x international clavichord symposium - Musica Antica a Magnano

X INTERNATIONAL CLAVICHORD SYMPOSIUM
The early clavichord from first iconographical documents to the earliest extant instruments
(organology and repertoire)
The pedal clavichord, from its origins to the eighteenth century
The clavichord in the nineteenth century
6 – 10 SEPTEMBER 2011
INTERNATIONAL CENTRE FOR CLAVICHORD STUDIES
Magnano (BI) – Italy

Daniele Crespi (1597 / c. 1600 – 1630), Angel Musicians.
Fresco, Choir, Certosa di Pavia (Italy)
Photo: Bernard Brauchli

ASSOCIAZIONE FESTIVAL MUSICA ANTICA A MAGNANO
Bernard Brauchli, President
X INTERNATIONAL CLAVICHORD SYMPOSIUM
6 – 10 SEPTEMBER 2011
O RGANISED BY THE INTERNATIONAL CENTRE FOR CLAVICHORD STUDIES

CO- CHAIRMEN
BERNARD BRAUCHLI CHRISTOPHER HOGWOOD
ORGANISATION COMMITTEE
Derek Adlam Peter Bavington Thérèse Cuttelod
Alberto Galazzo Judith Wardman
SPONSORS
ASSESSORATO ALLA CULTURA DELLA REGIONE PIEMONTE
FONDAZIONE WILLY BRAUCHLI
FONDAZIONE CASSA DI RISPARMIO DI BIELLA
COMUNE DI MAGNANO
PARROCCHIA DI MAGNANO
Musica Antica a Magnano
Via Roma 43
13887 Magnano (BI), Italy
Tel.: +39 346 8818386 Fax: +39 015 67 92 60
info@MusicaAnticaMagnano.com www.MusicaAnticaMagnano.com

BENVENUTO
Quasi vent’anni fa, quando vivevo vicino a Boston, ho avuto il piacere di una prima visita di Christopher Hogwood, suggerita dal mio professore e amico
Macario Santiago Kastner, uno dei pionieri della rinascita del clavicordo. Durante la nostra conversazione, abbiamo scoperto la nostra comune passione per
questo strumento; considerando che l’interesse per il clavicordo era proprio di persone spesso isolate e senza la possibilità di comunicare e di scambiare
esperienze, siamo arrivati alla conclusione sulla necessità di creare una piattaforma d’incontro per musicisti, musicologi, restauratori e costruttori desiderosi
di proseguire l’azione dei pionieri della rinascita del clavicordo, iniziata alla fine dell’Ottocento. Presto siamo arrivati alla conclusione che Magnano, in virtù
della quiete delle colline della Sera e della presenza dell’Associazione Musica Antica a Magnano, fosse il posto d’incontro ideale. Alcuni mesi dopo, nel
settembre 1993, si tenne proprio a Magnano il primo Simposio Internazionale sul Clavicordo, con circa quaranta partecipanti provenienti da molti paesi
d’Europa e dagli Stati Uniti.
Questo primo incontro ha permesso di riunire le conoscenze già acquisite, di farne una sintesi, e di delineare futuri ambiti di ricerca. La presenza e l’ascolto
di un numero di strumenti mai riuniti nel passato in un solo luogo consentirono anche ai costruttori esperti di comparare i loro esperimenti. Le relazioni
presentate durante questo primo convegno furono pubblicate l’anno successivo e fu adottato un ritmo biennale.
Diciotto anni dopo, ci ritroviamo con lo stesso piacere e una curiosità mai esaurita; il clavicordo ci offre ancora un mondo di riflessione non esausto, un
mondo che affascinava molti già cinquecento anni fa e che continua a offrire un inesauribile campo di riflessione e di attenta considerazione. Auguro, a voi
tutti, sia ai frequentatori abituali e sia a coloro che si uniscono a noi per la prima volta, un piacevole soggiorno in questo piccolo paese della Serra, e
ringrazio tutte le persone che si dedicano all’organizzazione di questo Simposio.
Bernard Brauchli
Ogni anno, il progresso del clavicordo è emblematico del detto Plus Fait Douceur Que Violence, particolarmente appropriato per “questi tempi turbati”.
Speriamo, perciò, che i giorni trascorsi a Magnano in compagnia di questi suoni delicati siano portatori di bene a tutti voi che qui siete i benvenuti. Inoltre,
il lavoro tenace di costruttori, restauratori, collezionisti, conservatori e musicologi conferisce un senso certamente più pratico a quella che potrebbe
altrimenti sembrare un’attività piuttosto sfiziosa. Nella conservazione e nella diffusione di questa musica vi è un grande e duro lavoro, per non dire degli
sforzi necessari all’organizzazione dei nostri incontri regolari, qui, in così piacevoli luoghi. Accogliamo con grande piacere il vostro supporto ed
entusiasmo per questa impresa e auspichiamo che passerete dei giorni settembrini incantevoli in compagnia della “madre di tutti gli strumenti”.
Christopher Hogwood

WELCOME
Nearly twenty years ago, when I was living near Boston, I had the pleasure of a first visit from Christopher Hogwood, suggested by my professor and friend
Macario Santiago Kastner, one of the pioneers of the rebirth of the clavichord. During our conversation, we discovered our common passion for this
instrument; agreeing that people interested in the clavichord were often isolated and without the means to communicate and exchange experiences, we came
to the conclusion that there was a need to create a meeting place for musicians, musicologists, restorers and builders who desired to continue the work of the
pioneers of the clavichord’s rebirth, which had begun at the end of the nineteenth century. We quickly came to the conclusion that Magnano, in the calm of
the hills of la Serra and the home of the Association Musica Antica a Magnano, was the ideal setting for such a meeting. In September 1993, the first
International Symposium on the clavichord was held in Magnano, with about forty participants coming from many European countries and the United States.
This first congress allowed us to collect the knowledge already acquired, to make a synthesis, and to delineate future fields of investigation. The presence
and the audition of a number of instruments never before assembled in a one space also allowed also builders to compare their experiments. The
communications given during this first symposium were published the year after, and a biennial rhythm was adopted.
Eighteen years later, we meet here again with the same pleasure and a curiosity never exhausted: the clavichord still offers us a world of study which already
fascinated many five hundred years ago, and which never ceases to offer us a inexhaustible field of reflexion and of meditation. I wish you all, you the “old
comers”, and those who come here to us for the first time, a pleasant sojourn in this small village of la Serra, and I thank all those who are working for the
success of this Symposium.
Bernard Brauchli
Every year the advancement of the clavichord illustrates that “Plus Fait Douceur Que Violence” — is a motto especially appropriate for “these distracted
times“. We hope, therefore, that a few days spent in Magnano in the company of these delicate sounds will be beneficent to all of you who are welcomed
here; in addition, the stalwart work of makers, restorers, collectors, custodians and musicologists gives a tougher practical edge to what might otherwise
seem a rather dainty activity. There is much hard labour involved in preserving and making public this music (none less than the efforts required to organise
our regular meetings here in such refreshing surroundings). We very much welcome your support and enthusiasm for this crusade and hope you enjoy your
September days in the company of “the mother of all keyboard instruments”.
Christopher Hogwood

ASSOCIAZIONE FESTIVAL MUSICA ANTICA A MAGNANO
The Associazione Festival Musica Antica a Magnano was initially conceived to promote period-instrument concerts in the twelfth-century
Romanesque church of San Secondo and performances on the Giovanni Bruna organ, built in 1794 and housed in the parochial church of
Magnano. Over the years the activities organised by the Association have expanded to include courses in early keyboard performance
(clavichord, harpsichord, organ and fortepiano), as well as voice, choir conducting, recorder, viola da gamba, hurdy-gurdy, musicology and
organology. A music library has been established and the restoration of the church of Santa Marta in Magnano is currently underway and
already serving as a cultural hall.
L’Associazione Festival Musica Antica a Magnano è un’organizzazione inizialmente concepita per proporre concerti di musica antica con
strumenti d’epoca e sull’organo costruito nel 1794 da Giovanni Bruna per la Chiesa parrocchiale di Magnano. Tale iniziativa si è
sviluppata nel corso degli anni promuovendo corsi sugli antichi strumenti a tastiera (clavicordo, clavicembalo, organo e fortepiano) e canto,
direzione di coro, flauto dolce, viola da gamba, ghironda, musicologia e organologia. É stata creata una biblioteca ed è in corso il recupero
della Chiesa di Santa Marta, ma già utilizzata come spazio culturale.
THE INTERNATIONAL CENTRE FOR CLAVICHORD STUDIES
Officially established in 1996 as another of the activities of the Association, the Centre acts as a catalyst for the promotion of the clavichord.
Apart from the Symposium and the publishing of the Proceedings, the Centre hosts workshops specifically dealing with building and
performance. The Centre has also undertaken the publishing of music either written for the clavichord or especially adaptable for that
instrument.
Ufficialmente creato nel 1996 come nuova attività dell’Associazione, Il Centro agisce come catalizzatore per la promozione del clavicordo.
Oltre il Congresso e alla pubblicazione degli Atti, il Centro ospita seminari specificamente dedicati alla costruzione e all’interpretazione. Il
Centro ha anche intrapreso l’edizione di musica scritta per il clavicordo o adatta a questo strumento.

PARTICIPANTS
DEREK ADLAM (England) – keyboard instrument maker, performer, president of the British Clavichord Society
PETER BAVINGTON (England) – clavichord maker, chairman of the British Clavichord Society
LOTHAR BEMMANN (Germany) – archivist of the German Clavichord Society
BERNARD BRAUCHLI (Switzerland) – performer, musicologist, president of Musica Antica a Magnano
ROMAN CHLADA (Austria) – performer
GREGORY CROWELL (U.S.A.) – editor of Clavichord International
MADS DAMLUND (Denmark) – organist, Jaegersborg Church (near Copenhagen)
ULRIKA DAVIDSSON (U.S.A.) – assistant professor, Historical Keyboard Instruments, Eastman School of Music, Rochester NY
DOROTHEA DEMEL (Germany) – chemist, musicological researcher
ANDREAS ERISMANN (Switzerland) – performer
DIETRICH HEIN (Germany) – clavichord maker
EVA HELENIUS (Sweden) – Phil. Dr., curator of Klaverens Hus at Söderhamn
UTA HENNING (Germany) – librarian, musicologist
RUDOLF HENNING (Germany) – librarian, musicologist
CHRISTOPHER HOGWOOD (England) – conductor, musicologist
INA HOHEISEL (Austria) – Dipl.-Restorer, Kunsthistorisches Museum Wien, Sammlung alter Musikinstrumente
ALFONS HUBER (Austria) – Uni.-Doz. Mag.; Kunsthistorisches Museum, Sammlung alter Musikinstrumente
MARTIN KATHER (Germany) – clavichord maker
BAREND KRAAL (The Netherlands) – president of the Dutch Clavichord Society
ANNA MARIA McELWAIN (Finland) – performer
FRANCESCO NOCERINO (Italy) – NaturalMenteMusica, Centro Iniziative Musicali
JOEL SPEERSTRA (Sweden) – Senior Researcher, GOART
JIM THVEDT (U.S.A.) – clavichord maker
MICHAEL TSALKA (Israel/Netherlands) – performer, professor at Lilla Akademien, Stockholm
PIERRE VERBEEK (Belgium) – keyboard instrument maker
BERNHARD WINKLER (Austria) – Mag. Art., University of Music and Performing Arts, Vienna
ILTON WJUNISKI (France) – performer, professor, City Conservatories, Paris

LECTURES
(Chiesa di Santa Marta)

SCHEDULE
WEDNESDAY, 7 SEPTEMBER
09:00 Welcome by Christopher Hogwood
MORNING LECTURES — Moderator: Bernard Brauchli
09:15 JIM THVEDT — Building two early Clavichords
10:00 EVA HELENIUS — The Swedish Lute and the Swedish Clavichord — Two nationally developed instruments with a repertoire in common
10:45 Pause
11:00 ROMAN CHLADA —Claudio Merulo (1533 – 1604): Toccata seconda del primo tono; Canzoni: La Bovia; la Cortese;
La Gratiosa; L’Albergata; Susanne un jour
13:30 to 14:45 Uta and Rudolf Henning’s life-long experience in musical iconography has materialised in a private pictorial archive which is one of the
largest in Europe. Its clavichord and plucked stringed instrument part can be viewed in the Chiesa di Santa Marta. Consultations about
working-methods of musical iconography available.
In the Sacristy of the Chiesa di Santa Marta: DIAPORAMA (Bernard Brauchli): THE CLAVICHORD’S ICONOGRAPHY
(ca. 60 minutes)
AFTERNOON LECTURES — Moderator: Derek Adlam
15:00 FRANCESCO NOCERINO — The “Regole di Marancio”. New Documents on the Clavichord in Naples
15:45 MADS DAMLUND — Dietrich Buxtehude (1637 – 1707), Prelude in G minor, BuxWV 163; Canzona in C major, BuxWV 166; Wie schön
leuchtet der Morgenstern, BuxWV 223; Suite d’amour in D minor, BuxWV 233; Fuga in C major, BuxWV 174
16:30 Pause
16:45 PETER BAVINGTON — Reconstructing Mersenne’s Clavichord
_____
19:00 Dinner
21:00 Concert (Chiesa Romanica di San Secondo)

THURSDAY, 8 SEPTEMBER
MORNING LECTURES — Moderator: Christopher Hogwood
09.00 JOEL SPEERSTRA — An Introduction to the Eisenach Pedal Clavichord and Comparison to the Gerstenberg Model
09:45 ULRIKA DAVIDSSON — The Pedal Clavichord as a pedagogical Tool in Keyboard Education
10:30 Pause
10:45 ILTON WJUNISKI — Sonatas de Friedrich Wilhelm Rust (1739 – 1796): Sonata in A major (Allegro – Adagio – Allegretto); Sonata in d minor (Allegro
maestoso – Andantino – Presto)
11.30 ALFONS HUBER & INA HOHEISEL — Early Clavichord-Making between technological, esthetic and cosmological Constraints
13:30 to 14:45 Uta and Rudolf Henning’s life-long experience in musical iconography has materialised in a private pictorial archive which is one of the
largest in Europe. Its clavichord and plucked stringed instrument part can be viewed in the Chiesa di Santa Marta. Consultations about
working-methods of musical iconography available.
In the Sacristy of the Chiesa di Santa Marta: DIAPORAMA (Bernard Brauchli): THE CLAVICHORD’S ICONOGRAPHY
(ca. 60 minutes)
AFTERNOON LECTURES — Moderator: Bernard Brauchli
15:00 BAREND KRAAL — Thoughts on the Pedal Clavichord by Claas Douwes (The Netherlands, 1699)
15:45 ANNA MARIA McELWAIN — Hinrich Philip Johnsen (1717 – 1749), Sonata in C; Ludwig van Beethoven (1770 – 1827), Sonate Pathétique;
Frederic Chopin (1810–1849), Préludes 3 and 4 op. 28
16:30 Pause
16:45 CHRISTOPHER HOGWOOD — Carl Friedrich Christian Fasch (1736 – 1800)
Examples by ILTON WJUNISKI: Sonata II for harpsichord or fortepiano (Allegro – Adagio – Presto)
_____
19:00 Dinner
21:00 Concert (Chiesa Romanica di San Secondo)

FRIDAY, 9 SEPTEMBER
MORNING LECTURES — Moderator: Derek Adlam
09:00 PIERRE VERBEEK — Reconstruction of the Urbino Clavichord
09:45 ILTON WJUNISKI — A triple-fretted Clavichord by Ch. Asseman made in Paris (1959), and the Experience of the Clavichord Class of the
Conservatoire Claude Debussy (Paris)
10:30 Pause
10:45 LOTHAR BEMMANN — An early XIXth-Century Clavichord by Schmahl?
11:30 GREGORY CROWELL — Victor Hammer and the Revival of the Nineteenth-Century Clavichord
FREE AFTERNOON
14:00 OPTIONAL EXCURSION
_____
19:00 Dinner
21:00
PRESENTATION AND DISCUSSION OF INSTRUMENTS: DEREK ADLAM, moderator (Chiesa di Santa Marta)

SATURDAY, 10 SEPTEMBER
MORNING LECTURES — Moderator: Peter Bavington
09:30 DOROTHEA DEMEL — The Lusser Clavichord in the Monastery of Marienberg (South Tyrol)
10:15 BERNHARD WINKLER — Acoustical Study of the Clavichord
11:00 Pause
11:15 BERNARD BRAUCHLI — Clavichord Iconography, new Findings
13:30 to 14:45 Uta and Rudolf Henning’s life-long experience in musical iconography has materialised in a private pictorial archive which is one of the
largest in Europe. Its clavichord and plucked stringed instrument part can be viewed in the Chiesa di Santa Marta. Consultations about
working-methods of musical iconography available.
In the Sacristy of the Chiesa di Santa Marta: DIAPORAMA (Bernard Brauchli): THE CLAVICHORD’S ICONOGRAPHY
(ca. 60 minutes)
AFTERNOON LECTURES — Moderator: Gregory Crowell
15:00 ULRIKA DAVIDSSON — Presentation of Clavichord Teaching at Eastman School of Music and Hochschule für Künste Bremen
16:00 Pause
16:15 OPEN DISCUSSION AND CLOSING STATEMENTS (Derek Adlam and Bernard Brauchli)
_______
19:00 Dinner
21:00
Concert (Chiesa Romanica di San Secondo)

E VENING P ERFORMANCES
(Chiesa Romanica di San Secondo)

WEDNESDAY, 7 SEPTEMBER, 21:00
ANDREAS ERISMANN
Sonata in G major, Wq 65/48
Andantino – Adagio e sostenuto – Allegro
Sonata I in A minor, Wq 57
[aus der dritten Sammlung für Kenner und Liebhaber, 1781]
Allegro – Andante – Allegro di molto
Sonata in G minor, Hob XVI / 44
Moderato – Allegretto
MICHAEL TSALKA
⎯⎯⎯⎯ INTERMISSION ⎯⎯⎯⎯
Carl Philip Emanuel Bach (1714 – 1788)
Joseph Haydn (1732 – 1809)
Fantasia in C major, Wq 59/6 (H. 284) Carl Philip Emanuel Bach (1714 – 1788)
Sonata in E major (Stockholm, 1788) Joseph Martin Kraus (1756 – 1792)
Vivace – Adagio – Andantino con variazioni
Sonata in G major, HedT. 98.2.6 Daniel Gottlob Türk (1750 – 1813)
Allegro di molto – Grave – Poco Allegro
Gigue in G major, K. 574
Wolfgang Amadeus Mozart (1756 – 1791)

THURSDAY, 8 SEPTEMBER, 21:00
JOEL SPEERSTRA
Trio super Nun komm der Heiden Heiland, a due bassi e canto fermo BWV 660 Johann Sebastian Bach (1685 – 1750)
Passacaglia in D, BuxWV 161 Dietrich Buxtehude (1637 – 1707)
From VI Trio Sonaten:
- Sonata V in C major BWV 529 (Largo)
- Sonata IV in E minor BWV 528 (Andante)
- Sonata III in D minor BWV 527 (Adagio e dolce)
Johann Sebastian Bach
Praeludium, Fuga and Ciacona in C major, BuxWV 137 Dietrich Buxtehude
ULRIKA DAVIDSSON
⎯⎯ ⎯⎯ INTERMISSION ⎯⎯ ⎯⎯
Capriccio in D major Georg Boehm (1661 – 1733)
Jesu du bist allzu schöne, 14 Partitas
Prelude in F major
Suite in A minor (Allemande / Courante / Sarabande / Gigue)

SATHURDAY, 10 SEPTEMBER, 21:00
GREGORY CROWELL
Overture in Ottone Georg Frederic Handel (1685 – 1759)
Suite no. 8 in D minor from Harmonisches Denkmal
- Allemande with Double
- Courante with Double
- Sarabande
- Gigue
Johann Mattheson (1681 – 1764)
Prelude and Fugue in A minor, BWV 923a, 959 Johann Sebastian Bach (1685 – 1750)
Fantasia in G major Ernst Wilhelm Wolf (1735 – 1792)
Sonata in E major Hob. XVI/22
- Allegro moderato
- Andante
- Finale: Minuetto
DEREK ADLAM
“A la Carte”
Works by C. P. E. Bach, Joseph Haydn, and H. O. C. Zinck
⎯⎯ ⎯⎯ INTERMISSION ⎯⎯ ⎯⎯
Franz Joseph Haydn (1732 – 1809)

INSTRUMENT MAKERS
PETER BAVINGTON (London, England)
- Clavichord after the description in Marin Mersenne’s Harmonie universelle (1636). C – c 3 , diatonically fretted, 1450 x 480 mm
DIETRICH HEIN (Oldenburg, Germany)
- Clavichord after C. G. Frederici (1765/72), F1 – f 3 , unfretted, 172cm
- Clavichord after C. F. Schmahl (1793), C – f 3 , fretted, 140cm
ALFONS HUBER / INA HOHEISEL (Vienna, Austria)
- Clavichord triple/quadruple fretted, 9 pairs of strings, B – f 2 , after the book of Baudecetus (Treatise of Arnaut de Zwolle, fol. 128v),
c. 1400 – 1440. Pythagorean tuning; “crampinum” tangents (in form of staples)
- Clavichord triple/quadruple fretted, 9 pairs of strings, B – f 2 ; reconstruction after “Erlangen, pro clavichordys faciendis”, c. 1400 – 1440;
“just tuning”, brass tangents
- Clavichord triple/quadruple fretted, 11 pairs of strings, B – b 2 ; after Arnaut de Zwolle, fol. 128r, c. 1400; Pythagorean tuning
- Clavichord double/triple fretted, 20 pairs of strings, C/E – c 3 ; after Septemda, Cracow, 16. . ; only clavichord preserved with soundboard
underneath the keylevers
MARTIN KATHER (Hamburg, Germany)
- Clavichord after anonymous, Leipzig No. 2, c. 1540, C/E – c 3 , triple/quadruple fretted
- Coelestin (clavichord with leather on tangents), after anonymous, Italy, c. 1600, C/E – e 3 , double fretted
- Clavichord freely after Hubert, 1787, but A1 – e 3 , unfretted
JIM THVEDT (San Leandro, California, U.S.A.)
- Clavichord after directions in Ms. Lat. 80, Bibliothèque Publique et Universitaire, Geneva (before 1400). Compass: c – c 2
(no d♭); triple/quadruple fretted (7 courses). Just scaling, c 1 = 295 mm (octave pitch, tuned to a = 888 Hz). Strung in iron.
Dimensions: 809 mm x 181 mm x 78 mm (without keyboard); Pythagorean tuning (accidentals: all flats)
- Clavichord after directions in Ms. 554, Erlangen Universitäts-Bibliothek. Compass: B – f 2 (chromatic on entire compass).
Triple/quadruple fretted (9 courses); just scaling c 1 = 307 mm (octave pitch, tuned to a = 880 Hz). Strung in iron.
Dimensions: 812 mm x 260 mm x 89 mm (without keyboard); Pythagorean tuning (accidentals: all flats)
PIERRE VERBEEK (Belgium)
- Copy of the early17th-century triple-fretted clavichord of Edinburgh (Dr Mirrey’s Collection) C/E – c 3
- Reconstruction of the Urbino clavichord (c. 1479): F/G/A – f 3 , triple/quadruple fretted, projecting keyboard, 1005 mm x 297 mm
(with keyboard) x 82 mm
- Copy of the anonymous clavichord (c. 1620) of the Rodger Mirrey Collection, Edinburgh University Collection of Musical Instruments,
no. 4486: C/E – c 3 short octave, triple fretted, projecting keyboard, 1080 mm x 350 mm (with keyboard) x 115 mm

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Tipografia Gariazzo M. di Gariazzo B. & C. s.n.c. – Vigliano Biellese