NORTH MEETS SOUTH:

BUXTEHUDE AND THE NORTH GERMAN SCHOOL/

KEYBOARD MUSIC OF DOMENICO SCARLATTI

A SYMPOSIUM IN RECOGNITION OF TWO SIGNIFICANT RECENT ANNIVERSARIES

Midwestern Historical Keyboard Society 2008 Annual Meeting

May 21-24, 2008

The University of Iowa

School of Music

Iowa City, Iowa USA

Plan to join us for this exciting conference!

CHECK OUT EXTENDED SCHEDULE WITH NEW EVENTS

FOR SATURDAY, MAY 24 (BELOW)

FEATURED PERFORMERS

• Pieter-Jan Belder, Holland
• Craig Cramer, South Bend, IN
• Delbert Disselhorst, Iowa City, IA
• Iowa Baroque Players, Iowa City, IA
• David Schrader, Chicago, IL
• Brett Wolgast, Iowa City, IA

Exhibits of early keyboard instruments by the 21^st century's premier builders

Organs by Taylor & Boody, Casavant, Brombaugh, Schlicker

FOR FURTHER INFORMATION about this conference, contact David C. Kelzenberg, <david-kelzenberg@uiowa.edu>

CONFERENCE SCHEDULE OF EVENTS

FINAL, MAY 6, 2008!

LOCATIONS

VOXMAN MUSIC BUILDING (VMB)

Harper Hall (HH): Lectures, paper sessions, mini-recitals, concerts.

Choral Rehearsal Room (CRR): Iowa Baroque Players concert

Dixon Hall (DH): Exhibits, Silent Auction

Krapf Recital Hall (KH): Organ concerts and events

Clapp Recital Hall (CRH): masterclass, concerts

IOWA MEMORIAL UNION (IMU)

North Room: Opening reception

State Room: Banquet, annual meeting

DETAILED SCHEDULE

WEDNESDAY, MAY 21, 2008

2:00 – 7:00 PM: Registration, HH; Exhibitor set-up, DH

3:00 – 5:00 PM: MHKS Board of Directors Meeting, 2032 VMB

5:00 – 7:00 PM: Dinner on your own

7:30 PM: Opening Concert: David Schrader, keyboards, HH

9:00 PM (or after concert): Opening Reception, North Room, IMU

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PROGRAM

Sonata in D Major, K. 96 Domenico Scarlatti (1685-1757)

Sonata in C Major, K. 460

Sonata in C Major, K. 461

Praeludium in g, BuxWV 163 Dieterich Buxtehude (1637-1707)

Sonata in F, no. 63 (Rubio catalogue) Antonio Soler  (1729-1783)

Cantabile

Allegro

Intento

INTERMISSION

Two sonatas in c, K. 115, 116 Scarlatti

Ouverture in D Georg Böhm  (1661-1733)

Ouverture

Air

Rigaudon and Trio

Rondeau

Menuet

Chaconne

Fandango Soler (attrib.)

David Schrader, keyboards

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THURSDAY, MAY 22, 2008

8:00 – 9:00 am: Registration, HH; Exhibitor set-up, DH

9:00 – 9:05 am: Welcome, Introduction of Craig Cramer; HH

9:05 – 10:00 am: Keynote Address: Craig Cramer (South Bend, IN), "Unifying Devices in the Praeludium in E Minor, BuxWV 142, or What did the young J. S. Bach learn from his teacher?", HH

10:00 – 10:30 am: Coffee Break; Registration

10:30 am– 12:30 PM: Paper/mini-recital session 1, HH (Moderator: Greg Crowell)

10:30 Mary Heiden: "Roseingrave and the Rest: The Championing of Scarlatti in England"

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11:00 Sandra Mangsen, harpsichord

PROGRAM

The Lady’s Entertainment and Babell’s Delight: Arias for the keyboard 1708–1717

From The Lady’s Entertainment, vol I.

A Prelude

“Can you leave Rang’ing”

“Ever Merry Gay and Ayry”
both tunes were sung by Mrs. Lindsey in Thomyris (Drury Lane, 1707)

From The Lady’s Entertainment, vol 4

Overture to Hydaspes

“E vano”

“Mostro crudel”
both sung by Signor Nicolini in Nydaspes, Haymarket (1710)

From Babell’s Suits (1717), Third Set

Prelude

“Si lieto si contento,” Antiochus (Gasparini, 1712)

“Nume alato,” Etearco (Bononcini, 1711)

“Hor che la tromba,” Rinaldo (Handel, 1711)
all sung by Signor Nicolini in the London stage productions

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11:30 David Sutherland: "The Piano as Performance Medium for Some Scarlatti Sonatas"

12:00 David Kelzenberg: "Scarlatti's Prolific Legacy: The Mt. Everest of Recording Projects"

12:30 – 1:45 PM: Lunch on your own

1:45 – 3:45 PM: Paper/mini-recital session 2, HH (Moderator: David Kelzenberg)

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1:45 Martha Folts, harpsichord

PROGRAM

Selections from the Essercisi of Domenico Scarlatti (1685-1757)

K. 1 in d minor

K. 3 in a minor

K. 6 in F Major

K. 18 in d minor

K. 17 in F Major

K. 19 in f minor

K. 28 in E Major

K. 25 in f# minor

K. 23 in D Major

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2:15 Sonia Lee, harpsichord

PROGRAM

Harpsichord Works by Dieterich Buxtehude and His Contemporaries

Toccata in G, BuxWV 164 Dieterich Buxtehude (1637-1707)

Suite in sol mineur, from Second Livre do clavessin (?1687) Nicolas Lebègue (c. 1631-1702)/

(BuxWV S. 13) Dieterich Buxtehude

Allemande

2e Allemande

Courante

Sarabande

Rondeau

Gigue

Passacaille

Minuet

Gavotte

Gavotte

Minuet

Präludium, Fuge, and Postludium in g minor Georg Böhm (1661-1733)

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2:45 Paul Irvin, "New/Old Approaches in Harpsichord Building"

3:15 Alan Cole (DH), "No-Fear Workshop: Replacing a Broken String"

3:45 – 4:15 PM: Coffee Break

4:15 – 4:30 PM: Introduction of 2008 Ben Bechtel award winner, DH

Jeffrey Wood, Oberlin College

4:30 – 5:15 PM: Instrument Demonstration, DH

5:15 – 6:00 PM: Exhibits open; visit exhibits, DH

6:00 PM: Dinner on your own

8:00 PM: Recital: Pieter-Jan Belder, harpsichord, HH (Group A)

Recital: Craig Cramer, organ, KH (Group B)

=================================

PROGRAM

Toccata IX (primo libro) Girolamo Frescobaldi

5 Gagliardas

Diferencias sobre el canto de Antonio de Cabezon

"La Dama le demanda"

Toccata VI (FbWV 112) Johann Jakob Froberger

Canzon II (FbWV 302)

Preambulum in g minor BuxWv 163 Dieterich Buxtehude

Italian Concerto BWV 971 J. S. Bach

no tempo indication

andante

presto

INTERMISSION

Sonatas of Domenico Scarlatti

Sonate K. 18, presto

Sonate K. 215, andante

Sonate K. 216, allegro

Sonate K. 415, pastorale allegro

Sonate K. 416, presto

Sonate K. 238

Sonate K. 239

Sonate K. 461, allegro

Pieter-Jan Belder, harpsichord

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PROGRAM

Music of Dieterich Buxtehude (1637-1707)

Praeludium in C, BuxWV 136

Ach Gott und Herr (2 versus), BuxWV 177

Canzona in C, BuxWV 166

Von Gott will ich nicht lassen, BWV 221

Ciacona in e, BuxWV 160

Praeludium in F, BuxWV 145

INTERMISSION

Praeludium in G (manualiter), BuxWV 162

Gott der Vater wohn uns bei, BuxWV 190

Canzona d-moll, BuxWV 168

Lobt Gott, ihr Christen, allzugleich, BuxWV 202

Aria in C mit Variationen, BuxWV 246

Toccata in d, BuxWV 155

Craig Cramer, organ

==================================

FRIDAY, MAY 23, 2008

8:00-9:00 am: Registration for single day registrants, HH

9:00 – 9:05 am: Welcome, Introduction of Pieter-Jan Belder, HH

9:05 – 10:00 am: Keynote Address: Pieter-Jan Belder (Holland), Keyboard Music of Domenico Scarlatti, HH

10:00 – 10:30 am: Coffee Break; Registration for single day registrants

10:30 am – 12:30 PM: Paper/mini-recital session 3, HH (Moderator: Martha Folts)

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10:30 Gail Olszewski, fortepiano

PROGRAM

Scarlatti's Legacy

Sonata in C, K. 132/L. 457 Domenico Scarlatti (1685-1757)

Sonata in C, “Pastorale”, K. 513/L. S. 3

Sonata in F# minor, Op. 25 #5 Muzio Clementi (1752-1832)

Piùttosto allegro con espressione

Lento e patetico

Presto

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11:00 Susanne Skyrm, fortepiano

PROGRAM

Spanish Keyboard Music from the 18^th and 19^th Centuries

Sonata No. 4 in g minor Manuel Blasco de Nebra (1750-1784)

Sonata in B-flat (Sonata de 5o Tono Punto Bajo) Juan Moreno y Polo (1711-1776)

Sonata in G Major Padre Rafael Angles (c1730-1816)

Andante and Variations Jacinto Codina (?-1818)

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11:30 Ann Barnes, fortepiano

PROGRAM

Sonata in B-Flat, K. 570 Wolfgang Amadeus Mozart (1756-1791)

Allegro

Adagio

Allegretto

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12:00 Richard Fountain, fortepiano

PROGRAM

Sonata in B-Flat, K. 333 Wolfgang Amadeus Mozart (1756-1791)

Allegro

Andante cantabile

Allegretto

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12:30 – 1:45 PM: Lunch on your own

1:45 – 3:45 PM: Paper/mini-recital session 4, as indicated (Moderators: Nanette Lunde/A, Susanne Skyrm/B)

1:45 Asako Hirabayashi (HH, Group A)/Max Yount (KH, Group B)

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Asako Hirabayashi, harpsichord

PROGRAM

Music of Domenico Scarlatti (1685-1757)

Sonata K. 491 in D Major

Sonata K. 492 in D Major

Sonata K. 380 in E major

Sonata K. 381 in E Major

Sonata K. 430 in D Major

Sonata K. 434 in D Minor

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Max H. Yount, organ

PROGRAM

Two canticles for organ by Dietrich Buxtehude (1637-1708)

Magnificat Primi Toni BuxWV 2038

Te Deum Laudamus BuxWV 218

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2:15 " (groups reversed)

2:45 Nina Key (HH, Group B)/I-Fang Chiang (KH, Group A)

Nina Key: "Graphical Representation of Formal Schemes in the Scarlatti Sonatas"

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I-Fang Chiang, organ and harpsichord

PROGRAM

Sonata XXXIV in B-flat Domenico Scarlatti (1685-1757)

Sonata XL in g minor

Harpsichord

Praeludium in g minor, BuxWV 149 Dieterich Buxtehude (1637-1707)

Organ

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3:15 " (groups reversed)

3:45 – 4:15 PM: Coffee break

4:15 – 5:30 PM: Concert: Iowa Baroque Players, CRR

==================================

PROGRAM

1. Canzon XXI con 2 violini Gregor Aichinger (1564-1628)

Lorraine Gillette and Michael Kimber, violins

Ed Kottick, trombone

Delbert Disselhorst, organ

2, Sonata con tre violino in eco Biagio Marini (1594-1663)

Lorraine Gillette and Michael Kimber, violins

Christine Rutledge, viola

Ed Kottick, trombone

Delbert Disselhorst, organ

3. Canzon II a quattro Marini

Dennis Pedde, cornetto

Lorraine Gillette, violin

Christine Rutledge, viola

Ed Kottick, trombone

Delbert Disselhorst, organ

4. Sonata da Camera in E Minor, op. 2 no. 4 Arcangelo Corelli (1653-1713)

Preludio (Adagio)
Allemande (Presto)

Grave (Adagio)
Giga (Allegro)

Lorraine Gillette and Michael Kimber, violins

Alan Huckleberry, harpsichord

5. Sonata No. 6 BWV 530 J. S. Bach (1685-1750)

(arranged for violin, viola and harpsichord by Spencer Martin)

Vivace;

Lento

Allegro

Lorraine Gillette, violin

Christine Rutledge, viola

Alan Huckleberry, harpsichord

6. Sonata K. 380 in E Major Domenico Scarlatti (1685-1757)

Sonata K. 1 in d minor

Alan Huckleberry, Harpsichord

7. Sonata in E-Flat Major, Op. 28 Franz Danzi (1763-1826)

Adagio; Allegro

Larghetto

Allegretto

Kristen Thelander, natural horn

Carol lei Breckenridge, fortepiano

================================

5:45 – 7:45 PM: Banquet, Annual Membership Meeting, State Room, IMU

8:00 PM: Recital: Craig Cramer, organ, KH (Group A)

Recital: Pieter-Jan Belder, harpsichord, HH (Group B) Co-sponsored by the Iowa City Early Keyboard Society, open to the public.

9:30 PM (or after recitals): Reception, sponsored by Iowa City Early Keyboard Society, CRR

SATURDAY, MAY 24, 2008

8:00 – 8:30 am: Registration for single-day registrants

8:30 – 9:30 am: Masterclass: David Schrader, Craig Cramer, Pieter-Jan Belder. CRH (Moderator: Paul Irvin)

Adam Johnson, University of Iowa (organ)

Marie Blair (harpsichord)

9:30 – 10:00 am: Final Coffee break; Registration for single-day registrants

10:00 am - 12:30 PM: Paper/mini-recital session 5, HH. (Moderator: Paul Irvin)

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10:00 Nicholas Good, harpsichord

PROGRAM

Dieterich Buxtehude (c1637-1707): Music for Harpsichord

Suite in C Major, BuxWV 230

Variations on Aria 'More Palatino,' BuxWV 247

Praeludium in g minor, BuxWV 163

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10:30 Mário Trilha, harpsichord

PROGRAM

"Music of João Cordeiro da Silva (1735-1808) - A Post-

Scarlattian Keyboard Composer in Portugal"

Sonata B-flat Major (Allegro)

Minueti per Cembalo del Sig. Giovanni Cordeiro da Silva

Menuets 1-6

Toccata C Major D.Marianna de Portugal.(Allegro)

Menuets 7-12

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11:00 Charlotte Mattax, harpsichord

PROGRAM

"Music of Charles Noblet (1715-1769)"

Nouvelles Suites de Pièces de clavecin

Première Suite

Allemande

La Pétulante

La Bien-aimée

Deuxième Suite

La Promenade de St. Cloud

La Hongroise

La Sérieuse, Sarabande

Les Catalans

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11:30 Vivian Montgomery, harpsichord

PROGRAM

"Stateliness Transfigured: The Allemande's Expressive Journey

Through Moevement and Melancholy"

Prelude in F Major Louis Couperin (1626-1661)

Plainte faite a Londres pour passer la Melancholie, J. J. Froberger (1616-1667)

Laquelle se jour lentement avec discretion (Suite XXX)

Allemande & Double (Suite II, d minor) Dieterich Buxtehude (1637-1707)

Hollandische Nachtigal J. A. Reincken (1623-1722)

Allemande d'amour, BuxWV 233/1 Buxtehude

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12:00 Michael Tsalka, clavichord

PROGRAM

Two Kenner Sonatas by Daniel Gottlob Türk

Sonata III in B Minor, HedT.104.8.3 Daniel Gottlob Türk (1750 – 1813)

I. Allegro con espressione

II. Adagio cantabile e sempre piano

III. Allegro poco vivo

Sonata I in A Minor, HedT.104.8.1

I. Allegro assai e con spirito

II. Poco Adagio, patetico e sostenuto

III. Allegro di molto e con fuoco

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12:30 – 1:45 PM: Lunch on your own

2:00 PM: Concert: Delbert Disselhorst, Brett Wolgast, organ, CRH. Co-sponsored by River Valley Chapter, American Guild of Organists; open to the public.

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PROGRAM

Praeludium in e Nicolaus Bruhns

Sonata, K.255 Domenico Scarlatti

Sonata, K.288

Sonata, K.328

Praeludium in d minor, BuxWV 140 Dieterich Buxtehude

Delbert Disselhorst, organ

INTERMISSION

Praeludium in C Major Georg Böhm

Chorale Fantasy on "Nun freut euch, Dieterich Buxtehude

lieben Christen gmein" BuxWV 210

Passacaglia, BWV 582 Johann Sebastian Bach

Brett Wolgast, organ

==================================

3:30 – 7:00 PM: Exhibits open, view exhibits

(sign up) Open console for registrants wishing to try the Iowa organs

· Casavant III/58, 1971, Clapp Recital Hall (until 6 PM only)

· Taylor & Boody Op. 13, II/16, 1987, Krapf Studio

· Taylor & Boody continuo organ, Op. 42, I/4, 2002, HH (until 6 PM only)

· Schlicker II/22, 1971

· Brombaugh 8/8/8 practice organ

7:30 PM: Closing Concert: The University of Iowa Chapter, American Guild of Organists: Abendmusik: Dieterich Buxtehude, Organist in Lübeck, CRH.

==================================

PROGRAM

Dieterich Buxtehude

Organist in Lübeck

A Commemoration of the Three-Hundredth Anniversary

of the Composer’s Death in 1707

Exordium

Praeludium in g BuxWV 149

Please reserve applause until the conclusion of the program.

Inspired by the Spirit

Commentary: On Religion, Rhetoric, and the Stylus Phantasticus

Nun bitten wir den Heiligen Geist Setting: Wittenberg, 1524

Nun bitten wir den Heiligen Geist BuxWV 208

Praeludium in g BuxWV 148

A Master of Styles

Commentary: An Erudite Entrepreneur

Wie schön leuchtet der Morgenstern Setting: Philipp Nicolai, 1599

Wie schön leuchtet der Morgenstern BuxWV 223

Canzonetta in C BuxWV 167

Te Deum laudamus Plainchant (Fragment)

Te Deum laudamus BuxWV 218

Ordering of the Heavens and Earth

Commentary: The Waxing and Waning Passacaglia

Passacaglia in d BuxWV 161

Nun lob, mein’ Seel’, den Herren BuxWV 215

Nun lob, mein’ Seel’, den Herren Setting: Hans Kugelmann, 1540

Nun lob, mein’ Seel’, den Herren BuxWV 214

Peroratio

Commentary: Buxtehude Then and Now

Praeludium in C BuxWV 137

Saturday Evening Performers

Justin Brueck (BuxWV 208) is a M.A. student in Organ and Church Music at the University of Iowa. He received a B.A. in Biology with a secondary emphasis in Chemistry from Central College in 2006. While there, he studied organ with Mark Babcock and collaborated with Davis Folkerts, professor emeritus of organ. Currently, Justin serves as Principal Organist at St. Mary's Catholic Church in Iowa City and St. Mary's Catholic Church in Riverside, Iowa.

David Crean (BuxWV 218) just finished the third semester of his M.A. program in Organ Performance at the University of Iowa where he studies with Delbert Disselhorst. In December of 2006, he received his B.Mus in Organ and B.A. in Politics from Oberlin College in Oberlin, Ohio, where he studied organ with David Boe, and historical performance with Steven Plank. He is a three-time AGO scholarship winner and former host of the Oberlin Friday Night Organ Pump, one of the most highly attended organ recital series in the world. He currently serves as Organist at Gloria Dei Lutheran Church, Iowa City.

Michael Davidson (BuxWV 148) is a recent graduate organ major having studied with Delbert Disselhorst and Brett Wolgast. He began his studies at the age of five with Janet Mangin in his hometown of Sauk Prairie, Wisconsin. Throughout his course of organ study, Michael has had the privilege of working with several notable organists including Thomas Trotter and Olivier Latry, and is looking forward to finding employment and continued graduate studies.

Chad Fothergill (BuxWV 167) holds a baccalaureate degree in Music from Gustavus Adolphus College in St. Peter, Minnesota, and a M.A. degree in Organ Performance from the University of Iowa where he will begin the Ph.D. program in Musicology in August 2008. He has studied organ with Delbert Disselhorst and David Fienen, and choral conducting with Gregory Aune. He is presently organist at First Presbyterian Church, Iowa City, and also serves on the staffs of Iowa Summer Music Camps and the Lutheran Summer Music Academy and Festival.

Julia Howell (BuxWV 137) is a D.M.A. student in Organ Performance and Pedagogy at the University of Iowa, where she has studied organ with Delbert Disselhorst and choral conducting with Timothy Stalter. She earned the Certificate in Sacred Music from the same university in 2007 and the M.A. in Organ in 2006. Julia graduated from Lebanon Valley College of Pennsylvania in 2004 with a B.S. in Music Education and a B.A. in Music, having studied organ with Shelly Moorman-Stahlman, piano with Dennis Sweigart and choral conducting with Mark Mecham. She presently serves as Director of Music Ministries at Gloria Dei Lutheran Church in Iowa City.

Han Mi Kang (BuxWV 149) is a doctoral student at the University of Iowa, studying with Delbert Disselhorst. She received her B.A. in Church Music from Yonsei University in Seoul, Korea where she studied with Tong-Soon Kwak, and graduated with highest honors. While at the Yonsei University, she won the first prize at the Jang Cheun-Klais Organ competition in 2002. She also earned a M.M. degree in Organ Performance from the University of Texas at Austin where she studied organ with Frank Speller and improvisation with Gerre Hancock. She is the organist at Prince of Peace Lutheran Church, Coralville.

Matthew Palisch (BuxWV 161, BuxWV 215, BuxWV 214) a native of Jackson, Missouri, completed a M.A. degree in Organ Performance at the University of Iowa in May 2008. While there, he was a student of Delbert Disselhorst and served as the Research Assistant for the organ department. Matthew holds baccalaureate degrees in Organ Performance and Music Education from Southeast Missouri State University, and recently accepted the post of Director of Music and Worship at St. Paul Lutheran Church in Jackson, Missouri.

Aaron Sunstein (BuxWV 223) is pursuing a B.M. degree in Organ Performance at the University of Iowa, where he receives the Frawley Organ Scholarship as a student of Delbert Disselhorst. In April 2008, he was awarded first prize at the Twin Cities American Guild of Organists regional undergraduate competition, and was a featured performer for the Schubert Club in May at Luther Seminary in St. Paul.

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CONFERENCE PARTICIPANT BIOGRAPHIES

DAVID SCHRADER is equally at home in front of a harpsichord, organ, piano, or fortepiano, David Schrader is "truly an extraordinary musician ... (who) brings not only the unfailing right technical approach to each of these different instruments, but always an imaginative, fascinating musicality to all of them" (Norman Pelligrini, WFMT, Chicago). A performer of wide ranging interests and accomplishments, Mr. Schrader has performed at the American Guild of Organists’ national convention on four occasions performing as a featured artist with the Dallas Symphony Orchestra, the San Francisco Symphony Orchestra, and the Colorado Symphony Orchestra. Mr. Schrader has appeared as a soloist on organ and on harpsichord with the Chicago Symphony Orchestra having performed under the direction of Sir Georg Solti, Daniel Barenboim, and Pierre Boulez.  In addition, Mr. Schrader has appeared at the Brooklyn Academy of Music as the repetiteur and principal harpsichordist in Chicago Opera Theater’s highly acclaimed production of "Orfeo."  He was the featured performer at the prestigious Irving Gilmore Keyboard Festival, performing concerts on organ, harpsichord and clavichord.  And, Mr. Schrader appeared as a soloist at the Ravinia Festival under the direction of Nicholas McGegan performing all six of the Bach Brandenburg Concertos. He was the harpsichord soloist with the Nagaokakyo Chamber Ensemble in a tour of Japan under Yuko Mori and the Canadian baroque orchestra Tafelmusik in a European tour,  He has also performed at the Aspen Music Festival, the Michigan Mozartfest with Roger Norrington, the Connecticut Early Music Festival, the Manitou Music Festival, and the Woodstock Mozart Festival where he performed as soloist and conductor. Schrader's 17th recording for the Chicago-based indie label may be his best yet. Schrader's other recordings include concerti of J. S. Bach with the Stuttgart Chamber Orchestra, and continuo with the Chicago Symphony Orchestra for both recordings of Sir Georg Solti's "Creation", and the "St. Matthew Passion" and "Messiah".  Mr. Schrader has many releases of solo repertoire on the Cedille label, including the music of J.S. Bach, Soler, Franck, Vivaldi, Dupre and Domenico Scarlatti. His recording of Soler "Fandango & Sonatas" was described thus "We have never heard more beautiful, natural, realistic harpsichord sound... The playing? Excellent... There is no better recording on CD." (American Record Guide). Mr. Schrader has also recorded for the Centaur and CRI labels. He is on the faculty of Roosevelt University, Chicago College of Performing Arts - Music Conservatory for performance and academic studies.   From 1993 through 1995 he also directed the Collegium Musicum at Northwestern University. Since 1980, he has been the organist of the Church of the Ascension, whose liturgies command a national reputation for musical integrity. Schrader received a Doctor of Music degree in organ from Indiana University as well as the coveted Performer's Certificate.  He received a Bachelor of Music in piano and a Bachelor of Music in organ from the University of Colorado. His principal teachers have been Storm Bull, Abbey Simon, Oswald Ragatz, Anthony Newman and Everett Jay Hilty. 

PIETER-JAN BELDER studied the recorder with Ricardo Kanji at the Royal Conservatory of the Hague, and the harpsichord with Bob van Asperen at the Amsterdam Sweelinck Conservatory. He graduated in 1990 and immediately joined the staff of the Sweelinck Conservatory as coach and accompanist to the class of Walter van Hauwe. From 2001 - 2004 he taught harpsichord at the Rotterdam Conservatory. Since 1990 he has had a flourishing career as a harpsichordist, clavichord player, organist, forte-pianist and a recorder player. He has played at several international festivals, such as the Barcelona ‘Festival de Musica Antiga’, The ‘Festival Oude Muziek Utrecht’, the Berlin ’Tage für Alte Musik’, The Festival van Vlaanderen, Festival Potsdam Sancoussi, the Sacharov Festival in Nizhny Novgorod and the Leipzig ‘Bachfest’ . He regularly plays solo recitals. He is also very much in demand as a continuo player with such ensembles as the Radio Chamber Orchestra, Collegium Vocale Gent, Il Fondamento, Camarata Trajectina, the Gesualdo Consort and de Nederlandse Bachvereniging. He has worked with conductors such as Frans Brüggen, Ton Koopman, Paul Dombrecht, Philippe Herreweghe, Kenneth Montgomery and René Jacobs. Belder also accompanied soloists such as Johannette Zomer, Nico van der Meel, Harry van der Kamp, Sigiswald Kuijken, Rémy Baudet, Kate Clark and Saskia Coolen. He has made numerous radio and television recordings for the Dutch broadcasting companies, Belgium and German radio. Belder conducts his own ensemble Musica Amphion. In 1997 Pieter-Jan Belder was awarded the third prize at the Hamburg NDR Music Prize harpsichord competition. In 2000 he was winner of the Leipzig Bach harpsichord competition. In 2005 he made his debut as a conductor in the Amsterdam Concertgebouw, conducting Musica Amphion. He has made many CD-recordings, most of them solo and chamber music productions. In 1999 Belder was invited to cooperate in two important CD recording projects: 10 CDs in a complete Bach recording (Brilliant), and a CD in an Edison awarded complete recording of all the Keyboard works of the Dutch composer Jan Pieterszn. Sweelinck (NM classics) In 2001 he recorded several CD’s in a complete Mozart recording (Brilliant), including the KV 107 harpsichord concertos and a CD with variations for pianoforte. Currently Belder is working on a CD project (36 CD’s), recording all the harpsichord sonatas by Domenico Scarlatti, a project which occupied him until 2007, a memorial year of this great Italian/Spanish composer (1685-1757). In 2004 a complete recording of Telemann’s ‘Tafelmusik’ was released under his baton, as well as a CD focusing on two centuries of recorder music. The recording of Corelli’s Opera Omnia with Musica Amphion was released in april 2005. In 2006 he recorded Bach’s Brandenburg concertos as well his concertos for 2, 3 & 4 harpsichords with Musica Amphion. Currently Musica Amphion is recording the complete chamber music by Henry Purcell.

CRAIG CRAMER is Professor of Organ at the University of Notre Dame, a position he has held since 1981. He holds degrees from Westminster Choir College and the Eastman School of Music, where he earned the Doctor of Musical Arts degree in Organ Performance. The Eastman School also awarded him the prestigious Performer's Certificate in Organ. He has studied with Russell Saunders, William Hays, James Drake, David Boe, and André Marchal (Paris). Cramer has performed throughout the United States, Canada, and Europe. Cramer has studied more than two hundred historic organs in Europe. Frequently invited to perform on some of the most important historic organs in the world, Cramer’s recent European concerts included performances in Germany on the 1727 König in Steinfeld, the 1748 Gottfried Silbermann in Nassau, the 1692 Arp Schnitger in Norden, the 1624/1716 Scherer/ Röder in Tangermünde, and in the Netherlands on the 1725 Hagerbeer/ Schnitger in Alkmaar, the 1643 Bader in Zutphen, the 1727 Müller in Leeuwarden, and the 1696 Schnitger in Noordbroek. He has appeared as a soloist with the Toledo Symphony, the South Bend Chamber Orchestra, the South Bend Symphony, the Notre Dame Symphony Orchestra, and the Eastman Philharmonia. He recently performed the complete organ works of Johann Sebastian Bach in eighteen concerts using a distinguished set of mechanical-action organs in the state of Indiana; in 2007 he performed the complete organ works of Buxtehude in honor of the 300th anniversary of the composer’s death. Cramer is a frequent guest on the nationally-syndicated program "Pipedreams" (American Public Radio). He has released twelve CD recordings on Naxos, JAV, Arkay, Dominanat Music, Dulcian, Sonic Windows, and Motette.

DELBERT DISSELHORST is Professor of Music and Chairman of the Organ Department of the University of Iowa. An Illinois native, Disselhorst earned both the Bachelor and Master of Music degrees from the University of Illinois and graduated as a Bronze Tablet Scholar. Under a Fulbright grant, Disselhorst studied organ with Helmut Walcha at the Staatliche Hochschule fur Musik in Frankfurt am Main, Germany. He holds the DMA Degree from the University of Michigan, and was awarded the Palmer Christian Citation as a distinguished alumnus of the Michigan Organ Department. Teachers include Jerald Hamilton, Mildred Andrews Boggess, Marilyn Mason, and Russell Saunders. Disselhorst has performed in the United States, Canada, Europe, and Korea. He appeared as a recitalist for the Region VI American Guild of Organists Convention in Kansas City in 1979, in Milwaukee in 1981, and in Minneapolis in 1989. He also performed at the National Convention of the American Guild of Organists in Houston, Texas. European concert tours include recitals in Denmark, Germany, and France, including the Cathedral of Notre Dame in Paris. Disselhorst has been a featured artist for international festivals and concert series in the cathedrals of Trier and Limburg and the Munster in Freiburg, Germany. As a recording artist, Dr. Disselhorst has recorded two CDs, one on the Arkay label featuring organ works of Rorem and Pinkham, and one featuring Harmonische Seelenlust of G. F. Kauffmann on the Pro Organo label.

BRETT WOLGAST is Adjunct Assistant Professor of Organ and Church Music at the University of Iowa in Iowa City. He is also Adjunct Assistant Professor of Music and College Organist at Coe College in Cedar Rapids where he teaches organ, piano, and music theory-related courses. In addition, he is Cantor at First Lutheran Church in Cedar Rapids, IA, where his responsibilities include serving as organist, accompanist, and director of instrumental ensembles. Wolgast received his Bachelor of Music degree and Performance Certificate in Piano and Organ from Kansas State University graduating magna cum laude. He completed a Master of Arts degree in Piano Performance, a Master of Fine Arts degree in Organ Performance, and the Doctor of Musical Arts degree in Organ Performance and Pedagogy from the University of Iowa. His primary teachers include: Mary Ellen Sutton, Catharine Crozier, Delbert Disselhorst, and Delores Bruch – Organ; and Robert Edwards and John Simms – Piano. Wolgast achieved nation-wide recognition by winning two national competitions: the American Guild of Organists Open Competition in Organ Playing, and the Ft. Wayne National Organ Competition. He has performed throughout the United States as a guest recitalist for AGO chapters and conventions as well as church and civic concert series. He is also active in the field of church music having served as organist/choir director/worship coordinator for several churches in the Midwest as well as a clinician for sacred music workshops and classes.

CAROL LEI BRECKENRIDGE, Farver Professor of Music at Central College in Pella, Iowa, obtained Bachelor of Music and Master of Music degrees in piano from the University of North Carolina at Chapel Hill, and the Doctor of Musical Arts in Piano Performance and Pedagogy from the University of Iowa. She is a specialist on several keyboard instruments – piano, harpsichord, fortepiano, and clavichord. During the 1997-98 year, she studied fortepiano and Classical style with Malcolm Bilson through a Fellowship at Cornell University, and researched 18th-century keyboard music. Articles include “The Fortepiano and Classical Style” (Clavier) and “Haydn’s Keyboard Instruments and Sonatas” (Iowa Music Teachers¨). Her recording with Kristin Thelander (natural horn/fortepiano), “Music of the Early Nineteenth Century,” was released by Crystal Records in 1992. In 2004, her fortepiano recording of “Haydn and Mozart” was released.

ANN CHANG-BARNES is Artist-in-Residence (piano), Head of Arts Entrepreneurship, and Coordinator of Chamber Music at the University of Nebraska-Lincoln, School of Music. RECENT NEWS (April, 2008): The U.S. State Department Foreign Scholarship Board announces selection of Dr. Chang-Barnes as Fulbright Scholar to Belgium. During the summer months of 2009, she will be doing research on advancement of keyboard curriculum models, and performing in concerts, at the Royal Conservatory of Music in Brussels. Dr. Chang-Barnes joined the music faculty at the University of Nebraska in 1995 as both modern pianist, and fortepianist, and lecturer on Historical Instruments and Classic Performance Practice. During the 2007-08 season, Ann will perform numerous fortepiano concerts as soloist and with orchestra, and a recording project is underway, featuring the Walter fortepiano in performances of Sonatas and Fantasies by Haydn, Mozart and Beethoven. In July 2008, Ann will be performing at the International Fortepiano Workshop in Middelburg, the Netherlands as one of its featured artists.

I-FANG CHIANG was born in Taiwan and came to the US during her high school years. She received degrees from the San Francisco Conservatory of Music and Eastern Michigan University, where she completed a Master of Arts in harpsichord performance. She has served as the McAndless Scholar Graduate Assistant, and worked under a University Fellowship. Currently, she is MM candidate in organ performance, studying with James Wagner and Pamela Ruiter-Feenstra at Eastern Michigan University.

ALAN COLE became interested in early keyboard instruments thanks to his wife, a harpsichordist, as well as his love of the music of the Renaissance and Baroque periods. After meeting and beginning to work with Paul Irvin, in 2003, he began to think about the instruments more seriously and to tune harpsichords for various ensembles and institutions in and around Chicago. Since this time, thanks to Paul Irvin, he has gained much knowledge of and experience with many different instruments (clavichords, harpsichords, and fortepianos) and has now begun to build instruments as well as repair them. Alan lives in Chicago and is also an active composer with Master's and Bachelor's degrees in Music Composition from DePaul University as well as a proud father of 2 girls, Hania (4 years) and Maia (2 years).

MARTHA FOLTS, harpsichordist, clavichordist, and organist, presents recitals and workshops of 16th-18th century keyboard music throughout the Midwestern United States. She has played in Cincinnati, New York, Boston, Atlanta, colleges and universities in Pennsylvania, Ohio, Indiana, Michigan, Wisconsin, Iowa, Nebraska, South Dakota and Oregon. Her European concerts have been in The Netherlands, France, Germany, and Denmark. She completed the Doctor of Musical Arts Degree in harpsichord performance at the University of Michigan in 2000, studying with Edward Parmentier. She has taught on the faculties of Iowa State University, Miami University (Ohio), Adrian College, Michigan, and at the School of Music at the University of Michigan. Dr. Folts has presented lecture/recitals on aspects of the music of Frescobaldi and Domineco Scarlatti for the Midwest Historical Keyboard Society and for the Italian Festival at the University of Michigan. Martha Folts is a founding member of La Gente d’Orfeo, an ensemble which specializes in 17th-century Italian repertoire, touring in the Midwest. She has recorded for the Delos, Musical Heritage Society and Harpsicat labels, and her recorded performances on both organ and harpsichord have been broadcast on WGUC-FM in Cincinnati and over Minnesota Public Radio.

RICHARD FOUNTAIN originally from Springfield, NE, received his Doctor of Musical Arts degree in Piano Performance from the University of Nebraska-Lincoln, studying with internationally celebrated pianist Paul Barnes.  Dr. Fountain received his Master of Music degree in Piano Performance from the University of Nebraska-Lincoln and his Bachelor of Music degree in Piano Performance from Taylor University in Upland, IN.  He has been a soloist with the Marion Philharmonic Orchestra, the UNL Symphony Orchestra, and will be a soloist with Lincoln’s Symphony Orchestra in October, 2008.  Since the fall of 2006, Dr. Fountain has held the position of Principal Keyboard in Lincoln’s Symphony Orchestra.  He has recently developed an interest in early pianos, and has studied fortepiano with Dr. Ann Chang-Barnes at UNL and with Malcolm Bilson at a Cornell University workshop.  He will attend this summer's International Fortepiano Workshop in Middelburg, The Netherlands, studying with Bart van Oort and Malcolm Bilson.

LORRAINE GILLETTE is a native of San Diego, California, and has been playing violin and viola for 12 years. In addition to pursuing her interest in the Baroque violin, Lorraine studies modern violin and viola at the University of Iowa. She is a graduate of Interlochen Arts Academy, where she studied with David Holland, and later attended the conservatory at Lawrence University in Appleton WI, studying with Matthew Michelic. While a student at Lawrence, Lorraine spent one semester in London studying Baroque violin with Miles Golding of the English Concert, and studying the music, art, and politics of seventeenth and eighteenth century Britain. The Baroque violin she performs on comes from the collection generously given to the University of Iowa by the estate of the late violin professor Leopold La Fosse.

NICHOLAS GOOD studied piano, organ, and harpsichord while a student at the University of Illinois. In recent years he has continued his harpsichord studies with Edward Parmentier at the University of Michigan. He has presented harpsichord concerts throughout the Midwest, and has served as a member of the Kansas Touring Artists Roster, bringing the sound of the harpsichord to small communities in the state. He is the continuo player for the Lawrence Chamber Orchestra in Lawrence, KS, and also performs regularly with chamber groups in Topeka, in addition to serving as a church organist.

MARY HEIDEN is a candidate for the Ph.D. in Musicology at the University of North Texas. Focusing her studies on Historical Performance, she is a Teaching Fellow in harpsichord and accompanist for the UNT Collegium Singers and Baroque Orchestra. With degrees in piano performance from the Lawrence University Conservatory of Music (WI) and Stephen F. Austin State University (TX), before coming to UNT she taught music literature, theory, and voice at Kilgore College (TX). Named UNT’s Outstanding Graduate Student in Musicology in 2005, she is currently writing her dissertation, “Connoisseurship and Antiquarianism in the Age of Revolution: The Making of the Fitzwilliam Collection (1763-1815).”

ASAKO HIRABAYASHI has been described by The Music Connoisseur as “an impressive talent, brilliant,” and by The New York Concert Review as “a gifted harpsichordist with genuine… refined sensibilities for phrasing, dynamic gradations and nuanced tonal beauty”. She has performed as a soloist throughout the U.S., Europe, and Japan. Her New York debut recital at Carnegie Hall resulted from a winner of Special Presentation Award. She has been awarded numerous grants and scholarships including the Irene Diamond Scholarship from Julliard School, the Fund for U.S. Artists at international festivals and exhibitions. She is also a composer, taking a first prize in Alienor International Harpsichord Composition Competition sponsored by SEHKS in March, 2004 and a first prize in a Composition Competition sponsored by NHK, Japanese television network in 1987. Her pieces are published by Skyline publications Inc. and Tundradogs Inc. She holds Bachelor’s and Masters degrees in composition from the Aichi Art University in Japan. She completed Doctorate in harpsichord performance at the Juilliard School (1998) and has studied with Lionel Party, Albert Fuller, Edward Parmentier and Eiji Hashimoto.

ALAN HUCKLEBERRY is assistant professor of piano pedagogy and collaborative arts at The University of Iowa. He has performed across Europe, Australia, South America and the United States and is a sought-after soloist, chamber musician, master class clinician and pedagogy lecturer. Compact disc recordings of his can be heard on the Crystal Records label.

PAUL Y. IRVIN started his musical education learning the trumpet in 4th grade, and played in school and community bands and orchestras through high school. He earned a B.A. in Chemistry, and subsequent teaching in the Chicago ghettoes for seven years filled in some gaps in his education. Having learned from his father how to use his hands and question things, Paul stumbled into the challenge of building early keyboard instruments in 1970. Over sixty harpsichords and clavichords later, with visits to many historical keyboard collections and additional studies in acoustics, neurobiology and sense training, Paul is still exploring sound, sound production, energy management, and how humans form perceptions and acquire skills. He has written a variety of articles and book reviews for various publications in North America and Europe. He has a successful business of early keyboard instrument building, rebuilding and service for a world-wide clientele, and has enough instrument orders to see him well into retirement.

DAVID C. KELZENBERG has studied music performance and music theory at Quincy University and The University of Iowa. He has an interest in and has performed on all keyboard instruments, including the organ, harpsichord, clavichord, and piano, and has made a special study of the history of early keyboard performance practice in the 20th (and 21^st) century. He has taught music theory, French horn, trumpet, organ, and piano. His principal organ teachers have included Richard Haas, Rudolph Zuiderveldt, and Gerhard Krapf. He is co-owner of the international Internet mailing list PIPORG-L (devoted to the organ), and founder and co-owner of HPSCHD-L (devoted to stringed early keyboard instruments such as the harpsichord and clavichord). He is also a freelance writer, with articles on music published in the Diapason, Theatre Organ, Continuo, and other periodicals, journals, and newspapers, as well as on the web. He serves on the Board of Directors of the Midwestern Historical Keyboard Society, the Cedar Rapids Area Theatre Organ Society, and the Iowa City Early Keyboard Society. David Kelzenberg lives in Iowa City, Iowa, where he is employed as an administrator at the Pomerantz Career Center of the University of Iowa.

NINA KEY Nina Key is harpsichordist with the original instrument ensemble, Apollo's Cabinet, and is a faculty member at Northern Kentucky University where she teaches organ and harpsichord and coordinates the aural skills area. She holds degrees in organ and harpsichord from the University of Oregon (where she was elected to Phi Beta Kappa) and the University of Illinois; she also studied for two years on a Fulbright grant in The Netherlands with Gustav Leonhardt. Ms. Key has played solo and chamber music recitals throughout the United States and has performed as a soloist and continuo player with the Cincinnati Chamber Orchestra, the Northern Kentucky Symphony and the Dayton Bach Society. She is a past president of the Midwestern Historical Keyboard Society and currently serves as chair of the Journal Oversight Committee for the Early Keyboard Journal. Her paper, “Melodic and Thematic Elements as Determinants of Form in the Scarlatti Sonatas” was presented at the FIMTE conference in Spain.

MICHAEL KIMBER has played baroque violin and viola since 1985. His baroque studies during several summers at the Oberlin Baroque Performance Institute were with Marilyn McDonald, Sarah Sumner, Kenneth Slowik, and other early music specialists. He was a founding member of the Oread Baroque Ensemble at the University of Kansas, where he was viola professor for twenty years. An advocate of historically informed performance on both period and modern instruments, he is especially interested in historical tunings and temperaments in relation to modern intonation practices.

EDWARD KOTTICK had a professional career as a trombonist early in his life.  He is making his MHKS debut as a performer on the Baroque trombone.

SONIA LEE has appeared as a soloist, duo-keyboardist, chamber musician, and guest conductor in North America, Europe, and the Far East. She has won numerous prizes and grants, including first prize in the 2007 Galaxie-CBC/Radio Canada Rising Star Competition, and the Jurow Prize in the 2007 Meg & Irving Jurow International Harpsichord Competition. She holds degrees in Early music from McGill University and is a Fellow of Trinity College, London. She is currently pursuing two doctoral degrees at the University of Illinois, where she directs the Collegium Musicum.

SANDRA MANGSEN has taught musicology and historical keyboard at the University of Western Ontario since 1989, where she co-directs an active Early Music Studio. She has presented papers at numerous international conferences and has published articles and reviews in many professional journals, including Early Music, Early Keyboard Journal, Music & Letters, and Performance Practice Review. She contributed to The New Grove Dictionary (rev. ed, 2001) and has seen her work included in several essay collections. She is currently working on a book dealing with keyboard arrangements of baroque and late renaissance vocal repertoire. Sandra recorded cantatas and trio sonatas of Buxtehude with Mary Cyr and the late Allan Fast (McGill Records) and in 2000 independently released Entretiens, a CD devoted to solo harpsichord music of Le Roux, Marchand, D’Anglebert, Froberger, and Chambonnières.

CHARLOTTE MATTAX first gained critical attention as a top prize-winner in 1980 and 1983 at the International Harpsichord Competitions of Bruges and Paris. She was honored with a Solo Recitalist Grant from the National Endowment for the Arts and a Woolley Scholarship for study in Paris. Professor Mattax studied with Gustav Leonhardt at the Sweelinck Conservatory, Bob van Asperen at the Hague Conservatory, and Kenneth Gilbert in Paris. She has performed in the United States and Europe, including appearances in London, Geneva, Paris, Amsterdam, Rome, and Salzburg. As a guest artist, Professor Mattax has been heard at major music festivals, including Saratoga Festival, Festival of the Associazione Musicale Romana, Tage alter musik Regensburg, San Luis Obispo Mozart Festival, and Bethlehem Bach Festival, at which she appears regularly. As a chamber musician, she has performed with New York's Grande Bande as well as San Francisco's American Baroque, and has toured Europe with the Orpheus Chamber Orchestra. Her solo recordings include toccatas and partitas of J.S. Bach (Koch International Classics) and the harpsichord sonatas of Wilhelm Friedemann Bach (Centaur Records). She has also recorded for Dorian Recordings, Newport Classic, and Amon Ra Records. 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 is an associate professor of harpsichord and musicology at the University of Illinois.

VIVIAN MONTGOMERY teaches harpsichord and performance practice at the University of Cincinnati’s College Conservatory of Music. She holds prizes from the Warsaw International Harpsichord Competition and other prominent competitions. A recipient of a Solo Recitalist Fellowship from the NEA, she earned her Masters Degree in Early Keyboards from the University of Michigan and the DMA from Case Western Reserve University. Recorded performances have been issued on Centaur Records, the Schubert Club’s 10,000 Lakes label, and Innova.

GAIL OLSZEWSKI has played solo and chamber recitals on piano, fortepiano, harpsichord, organ, harmonium, celesta and synthesizer in the United States, Canada, Europe, Australia and Central America. Performance highlights include soloist in the piano concerto of Clara Schumann with the Minneapolis Philharmonic in 2002, harpsichord soloist with the St. Paul Chamber Orchestra in 2003, solo modern piano and fortepiano recitals in Canberra, Australia in 2004, fortepiano recitals in 2005 and 2007 on the Frederick Collection’s concert series in Ashburnham, Massachusetts, featured soloist on piano and celesta in Georgy Ligeti’s “Chamber Concerto” in 2006 with the St. Paul Chamber Orchestra. Dr. Olszewski is a founding member of The WolfGang (www.thewolfgang.org), dedicated to authentic instrument performance of music of the Classic period. She received a Bachelor of Arts degree from the University of New Hampshire, a Master of Music degree in Piano Performance from Boston University, and the degree Doctor of Musical Arts in Accompanying and Coaching from the University of Minnesota. Dr. Olszewski has studied fortepiano at the Baroque Performance Institute at Oberlin with Penelope Crawford, with David Breitman as part of the Vancouver Early Music Programme and the Classical Chamber Music Workshop at Oberlin, Jacques Ogg at the Vancouver Early Music Programme and Tom Beghin at McGill in Montréal. Dr. Olszewski is a faculty member of the MacPhail Center for Music in Minneapolis.

DENNIS PEDDE is a graduate of the American Conservatory of Music in Chicago, IL (BM and MM in Trumpet Performance), Southern Baptist Theological Seminary in Louisville, KY (double major in Church Music and Music Theory), and has completed all course work and recitals towards the DMA in Trumpet Performance & Pedagogy at the University of Iowa.  He currently teaches trumpet at Central College (Pella) and Kirkwood Community College (Cedar Rapids).  He plays Principal Trumpet in two Southeast Iowa Community Orchestras, and has taken up the Cornetto in recent years.

CHRISTINE RUTLEDGE is well-known to audiences around the United States and abroad. Her performances as soloist and chamber musician on modern and Baroque viola are numerous and diverse and have taken her to locales from Des Moines, Iowa to Reykjavík, Iceland. Rutledge has been Associate Professor of Viola at Iowa since 1998, and was head of the string area for six years. She is a graduate of the Interlochen Arts Academy, the Curtis Institute of Music, and the University of Iowa, where she received her MA degree and was a teaching assistant for William Preucil, Sr. Her performances and recordings with the Notre Dame String Trio have received high praise from The Strad, Fanfare, American Record Review, New York Concert Review, and The New York Times. Her newest CD, The Blissful Viola, music of Clarke, Bridge, and Bliss with pianist Ksenia Nosikova is available on the Centaur label.

SUSANNE SKYRM specializes in both modern and early piano, and combines performing with research interests in Spanish and Latin American keyboard music. Currently on the faculty of the University of South Dakota, Skyrm has degrees from the College of Idaho and the University of Cincinnati, as well as a DMA from the University of Colorado. As a period instrument specialist, she has performed on original pianos in Belgium, Scotland, England, Spain, and the USA. The recent recipient of the South Dakota Governor’s 2010 Research Seed Grant, she is compiling and editing a collection of 18^th-century Spanish keyboard music.

DAVID SUTHERLAND is a maker of keyboard instruments in Ann Arbor. After completing graduate work in musicology at the University of Michigan and beginning a teaching career he became interested in harpsichord making and apprenticed in the shop of Frank Hubbard in Boston, and returned to Ann Arbor to set up shop in 1974. In recent years he has become interested in the works of Bartolomeo Cristofori, inventor of the piano action, and has made copies of pianos by Cristofori and by his followers, Giovanni Ferrini and Gottfried Silbermann, the first German piano maker. He has conducted research on the early piano and is at work on a book to be entitled "The First Age of the Piano, 1700- 1781.

KRISTIN THELANDER has been the Director of the University of Iowa School of Music since 2000, having previously been professor of horn. She has had a rich and active performing career on both natural horn and modern horn, appearing as a soloist and chamber musician throughout the United States, Europe, Mexico, Brazil, South Korea, and the People's Republic of China. She has been a featured artist at many regional and international horn workshops and international brass symposia, and she has performed with summer orchestra and chamber music festivals in Colorado, Oregon, and New York. She and Carol lei Breckenridge collaborated on a highly acclaimed CD, Music of the Early 19th Century for natural horn and fortepiano, which is available from Crystal Records.

MÁRIO TRILHA obtained the Diploma in Music (Piano) at the University of Music in Rio de Janeiro, while simultaneously doing studies of Analysis and Choir Conducting at the Pro-Arte (Rio de Janeiro). In 1999, he concluded the Masters degree in Performance (Künstlerisches Aufbaustudium), specialising in Harpsichord at the Staatliche Hochschule für Musik Karlsruhe (Germany). Between 1998 and 2000 he attended the “Supérieuer” Course of Harpsichord directed by Olivier Baumont at the Conservatoire National de Region of Rueil-Malmaison (Paris, France) and was unanimously voted the highest degree qualification (Medaille d'Or à l'Unanimité). Further studies were done at the Municipal Conservatoire de la Ville de Paris "Claude Debussy” in 2000 where he attended the class of Early Music in Clavichord, Harpsichord and Through-bass. Further studies were undertaken in clavichord with Jean-Claude Zehnder at the Schola Cantorum Basiliensis in Basel, Switzerland in 2003. Finalist in the "Promusicis" Competition in October 2004, he performed at Carnegie Hall in New York, United States. As well, he has given several solo recitals and performed with the various orchestras and ensembles in Brazil, Portugal, Germany, France and Switzerland. Currently, he is a Phd student of Music at the University of Aveiro under a grant from the Portuguese Foundation of Science and Technology.

MICHAEL TSALKA has won prizes, awards and fellowships in Rome, Bayreuth, Bonn, Paris, Genoa, Calabria, Sardinia, Tel-Aviv, Chicago, Minneapolis, Berlin and Philadelphia. Tsalka was born in Tel-Aviv, Israel. After obtaining a bachelor’s degree in Tel-Aviv University, he continued studies in Germany and Italy. In 2001 he received a piano solo diploma from the Scuola Superiore Internationale del Trio di Trieste. Since 2002 he has been studying at Temple University under the guidance of Joyce Lindorff, Harvey Wedeen, and Lambert Orkis. Mr. Tsalka holds a masters degree in chamber music/accompanying from Temple. This month he received a doctorate in piano performance and a masters in harpsichord performance from Temple. His dissertation centered on Daniel Gottlob Türk’s unknown forty-eight keyboard sonatas. This year, his article on this subject will appear in Clavicordio VIII in Italy

MAX H. YOUNT, organist, harpsichordist and composer, is Professor and Chair of the Department of Music at Beloit College where he teaches music history and theory of all levels, organ, harpsichord and composition. As the permanent harpsichordist of the Wisconsin Baroque Ensemble, he regularly coaches student ensembles, and teaches music theory and history. As past Dean of the American Guild of organists, Madison chapter, and past President of the Midwestern Historical Keyboard Society (MHKS), he has presented many recitals and papers at meetings of the latter and at the American Musicological Society, Midwest Chapter. He has made several concert tours of Germany as organist and harpsichordist. At home his many performances as soloist and in ensemble have recently included concertos (Bach's Fifth Brandenburg, and Poulenc’s Concert Champêtre) with area orchestras. With B. Mus. From Oberlin College and M. M., and D.M. A. from Eastman School of Music, he has studied organ with Fenner Douglass and David Craighead, harpsichord with Isolde Ahlgrimm and Louis Bagger, and composition with Louis Mennini. Recent compositions have included Duo for violin and harpsichord, performed at the MHKS meeting in St. Paul, Minnesota in April 2007. A new organ work, Our God, Our Help, was premiered in October 2007.

We wish to express our deep gratitude to the River Valley Chapter of the American Guild of Organists, the Iowa City Early Keyboard Society, the University of Iowa Chapter of the American Guild of Organists, and the University of Iowa School of Music for their generous support of this conference. We also wish to thank our exhibitors, without whom this conference could not take place.

HOTEL INFORMATION

The preferred hotel for the conference is the Iowa House Hotel, located in the Iowa Memorial Union on the campus of the University of Iowa. It is easy walking distance (equivalent to one long block) from all events being held at the School of Music, and is in the same building where the banquet and reception will be held.

MHKS has arranged for a special rate of $75 per night for single or double occupancy. PLEASE INDICATE that you are a MHKS conference attendee when making a reservation.

IOWA HOUSE RESERVATIONS: 319-335-3513 iowa-house@uiowa.edu

Or visit http://www.iowahousehotel.com/

There are many other chain and independent hotels available in Iowa City and Coralville. However, only the Iowa House is within easy walking distance of all conference events, and provides FREE PARKING for guests.

TRAVEL INFORMATION

Iowa City, the home of the University of Iowa, is located in East Central Iowa. It is easily accessed from Interstates 80 and 380, US Highways 218 and 6, and Iowa Highway 1.

AIR

For air travel, best connections are made at the Cedar Rapids (Eastern Iowa) airport. An airport shuttle service is available to/from the Iowa House Hotel in Iowa City (approx. 30 miles) and other motels in Iowa City and Coralville. Contact the EASTERN IOWA AIRPORT SHUTTLE SERVICE directly to arrange this, at least 24 hours before your arrival in Cedar Rapids. Cost for shuttle service is $35 (one way) or $65 (round trip). Additional passengers to same destination are just $5, so carpooling is encouraged! You can reach the Eastern Iowa Airport Shuttle Service at 1-800-725-8460 or www.crshuttle.com.

RAIL

Nearest stations are Mt. Pleasant, IA, served by Amtrak's California Zephyr (approx. 1 hour from Iowa City), and Ft. Madison, IA, served by Amtrak's Southwest Chief (approx. 1-1/2 hour from Iowa City). Local transportation between these Amtrak stations and Iowa City would need to be arranged.

CAR

Iowa City is located on Interstate 80 roughly midway between Chicago and Omaha, and on the "Avenue of the Saints" (US 218) roughly midway between Minneapolis and St. Louis. Leisurely driving time from each of these cities (as well as Kansas City) varies from about four to six hours.

Click here for MAP

CONFERENCE REGISTRATION INFORMATION

____ Full conference registration $150 (until April 15, 2008) $175 (after April 15)

Includes opening reception, all concerts and events, and banquet

_____ beef entrée _____ chicken entrée _____ vegetable entrée

____ Full conference registration as above, FULL-TIME STUDENT

$100 (until April 15, 2008) $125 (after April 15, 2008)

Note meal menu preference above

____ Individual day registration, check all that apply:

____ Wednesday, May 21 (includes opening reception) $ 35/$25 (student)

____ Thursday, May 22 $ 50/$35

____ Friday, May 23 (includes banquet) $ 75/$50

Note meal menu preference above

____ Saturday, May 24 (includes masterclass) $ 35/$25

____ Additional tickets for banquet, annual meeting, @ $30 $__________

(#) _____ beef entrée _____ chicken entrée _____ vegetable entrée

____ Contribution to support this conference (Thank you!) $__________

____ Contribution to Ben Bechtel Award (Thank you!) $__________

____ MHKS Membership @ $45 (student $25, life $500) $__________

(Not required for conference attendance, but encouraged!)

TOTAL ENCLOSED $__________

NAME:_______________________________________________________________

ADDRESS:____________________________________________________________

CITY/STATE/ZIP/COUNTRY:____________________________________________

E-MAIL:______________________________________________________________

_____ I wish to be an EXHIBITOR at the conference (see below)

Print and submit this form with your check made payable to MHKS. Send to:

NORMAN RODGER and ANITA SMITH, REGISTRARS

NORTH MEETS SOUTH

MHKS 2008 CONFERENCE

1700 WEST HURON

CHICAGO, IL 60622 USA

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EXHIBITOR INFORMATION

Secure space will be provided for conference registrants who wish to exhibit instruments for sale, music scores, recordings, or other items of interest. Those who wish to exhibit items will be assigned space in Dixon Hall. Chairs will be available for exhibitors, however, NO TABLES or other accoutrements will be provided! Exhibitors will be required to provide their own vehicles for display of their wares. Ideal time for moving in and setting up of exhibits and instruments will be between 2:00 and 7:00 PM on Wednesday, May 21. However, opportunities for setup outside of this "window" may be arranged in advance.

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THE BEN BECHTEL AWARD

To honor his long tenure of distinguished service to the Midwestern Historical Keyboard Society, the Board of Directors in 2007 created the Ben Bechtel Award. This award will be presented annually to a promising student with an interest in early keyboard instruments. The award will underwrite the cost of attendance at the next MHKS annual conference, with the goal of fostering interest in early keyboard instruments and the Society among younger people.

Anyone under the age of 30 who is currently learning to play, build, or otherwise expresses interest in any early keyboard instrument (organ, harpsichord, clavichord, fortepiano, etc.) is eligible to be nominated for the Ben Bechtel award. A statement describing the student's interest and aspirations and a letter of recommendation from a teacher will comprise a nomination for the award. Nominations should be sent to David Breitman, 382 Elm St., Oberlin, OH, 44074, USA, or by e-mail to david.breitman@oberlin.edu by March 1^st of each year, to be considered for attendance at that year's annual meeting. Winner will be announced by April 1^st.

The committee that oversees the Ben Bechtel Award appreciates your generous financial support. A line on this registration form allows you to make a contribution as you register for the conference. Thank you!