Historical Keyboard Society of North America
2025 Regional Meeting
Co-Sponsored by Western Early Keyboard Association
Saturday, October 4, 2025 – Reed College, Portland, Oregon, U.S.A.
The Historical Keyboard Society of North America (HKSNA) and Western Early Keyboard Association (WEKA) dedicate this 2025 regional meeting to all aspects of music making with historical keyboards throughout the centuries. The meeting is hosted by WEKA and held at Reed College, Portland, Oregon, for one day of presentations, and an end-of-day harpsichord concert. View the Call for Proposals
REGISTRATION
The conference is open to the public.
Registration fees include the daytime sessions and the evening recital. Refreshments will be available. Meals are not included and are available on campus at the nearby Commons Cafe and on streets near the college.
WEKA or HKSNA Members $50
Non WEKA/HKSNA Members $75
Please register and make payment via this Registration Form
Contact WEKA directly with questions: weka@wekaweb.org
For information about housing and transport, see Housing and Transport
GUEST ARTIST RECITAL
The day will conclude with a harpsichord recital at 7:00pm by guest artist visiting from Spain, Yago Mahúgo. The program includes works by François Couperin, Louis Couperin, Armand Louis Couperin, Georg Friedrich Händel, Johann Sebastian Bach, Antonio Soler, Domenico Scarlatti, and Pancrace Royer. The campus venue is Eliot Hall Chapel – More about the recital
PRESENTATIONS
Presentations (9:30am-5:00pm) include Lecture/Recitals and Mini-recitals on the following topics. (Schedule TBD) – Campus Map
Barbara Baird – Understanding the Allemandes of J.S. Bach
The Allemande began as a dance in the Renaissance, and by the end of the 17th century it became one of the four standard dances of the suite. Comparing and contrasting the Italian and French styles of the Allemande, this recital is a presentation of the six Allemandes from Bach’s French Suites.
Carol lei Breckenridge – A New Cantabile Aesthetic: the 18th-Century Clavichord and Early Piano
—A new aesthetic emerged around 1700, expressly emphasizing cantabile music-making. As Johann Sebastian Bach advocated, “above all to achieve a cantabile style of playing …” (Preface, 1723 Inventions/Sinfonias)
—The new aesthetic promoted more vocal type melodic lines, I believe particularly relying upon: (1) greater use of legato and (2) nuanced dynamics within a phrase. As some evidence for increased legato usage, in the 18th century unfretted clavichords (better enabling unlimited legato) became more frequently built than fretted ones (Bernard Brauchli, The Clavichord, 145).
Nuanced dynamics by touch were only possible in the 18th century on clavichord or early piano. We clearly hear cantabile lines in J.S. Bach’s Allemande in D Major from Partita No. 4 (pub. 1731). Although Bach did not notate dynamics or articulation, the clearly vocal nature of its three independent melodies seems to call for nuanced dynamics, as well as vocally-inspired legato.
—With the appearance of the first pianos, Bartolomeo Cristofori having around 1700 invented a “Gravicembalo col piano e forte,” the clavichord’s nuanced dynamic capabilities now became possible on an instrument rivaling the harpsichord’s louder tone; indeed, the newly invented piano gradually took over the harpsichord’s public domain.
—Classical composers such as Haydn and Mozart naturally gravitated to the piano for public performances, which easily projected cantabile singing lines, though they continued to use clavichords for private composition. Mozart’s Rondo in A Minor, K. 511, (composed 1787), uses dynamics to create expressive effects, with extensive notated dynamic changes and shadings. Especially notable are frequent crescendo phrases culminating in piano, and a diminuendo before a Rondo return. Also unusual are two pianissimo markings, one at the end before a fermata over the final bar, perhaps inspired by the clavichord’s intimate spirit. Mozart also employs extensive legato slurring, some quite long and extending over bar lines.
Joyce Chen – Singing and Chirping: Birdsongs and Harpsichord Performance Practice
—The concept of ‘mimesis,’ or representation, originates from ancient Greek philosophical thoughts, and is manifested in art and music. Plato insisted that musical mimesis was “not a mere imitation of sound” but has the “capacity to affect ethos.” In addition, Greek philosophers believed in the power of music to influence emotions, social behaviors, and morals. It is evident that Greek philosophers – such as Plato and Aristotle – highly valued the mimesis of nature, and this notion has influenced the arts, philosophy, music, and many other disciplines for generations until today.
—My lecture demonstration will highlight a few ways harpsichord performance practice will help music come alive by imitating the sounds and movements of birds in nature. In particular, I will discuss using tempo rubato, accelerated cadential figures, and stile brisé (the broken style). First, tempo rubato must be applied throughout Poglietti’s Rossignolo suite, as the score is descriptive and offers the performers liberty to be flexible with timing and pulse. In addition, (accelerating) cadential figures can be added to imitate the ‘chirping’ gesture in F. Couperin’s ‘Le Rossignol-en-amour’ from the 14th Ordre. Lastly, stile brisé/staggering technique can be used for almost any piece to imitate either movement between birds, the echoes of the birdsongs, or a combination of both.
Hanbyeol Lee – Italian Keyboard Toccatas: From the Venetian School to the Neapolitan School
—In Italy, improvisatory keyboard works were developed by Venetian School composers and organists. This improvisatory practice evolved into a solo keyboard subgenre, with various forms such as intonazione, fantasia, prelude, and toccata—or various mixtures thereof—that composers began notating as early as the 15th century. Of these numerous compositional topics, the toccata is one whose history we can trace in its contribution to the development of keyboard solo repertoire. Specifically, in the sixteenth and seventeenth centuries, Italian composers developed the toccata from the improvisatory keyboard prelude to a specific form with its own style.
—Venetian School composers defined the texture of the toccata, which became more harmonically complex under the influence of Roman and Neapolitan School composers. Girolamo Frescobaldi’s toccatas for organ and harpsichord are significant works that greatly influenced later composers. Alessandro Scarlatti, who taught at a conservatory in Naples, wrote keyboard toccatas and fugues with an educational intention.
—This research uses examples of keyboard pieces by Gabrieli, Merulo, Frescobaldi, and A. Scarlatti to understand Italian keyboard toccatas and their dedication to keyboard works, especially the toccata as an improvisatory solo keyboard music.
Sonia Lee – Performing the Concerts Royaux on Solo Harpsichord
The Concerts Royaux by François Couperin (1668–1733), published at the end of the Troisième livre de clavecin (1722), are commonly known as a collection of chamber music suites for flexible instrumentation, but little do performers know that solo harpsichord is an option mentioned by the composer in the preface. This lecture-recital will provide observations and discuss interpretation issues in connection with the performance of the suites on the harpsichord and will offer a solo performance of Concert no. 4 in E major (Prélude — Allemande — Courante Françoise — Courante à l’italienne — Sarabande — Rigaudon — Forlane).
Artem Markaryan – Unlocking Reicha’s Variations: The Impact of Historical Keyboards on Interpretation
—This presentation explores the influence of historical keyboard instruments on the interpretation of Anton Reicha’s L’art de varier (Op. 57), a complex set of variations composed in the early 19th century. Reicha’s work, rich in contrasting techniques and intricate rhythmic patterns, presents unique challenges for modern performers. The research presented here investigates how historical keyboards, particularly those from Reicha’s time, shape the expressive possibilities and interpretation of his music.
—By analyzing the specific instruments available during Reicha’s compositional period, including the early Viennese fortepiano, this study reveals how the instrument’s design, tonal qualities, and technical limitations influence both the execution and the interpretation of the piece. The presentation emphasizes the importance of referencing various sources on historical performance practice to better understand the interpretive choices available to performers of Reicha’s work.
—Through performance experiments on a historical fortepiano, combined with theoretical analysis, the research emphasizes the importance of understanding historical instrument context in shaping a more authentic interpretation of 19th-century works. The findings encourage performers to reconsider the role of the instrument in unlocking the true character of the piece and offer a fresh perspective on Reicha’s contribution to the development of the variation form.
Tung Nguyen – The Keyboard Concertos in the 18th Century: an Historically Informed Approach
—In the 21st century, a well-rounded concert pianist’s repertoire typically includes significant piano concertos, with W.A. Mozart’s works remaining central to this tradition and are representatives of the 18th-century keyboard concertos. The role of the keyboard evolved from an accompaniment instrument to a prominent solo voice during the 18th century, as exemplified by J.S. Bach’s Brandenburg Concerto No. 5. Mozart’s approach to the keyboard concerto genre was heavily influenced by the works of J.S. Bach’s sons, Johann Christian and Carl Philipp Emanuel Bach, whose manuscripts often included figured bass notation in the tutti sections, indicating the keyboardist’s role in realizing these figures alongside the orchestra.
—While Mozart’s manuscripts also reflect this figured bass tradition, modern editions frequently omit these notations, leading pianists to focus solely on the written solo passages. As a result, the historically significant practice of continuo realization in keyboard concertos has been largely overlooked. This paper investigates the role of figured bass in keyboard concertos by Mozart, J.C. Bach, C.P.E. Bach, and J.S. Bach, proposing a historically informed approach that reintroduces the practice of continuo realization, offering fresh interpretative possibilities for modern performances.
Lark Powers – From Fandango to Joropo
—The Fandango is the ultimate expression of passion. In 1767, Giacomo Casanova, visiting Madrid, wrote about Fandango “The expression of love is displayed from beginning to end, from the first sign of desire to the height of ecstasy.” This courtship dance has shown longevity since its first mention in 1705, and its ability to blend elements from varied cultures highlights its presence as living music.
—Fandango may have originated with enslaved Africans in the Americas, and shows complex cultural influences. It remains musically relevant in Spain and Latin America, and captures vibrant rhythm, exciting intensity, and universal appeal. Traditionally the form includes harmonic alternation between tonic and dominant, an ostinato pattern, and ends inconclusively on the dominant. Fandango often functions as variations, with figuration that grows in elaboration, like the footwork of the dancers.
—This presentation will explore cultural influences on Fandango and demonstrate examples for harpsichord, including not only Soler, but also lesser known Fandangos by Díaz, Carr, and Gallo.
—Two traditions which grew from Fandango will be explored. Veracruz, the closest port in Mexico to Spain, is a “broker of culture.” There, Fandango evolved into the Veracruz Huapango, with multiple dancers, vibrant movements, and colorful costumes. Huapango is part of the style son jarocho, the word originally referring to people of African or indigenous descent who helped developed this music as a form of protest. Some of the gestures and steps in the dance will be demonstrated, and John Bowles’ Huapango will be played.
—In Venezuela, Fandango evolved into the Joropo. It originated in the Llanos region in the 18th century, with African, European, and Indigenous influences. In 1882, the form became Venezuela’s national music, and llaneros (Venezuelan or Columbian herders) started using the word joropo instead of fandango. Moleiro’s Joropo will be performed to demonstrate the style.
Byron Schenkman – Expansive and Inclusive Programming for Historical Instruments
As historical keyboard players, many of us grew up with the assumption that all our repertory was necessarily composed by white European men. Although that assumption has been thoroughly debunked, the prejudice persists and it is all too easy to default to the status quo. This presentation offers some tools and strategies for programming and teaching repertory that honors past traditions while paving the way to a more inclusive future.
Faythe Vollrath – Reflections: Inspirations from the Past
Inspired contemporary composers often draw on early pieces to influence their works. Particularly, this appeals to those writing for the harpsichord, an instrument that embodies the juxtaposition of old and new through its unique history of distinguished past and current revival. In this concert, two modern pieces will be featured, by Nissim Schaul and Elinor Armer. Both of these composers chose to base their compositions on a particular historic piece, by Frescobaldi and Sweelinck, respectively. These pieces, written specifically to pair with their Baroque counterparts, celebrate the narrative of harpsichord repertoire over the centuries.
AVAILABLE INSTRUMENTS
Harpsichords
Ken Bakeman – Franco-Flemish double harpsichord (FF-e”’) A=415 – more
Owen Daly – Italian harpsichord after Grimaldi (GG,AA-d”’) A=415/440 – more
Clavichord
Paul Irvin – Unfretted clavichord after Friederici (FF-f”’) A=415
Fortepiano – TBD
Viennese-type fortepiano (FF-f”’), A=415
PROGRAM COMMITTEE
Barbara Baird
Carol lei Breckenridge
Angeline Case-Stott
Lynn M. Hanson, Chair
Paul Irvin
Sonia Lee