David S. Boe, Longtime Organ Professor and Dean of the Conservatory, Dies at 84</h1> <article> <h1>David S. Boe, Longtime Organ Professor and Dean of the Conservatory, Dies at 84</h1> <p>eburnett — Thu, 30 Apr 2020 18:21:37 +0000</p> <span>David S. Boe, Longtime Organ Professor and Dean of the Conservatory, Dies at 84</span> <span><span>eburnett</span></span> <span><time datetime="2020-04-30T14:21:37-04:00" title="Thursday, April 30, 2020 - 14:21">Thu, 04/30/2020 - 14:21</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>David S. Boe, a beloved professor of organ and the ninth dean of 91ֱ�� Conservatory, died April 28 at Glenbrook Hospital near his home in Chicago from complications due to COVID-19. He was 84.</p> <p>Boe enjoyed an 91ֱ�� career that spanned an incredible 46 years, from 1962 to 2008. Deeply passionate about his teaching, he also excelled as an administrator, first as associate dean beginning in 1974 and eventually as dean of the conservatory from 1976 to 1990, in addition to interim periods in that role before and after.</p> <p>91ֱ��’s expansive, world-renowned collection of organs—more than 30 in all—and the conservatory’s famed emphasis on historical performance can be traced in part to Boe’s unwavering passion. His leadership, together with that of his Organ Department colleagues, resulted in the acquisition of Fairchild Chapel’s Mary McIntosh Bridge Memorial Organ (crafted by John Brombaugh, Opus 25) in 1981 and Finney Chapel’s Kay Africa Memorial Organ (C.B. Fisk, Opus 116), installed in 2001.</p> <p>Under Boe’s leadership as dean, 91ֱ�� underwent numerous transformations that expanded the scope and offerings of the conservatory in ways that are still richly felt today.</p> <figure class="captioned-image obj-right"> <figcaption>photo courtesy 91ֱ�� College Archives</figcaption> </figure> <p>Born in Duluth, Minnesota, to a Lutheran pastor and church choir director, David Boe relocated several times with his family before settling in Menomonie, Wisconsin, during his teen years. He began piano lessons at an early age but switched to organ by the start of high school—“Just in time for the church organist post to open up,” he told <em>The Lorain Morning Journal</em> in 1976.</p> <p>Boe earned a bachelor of arts degree, graduating magna cum laude from St. Olaf College, and a master of music from Syracuse University, where he studied with Arthur Poister, a former longtime professor at 91ֱ��. On a Fulbright Fellowship, Boe continued his studies with Helmut Walcha at the Staatliche Hochschule für Musik in Frankfurt, Germany. There he met Sigrid North, who was also the child of a pastor. They were married in her father’s church before returning to America, where Boe began his teaching career at the University of Georgia.</p> <p>The same year he arrived in 91ֱ��, Boe also assumed the role of organist and music director of First Lutheran Church in nearby Lorain, a position he held for more than four decades. The church, with Boe's guidance, commissioned the first major instrument crafted by now-legendary organ builder John Brombaugh in 1970.</p> <p>Joyfully consumed by music even in his spare time, Boe once devoted some 600 hours to building a harpsichord, a model of a French Double he fashioned from birch, spruce, and mahogany. He once described his creation to <em>The Morning Journal</em> as “good, but not outstanding,” adding: “I learned from it, but no, I won’t try again.” Other notable forays into engineering and construction—to the delight of many in his family—included a homemade go-cart and Mini-max speedboat.</p> <p>Boe’s ever-present humility was perhaps well suited to descriptions of his craftsmanship, but it far undersold his prowess at the keyboard. He was a celebrated organist who appeared in concert and on radio across Europe and the United States. A WindWerk Artists performer for many years, he recorded for the Gasparo and Veritas labels; he appeared on the 1982 recording <em>The Organs of 91ֱ��</em> (Gasparo), which served as a showcase for the college and conservatory’s magnificent collection of instruments as well as Boe's fellow organ faculty. He appeared in the 1987 documentary <em>The Wind at One's Fingertips</em>, which was broadcast nationwide on PBS.</p> <p>“As a teacher, colleague, friend: These are the ways in which I knew David Boe, and all three are precious,” says William Porter ’68, a professor of organ at 91ֱ�� from 1974 to 1986. “In all of these, he was a remarkable human being: quiet, reflective, compassionate, understanding, deep in his thoughts, loyal in his commitments, and unfailingly trustworthy. He was truly a gentle man."</p> <p>For generations of 91ֱ�� students, Boe’s virtuosity paired seamlessly with his kind and patient nature. Over the course of his career, he taught hundreds of young organists and harpsichordists, many of whom went on to become top performers and teachers as well.</p> <p>One of his former students, <a href="/node/32686">David Kazimir ’99</a>, now serves as curator of organs at 91ֱ��.</p> <p>“David’s gentle spirit, thoughtful guidance as a teacher, and prodigious knowledge of the organ throughout time were a constant source of inspiration to me and countless others, as a student and beyond,” says Kazimir. “He taught me to think and act in life in ways that help make music serve the needs of the world.”</p> <p>After serving for a year as associate dean under fellow teacher-turned-administrator Emil Danenberg, Boe ascended to the conservatory’s top job after Danenberg, a longtime professor of piano, was named president of 91ֱ�� College in 1975. Boe’s promotion was eagerly endorsed by Danenberg and ultimately by the search committee as well.</p> <p>Boe’s achievements as chief administrator were numerous and far-reaching. In his earliest years, he ushered in the study of ethnomusicology, expanding the scope of 91ֱ��’s teaching far beyond the bounds of Western music and foreshadowing an ever-evolving shift toward the study of world music in conservatories everywhere.</p> <p>Fueled by the great success of the <a href="/node/51101">Baroque Performance Institute</a>, the annual summer music festival founded at 91ֱ�� in 1971, Boe spurred the development of a wide-ranging suite of summer programs designed for pre-college students as well as dedicated amateur performers. His vision gave rise to the summer programs of today, which host hundreds of musicians young and old on 91ֱ��’s campus from June through early August.</p> <p>"David was a wonderful colleague and dean, and was the fairest and most clear-minded person I've ever met," says Lisa Goode Crawford, a professor of harpsichord at 91ֱ�� from 1973 to 2006 and a longtime BPI faculty member.</p> <p>Boe led the $1 million renovation of Warner Concert Hall, the stately venue at the heart of the conservatory that was constructed during his first year of teaching. He oversaw a $2 million expansion to the Conservatory Library, one of the most highly regarded music libraries in all of higher education, which today houses some 345,000 recordings, books, scores, and more.</p> <p>In 1988, as decades-old tensions between the U.S. and Soviet Union began to dissipate, Boe co-founded the American-Soviet Youth Orchestra, a joint initiative of 91ֱ�� Conservatory and the Moscow State Conservatory—the first arts exchange produced jointly by two countries. The orchestra consisted of more than 100 U.S. and Soviet student musicians under the baton of Leonard Slatkin, Zubin Mehta, and other acclaimed conductors. It continued through 1991, with heralded performances in dozens of major cities and in countries throughout the world.</p> <p>In 1989 the conservatory launched the <a href="/node/51641">Technology in Music and Related Arts (TIMARA) Department</a>, signaling the formal arrival of a program whose groundbreaking 91ֱ�� roots can be traced to the mid-1960s. A sturdy supporter of the program, Boe had come to recognize that an increasing number of young musicians were turning to synthesizers to approximate the experience of playing gargantuan pipe organs; more than 30 years later, 91ֱ��’s TIMARA Department continues to be a leader in the creation of electronic music.</p> <p>Beyond the construction projects and curricular innovations, Boe also fostered a conservatory culture in which faculty were encouraged for the first time to step away from their studios and pursue their own artistic pursuits, wherever those passions may take them.</p> <figure class="captioned-image obj-right"> <figcaption>courtesy 91ֱ�� College Archives</figcaption> </figure> <p>Boe himself long knew the importance of breathing the air outside of Bibbins Hall. During sabbatical leaves in the 1960s and ’70s, he had undertaken studies in Europe, including lessons with Gustav Leonhardt, and conducted research on historic instruments and early keyboard temperaments with various organ builders and musicologists. In the early 1990s, he completed visiting professorships at Florida State University and the University of Notre Dame.</p> <p>“When I came to 91ֱ��, the faculty did nothing but stay in 91ֱ�� and teach,” Boe told <em>The Plain Dealer</em> in April 1990, as he prepared to step away from the dean’s office and back to full-time teaching. “We coddled the students. It was an ivory tower. Our faculty now has greater involvement with the outside world.”</p> <p>A comfortable leader at the conservatory and elsewhere, Boe was a member of Phi Beta Kappa and Pi Kappa Lambda, which he served as national president for a four-year term in the 1980s. He was also secretary of the National Association of Schools of Music from 1981 to 1987 and vice president of the American Organ Academy.</p> <p>“At 91ֱ�� I am so often and so easily reminded of David Boe’s remarkable legacy,” says <a href="/node/6921">Steven Plank</a>, a longtime professor of musicology and a dear friend of the Boe family. “His early championing of the organ builder John Brombaugh helped the 91ֱ�� Organ Department establish its signature historical niche, and his decades of teaching profoundly shaped an entire generation of players who lead the organ world today. They do that, in no little part, by carrying forth his quiet devotion to the task at hand, his embrace of historical practice, his sensitive musicality, his mastery of technique, and the deep joy he took in music.</p> <p>“David’s years as dean were rich ones, marked at times by exciting new initiatives, but also by a quiet and confident nurture of the school’s tradition. But above all, he was also always a caring friend, whose advice was wise, whose door was open, and whose smile and quick laugh sustained the years with welcome grace.”</p> <p>Boe stepped away from the conservatory in 2008; four years later, he relocated with his wife to Chicago to be closer to family. Since his retirement, Boe had valiantly battled with Parkinson’s disease. While limited in their ability to travel far from their new home, the Boes maintained connections with 91ֱ�� through alumni and friends who came to Chicago.</p> <p>In 2011 91ֱ�� Conservatory established the David S. Boe Chair in Organ Studies, the institution’s first endowed professorship named after a current or emeritus professor. It was made possible through a gift from 91ֱ�� trustee Frederick R. Haas ’83 and the Wyncote Foundation.</p> <p>Years earlier, Haas had studied under Boe, who worked with only one organ student at a time during the years he served as dean. Haas considered himself among the fortunate few.</p> <p>“David’s teaching style was gentle and firmly based on sensitivity to historic playing practice and solid technique building,” he says. “I learned how to practice and how to build technique and play without stress or tension. Time with David in his studio was challenging in the best way, where I was pushed to be the best player I could be. I treasure the memories of my time with him.”</p> <p>That same year witnessed the naming of the David and Sigrid Boe Organ at Peace Community Church in 91ֱ��. The instrument, made possible by an anonymous gift to the conservatory, is a re-creation of an 18th-century organ by central German builder Gottfried Silbermann. It honors both Boe and his wife, the longtime 91ֱ�� community activist and recipient of the 1994 91ֱ�� College Distinguished Community Service Award.</p> <p>In February 2016, the Boes returned to campus for the dedication of the Brombaugh organ commissioned for their 91ֱ�� home, which they had donated to 91ֱ�� four years earlier. That instrument, named the David S. Boe Organ and installed at the front of Fairchild Chapel, was celebrated in a performance that included works by Bach, Eberlin, Weckmann, and others. Featured performers included a host of conservatory students and faculty, including <a href="/node/6761">Jonathan William Moyer</a>—91ֱ��’s David S. Boe Assistant Professor of Organ and chair of the Organ Department—at the keyboard.</p> <p>It would be Boe’s final visit to 91ֱ��.</p> <p>“I witnessed a brief exchange between Mr. Boe and John Brombaugh that I will always hold dear in my memory,” Moyer says of the organ dedication. “With the gleaming façade of Brombaugh's Opus 25 behind them, I saw John lovingly look David in the eye and remark with the sincerest tone in his voice and smile on his face: ‘You have done remarkable things in your life!’</p> <p>“Indeed he has," Moyer adds. "Thank you, David Boe.”</p> <p>Boe is survived by his wife; their son Eric and his wife Lisa; son Stephen and his wife Joo; granddaughters Sydney, Haley, Alexis, and Olivia; sisters Judith Boe and Carol Brann; and countless friends, former colleagues, and students.</p> <p>In lieu of flowers, gifts may be made to 91ֱ�� in memory of David Boe. Memorial celebrations will be announced at a later date.</p> <p><strong><em>Hear David Boe perform on the September 2001 dedication concert of 91ֱ��'s C.B. Fisk organ in Finney Chapel, also broadcast on WCLV-FM radio in Cleveland:</em></strong></p> <ul> <li><a href="https://soundcloud.com/oberlinconservatory/david-boe-organist-performs-vierne-symphonie-i-final-op-14">Final from Symphonie I, Op. 14 by Louis Vierne</a> <span aria-hidden="true" class="fa fa-soundcloud" style="color: #f47920;"></span></li> <li><a href="https://soundcloud.com/oberlinconservatory/david-boe-organist-performs-bonnal"><em>La Vallée du Béhorléguy</em>, <em>au matin</em>, from <em>Paysages euskariens</em> by Ermend Bonnal</a> <span aria-hidden="true" class="fa fa-soundcloud" style="color: #f47920;"></span></li> </ul> <hr> <p><em>Checks, designated in memory of David Boe in the memo line, should be made out to 91ֱ�� College and sent to: 91ֱ�� College, PO Box 72110, Cleveland OH 44192-0002.</em></p> <p><em>To give online, please visit <a href="https://advance.oberlin.edu/donate">https://advance.oberlin.edu/donate</a> and designate your donation as "David Boe Memorial Gift."</em></p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2020-04-30T12:00:00Z">Thu, 04/30/2020 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Erich Burnett</div> <div class="text-content field field--name-field-intro-text field--type-text-long field--label-hidden field__item"><p>Revered teacher and administrator remembered for his kindness, wisdom, and musicianship.</p></div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=2412">Obituaries</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32966">Organ</a></div> <div class="field__item"><a href="/news?program=33091">Harpsichord</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/steven-plank" hreflang="und">Steven Plank</a></div> <div class="field__item"><a href="/david-kazimir" hreflang="und">David Kazimir ’99</a></div> <div class="field__item"><a href="/jonathan-william-moyer" hreflang="und">Jonathan William Moyer</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/keyboard-studies" hreflang="und">Keyboard Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">courtesy 91ֱ�� College Archives</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>91ֱ�� BPI: A Chat with Ian Plansker</h1> <p>eburnett — Tue, 10 Nov 2020 19:20:36 +0000</p> <span>91ֱ�� BPI: A Chat with Ian Plansker</span> <span><span>eburnett</span></span> <span><time datetime="2020-11-10T14:20:36-05:00" title="Tuesday, November 10, 2020 - 14:20">Tue, 11/10/2020 - 14:20</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>Over the past two weeks at 91ֱ�� Conservatory, the annual <a href="/node/51101">Baroque Performance Institute</a> welcomed nearly 75 guests, ranging in age from a 14-year-old former boy soprano to a 92-year-old Baroque violinist, intent on honing their skills with the institute’s 20 internationally acclaimed faculty. </p> <p>Founded in 1971, BPI is an annual workshop with a focus on the performance of period pieces with Baroque instruments and voice. It offers expert coaching and master classes, and concludes with a student-performed concert. Participants range in experience—from seasoned performers to those new to the world of Baroque performance. </p> <p>We spoke with one of the younger participants, 15-year-old harpsichordist and composer Ian Plansker, who got the opportunity to perform in and hear a read-through of the opera he composed over the past year. He wrote <em>The Spectres</em> after attending BPI in 2018.</p> <figure class="captioned-image obj-right"> <figcaption>photo by Dale Preston '83</figcaption> </figure> <p><br> <strong>What drew you to start composing in the Baroque style?</strong></p> <p>When I first started composing, it was because I saw composition as a different and perhaps more effective way to alter the course of music in history. Not only do I find it very mentally stimulating and entertaining in a sense, but I also see it as a very effective way to make my mark on music and hopefully bring a lot of joy to other people. In seventh grade, I wrote a piece for my school’s orchestra, and the joy that I saw people experience was such an enthralling moment that I was really encouraged to keep composing. </p> <p>In terms of writing in the Baroque style, I think it came more or less with my fascination with that era of music. I find there is so much color and diversity of sound in Baroque music, and I sought to capture that in my own composition, which is really why I started writing in that idiom.</p> <p><strong>How has BPI influenced you as a musician?</strong></p> <p>Before attending 91ֱ��’s BPI, I knew that I really enjoyed period performance, but I had no idea that it was such a viable career in today’s world. After attending BPI and being encouraged by all of the fantastic faculty there, I learned that it’s definitely a viable career. The community in the historical performance world seems a lot more welcoming and open to me, less competitive, and I find that really inviting. They’re all so smart; you can have countless conversations. There’s so much to learn and so much to know in the historical performance world. I had no idea there were other people in the world that would sing Rameau opera chaconnes with me at 1 o’clock in the morning! </p> <p><strong>So let’s talk about your opera, <em>The Spectres</em>. What influenced your writing?</strong></p> <p>I knew that I wanted to write some sort of large-scale vocal piece in the Baroque style at some point. I wasn’t entirely sure that a performance would be possible. But I figured I may as well try writing something for BPI and see what could happen. </p> <p>I took a lot of inspiration from the “ballad operas” of 18th-century England, which was a genre coined by John Gay and Johann Pepusch. They are operas that combine a lot of aspects of plays within them—so you’ll have musical numbers and then acting, and then musical numbers. The reason I chose that style specifically was because when Gay was writing ballad operas, he was writing them more for the people and less for the aristocrats. That’s how it previously was in the Drury Lane and Covent Garden theaters in England. I thought that would be a great way to, perhaps, start a new trend in writing historical operas because I think that would be a great thing to have in the historical performance world. I wrote it over the course of three months. </p> <p><strong>How did the read-through of <em>The Spectres</em> feel?</strong></p> <p>It was amazing! I had no idea that the singers we would be working with were as expressive and as skilled as they were. And all of the violinists and the gambists were terrific as well. Everyone was very enthusiastic about doing it, which is really what I love to see when I’m doing these sorts of projects. When the orchestra members have a good time and enjoy playing the music, I know that message becomes apparent to the audience and that energy transfers between the two. </p> <p><strong>What advice would you give to aspiring composers? </strong></p> <p>Don’t give up! The first year and a half, everything I wrote was abominable. I look back and it’s filled with countless errors. I think the biggest thing that helped me improve was just to continue writing. I learned from my mistakes. Also, a very important thing is to learn the tools of composition. Even if you are going to write in modern styles, I think if you read the treatises and the texts from what was considered proper composition of the 17th, 18th, and 19th centuries, you can start to go in a new direction that is unique to yourself while still maintaining an overall sense of coherency in your music. That can help you create more powerful work.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2019-07-01T12:00:00Z">Mon, 07/01/2019 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Conservatory Communications Staff</div> <div class="text-content field field--name-field-intro-text field--type-text-long field--label-hidden field__item"><p>Young composer and harpsichordist discusses his creative process and the joy of sharing his work with fellow musicians.</p></div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2387">Conservatory Summer Programs</a></div> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=33331">Composition</a></div> <div class="field__item"><a href="/news?program=33091">Harpsichord</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/historical-performance" hreflang="und">Historical Performance</a></div> <div class="field__item"><a href="/conservatory/divisions/contemporary-music" hreflang="und">Contemporary Music</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Oli Bentley '21</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>HP WinterFest Celebrates Early Music Through Recitals and Master Classes</h1> <p>eburnett — Tue, 20 Feb 2018 17:33:01 +0000</p> <span>HP WinterFest Celebrates Early Music Through Recitals and Master Classes</span> <span><span>eburnett</span></span> <span><time datetime="2018-02-20T12:33:01-05:00" title="Tuesday, February 20, 2018 - 12:33">Tue, 02/20/2018 - 12:33</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>A performance by the Flanders Recorder Quartet highlights 91ֱ��’s 2018 Historical Performance WinterFest, a series of public concerts and master classes featuring faculty and guest artists who specialize in early music.</p> <p>The HP WinterFest takes place February 20 through 25 in venues on the 91ֱ�� campus. The schedule is as follows (all events are free):</p> <p></p> <p><strong>Tuesday, February 20</strong></p> <p>Master class: Flanders Recorder Quartet (4:30-6 p.m., Bibbins Hall 325)</p> <p>Recital: Flanders Recorder Quartet (8 p.m., Fairchild Chapel)</p> <p><strong>Wednesday, February 21</strong></p> <p>Recital: Nigel North, lutenist (8 p.m., Kulas Recital Hall)</p> <p><strong>Thursday, February 22</strong></p> <p>Master class: Nigel North, lutenist (3:30-6:30 p.m., Bibbins Hall 232)</p> <p><strong>Saturday, February 24</strong></p> <p>Recital: 91ֱ�� Baroque Ensemble: Cembalo Obbligato (8 p.m., Kulas Recital Hall)</p> <p></p> <p><strong>Sunday, February 25</strong></p> <p>Recital: Mark Edwards, harpsichord (8 p.m., Warner Concert Hall)</p> <p>The Flanders Recorder Quartet is celebrating 30 years of performing together around the globe—some 2,500 concerts in 52 countries. In that time, they have exalted their instrument as few others have and showcased countless extraordinary reproductions of little-known historic recorders. They were recently honored with the American Recorder Society’s 2018 Distinguished Achievement Award. At the conclusion of their 2018 performance season, the ensemble’s members have agreed to disband—making their 91ֱ�� engagement one of the final opportunities for their artistry to be heard live.</p> <p>Flanders’ 91ֱ�� February 20 program will mingle the old and the new as well as a variety of styles:</p> <ul> <li>Praetorius’ <em>Summa Parenti Gloria</em> from <em>Hymnodia Sionia</em> (1611)</li> <li>Pieter Campo’s 2015 works <em>Meditation</em> and<em> Fire</em></li> <li>Schein’s Suite 15 from <em>Banchetto Musicale</em> (1617)</li> <li>Boismortier’s Concerto VI in G from VI Concertos Pour 5 Flûtes, Op. 15 (1727)</li> <li>Sören Sieg’s 2016 composition <em>Inxaxheba</em></li> <li>Bach’s Fantasia in C BWV 570 and Fuga in C BWV 545</li> <li>Jeroen d’Hoe’s 2005 piece <em>Ella’s Blues</em></li> <li>Louis Prima’s <em>Sing, Sing, Sing (With a Swing)</em> (1936)</li> </ul> <p>A preview of works on the program can be heard <a href="http://www.flanders-recorder-quartet.be/JUBILEUM.mp3">here</a>.</p> <p>“They are a spectacular group—by far the best of their kind,” Professor of Recorder and Baroque Flute Michael Lynn says of Flanders. “I want to stress that they aren’t just great recorder players, but superb ensemble musicians on the level of any fine string quartet. And Fairchild Chapel is a perfect place to hear them.”</p> <p>Lutenist Nigel North found his initial inspiration in the ’60 instrumental pop group the Shadows. Self-taught on the lute beginning at age 15, he has come to be regarded as one of the world’s leading teachers and performers on the instrument. North devoted two decades as lute professor at the Guildhall School of Music and Drama, in addition to appointments at other prestigious conservatories. He has taught at Indiana University’s Early Music Institute since 1999. His February 21 performance features lute pieces attributed to J.S. Bach’s and catalogued as BWV 997, 998, 999, and 1000. On the recital’s second half will be a performance of the famous Violin Partita in D Minor (BWV 1004), which has been adapted for the lute.</p> <p>On Saturday, February 24, the 91ֱ�� Baroque Ensemble, featuring 91ֱ��’s HP faculty Mark Edwards (harpsichord), Michael Lynn (Baroque flute), Marilyn McDonald (Baroque violin), and Catharina Meints (viola da gamba and Baroque cello), will perform a program of ensemble music by Boismortier, Richter, Rameau, as well as Bach’s Sonata for Viola da Gamba in D major.</p> <p>The fest will close with a harpsichord performance by Edwards on Sunday, February 25. The concert includes works by Byrd, Sweelinck, Louis Couperin, Scarlatti, and Handel, which will be played on a variety of instruments from 91ֱ��’s extensive collection.</p> <p>Lynn notes that the WinterFest came about in part through a fortunate convergence of events on the 91ֱ�� calendar. He had been seeking an engagement with the Flanders Quartet, whose extensive farewell-tour schedule was filling quickly. He later learned that Professor of Classical Guitar Stephen Aron had booked lutenist North for the same week. Lynn had also been eyeing a date for Edwards to showcase an array of newly acquired harpsichords.</p> <p>“It immediately came to my mind that if possible we should put all this together and have a festival,” he says.</p> <p>Stay up to date on all events at 91ֱ�� at <a href="https://calendar.oberlin.edu/calendar/month?event_types%5B%5D=19263">calendar.oberlin.edu</a>.</p> </div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2018-02-16T12:00:00Z">Fri, 02/16/2018 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">By Erich Burnett</div> <div class="text-content field field--name-field-intro-text field--type-text-long field--label-hidden field__item"><p>91ֱ�� faculty and esteemed guests to perform February 20-25 in venues on campus.</p> </div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=36656">Baroque Flute</a></div> <div class="field__item"><a href="/news?program=33036">Baroque Violin</a></div> <div class="field__item"><a href="/news?program=33091">Harpsichord</a></div> <div class="field__item"><a href="/news?program=33041">Baroque Cello</a></div> <div class="field__item"><a href="/news?program=36306">Classical Guitar</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/mark-edwards" hreflang="und">Mark Edwards</a></div> <div class="field__item"><a href="/michael-lynn" hreflang="und">Michael Lynn</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/historical-performance" hreflang="und">Historical Performance</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> </main></body></html>