Hamline University) & live-streaming

Concert of Finalist’s Bach concerto performances with members of Lyra Baroque Orchestra

Streaming access available through Lyra Baroque Orchestra or The Historical Keyboard Society of North America

 

9:30pm, 623 Lincoln Ave, St. Paul

Reception & Awards Ceremony for Jurow judges and contestants (private but live-streamed)

First Prize - $5000

Second Prize - $2500

Third Prize - $1500

Jurow Prize - $750 to be awarded to a promising non-finalist (Mae and Irving Jurow, donors)

 

Sunday, August 8, The Baroque Room, 10:00am-12:00pm

Brunch and Masterclass with Cléa Galhano (Internationally renowned recorder player) and Vivian Montgomery.  In addition to serving the competition contestants, this class is open to limited local advanced historical performance participants for a fee of $20. Contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com to register.

 

Jurow Competition Judges’ Bios

 

Frances Conover Fitch - Harpsichordist and organist, Frances Conover Fitch has performed and recorded exten- sively in Europe and North America. Appreciated as a particularly sensitive and inven- tive continuo player, she has appeared with many internationally known performers. She has made more than a dozen commercial recordings and numerous recordings for American and European radio stations. Ms. Fitch served on the faculty of the Longy School of Music for many years, and currently teaches at Tufts and Brandeis Universi- ties, and at New England Conservatory. She recently was Guest Professor for a semester at Ferris University in Yokohama, Japan.

 

Jaap ter Linden, viola da gamba and baroque cello, is a Dutch pioneer in the world of Early Music. Currently based in the United States, he is on the faculty of the Cleveland Institute of Music and Case Western Reserve University, where he directs ensembles and the Baroque Orchestra. His extensive discography includes two recordings of the J.S. Bach suites for cello solo, the complete Mozart symphonies with the Mozart Akademie, which he founded and conducted, as well as countless recordings with Musica Antiqua Cologne, the English Concert and the Amsterdam Baroque Orchestra. During his performance career he has collaborated with such well known musicians as Andrew Manze, Ton Koopman, Richard Egarr, Reinhard Goebel and Gustav Leonhardt, to name a few. As a solo and chamber music player and conductor, ter Linden has toured throughout Europe, the United States, Australia, China and Japan.

 

Jacques Ogg - One of the most prominent and influential modern masters of harpsichord and fortepiano, Jacques Ogg performs worldwide as a soloist and continuo player. He was a member of one of the world’s leading period-instrument ensembles, the Orchestra of the 18th Century, directed by the late Frans Brüggen, and also worked with Baroque orchestras in Salamanca and Sevilla, Spain. Highly sought after as a pedagogue, he is a harpsichord professor at the Royal Conservatoire of The Hague, one of the world’s foremost institutes for early music. Mr. Ogg co-directs the International Baroque Instrumental Program, an intensive summer music course in the Twin Cities, and has been the artistic director of the Lyra Baroque Orchestra since 2000. His discography includes more than 60 recordings with labels such as Philips, Sony, EMI, Deutsche Harmonia Mundi, and Glossa.

 

Peter Sykes, “a formidable organist who plays with artistry, subtlety, and insight,” is one of the most distinguished and versatile keyboard artists performing today. His live performances on the organ, harpsichord, clavichord or fortepiano have been called “compelling and moving,” “magnificent and revelatory,” and “bold, imaginative, and amazingly accurate” - his recordings, most notably the groundbreaking transcription for organ of Holst’s “The Planets”, have been called “satisfying and persuasive,” “hauntingly beautiful,” and “simply stunning.” He teaches at The Juilliard School in New York City and at Boston University, and for thirty-five years has been Music Director of First Church in Cambridge, Congregational.  He performs and records with Aston Magna and Boston Baroque, and has received numerous prizes and awards for his achievements, including the New England Conservatory’s Chadwick Medal and Distinguished Alumni Award, the Erwin Bodky Prize for Early Music, and the 2011 St. Botolph Club Distinguished Artist Award.
 

Elisabeth Wright - Professor Emerita of harpsichord and fortepiano at the Historical Performance Institute of the Jacobs School of Music at Indiana University, a post from which she recently retired after 39 years, Elisabeth Wright is noted for her versatility as soloist and chamber musician and for her expertise in the art of basso continuo improvisation. She is in frequent demand for masterclasses and seminars pertaining to performance practices of 16th to 18th century music. Following graduate studies with Gustav Leonhardt at the Amsterdam (now Sweelinck) Conservatory, she has maintained a distinguished international career performing in many noted venues. Soloist with Tafelmusik, Pacifica, Seattle, Portland and Lyra Baroque Orchestras, she has performed for decades as founding member of Duo Geminiani with esteemed Baroque violinist Stanley Ritchie, with other prominent ensembles, and has collaborated with numerous distinguished artists. She has been broadcast on five continents and recorded for Classic Masters, Milan-Jade, Focus, Arion, Arts Music, Música Ficta, Pro Música Antiqua, and Centaur. A perpetual student of languages and interested in the relationship between text and music, her research on musical settings of the poetry of Giambattista Marino led to writing a chapter in The Sense of Marino: Literature, Fine Arts and Music published by Legas Press. Founding member of The Seattle Early Music Guild and Bloomington Early Music Association, she has served on the board of Early Music America and as panelist for the National Endowment for the Arts, PEW and PennPat and for numerous early keyboard societies, conferences, and academies.


 

Jurow Competition Semifinalists’ Bios

 

Anastasia Chin, harpsichordist and fortepianist, is a doctoral candidate at Indiana University and hails from Singapore. She is in frequent demand as soloist, chamber musician, and continuo player. Anastasia made her fortepiano debut performing with the Indiana University Classical Orchestra and her harpsichord concerto debut performing with the Indiana University Baroque Orchestra. The Bloomington Herald Times wrote of her fortepiano performance “Chin showed compelling evidence of her training, along with a musicality that could have come only from native bent and talent…Technically, she offered the listener pristine clarity and precision in execution…Her interpretation featured stylistic elegance but also, in welcome abundance, the lyricism and caprice that pervade the score.” (February 7, 2012). Anastasia was one of three finalists in the Berkeley Festival International Early Piano Competition, held in June 2018 in Berkeley, CA. She was a recipient of the Artistic Excellence Award at Indiana University, where she was also an Associate Instructor in the Historical Performance Institute.

Steve Bergeron, always passionate about dance and improvised music, began his musical studies in jazz piano at Saint-Laurent College. From an early age, he nurtured an ardent love for the harpsichord and the literature of the 17th and 18th centuries. He completed a bachelors in jazz piano at the University of Montreal in 2017, playing at the Montreal International Jazz Festival and collaborating with various singers and instrumentalists. He then  followed his great love for the baroque repertoire by accompanying, on the harpsichord, the Baroque Music Ensemble of the University of Montreal, continuing his training with Luc Beauséjour, and completing a master's degree in harpsichord at the University of Montreal. Steve has performed as a soloist and accompanist on numerous occasions, serving as continuist in baroque opera productions, and collaborating on musical projects with Denis Brott, Stéphanie-Marie Degand, Clavecin en Concert, the Ensemble Volte, the Orchestre de l'Université de Montreal, and the Cobalt Quartet.

 

Michael Delfin, praised for “beautiful performances of great warmth” (Classical Voice of North Carolina),  captures the listener with sensitivity and flair. Delfín was recently nominated to The Diapason 20 Under 30 Class of 2021 and is the recipient of a 2021 Bourbon Baroque Nicolas Fortin Scholarship, the 2018 Historical Keyboard Society of North America Bechtel/Clinkscale Scholarship and 2017 Catacoustic Consort Early Music Grant. He is the artistic director of Cincinnati-based ensemble Seven Hills Baroque and the harpsichordist for the Bach Ensemble of St. Thomas. A devoted educator, Michael has taught figured bass and improvisation at the University of Cincinnati College-Conservatory of Music, where he is now pursuing doctoral studies, studying harpsichord with Michael Unger. He has performed in masterclasses for Richard Egarr, Joseph Gascho, Corey Jamason, Charlotte Nediger, Edward Parmentier, and Pamela Ruiter-Feenstra.  www.michaeldelfin.com.

 

Han Cheol Kang began playing the piano at the age of seven in his native Korea. He is currently pursuing an Artist Diploma in Harpsichord under the guidance of Charlotte Mattax Moersch at the University of Illinois. Mr. Kang received his Master of Music at the University of Michigan and received his B.M.A at Pusan National University. Mr. Kang has garnered several awards in competitions and he made his orchestral debut with the Pusan National University Symphony Orchestra and has played with Sinfonia Da Camera Orchestra in Urbana, Illinois. On his performance in Urbana, The News Gazette reported that he “…played with most admirable finesse. Kang rose to the challenges with fine bravura playing in a Lisztian manner. Appealingly reflective playing as well an evident mastery of the most difficult virtuoso passages.…..” He has received a three-year full scholarship and fellowships from the University of Illinois during his doctoral and Artist Diploma studies.

 

Weronika Kłosiewicz-Paine (Poland) is a harpsichordist and organist, musically active throughout Europe and Australia. Her recent achievements include competition successes at the Johann-Sebastian-Bach Competition in Leipzig 2018, Harpsichord Competition Wanda Landowska 2019, Rome International Music Competition 2018 (1st prize), ENKOR International Music Competition (2nd prize), ON STAGE International Classical Music Competition 2018, Broadwood Horniman Harpsichord Competition 2015 (3rd prize), National Harpsichord Competition „Wanda Landowska” in Poland 2010 (1st prize). In 2017 she co-founded the Double Basiliensis Harpsichord Duo for early and new music. Weronika has recently performed in numerous venues of Switzerland, Poland, Germany, France, Italy, the United Kingdom, and Australia. In summer 2019 Weronika graduated from the Master’s Degree at the prestigious Schola Cantorum Basiliensis in Switzerland, where she studied harpsichord with Prof. Andrea Marcon, and she also studied privately with Christophe Rousset, Władysław Kłosiewicz, and Jörg-Andreas.

Caitlyn Koester, hailing from the beautiful Pacific Northwest, surrounded herself with music in a multifaceted way from a young age. During her undergraduate studies at the University of Michigan, she was lucky to work with harpsichordist Joseph Gascho, who revealed a great love for playing early repertoire. Caitlyn is a graduate of Historical Performance Programs at the San Francisco Conservatory of Music and the Juilliard School, and has played under the direction of celebrated musicians including Monica Huggett, Rachel Podger, William Christie, while studying with Peter Sykes, Richard Egarr, Béatrice Martin, and Corey Jamason. She was the soloist in the Juilliard415 Orchestra’s performance of Bach’s 5th Brandenburg Concerto in 2018. Finding music of the 17th- and 18th-centuries to exemplify humanity in its purest forms, Caitlyn aspires to maintain a musical life as a harpsichordist and educator who exposes and nurtures a love of this repertoire among wider audiences in the United States.

Curtis Pavey, originally from Colorado, enjoys a diverse musical career as a harpsichordist, pianist, and educator.  As a harpsichordist, he has performed in prestigious settings including the Oregon Bach Festival as a participant of the Berwick Academy. The Herald Times praised Curtis as “an artist of considerable finish and even more promise” after his solo debut as an Emerging Artist at the Bloomington Early Music Festival.  Besides his performing activities, Curtis is passionate about pedagogy and has presented lectures on baroque music and ornamentation at national conferences.  Currently completing doctoral studies at the University of Cincinnati, Curtis studies harpsichord with Dr. Michael Unger and piano with Professor James Tocco while maintaining a graduate assistantship in the secondary piano department.  Curtis graduated from the master’s program at Indiana University’s Jacobs School of Music, majoring in Early Music - Harpsichord and Piano Performance, working with Professor Elisabeth Wright

 

Duangkamon “Wan” Wattanasak, a native of Thailand, currently pursues a Doctor of Musical Arts degree in harpsichord performance at Stony Brook University. Wan has received numerous awards in recognition of her musical and academic excellence, including the prestigious Princess Soamsawali scholarship, the US Marine’s Semper Fidelis Award, and the Hilldale Research Fellowship. Duangkamon’s research interests focus on the socio-historical contexts of the development of nationalistic keyboard styles. Wan most recently presented at the musicology research symposium at the Vienna Summer Music Festival. She has also been working on conducting with Stony Brook Opera, Stony Brook University Orchestra, and OLLI Chorus. Prior to shifting her focus to music, Wan held national and international titles and records in swimming while representing her country in many international games. Wan enjoys spending her free time reading, photographing, hiking, and practicing martial arts.

Zuguang Xiao - Born and raised in China, Zuguang Xiao holds a Bachelor of Music degree in piano performance from Mannes School of Music in New York, where he began his historical performance studies under Arthur Haas and Audrey Axinn. Zuguang recently graduated with a Master of Music degree in historical keyboard performance practice from Oberlin Conservatory, where he studied with David Breitman, Mark Edwards, and Catalina Vicens. His music mentors include Malcom Bilson and Maki Masayuki. Zuguang will be pursuing a specialized master's degree at Schola Cantorum Basiliensis in Fall 2021.

Elena Zamolodchikova, a Moscow native, specialized in historical keyboard performance at the Moscow Tchaikovsky Conservatory and at Julliard. She has performed in Russia, the US, Italy, Germany, and Norway, collaborating with such prominent colleagues as William Christie, Christopher Hogwood, Monica Hugett, and Nicholas McGegan. She participated in the first Moscow concert performance of Le Devin du Village, Jean–Jacques Rousseau’s 1752 opéra–intermède, played in the first Zuckermann Harpsichords Music Festival, and recently recordedEl Puente de las Almas, a new two–harpsichord work by Jose Bevía, with colleague Aymeric Dupré la Tour. She is artist–in–residence and an action technician at Zuckermann Harpsichords and organist/pianist at First Congregational Church, Westbrook, CT.

 

 

Programs for Jurow Semifinals, Thursday August 5

 

9:00 am - Curtis Pavey

Johann Jakob Froberger, Toccata in a minor FbWV 112 and Partita FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande - Gigue   

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Francesco Geminiani, Cello Sonata in C Major, H. 105

    III Affetuoso & IV Allegro

Élisabeth Jacquet de La Guerre, Suite in A Minor (1687)

Prélude 18 in a minor - Courante 20 – Gigue - Chaconne

 

 

9:40 am - Duangkamon Wattanasak

Johann Jakob Froberger, Toccata in a minor FbWV 112 and Partita FbWV 614 ("Lamentation sur ce que j'ay été volé") 

Lamento – Courrant – Sarabande - Gigue 

Orlando Gibbons, Fantasia #12 in a 

Francesco Geminiani, Cello Sonata in C Major, H 105

    III Affetuoso & IV Allegro

Jean Henry d'Anglebert, Transcriptions of Lully, from Pièces de clavecin (1689)

Les Songes agréables d’Atys

Passacaille d’Armide

 

10:20 - Weronika Kłosiewicz-Paine

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Johann Jakob Froberger, Toccata in F major FbWV 110 and Partita FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande - Gigue

Jean-Henri d’Anglebert, Transcriptions of Lully, from Pièces de clavecin (1689)

Les Songes agréables d’Atys

Passacaille d’Armide

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

 

11:10 - Yinghan Anastasia Chin

Johann Jakob Froberger, Toccata in A Minor FbWV 112 and Partita in D Major FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande – Gigue

Orlando Gibbons, Pavan in g minor, MB 16

Jean-Henri d’Anglebert,Transcriptions of Lully, from Pièces de clavecin (1689)

Les Sourdines d’Armide

Passacaille d’Armide

 Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

 

12:00 - Steve Bergeron

Johann Jakob Froberger, Partita FbWV 614 ("Lamentation sur ce que j'ay été volé") 

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Froberger, Toccata in a minor FbWV 112

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

Jean-Henri d’Anglebert,Transcriptions of Lully, from Pièces de clavecin (1689)

Les songes agréables d’Atys

Passacaille d’Armide

 

1:40 - Caitlyn Koester

Johann Jakob Froberger, Partita FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande – Gigue

Froberger, Toccata in F Major FbWV110

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

Élisabeth Jacquet de La Guerre, Suite in A Minor (1687)

Prélude 18 in a minor - Courante 20 – Gigue - Chaconne

 

2:20 - Elena Zamololdchikova

Jean-Henri d’Anglebert,Transcriptions of Lully, from Pièces de clavecin (1689)

Les songes agréables d’Atys

Passacaille d’Armide

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

Orlando Gibbons, Fantasia #12 in a 

Johann Jakob Froberger, Toccata in F major FbWV 110 and Partita FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande - Gigue

 

3:00 - Zuguang Xiao

Jean-Henri d’Anglebert,Transcriptions of Lully, from Pièces de clavecin (1689)

Passacaille d’Armide

Les songes agréables d’Atys

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Johann Jakob Froberger, Toccata in F major FbWV110 and Partita FbWV 614 ("Lamentation sur ce que j'ay été volé") 

Lamento – Courrant – Sarabande - Gigue 

 

4:00 - Michael Delfín

Johann Jakob Froberger, Toccata in A Minor FbWV 112 and Partita FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande – Gigue

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Jean-Henri d’Anglebert,Transcriptions of Lully, from Pièces de clavecin (1689)

Les songes agréables d’Atys

Passacaille d’Armide

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

 

4:40 - Han Cheol Kang

Élisabeth Jacquet de La Guerre, Suite in A Minor (1687)

Prélude 18 in a minor - Courante 20 – Gigue - Chaconne

Francesco Geminiani, Cello Sonata in C major, H. 105

III Affetuoso & IV Allegro

Orlando Gibbons, Lord Salisbury’s Pavan and Galliard

Johann Jakob Froberger, Toccata in F major FbWV 110 and Partita FbWV 620

Meditation “faist sur ma Mort future la quelle se joue lentement avec discretion”

Courante - Sarabande - Gigue

 

  

Unmeasured Prelude Class - Tuesday, August 3, 7:00-8:30 pm, The Baroque Room

In addition to serving the competition contestants, this class is open to limited local harpsichordist participants for a fee of $15. Contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com to register.

 

On Tuesday, August 3 at 7:00-8:30 pm, for those who are already in town, Dr. Vivian Montgomery (Harpsichord faculty, Longy School of Music of Bard College) will conduct an informal masterclass on unmeasured preludes at The Baroque Room. Everyone will have a chance to play a prelude - this can include the Jacquet de La Guerre A minor prelude if you’re preparing it for the semifinals. Prior to that, I’ll send out an article I’ve published about desirable obscurity in prelude notation. Vivian Montgomery, DMA, is an award-winning early keyboardist on the Historical Performance Faculty of the Longy School of Music. A UK Fulbright Senior Research Scholar and NEA Soloist Fellow, she taught harpsichord and baroque performance at the University of Cincinnati College-Conservatory of Music from 2003 to 2013. Vivian has ardently explored the musical lives and output of women from earliest times through the nineteenth century,  as a Resident Scholar at the Brandeis University Women’s Studies Research Center, and especially through three decades of cross-disciplinary work with her ensemble, Cecilia’s Circle. Many of her performing and research projects center around domestic music of Georgian England and Antebellum America. Learn more at https://vivianmontgomery.org/index.html.   

 

Body Mapping Class - Friday, August 6, 4:30-6:00pm, The Baroque Room

In addition to serving the competition contestants, this class is open to limited local musician participants for a fee of $15. Contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com to register.

 

On Friday, August 5 4:30-6:00 pm, Jurow judge Frances Conover Fitch will provide a class on Body Mapping for contestants and other local musicians. It’s entitled Musicians as Athletes: How to Perform with More Ease and Comfort by Developing a More Accurate Body Map. Body Mapping is a powerful tool for learning to play or sing with greater freedom of movement, avoiding injury and even recovering from past injury. It is fun and fascinat- ing, and has helped many musicians use their bodies with more comfort, ease and ex- pressiveness. Learn the basics of how Body Mapping works in this ninety-minute intro- ductory session. It will be possible for a few people to work at their instrument (or singing) on an aspect of their performance they’d like to improve. Frances Conover Fitch, (harpsichord, organ, and clavichord) is an award-winning teacher, licensed to teach the course “What Every Musician Needs to Know about the Body.” As a performer, she has found Body Mapping to be uniquely helpful in improv- ing efficiency, ease, and expressiveness in her playing, and has been excited to see the dramatic improvements in many fellow musicians.  Learn more at https://www.francesconoverfitch.com/   

 

 

Cléa Galhano Brunch Masterclass – Sunday August 8, 10:00am-12:00pm The Baroque Room In addition to serving the competition contestants, this class is open to limited local advanced historical performance participants for a fee of $20. Contact Jurow Director Vivian Montgomery at jurow.harpsichord.competition@gmail.com to register.

 

Join us for a brunch & masterclass with Cléa Galhano, recorder & Vivian Montgomery, harpsichord. Food from the St. Paul Farmer’s Market will be provided. After a brief performance by the Galhano/Montgomery Duo, participants will have the opportunity to play continuo with Ms. Galhano or to perform solo pieces of their choosing. Brazilian recorder player Cléa Galhano is an internationally renowned performer of early, contemporary and Brazilian music. Galhano has performed in the United States, Canada, South America and Europe as a chamber musician, collaborating with recorder player Marion Verbruggen, Jacques Ogg, Belladonna, Lanzelotte/Galhano Duo and  Kingsbery Ensemble. As a featured soloist, Galhano has worked with the Saint Paul Chamber Orchestra, New World Symphony, Musical Offering and Lyra Baroque Orchestra. She gave her Weill Hall at Carnegie Hall debut in May 2010 and her second Weil Hall recital on December 2013 with the international Cuban guitarist Rene Izquierdo. Currently, she is a faculty member at Macalester College, Music Director of the Recorder Orchestra of the Midwest, and has being recently appointed Adjunct Lecturer in Music, Recorder at HPI, Jacobs School of Music, IU. Learn more at http://cleagalhano.com/.