Historical Performance Institute calls for papers for May conference

The Historical Performance Institute at the Indiana University Jacobs School of Music is calling for papers for its May 20-22 conference, “Historical Performance: Theory, Practice and Interdisciplinarity.”

This three-day conference will bring together leading scholar-practitioners to examine and anticipate key issues of historical performance in the twenty-first century. Especially welcome are presentations offering research generative of new insights into performance procedures. Scholars whose work extends beyond the field of music are encouraged to contribute. Results and proceedings will launch a new annual peer-reviewed journal, Historical Performance, published by Indiana University Press.

Abstracts (200-word maximum) will be accepted which deal with any area of historical performance, especially:

  • Improvisation
  • Interpretation: connecting theory and practice
  • Reassessment of established paradigms
  • The early music movement, then and now
  • Interpretation and early recorded sound
  • Curricula: integration of academic and applied music in higher education
  • Interdisciplinarity and new frontiers in research
Keynote speaker John Butt

Keynote speaker John Butt

Please send abstracts via email with subject line “HPI abstract” to Sung Lee at hpi@indiana.edu no later than Feb. 15, to be forwarded for anonymous review. Notifications will be sent by Feb. 26.

A partial list of confirmed guest speakers includes John Butt (keynote address), Clive Brown, Georgina Born, Magnus Williamson, Philippe Canguilhem, Julie Cumming, Edward Higginbottom, Kenneth Slowik, Angela Mariani, Adam Gilbert, George Barth and Steven Plank. The conveners are Jacobs professors Wendy Gillespie and Dana Marsh.

The discipline of historical performance focuses equally on research and performance. Accordingly, it mediates the links and gaps between theory and practice. It takes an interdisciplinary approach to the musical evidence through early instrumental and vocal pedagogy; literary, linguistic, religious and cultural history; rhetoric, visual art, dance, drama, aesthetics, iconography, organography, paleography and philosophy, among other areas and subdisciplines. From historical performance’s beginnings, interdisciplinary dialogue has been fundamental to the greater development of the field.

The conference is supported by the Indiana University New Frontiers in the Arts and Humanities program and the Jacobs School of Music.

Click here for a PDF copy of this call for papers.

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News from the Historical Performance Institute

HPI Students

HPI ensemble, led by doctoral candidate Kathryn Summersett, following a performance of Hildegard’s “Ordo Virtutum” at the Midwest Medieval History Conference.

The HPI year began with two special student-organized performances under the leadership of doctoral candidate and soprano, Kathryn Summersett. First in September, at the JSoM Organ Department’s ecumenical conference on “Vocation and Worship in the Arts”, the group presented “Heaven versus Earth: A Soul’s Moral Predicament”, featuring music of Hildegard, selections from the Cantigas de Santa Maria 103, all thematically joined with readings from Petrarch. In October, the ensemble offered a staged production of Hildegard’s Ordo virtutum for the annual Midwest Medieval History Conference, hosted by Indiana State University Terre Haute.


Jacques Ogg and Elisabeth Wright

The IU Baroque Orchestra made a very strong start to the season with a duo harpsichord extravaganza, featuring Professor Elisabeth Wright, and Jacques Ogg, guest artist from the Royal Conservatory in The Hague. J.S. Bach’s concerto for two harpsichords in c minor (BWV1062) and C.P.E. Bach’s concerto in F major for two harpsichords (Wq.46) were performed to thrilling affect. Offering masterclasses for harpsichordists and fortepianists, Ogg was the HPI’s first featured guest on this year’s Five Friends Masterclass Series, honoring Georgina Joshi. During the same week, Jacques and Elisabeth played a wonderful duo harpsichord recital in Ford Hall (pictured above).


Professor Rob C. Wegman

Concentus presented its first program of the year with eight modern premier performances in a program emphasizing the music of early composer/performer/theorists. The occasion was enhanced by a visit from Prof. Rob C. Wegman (Princeton University), the first presenter on this year’s JSoM Lecture series. A giant in the field of historical musicology, Wegman is a passionate advocate for the music of Renaissance theorist, Franchinus Gaffurius (1451-1522), and five of his selections were sung, along with works by Diego Ortiz (c.1510-c.1570), Gioseffo Zarlino (1517-1590), and Giovanni Bassano (c.1561-1617), respectively featuring sackbuts, voices and viols – with a special outpouring of diminutions (after Ortiz) by doctoral candidate in Viola da Gamba, Brady Lanier.


Cantus part-book from “Gelobet seist du”, by Michael Praetorius. Polyhymnia Caduceatrix et Panegyrica, 1619

The program concluded with a large-scale setting of “Gelobet seist du”, scored for five ensembles, from Michael Praetorius’s (1571-1621) Polyhymnia, Caduceatrix et Panegyrica of 1619. We are pleased to announce that this program will be broadcast by Public Radio International during the December holiday season [follow this link], and it will also run on Harmonia Early Music, hosted by HPI alumna, Angela Mariani. Bloomington residents can hear this program on WFIU this Christmas Eve, December 24th during the Harmonia time slot at 9:00 pm. You can listen to last year’s broadcast by following this link!


All HPI ensembles performed in this extravaganza of English Music.

One week later, the entire HPI department presented a double-header program entitled, “ALBION: the Land of the Crowned Rose”, centering on English repertory from the 15th to the 18th centuries, with music of Dunstaple, Cornysh, Taverner, Sheppard, Tomkins, Dowland, Gibbons, Ferrabosco, Locke, Purcell, and Boyce.

Prof. Philippe Canguilhem (University of Toulouse, France) led a special workshop dealing with 15th and 16th century techniques and formulae for extempore realization of plainchant. Focusing chiefly on fauxbourdon techniques, Prof. Canguilhem introduced HPI students to the rules and mechanics of these practices. It was a highly insightful session for all involved.

Max van Egmond

Max Van Egmond

The first week of November brought with it a visit from a historical performance pioneer, the bass/baritone Max Van Egmond, who offered two inspiring masterclasses and performed a solo cantata (BWV158) for the Bloomington Bach Cantata Project on November 8th, alongside solo arias sung by tenor, Paul Elliott and mezzo-soprano Mary Ann Hart. Max was also special guest for a lunch session sponsored by the JSoM Office of Career Planning and Development. He offered insights about his career with essential wisdom on how to navigate the waters of career development in historical performance. Follow this link for further information.



Violinist Elizabeth Wallfisch will join Stanley Ritchie and the IU Baroque Orchestra in January 2016

January: The IU Baroque Orchestra will be joined by special guest artist, Elizabeth Wallfisch, the renown violinist who has both led and appeared as a soloist with the foremost period instrument orchestras worldwide. She has taught at the Royal Conservatory in The Hague, the Royal Academy of Music in London, and the University of Melbourne.


From a manuscript once owned by Thomas Binkley, now among the holdings of the Lilly Library – the theme for Professor Don Freund’s new composition to be performed by the HPI at the Lilly Museum in February.

February: The IU Lilly Library, in association with the Medieval Studies Institute will present an exhibit entitled, “The Performing Medieval Book” to include examples of music notation featuring a number of well known chants. The HPI will perform a concert at the IU Lilly Museum to commemorate this exhibit on Sunday February 7th at 3:00 pm. Included among the “performed manuscripts” will be a fragment once owned by HPI founder Thomas Binkley, given to the Lilly Library by his wife, Raglind Binkley. Professor Don Freund of the JSoM composition faculty has composed a piece especially for the Lilly Museum concert, based on the chant, Discubuit Jesus, found in the “Binkley” manuscript fragment. As 2015 has marked the 20th anniversary of Binkley’s passing, it seems particularly fitting to honor his memory in this way. Professor Freund’s dynamic work will involve all students and vocal/instrumental resources in the HPI.


The final HPI concert of the calendar year was offered by the IU Classical Orchestra.



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Dutch baritone Max van Egmond in residence Nov. 2-8

The Indiana University Jacobs School of Music welcomes Max van Egmond, Dutch baritone, in residence Nov. 2 – 8 as part of the Five Friends Master Class Series, honoring Georgina Joshi.

Max van EgmondEgmond will present two master classes in Ford-Crawford Hall: Thursday, Nov. 5, and Friday, Nov. 6, both at 5pm.

On Sunday, Nov. 8, he will be featured as soloist alongside Professor Mary Ann Hart and Professor Emeritus Paul Elliott in the Bloomington Bach Cantata Project performance under Professor Dana Marsh’s musical direction. Der Friede sei mit dir, BWV 158 and Bekennen will ich seinen Namen, BWV 200 are the two cantatas to be performed that day at 2:30pm at St. Thomas Lutheran Church. All events are free and open to the public.

Van Egmond was born in 1936 in Semarang on the island of Java, Indonesia, then the Netherlands’ East Indies. After World War II, back in his homeland, he went to the Willem de Zwijger Lyceum (Bussum) and the University of Utrecht. He took private music lessons with Tine van Willigen and Anthon van der Horst.

Before embarking on his singing career, he employed his vocal skills in a different way, as a newsreader with the National Broadcasting Company of the Netherlands in Hilversum, from 1955 to 1959.

Van Egmond’s international singing career of nearly half a century lasted from about 1958 to 2005. He toured all over the world, appearing most frequently in Japan, the United States., and Canada. As a lyric bass-baritone with impeccable coloratura, and emphasis on language and diction, he appeared in oratorios, operas, concerts, and recitals. He recorded dozens of LPs and CDs, including most of Bach’s vocal works; operas by Monteverdi, Rameau, Purcell, and Handel; oratorios by Schütz and Reger; and songs by Purcell, Beethoven, Schubert, and Fauré, among others.

His teaching also took him all over the world, and he was on the faculty of the Sweelinck Conservatory in Amsterdam, where he headed the Early Music Department for several years. Presently, he teaches at summer academies, notably in San Francisco, at the American Bach Soloists Academy.

The series honoring the lives of five talented Jacobs School students–Chris Carducci, Garth Eppley, Georgina Joshi, Zachary Novak, and Robert Samels–was established in 2013 with a gift of $1 million from the Georgina Joshi Foundation Inc.

The Georgina Joshi Foundation was established in 2007 as the vision of Georgina Joshi’s mother, Louise Addicott-Joshi, to provide educational and career development opportunities for young musicians and to encourage and support public performance of music.

The gift to the school establishes a permanent way for the world to learn about each of the five friends as well as their musical talents and passions, and to encourage the development of similar talents and passions in current and future music students.

The establishment of this endowment by the families is administered by the IU Foundation.


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Historical Performance Institute appearing at preeminent venues in May and June

HPI Smithsonian SymposiumThe Jacobs School of Music Historical Performance Institute will be well represented this weekend (May 8-10) at a symposium hosted by the Smithsonian Institute’s Chamber Music Society in Washington, D.C. Performers, scholars, journalists, and administrators nationwide will gather to focus and reflect on the past, present, and future of “Historically Informed Performance in American Higher Education.”

The Jacobs School will send its Renaissance wind band, Forgotten Clefs, to perform for the occasion. Counterpart student ensembles from Juilliard, Yale, Oberlin, Case Western Reserve, Peabody, and the San Francisco Conservatory of Music will also be performing. The student groups will be featured in two concerts, with Forgotten Clefs concluding the second performance.

Professor Dana Marsh, coordinator of the Historical Performance Institute (HPI), will contribute to a detailed panel discussion on the conference’s topical focus. Facilitating the conversation will be David Stull, president of San Francisco Conservatory. Joining Marsh on the panel will be Fred Bronstein, dean of Peabody Conservatory; Andrea Kalyn, dean of Oberlin Conservatory; Ross Duffin, director of Historical Performance at Case Western Reserve University, and Benjamin Sosland, administrative director of Juilliard Historical Performance.

“This is a valuable opportunity for all of us to assess collectively our position, as a discipline, within the field of music performance, pedagogy, and scholarship in American higher education,” said Marsh. “Not since IU hosted such an event at the behest of IU Early Music Institute founder Thomas Binkley some 20 years ago has there been a similar gathering of educators. As so much has changed since that time, it can only be an opportunity of highest value for all participants.”

In addition, the HPI will send its student ensemble comprised of sackbuts (early trombones), dulcians (early bassoons), shawms (Renaissance oboes), and percussion to the Boston Early Music Festival (BEMF), one of the world’s foremost exhibitions in the field of historical performance. Forgotten Clefs was one of four groups selected to perform at BEMF in the Young Performers Series, sponsored by Early Music America.


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Classical Orchestra and Concentus impress with dynamic Haydn

Bloomington Herald – MUSIC REVIEW

Chang’s performance was remarkable

By Peter Jacobi H-T Reviewer | pjacobi@heraldt.com | Posted: Monday, March 9, 2015 12:00 am

The Historical Performance Institute, formerly known as the Early Music Institute, brought great beauty to Auer Hall Friday evening with a program of music by Haydn.

In charge was Dana Marsh, an eminent scholar/conductor/organist/singer currently serving as visiting associate professor and coordinator at the institute. He had assembled the Indiana University Classical Orchestra, the ensemble Concentus and a brilliant fortepianist, Hsuan Chang, for an hour of Franz Joseph Haydn: his Piano Concerto Number 4 in G Major and the Mass in B-Flat Major (“Harmoniemesse”). The results of his assembling and preparing were delightful.

Chang, a doctoral candidate concentrating on mastery of both the fortepiano and the harpsichord, turned in a remarkable performance of the 1782 concerto, a lovely piece of music. Her limber and sensitive finger work on the gentler-than-piano instrument brought admirable flow and clarity to her interpretation. To that, she added a welcome warmth and elegance that the score appears to beg for. With the Marsh-led orchestra contributing complementary partnership, one heard a delicious collaboration, Haydn done in classic period style, the way the composer might have heard it or have wished to hear it.

The “Harmoniemesse” (“Wind-Band Mass”) was Haydn’s last major work, and he led its premiere at a church in Eisenstadt, back to where, earlier in his life, he had served the noble Esterhazy family. The music calls for a large contingent of wind instruments; thus, it acquires a majesty as a beefed up orchestra is joined by a chorus and four soloists who get to sing some sublime music, set to the standard text. Marsh led his forces with formidable energy and to strong impact, coaxing beauteous and stirring sound from the orchestral delegation, the 21-member chorus, and the fine soloists taken from within its ranks: soprano Madeline Stern, alto Amber McKoy, tenor Bille Bruley, and bass Jason Eck. Bravo to the whole of it.

Fortepianist, Hsuan Chang, offered a remarkable performance of Haydn Piano Concerto No. 4

Fortepianist, Hsuan Chang, offered a remarkable performance of Haydn Piano Concerto No. 4

Dana Marsh, Director
Dana Marsh, Director


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Historical Performance Institute Guest Recital

Byron Schenkman and Ingrid MatthewsThe Indiana University Jacobs School of Music welcomes baroque violinist Ingrid Matthews and harpsichordist Byron Schenkman in recital on January 17 at 7pm in Ford Hall.  The duo, along with alumna baroque cellist Shelley Taylor, will present a recital of virtuosic repertory from the late 16th century through the 18th century music of Fontana, Selma, Picchi, Uccellini, Leonarda, Scarlatti, and Veracini.

The violin and harpsichord duo are familiar to the Bloomington community.  Alumni of the Jacobs School of Music Historical Performance Institute (formerly the Early Music Institute), Matthews and Schenkman have returned to Bloomington on multiple occasions to perform.  Both are currently faculty at Cornish College and are active as recitalists and guest teachers across the country.  They founded the Seattle Baroque Orchestra in 1994, which flourished under their direction.  Ingrid will be a guest lecturer this spring at the Jacobs School during Stanley Ritchie’s sabbatical leave.


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Historical Performance Institute – What’s in a Name?


Why Historical Performance Institute?

Dana Marsh

In recent months, a number of faithful friends of the HPI have expressed an interest in our change of name. Why change from “Early Music Institute” to “Historical Performance Institute”? Words are important when it comes to conveying definitions and meanings. These meanings can and do shift over time, so here follows our rationale.

As a performance discipline, Historical Performance (HP) has always moved forward via new discoveries and understandings in musical research. A century ago, the scholarship and performance communities tended to keep each other at a distance. Individuals from both groups who were interested in HP often had to collaborate outside of conventional professional circles. Over the past five decades, practitioners of HP – whether scholars, performers, or both – have brought the two pursuits together in a revelatory way. Globally, audiences now listen to Medieval, Renaissance and Baroque (not to mention Classical and Romantic) music with different ears than they did 40 years ago. Modern orchestras have over time felt obliged to adjust their interpretation of Baroque repertories. Historical Performance has caused a powerful transformation in musical culture worldwide.

As a scholarly activity, HP draws from a long continuum of overlapping research disciplines: the historiography of music, dance, and languages; the history of vocal and instrumental pedagogy, music theory, art, iconography, religion, and architecture; cultural and social history, philosophy, aesthetics, literary and textual criticism, paleography, the design and construction of historical instruments, etc. These disciplines variously combine to provide valuable insights through which today’s musician can devise a historically tenable basis for the interpretation of Early Music. As the surviving evidence will tend to give us only a fragmentary picture of the past, it is also our inevitable purpose as performers to move beyond the mere accidents of survival. A duly informed musician combines scholarly understanding with fresh skill, imagination, inspiration, and passion – to deliver a performance that present-day audiences find edifying, moving, and transformative.

Nearly a century after its beginnings, it could be said that “Early Music” refers to the founding group of interests and projects first taken up by a budding school of thought which we now call Historical Performance. Over the past five decades, “Early Music” has been used as a slogan to describe an expanding chronology of repertory. A consequence of that explosive growth is that the word “Early” has lost a good deal of its specificity and descriptive force. Moreover, Early Music as a label has referred chiefly to an “end” in itself (repertory), rather than a “means to an end” (method/process). We affirm that our work in HP is a means to many ends in higher education – a multidisciplinary vehicle that joins scholarship and performance, with flexibility to operate within any musical period.

It is our aim to bring the perspective and discipline of Historical Performance directly to the core of conservatory curricula. Most path-breaking progress within the profession has taken place collaboratively outside the curriculum of higher education. In recent decades of course, generations of students have benefited from the establishment of HP focused departments and programs. Given contemporary trends in new institutional configurations of arts and humanities research, it seems inevitable that in half a century the group of disciplines that have informed the work of HP thus far will coalesce in wholly new ways. We believe that our field has a great deal to offer towards that process.

Our change in name, then, does not alter the substance of our founding vision, but it does mark a critical step in charting a sustainable future for our work through the 21st century. We are not narrowing the scope of historical repertories included within our curriculum. Medieval, Renaissance and Baroque music will continue to be the life-blood of our institution. We are committed as ever to provide our students with access to the broadest possible range of study.

Our founder, Thomas Binkley, once expressed his hope that “Early Music as a frontier” would one day disappear, so that “just music” would remain.* We see this change in name – which is not at all new or without precedent – as marking for us a timely step in that direction.


*Review Article: Ross Duffin, “The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century by Bruce Haynes”, Bach 40, i (Riemenschneider Bach Institute, 2009): 84.

© Indiana University Jacobs School of Music – Historical Performance Institute, 2014

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HPI Update

December 2014

A Message from Dana Marsh – Coordinator, Historical Performance Institute


In Gratitude

Since emerging in Bloomington as a new, “green”, full-time faculty member some 12 weeks ago, I am grateful for the warm welcome offered by so many colleagues, staff, and students at the Jacobs School of Music (JSoM). It’s abundantly clear that the Historical Performance Institute (HPI) is an exceptional community of people – an admirable result of a long-time commitment and investment on the part of a caring faculty. HPI fosters a friendly, family atmosphere, and it is a privilege to work with such a special and supremely talented group of people. It’s no less inspiring to be party to the many currents of change and renewal taking place this year as we together implement new goals that point us towards an exciting future.

Fall 2014

New Faculty

We offer a very warm welcome to two new adjunct faculty this year: Keith Collins (bassoon, recorder), and Steven Rickards (voice). Special thanks also to EMI/HPI alum, Joanna Blendulf, who taught the students of Wendy Gillespie during her sabbatical leave this semester.

Special Guests

HPI has been a dynamo of activity this semester. We began with an extended visit from Professor Angela Mariani (D.M. alumna) from Texas Tech University, who led us on an insightful journey into the practices of “Improvisation and Invention in Medieval Music.” This series of symposia drew participation from the entire institute, as well as an extended family of local alums, associated faculty and students from neighboring departments. Through the congenial graces of the Medieval Studies Institute, we also welcomed Mary Carruthers for her presentation, “Stylistic Effects and Bodily Health in Medieval Aesthetics.” While that title may seem a bit far removed from the study of Medieval music, Professor Carruthers has written extensively on the Middle Ages from a variety of perspectives – many of which have proven highly germane to the work of Historical Performance. Her visit provided an intellectual breath of fresh air for all who attended.

The dynamic Dutch soprano, Josefien Stoppelenburg, presented two spirited Five Friends Master Class sessions in honor of Georgina Joshi. Josefien’s visit also opened the Bloomington Bach Cantata Project (BBCP) series – now at 27 cantatas and counting – and the sixth year is well under way. Stanley Ritchie directed the centrepiece BWV 17, “Wer dank opfert, der preiset mich” before a capacity crowd at St Thomas Lutheran Church in Bloomington. Fortuitously, the Jacobs School of Music has henceforward incorporated the BBCP into its official array of concerts. Indiana University, then, is now the only institution in higher education with a series devised to perform the entire cantata repertory of J.S. Bach (with a lecture at every performance), thanks to the redoubtable efforts of Professors Wendy Gillespie and Daniel Melamed.

5 Friends

(Pictured above: Josefien Stoppelenburg, Professors Wendy Gillespie and Elisabeth Wright with Yatish Joshi)

As I write this, we are looking forward to hosting a master class by the renowned soprano, Christine Brandes. Christine is an exceptional singer with substantial credits not only in the field of Historical Performance, but also within mainstream Opera and the expanding arena of New Music. Christine will also appear in a JSoM Project Jumpstart session entitled, “Navigating a Vocal Career that is Right for You”, in collaboration with IU voice faculty Mary Ann Hart (Chair), and Marietta Simpson.

Baroque Orchestra Recording Sessions in December

As ever, under the fearless leadership of Professor Stanley Ritchie, the IU Baroque Orchestra has been on especially good form this year – so much so, that the group is scheduled to record concerti of Handel, Telemann, and Marcello before the Christmas break. Two IUBO concerts were presented this semester, the first featuring music by Venetians, the second offering works by German and Bohemian composers. In addition to an excellent complement of string, wind, and continuo forces, we’ve also benefitted from a sturdy contingent of natural trumpet and horn players, whose talents were duly represented in Professor Ritchie’s programming.

Concentus NPR Broadcast and a New Recording from Nigel North

The HPI ensemble, Concentus, produced two exciting projects this semester, beginning with a program centered on Baroque music of Latin America. The menu included four modern premier performances of works by Manuel de Sumaya (1678-1755), including a four-movement solo cantata, beautifully sung by HPI doctoral student, Kathryn Summersett. There was a significant academic focus to the project as well: first, a JSoM Lecture Series presentation by Craig H. Russell, Distinguished Professor at Cal Poly and leading expert on Baroque music of Latin America, followed by a panel presentation consisting of three papers, co-sponsored by the Latin American Music Center. After a rousing concert in Auer Hall, students and faculty spent three days further refining their performances in recording sessions. The results of that venture are forthcoming this Christmas on 200 NPR stations nationwide via the syndicated radio program, Harmonia Early Music (WFIU-FM Bloomington), with added distribution coming from Public Radio International (PRI). Check your local NPR listings in December for the PRI program entitled, A Baroque Christmas in the New World. Read more and listen to excerpts here.

A second Concentus project brought listeners through a splendid selection of sixteenth-century arrangements of popular chansons, all masterfully programed and woven together by Professor Nigel North. Nigel also spent two weeks in Europe during October performing and teaching at the Aarhus International Guitar Festival (Denmark), the Northeast Guitar Festival (London), and the London Guitar Festival. He additionally completed a second volume disc recording of music by Francesco de Milano, the first of which was released in October of this year on the BGS label.

Historical Keyboard Fest

Three historical keyboard studio recitals in as many days showcased HPI’s harpsichordists and fortepianists in mid-November. Professor Elisabeth Wright, Dawn Kalis, and Hsuan Chang presided over these occasions, which offered a wonderfully varied selection of repertory. The harpsichordists were excellent, as one would come to expect in this department; but equally impressive was the superb coterie of fortepianists that have through solo and chamber music performances become among the chief adornments of HPI. Bravi tutti!

Update – Elisabeth Wright has released an exquisite new CD recording featuring keyboard works by J.S. Bach. It’s now available online!


Gamma-Ut, HPI’s student-led organization, has fresh wind in its sails this year. Reorganized and reconfigured, the group has set new goals with exciting implications, not only for current students, but for ensuing generations of Gamma-Ut folk. New work has begun on our alumni pages, and there will be a series of blogs in 2015 chronicling the work of HPI alumni. Watch the Gamma-Ut page in the coming months for more information!


Spring 2015


What impresses me most about HPI is the sheer stylistic range of performance projects possible under one roof. For example, a grad-student led production will offer Hildegard’s Ordo Virtutum (c.1151) on April 18th; within weeks of that performance on March 6th, two of our department ensembles will have joined forces in Joseph Haydn’s final major work, Harmoniemesse (1802). As the name suggests, the latter work includes a full band of classical winds: flute, clarinets, oboes, bassoons; plus horns and trumpets. At similarly close range will be two performances of Bach’s Trauerode (BWV 198 – 1727). The first outing in Auer Hall will also feature Bach’s Missa in A (BWV 234 – c.1739), with another reading of Trauerode the next day at St Thomas Lutheran Church in Bloomington. The Auer Hall performance will offer a larger complement of performing forces than has been customary for the BBCP; the St Thomas Lutheran concert will involve our normal deployment, chiefly one-per-part (except for doubled first and second violins), which is thought to be truer to Bach’s own performance expectations. Musicology Chair and Bach specialist, Daniel Melamed, will present an insightful pre-concert lecture.

Wendy Gillespie will lead the Viol Consort in a rich program of music by Christopher Simpson (c.1605-1669). Performed at the Lilly Museum, and drawing from the rare book collection at the IU Lilly Library, this will be a program not to be missed, March 8th.

It’s truly remarkable that the fruition of the aforementioned projects will take place over a six week period, from March 6 to April 18. We shall update these pages regularly during that period with accounts of each project.

Five Friends Master Class – Robert Smith, Viola da Gamba

International Viola da Gamba sensation, Robert Smith, will lead a series of Five Friends Master Class sessions and a solo recital January 20-22. Watch this space for a special blog covering his visit in the New Year.

Ingrid Matthews Olson and Byron Schenkman return!

We are especially pleased also to welcome two of EMI/HPI’s most illustrious alumni – Ingrid Matthews Olson and Byron Schenkman – for a concert January 17th in Ford Hall. Gamma-Ut will run a special story on the work of these two graduates, early in 2015.

Stanley Ritchie on Sabbatical, Spring 2015

Professor Stanley Ritchie will be on sabbatical next semester undertaking a book project focusing on the interpretation of unaccompanied works by J.S. Bach. As his 2012 publication from IU Press (Before the Chinrest) has been received with high acclaim, we know that his wisdom gathered from many years experience teaching unaccompanied Bach will yield a resource of considerable utility for string players and interested scholars alike.

During Professor Ritchie’s absence, there will be four teachers resident at different periods: Ingrid Matthews Olson, Myron Lutzke, Cynthia Roberts, and Julie Andrijeski.

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MUSIC REVIEW: Baroque Orchestra

Music of the Baroque

By Peter Jacobi


On Sunday afternoon in Auer Hall, Stanley Ritchie led the IU Baroque Orchestra in four period works that tested the ensemble and offered a banquet of Baroque goodies.

Stanley Ritchie

Stanley Ritchie

A sprightly and tuneful Symphony No. 11 by the Bohemian Georg Benda got matters underway in well-tuned and unified fashion. Ritchie followed with “Le journal du printemps — Suite No. 1 in C Minor” by the German Johann Caspar Ferdinand Fischer, a series of fetching dances strongly influenced by the French composers of the time, that time being dominated in Europe by the Sun King, Louis XIV.

Conductor Ritchie followed with Telemann and Handel, two of the most prominent Baroque masters. Telemann’s contribution was the Overture Suite in G Minor: “Burlesque de Quixotte,” an instrumental setting that gives attention to the knight and to his Dulcinee and to Sancho Panza.

The music suggests little happenings from Cervantes’ story, and it made for pleasant listening, as did the concert-completing Handel Concerto Grosso in C Minor, the eighth in a series of 12, filled with engrossing instrumental twists and turns, each and all handled deftly and with welcome energy.


© Herald Times 2014

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FURIOSO: An Evening of Handel Opera at the John Waldron Arts Center, July 18

Gamma Ut, the early music student organization at the Jacobs School of Music team up with New York-based opera company operamission in an evening of opera arias by George Frideric Handel.


  • WHERE: John Whikehart Auditorium, John Waldron Arts Center, 122 South Walnut Street, Bloomington, IN
  • WHEN: Friday, July 18 at 7:00 p.m.
  • TICKETS: A FREE offering to the Bloomington Community
  • A project supported by Early Music Associates, Inc., Ivy Tech Community College, The IU Jacobs School of Music Historical Performance Institute and Project Jumpstart.


18th century composer George Frideric Handel, perhaps known best by modern day audiences for his famed oratorio Messiah, was also one of the most prolific and significant composers of Italian opera. Many of Handel’s operas, a total of 42 and almost all of which survive to this day, have recently enjoyed an increased interest from several mainstream opera companies and audiences nationwide.

On July 18, Bloomington audiences will have the opportunity to enjoy selections from several of Handel’s operas in a concert titled Furioso: An Evening of Handel Opera. Indiana University early music student organization Gamma Ut, and operamission, a New York City based opera organization founded by harpsichordist, conductor, and Jacobs School alumna Jennifer Peterson, will join forces to present this ‘medley’ of Handel operatic arias and ensembles.

Backed by an orchestra performing on historical instruments, Peterson will lead a cast of seven talented singers. Hailed by the New York Times as performing with “spirit and polish”, Peterson is quickly establishing herself as a specialist in baroque opera.

This unique performance will be free and open to the public and is supported by Ivy Tech Community College and the Bloomington early music service organization Early Music Associates, as well as the IU Jacobs School of Music Historical Performance Institute and Project Jumpstart.

The performance will be presented on July, 18th at 7pm at the Ivy Tech John Waldron Arts Center.

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