SMU's ninth summer harpsichord workshop took place at its Fort Burgwin campus near Taos, New Mexico, August 11-17, 1996. Fourteen registrants from California, Illinois, Missouri, New Mexico, New York, Pennsylvania, Texas, Virginia, and Washington participated in the week-long course led by Jane Clark and Stephen Dodgson (London) and Larry Palmer (Dallas).
Each morning Jane Clark's master class on the keyboard
music of François Couperin focused on the background to the pieces in
his Pièces de Clavecin. Clark's insights into society, royalty, and the history of the time helped to explain the meanings for many of the titles and gave direction toward an effective interpretation. Participants performed many of the pieces for Ms. Clark, who guided them with comments on performance practices and technique.
Early afternoon sessions were led by Larry Palmer. During
the first four days Dr. Palmer concentrated on the eight preludes of Couperin's
L'art de toucher le clavecin. He emphasized articulation, ornamentation,
and the pedagogical value of these pieces. On the final day, he turned to some
of Bach's Little Preludes. Participants took turns playing for the class,
and Dr. Palmer worked with each student in such a way that all participants,
regardless of background, discovered something new about the music or the
composer.
Later afternoon sessions were in the hands of Stephen
Dodgson, who received his training at the Royal College of Music, London, where
he taught composition and theory for many years. He discussed his long-term
fascination with the harpsichord and his extensive repertoire of solo and
ensemble music for the instrument. Each student had been sent a set of
Dodgson's pieces prior to the class, so many participants opted to play
works for the composer. Dodgson gave special insight into his pieces through
liberal sharing of anecdotes, by the example of his own playing, and by both
coaxing and coaching players through these attractive pieces.
Single- and double-manual instruments by Dowd, Kingston,
Wolf, and Martin had been transported from Dallas for the workshop, so all
participants were able to practice on fine harpsichords in a variety of styles.
Because of the size of the class, everyone had an opportunity to play each
instrument.
In the evenings there was a variety of events throughout the
week. On Monday Larry Palmer gave a recital of works by Louis, François,
and Armand-Louis Couperin; Frescobaldi; J.S. Bach; Martinu; and Dodgson. On
Tuesday Richard Kingston, resident harpsichord maker for the week, lectured on
harpsichord styles as the class moved from Italian to French to German-style
instruments. On Wednesday many people chose to attend the Santa Fe Opera
production of Stravinsky's The Rake's Progress (which, fittingly
enough, includes harpsichord in its scoring). On Thursday evening Jane Clark
played works by François Couperin, Domenico Scarlatti, Frescobaldi, and
her husband Stephen Dodgson, whose Carillon for Two Harpsichords concluded her
program. Larry Palmer was her partner for this performance.
The week concluded on Saturday with a lunch and impromptu
harpsichord recital (by any participant who wished to play) at the home of
Charles and Susan Mize (outside the village of Tesuque, near Santa Fe).
Hummingbirds swooped to their feeders on the patio of this charming adobe
retreat while workshop participants enjoyed a gourmet lunch and music in a
relaxed atmosphere.
Harpsichord Workshop IX was an inspiring and invigorating
week of study for all the prticipants, amateur performers and professional
musicians alike.
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