Number 31
v Forty-first Annual Concert Series
TS · YALE · U EN M
· INSTR CAL U SI U
of the Yale University Collection of Musical Instruments
ION · OF · M CT LE
N EW S L ETT E R
ITY · C OL ERS IV N
Fall 2008
Violinist Robert Mealy needs little introduction to New Haven audiences. He was recently appointed Professor (Adjunct) at Yale University, Now entering its fifth decade, the Collection Concert Series this season once again brings to the Yale community an international roster of musiwhere he directs the Yale Collegium. The New Yorker magazine hailed cians who have distinguished themselves in the “historically informed him as “New York’s world-class early music violinist.” He has recorded performance” of music from earlier repertories. As always, the audiences over 50 CDs on most major labels, ranging from Hildegard of Bingen with attending Collection concerts will enjoy the rare opportunity of hearing Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau these renowned artists in the fine and intimate acoustic of the second operas with Les Arts Florissants. He leads the distinguished Boston Early floor gallery of the museum. Music Festival Orchestra and has apv After many years, the British harpsipeared as guest concertmaster and direcchordist Davitt Moroney will return to tor with the Phoenix Symphony. open the series on 5 October with a proAfter earning both bachelor and masgram of solo keyboard works by William ter of music degrees at the New England Byrd, Louis Marchand, François CouConservatory, ’cellist Phoebe Carrai perin, and J. S. Bach. Mr. Moroney was pursued post graduate studies under born in England and completed studies at Nikolaus Harnoncourt at the Mozartethe London Royal Academy and the Royal um in Salzburg. In 1983, she joined the College of Music. Following later private ensemble Musica Antiqua Köln and study with the Austrian organist Susi Jeans played with them for ten years. She and harpsichordists Kenneth Gilbert and currently performs with the Arcadian Gustav Leonhardt, he earned a doctorAcademy,the Philharmonia Baroque ate in musicology from the University of Orchestra, Ensemble Arion, Les MuCalifornia in 1980. Then, for twenty-one siciens de Louvre, and Boston’s Handel years he was based in Paris, working as a and Haydn Society. Phoebe Carrai is a freelance recitalist throughout Europe. For member of the faculties of the Univerhis services to music he was named Chesity of the Arts in Berlin and the Longy valier in the “Order of Cultural Merit” by School of Music in Cambridge. She Prince Rainier III of Monaco (1988), and performs on an Italian ’cello from c. the French government named him Officier 1690 and has recorded extensively for in the “Order of Arts and Letters” (2000). He Deutsche Grammophon, Harmonia returned to Berkeley as a Professor in August Mundi, Tel-arc, Decca and BMG. 2001, where his also University Organist. Harpsichordist Katherine Shao Davitt Moroney won the 2000 Gramohas performed with many of the naphone Early Music award for his recording tion’s finest ensembles, including the Noted British harpsichordist Davitt Moroney will open this season’s series of the complete keyboard music of Wil- of concerts at the Collection on October 5. New Century Chamber Orchestra, The liam Byrd. He has published critical ediOrchestra of St. Luke’s, and the San tions of the work of various baroque composers, including a keyboard Francisco Symphony. She also performs contemporary music and has edition of Johann Sebastian Bach’s The Art of Fugue that contains his own featured new music and performance art elements in the production completion of the final unfinished fugue. of her unique work, The Path to the New Music, a radio drama about v On November 9 the ensemble La Riche & Co will make its New the composer Anton von Webern, of which she was both author and Haven debut under the direction of baroque oboist Gonzalo Xavier Ruiz. executive producer. She is the managing director of the award-winning The group also includes Robert Mealy, violin; Phoebe Carrai, violoncelensemble American Baroque, and she appears on numerous recordings. lo; and Katherine Shao, harpsichord. Their program entitled “Indoor v The distinguished American pianist Stephen Lubin will return to Fireworks: An Intimate Pyrotechnic Display of Music by Handel and his the Collection series on December 7 in a program of works by Schubert Contemporaries” will include Handel’s Music for the Royal Fireworks along and Schumann, played on two of the Collection’s 19th-century pianos. with chamber works by Thomas Vincent and Giuseppe Sammartini. For many seasons Mr. Lubin has been in demand all over the world as a Gonzalo Ruiz is one of the world’s most sought-after historical recitalist and as a concerto soloist with major orchestras. For two decades woodwind soloists. In recent seasons he has appeared both as principal he has championed the cause of performing the earlier piano repertory oboist and concerto soloist with most of the leading period instrument on appropriate antique and replica instruments. He was a pioneer in groups in America, performing in the US and Europe under conduclaunching a series of solo recitals featuring the fortepiano in major New tors such as Christopher Hogwood, Nicholas McGegan, Jordi Savall, and York venues. He performed Mozart’s concertos in period style as soloist/ Gustav Leonhardt. Mr. Ruiz was a prizewinner at the Brugges Early Music conductor in Avery Fisher Hall, Alice Tully Hall, Town Hall, and the Competition in Belgium and for twelve years has been professor of oboe Metropolitan Museum. His recording of Mozart concertos for Arabesque at the Oberlin Conservatory’s Baroque Performance Institute. Mr. Ruiz is garnered widespread critical praise, including a recording-of-the-year cialso active in the field of contemporary music and was awarded the 2000 tation from Stereo Review magazine. He was chosen by Decca to record ASCAP Award for Adventurous Programming. the five piano concertos of Beethoven with Christopher Hogwood and
ster and Gluck’s Iphigénie en Aulide with the Royal Conservatory of the the Academy of Ancient Music; the disc was named as one of the most Hague. distinguished recordings of the year by Stereo Review, The New York Times, After completing studies at the Royal Academy of Music in CopenGramophone, Fanfare, and The Penguin Guide. Mr. Lubin received his bachhagen, Danish harpsichordist Lars Ulrik Mortensen studied with elor’s degree in philosophy from Harvard College, a master’s degree in Trevor Pinnock in London. He has been a member of the well-known enpiano from the Juilliard School, and a Ph.D. in musicology from New sembles London Baroque and Collegium Musicum 90. He has recorded York University. His mentors include Nadia Reisenberg, Seymour Lipextensively on the Archiv, Harmonia Mundi, and Da Capo labels, and kin, Rosina Lhévinne and Beveridge Webster. He served as Head of the his recording of Bach’s Goldberg Variations on the Kontrapunkt label won Graduate Theory Department as a professor at Cornell University, and him the distinguished French award, Diapason d’or. Mr. Mortensen is in has also taught at Vassar College and the Juilliard School. He is currently wide demand as a conductor, frequently leading the Royal Opera orchesProfessor of Music at the Conservatory of Music at Purchase College. tra in Copenhagen and the European Union Baroque Orchestra. He is v On 25 January the California-based Ensemble El Mundo will return Artistic Director of Concerto Copenhagen and has to New Haven. El Mundo recreates the distinctive taught at the Hochschule für Musik in Munich. Latin sound of the old and new worlds in performances of sixteenth- through nineteenth-century vDean Blocker announces Spanish, Italian, and Latin American chamber music. Entitled “The Kingdoms of Castille: Sacred and appointment of Interim Director Secular Music from Spain, Italy and the Americas,” To members and friends their program will include works by Arajo, Padilla, of the Yale music community: Quiroz, Hidalgo, Duron, and Handel. Under the diIt is my pleasure to announce the appointment of rection of guitarist Richard Savino, the ensemble William Purvis as Interim Director of the Yale Colincludes Jennifer Ellis Kampani, soprano; Adam lection of Musical Instruments. Known to internaLaMotte, violin; and William Skeen, violoncello tional audiences as one of the finest horn soloists and viola da gamba. Their program highlights the and chamber musicians in the profession, Mr. Purdiverse and passionate character of Spanish music. vis brings to this task a record of early music perforDrawing on the confluence, and sometimes inevitamance, recordings, and substantial administrative ble conflict of the sacred and secular, this repertoire experience. does not fail to move the soul. Music from Spanish Since 1999 Mr. Purvis has served on the artist possessions such as Naples, Guatemala, Lima and faculty in the School of Music, teaching horn and Puebla will be performed alongside works from Machamber music. He is also the Coordinator of Brass drid and Seville, along with a piece by Handel from and Woodwinds, an administrative responsibility the period of his Italian sojurn. he will retain along with his assignment as Interim v “Madcap, Red Priest, and Angel” is the title of Director. Among William’s professional ensemble the program to be performed by the trio consisting affiliations are the New York Woodwind Quintet, of violinist John Holloway, ’cellist Jaap ter Linden, and harpsichordist Lars Ulrik Mortensen on Febru- The violin in the Yale Collection made by Antonio Mozza Fiato (an early music wind sextet), the Triton ary 22 as the concluding concert on this seasons’s Straivari in 1736 will be featured in a special exhibi- Trio and the Orchestra of St. Luke’s. William’s engagements have taken him to all corseries. Hot on the heels of their appearance in Carn- tion in Cremona this fall. ners of the globe, with appearances at the world’s major festivals such as egie Hall just two days before, the trio will bring to New Haven a selection Salzburg, Schleswig-Holstein, Tanglewood, Kumho, Norfolk, and Chamof works by Leclair, Corelli, Vivaldi and Veracini. ber Music Northwest—to name a few. Early music performances and festiJohn Holloway played his first public concert in aid of Hungarvals include collaborations with the Aulos Ensemble, the Handel-Haydn ian refugees in 1956, when he was 8 years old. After training at the Society, the English Consort under the baton of Trevor Pinnock, the Guildhall School of Music and Drama and enjoying successes at various Aston Magna, the Boston Early Music Festival, and the Mostly Mozart international competitions, he worked as a freelance player in London. A Festival. A recording artist of the first order, William Purvis has an extenpioneer of the “Early Music” movement in Britain, Holloway founded in sive and eclectic discography. He can be heard on more than 125 profes1975 the ensemble L’Ecole d’Orphée, which made the first complete resional discs, including the wind chamber music of Mozart with Amadeus cording on baroque instruments of Handel’s instrumental chamber muWinds on original instruments. In 2007 Purvis’ Brahms Trio recording sic. He won a Gramophone Award in 1991 for his recording of Biber’s was hailed by the BBC as “greatest of all time”. Mystery Sonatas. Holloway has been Professor of Baroque Violin at the As Interim Director, William will engage the Collection staff in a Guildhall School of Music and Drama in London and Guest Professor planning process that will inform the School’s efforts in this regard. He at the Schola Cantorum in Basel. Since 1999 he has been on the faculty will also work with all university and community constituencies to ensure of the Hochschule für Musik in Dresden, Germany. In 2005 he was that the Collection enhances its artistic, scholarly, and public roles. The appointed Music Director of New Trinity Baroque, a period instrument search for a permanent director was extended last spring, and the search ensemble and orchestra based in Atlanta. committee will begin its work anew in September. Jaap ter Linden, who performs on both viola da gamba and baroque We are indeed fortunate that Mr. Purvis has agreed to assume this ’cello, was co-founder of Musica da Camera; he has been the principal position for the coming academic year. I know that the Collection, and cellist of Musica Antiqua Köln, The English Concert and the Amsterdam indeed the entire music community at Yale, will be enhanced by his artisBaroque Orchestra. He founded and directs the Mozart Akademie (with tic insight and professional experience. Please join me in welcoming Bill which he has recorded the complete Mozart symphonies) and is a regular as the Interim Director of the Collection of Musical Instruments. guest director and soloist with the Arion Ensemble (Canada). He has led many other orchestras such as the San Francisco Philharmonia Baroque, Sincerely yours, Portland Baroque and Amsterdam Bachsoloists. His extensive discography as player and conductor boasts many award-winning recordings for labels such as Harmonia Mundi, Archiv, ECM, Deutsche Grammophon and Robert Blocker Brilliant Classics. Most recently, Mr. ter Linden has entered the world of The Henry and Lucy Moses Dean of Music opera, conducting Purcell’s King Arthur with the Städtische Bühne Mün-
vStradivari lent for international exhibition
photographs: Friedemann & Barbara Hellwig
appointed to the Yale faculty. He interrupted his academic career to The Collection is proud to participate this fall in a special exhibition serve in the U.S. Army from 1943 to 1946 as a counterintelligence officer mounted in Cremona, Italy, by lending its violin by Antonio Stradivari in the OSS. For his service he was awarded a Bronze Star by this counfor display. Presented by the Fondazione Antonio Stradivari—Cremona try and the Croix de guerre by France. The author and editor of numerfrom 27 September through 19 October in the Museo Stradivari, the ous books, he was highly regarded as a critic and scholar of Shakespeare exhibition is entitled “Cremona 1730and the Jacobean dramatists, and was greatly 1750: On the Olympus of Violinmakesteemed as a teacher. Gene was also a devoted ing.” The displays will include sixteen music lover and loyal supporter of musical activiinstruments by three makers who repties at Yale and in the New Haven community. resent the Cremonese culmination He served on the board of directors of the New of the Italian school of violinmaking Haven Symphony and the Neighborhood Music in the first half of the 18th century: School. He was a charter member of the AssociCarlo Bergonzi, Giuseppe Guarneri ates Program of the Collection and a member of del Gesù, and Antonio Stradivari. The its Board of Advisors until his death. exhibition is presented in the context of v Noted piano maker and scholar Margaret a three-week festival that will include nuHood of Platteville, Wisconsin, passed away in merous concerts, lectures, seminars, and June at the age of 70. Born in 1938 into a family meetings. Made in 1736, the Yale Stradiof painters, Margaret grew up in Greenwich and vari (formerly in the Belle Skinner Col- This elegant South Indian mayuri will be featured in a special spring was graduated from Mount Holyoke College. In lection) is especially important as a docu- exhibition of cognate instruments from all over the world. the 1970s she was drawn into the rapidly develment of the late work of the master, since a large portion of its original oping movement to revive the making of harpsichords, clavichords, and varnish survives in an excellent state of preservation. fortepianos after the models of surviving historical examples. Following extensive research in Europe, she focused her attention on building vPresentations to Yale & community groups pianos modeled after instruments from the first two decades of the 19th As always, the Collection offered special presentations to a wide variety century, especially those from the atelier of pioneer female piano maker of organizations both within the University and in the New Haven comNannette Streicher (née Stein), who was Beethoven’s preferred maker munity. No fewer than seven courses in during his maturity. Over the years Margaret paid several visits to New the Yale music curriculum were accomHaven to examine the 1816 Streicher grand in the Yale Collection. Her modated with presentations by the curainstruments are owned by many professional pianists as well as colleges torial staff this season. Yale student orgaand conservatories. vSpecial exhibit planned nizations such as the MacDougal Center for Graduate Life and the Yale Classical In addition to its world-renowned holdings of European and American Music Society enjoyed tours of the Col“classical” musical instruments, the Collection also includes a small but lection. Tours with demonstrations were growing group of instruments from Asia, Africa, and South America. In also presented to community organizareflection of the globalization now looming as cultural destiny, a special tions such as The Association of Retired exhibition of “musical cognates” is planned for the spring semester that Jewish Women, the Connecticut chapter will offer a comparison of inPegbox (left) of the viola da gamba attributed to struments of similar morpholof the Piano Technicians Guild, and the Gregorius Karpp and rosette (below of the guitar ogy and function from highly Institute for Learning in Retirement. A by Joachim Tielke—thse two instruments were the gallery talk was also presented to a group diverse cultural backgrounds. subject of study by German researchers Friedefrom the Ecole Normale Supérieure de In some cases an instrument mann and Barbara Hellwig this past spring. Cachan (France) who were attending a that is first developed in one conference on the Yale campus. We exculture is passed directly to antend an open invitation to our Associate members and friends to conother and is adapted to meet sider bringing groups from organizations to which they belong to the new musical requirements. Collection for a tour of one of the University’s truly unique resources. Such is the case of the medieval Arabic ’ud that entered vIn memoriam the West through Moorish It is with deep sadness that we note the passing of two loyal friends and Spain and in transformation charter members of the Associates program of the Collection. became the European lute. In v Eugene M. Waith, Douglas Tracy Smith Professor Emeritus of Engother instances parallel devellish died last October at the age of 94. A graduate of Yale College, Class opment of similarly structured of 1935, he received his Ph.D. from Yale in 1939 and was immediately and functioning instruments took place spontaneously in widely separated cultural environments where little or no historical exchange can be traced. Lip-vibrated trumpets and horns developed in prehistoric EuThis Newsletter is published annually by the rope, the Middle East and in Asia without any seeming transfer from one YALE UNIVERSITY cultural region to another. The exhibit will focus on the theme of unity COLLECTION OF MUSICAL INSTRUMENTS in diversity as “form follows function” to satisfy the aesthetic aspirations 15 Hillhouse Avenue, P.O. Box 208278 of mankind playing with sound. New Haven, CT 06520-8278 Telephone (203) 432-0822; FAX (203) 432-8342 e-mail: musinst@pantheon.yale.edu On the Internet: www.yale.edu/musicalinstruments Public Visiting Hours: Sept.-June, Tues—Fri., 1-4 pm; Sun., 1-5 pm Closed during University Recesses and during July and August.
vScholars on research mission in museum
Over the years many prominent scholars and instrument makers have made the pilgrimage to New Haven to closely examine instruments in the Collection for their research. This season the museum was host to the distinguished German luthier, conservator, and scholar Friedemann
Hellwig and his wife and collaborator, art historian Barbara Hellwig. Friedemann Hellwig was for over two decades the conservator of musical instruments at the Germanisches Nationalmuseum in Nürnberg. In addition to later appointments in other museums, he served for six years as Chairman of the International Committee of Musical Instrument Museums and Collections (UNESCO). The Hellwigs are currently preparing a revised and enlarged edition of Mr. Hellwig’s father’s book Joachim Tielke: Ein Hamburger Lauten- und Violenmacher der Barockzeit. Gunther Hellwig’s book remains the definitive work on the great German luthier Tielke, whose prolific output of lutes, theorbos, citterns, guitars, pochettes, violins, viole d’amore, barytons, viole da gamba and bows is often compared with that of the great Italian makers. During their visit, the Hellwigs examined, measured, and photographed in minute detail the guitar by Tielke in the Collection, as well as a bass viola da gamba that bears the label of Gregorius Karpp, but in fact may be properly attributed to Tielke.
MEMBERSHIP & TICKETS As in previous seasons, memberships and orders for series subscription tickets should be returned to the Collection in the enclosed envelope. The membership will be processed and the tickets sent out in the mail. Single tickets should be ordered directly from the School of Music Concert Office (by telephone at: 203-432-4158; online at: www. yale.edu/music). Associates are reminded that they are entitled to a substantial discount on the price of tickets: regular price $20 each, Asso-
ciate’s price $15; special Associate’s series ticket for five concerts $50. [As noted on the membership form, the IRS the amount of the contribution that is tax-deductible must be reduced by the amount of the discount taken on ticket prices.] Associates are also given preference as to seating for a series subscription. Seats held in previous years will be reserved for the holder until Sept. 25. New subscription requests will be filled in order of receipt. For further information, please call (203) 432-0825.
YALE UNIVERSITY COLLECTION OF MUSICAL INSTRUMENTS ASSOCIATE MEMBERS: 2007-2008 HONORARY LIFE MEMBER Mr. Elias N. Kulukundis Mr. George P. O’Leary Mr. Andrew Petryn Mr. Hans H. Schambach Mr. Timothy A. Steinert STEINERT FELLOW Yves A. Feder and Linda Skernick BENEFACTOR Ms. Victoria Keator DePalma Mr. and Mrs. Elias N. Kulukundis Mr. Thomas G. MacCracken Prof. Eugene M. Waith PATRON Stephen and Judith August Dr. and Mrs. Emile L. Boulpaep Ms. Ute Brinkmann George and Reba O’Leary Prof. Leon Plantinga Mr. David G. Powrie Mr. Charles Reuning Dr. Michael Rigsby Ms. Elizabeth C. Yen SPONSOR Mr. A. Chace Anderson Mr. and Mrs. Robert P. Anderson, Jr. James K. and Peggy F. Baird Mr. Ronald Bell Ann Bliss
SPONSOR (continued) Ms. Claudine Britton Robert and Serena Blocker Prof. Ki and Juliet Chon Robert G. and Grace A. Clark Ms. Constance Clement Ms. Phoebe Coleman Dr. Philip J. Conforti Raleigh and Mary Anne D’Adamo Mr. John N. Ellyson Mr. and Mrs. Peter H. Flint Dr. and Mrs. Gilbert H. Glaser Prof. Joseph F. Hoffman Mr. Paul Jacobs Prof. Boyd M. Jones II Yuliya Kaspler & Eschrat Rahimi-Laridjani Ms. Elizabeth Keitel David and Dr. Cornelia Leavitt-Scudder Barbara and Carleton Loucks Robert and Nancy Ludwig Mr. Robert W. Lyons Peggy and Ramsay MacMullen Mrs. Frances L. Miller Prof. Craig A. Monson Peter and Kathryn Patrikis Mr. Andrew Petryn Gary and Diane Ransom Mr. Hans H. Schambach Barbara A. Shailor and Harry W. Blair Ms. Judith H. Shaw Mr. Marlowe A. Sigal Mr. John R. Stieper Shepard and Marlene Stone Mr. and Mr. Richard Warren
SPONSOR (continued) Ms. Mary Weigand Hannah and Herbert Winer Mrs. Avril Winks Earl and Constance Young FAMILY Dr. Thomas P. Anderson John and Rebecca Arkenberg Mr. and Mrs. Donald Baerman Francis Braunlich and Elizabeth Neuse Anne and Guido Calabresi Dr. & Mrs. Gerhard H. Giebisch Robert and Carole Morgan Lynda E. Rosenfeld and Richard M. Weiss Daniel and Susan Rosner Mr. Koichi Shinohara Ms Kathleen Moretto Spencer Dr. J. W. Streett and Family John and Dorothy Sutton Drs. Kurt and Judit Stenn Mrs. Belle Skinner Kilborne Taylor Craig Wright and Sherry Dominick Dr. Hugh H. Young REGULAR Dr. J. Howland Auchincloss Mrs. Sally B. Brown Mr. John H. Burkhalter III Walter Cahn & Brenda Danet Ms. Faith Chiang Edith H. Evangeliste Grace A. Feldman Allen and Madeleine Forte
REGULAR (continued) Dr. Lee Goebel Ms. Betsy Goldberg Ms. Joyce V. Goldberg Dr. Mary Dalton Greer Ms. Margaret Hood Mr. George J. Jagger Susan Rees Jones Mr. Philip Kass Mr. Kerry K. Keane Mr. Richard Kingston Prof. Edward Kottick Ms. Sarita Kwok Mr. Richard Lalli Ms. Jeane Lind Prof. George H. Lucktenberg Dr. Kevin L. Mack Prof. Susan Marchant Mr. Sherrill V. Martin Elizabeth D. C. Meyer Ms. Barbara E. Smith Ms. Sally Taylor Ms. Karol Tulp-Magee Ms. Erica Warnock Mrs. Carolyn Westerfield Ms. Sarah Jessica Whitson Ms. Jennifer G. Winschel Dr. Hugh H. Young STUDENT Ms. Maddy Jennewein Mr. Alex David McAllister Mr. Jason Stockman
The Yale University Collection of Musical Instruments, one of the oldest collections of it kind in the United States, was established in 1900, when New Haven Symphony co-founder Morris Steinert presented the core of his extensive private collection to the University. One of four museums on campus, the Collection preserves, documents, exhibits, and interprets musical instruments as works of art and artifacts of music history. Its holdings of nearly 1000 instruments—including a collection of keyboard instruments unsurpassed in the world—are particularly strong in the area of European art music between 1550 and 1950. Housed in an 1894 Romanesque revival building designed by William H. Allen, the Collection has presented an annual series of concerts since 1967 and contributes in many other ways to the Yale curriculum and to the cultural life of the University and to the larger community.