Friday, May 16

Separate board meetings of the societies, National Music Museum (NMM), corner of Clark and Yale streets.

Early-bird lecture: John Koster, "Keyboard Instruments at the National Music Museum," Farber Hall in Historic Old Main.

Opening Reception, Home of U.S.D. President and Mrs. James W. Abbott, 415 E. Main Street (three blocks south of the Museum).

Performance: Tilman Skowroneck (Olsfors, Sweden), works of Louis and François Couperin and Jean-Phillipe Rameau. Harpsichord by Jacques Germain, Paris, 1785.

Saturday, May 17

Meeting of Early Keyboard Journal Editorial Board and Oversight Committee, NMM Library.

Lecture: Tilman Skowroneck, "The Harpsichord Tutors of Couperin and Rameau: a Critical Comparison."

Lecture/Demonstration: Elaine Thornburgh (San Francisco): "Behind the Notes: Unlocking the Musical Gestures for Harpsichord."

Performances: Harvey Hinshaw (Lincoln, Nebraska), pieces from J. S. Bach, The Well-Tempered Clavier (clavichords: Unsigned, Swedish, ca. 1770, and J. P. Kraemer and Sons, Göttingen, 1804); and, Paul Boehnke (St. Paul, Minnesota), pieces from The Well-Tempered Clavier (spinet by J. H. Silbermann, Strasbourg, 1785) and by Antoine Forqueray (Germain harpsichord).

Lecture/Demonstration: Nancy Metzger (Sacramento): "What the Instruments Tell Us About Expressivity: a Harpsichordist Listens to the Resonant Box."

Lecture: Michael Latcham (Gemeentemuseum, The Hague, The Netherlands), "The Tangentenflügel."

Lecture/Performance: Carol lei Breckenridge (Pella, Iowa), "Mozart and the Clavichord" (clavichords by an unknown Swedish maker, ca. 1770, and by Johann Paul Kraemer & Sons, Göttingen, 1804).

Performance: Asako Hirabayashi (Roseville, Minnesota), Sonatas by C. P. E. Bach (harpsichord by Joseph Kirckman, London, 1798; Silbermann spinet).

Builders' demonstrations of their instruments on display in the Hoy and Frankenfeld Rooms, CSC.

Separate business meetings of the three societies: MHKS in Farber Hall, Old Main; SEHKS in the Concert Hall, NMM; WEKA in the Lounge, CSC.

Performance: Miklós Spányi (Liminka, Finland), works by J. S. Bach (clavichord) and C. P. E. Bach, J. G. Ekhard, and F. J. Haydn (Tangentenflügel by F. J. Späth & C. F. Schmahl, Regensburg, 1784).

Sunday, May 18

Combined board meeting of the three societies, NMM Library.

Lecture/Performance: Nanette G. Lunde (Eau Claire, Wisconsin), "The Anonymous Unmeasured Harpsichord Preludes of the Parville Manuscript" (Germain harpsichord).

Lecture: David Chung (Hong Kong), "A Re-examination of the Menetou Manuscript."

Lecture/Performance: Jillon Stoppels Dupree (Seattle), "Pièces de Clavecin by Joseph-Hector Fiocco" (Germain harpsichord).

Lecture: Edward L. Kottick (Iowa City), "Tales of the Master Builders."

Lecture: Peggy F. Baird (Huntsville), "Music for the Eye and Art for the Ear: Considering Some Paintings Having Keyboard Images."

Lecture: Larry Palmer (Dallas), "Herbert Howells, Lambert's Clavichord: The First Twentieth-Century Compositions for Clavichord," Farber Hall in Historic Old Main.

Performance: Calvert Johnson (Decatur, Georgia), Japanese harpsichord music by women composers (harpsichord by Thomas & Barbara Wolf, The Plains, Virginia, 1994), Farber Hall.

Performance: Sheli Nan (Berkeley), playing her own compositions (Wolf harpsichord), Farber Hall.

Performance: Tilman Skowroneck, works by Girolamo Frescobaldi on the Museum's Italian instruments (harpsichords by Giacomo Ridolfi and by an unknown maker; octave virginal by Onofrio Guarracino, Naples, 1694), Arne B. Larson Concert Hall, National Music Museum.

Lecture: Darryl Martin (Edinburgh, Scotland), "Early English Virginals."

Lecture: Malcolm Rose (Lewes, England), "The Harpsichord by Lodewijk Theewes, London, 1579: Its History and Significance."

Performance: Elaine Thornburgh, works by William Byrd (Malcolm Rose's copy of the Theewes harpsichord and Darryl Martin's copy of an unsigned English virginal, ca. 1580).

Performance: Luisa Morales (Almerìa, Spain), harpsichord, and Cristóbal Salvador, dancer, works by Domenico Scarlatti, Antonio Soler, and others. (Harpsichords by José Calisto, Portugal, 1780, and Joseph Kirckman, London, 1798).

Monday, May 19

Performance: Susanne Skyrm (The University of South Dakota), works by Iberian composers (piano by Manuel Antunes, Lisbon, 1767).

Lecture: Luisa Morales, "The Seven Notebooks of Keyboard Music of the Female Monastery of San Pedro de las Dueñas (León, Spain): Music Inside and Outside Cloisters in the Eighteenth Century."

Lecture/Demonstration: Martha Folts (Chelsea, Michigan), "Scarlatti and the Gypsies."

Performance: Larry Schou (The University of South Dakota), miscellaneous works (organs by Christian Dieffenbach, Bethel Township, Berks County, Pennsylvania, 1808, and Joseph Looßer, Lüppfertsweil, Gemeind Cappel, St. Gall, Switzerland, 1786).

Performance: Susanne Skyrm (piano by Anton Martin Thÿm, Vienna, ca. 1815-1820).

Lecture/Demonstration: Sandra Soderlund (Kensington, California), "Muzio Clementi, 'Father of the Piano'." (Square piano by John Broadwood and Sons, London, ca. 1829)

Lecture/Performance: Ray Songayllo (Indianola, Iowa), The Sufferings of the Queen of France by Jan Ladislav Dussek, Opus 23 (fortepiano by Thomas & Barbara Wolf, The Plains, Virginia, 2003).

Lecture: Sabine Klaus (National Music Museum), "The Viennese Piano Maker Joseph Ries: Beethoven Connections, Patents, and Instruments."

Lecture: Maria Rose (New York), "Beethoven's 1803 Erard Piano: A Deceptive 'Gift.'"

Lecture: Eva Badura-Skoda (Vienna), "Conrad Graf's Beethoven Pianos."

After-banquet remarks: Laurette Goldberg (Berkeley), "The Historical Performance Movement in America: the Perspective from 'Amsterdam West'."

Performance: Andrew Willis (Greensboro, North Carolina), works by Moscheles, Field, Hummel, Weber, Schubert, and Beethoven (Thÿm piano).

Post-conference party at the house of John Koster and Jacqueline Block, rural Vermillion.