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. 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.
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.
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.
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.
I literally ran into Leonhardt, in the early ’80s at the reception for performers in the Bruges harpsichord competition (which I fondly call the ‘harpsichord races’). I had been invited to the event because I was slated to play in the competition, though I had recently dropped out. So there I was, happily sipping some lovely French champagne-probably a second- glass, enjoying the lack of pressure when I found myself leaning back against something fairly solid. It was the well dressed back of G.L.! Emboldened, I quickly introduced myself and asked if I could schedule an audition with him in Amsterdam. We had never met. To my surprise he was characteristically polite, 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! In the several years that I traveled to Amsterdam for intensive lessons, one of the most important things he told me, repeatedly, was “music is half, and you are the other half”. This proved to be a succinct message that encourages me even into the present. Continuing to keep those halves in balance has become my life’s work. Later I even fell in love with the harpsichord I played at my lessons and ordered an instrument from Martin Skowroneck in Bremen. At the time he was building instruments only for Leonhardt. It was twenty-one years before it arrived, but I have it now and it has become my voice. Finally, years later, I was confirming what I thought would be my next set of lessons with Leonhardt, and he said to me, but gently, “you don’t need to take more lessons from me. Just do what you do, only do more of it”. It took many years for me to understand that this was not a rejection rather an endorsement of me as ‘the other half’.
Tamara Loring studied with Gustav Leonhardt and Wieland Kuijken. She teaches keyboard and chamber music in the S.F. Bay area (Berkeley and San Francisco) and directs the Baroque Ensemble Seminar, a forum for in-depth study of Baroque style for ensembles. She performs nationally and has recorded the works of F. Dieupart and J.J. Froberger.
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 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, 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.
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, 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.
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.