2018 Conference Schedule
Saturday evening, June 23 at 5:00
Sunday, June 24, from 9:00 to 5:00
Paul Knoke: “Leo”
The strange saga of how a hook harp from 1729 came to Rochester, New York and a replica was built by an intrepid guitar-maker.
Mara Galassi: Portrait of a “Lady with Harp”
Harp music in Italy during the time of Queen Christina of Sweden.
David Brown: Welsh Harp Construction
A look at Welsh harp construction and the instrument’s transition from the 18th into the 19th century and onward to near extinction. A Bassett Jones triple harp of the mid-late 19th century, from the estate of Marjorie Tayloe, will be present and serve as an example.
Samuel Milligan: The Reading Rota
The oldest known canon is the 13th-century English round “Sumer is icumen in,” also called “the Reading Rota.” “Rota” was a medieval term for round. This unique six-part composition is based on a four-voice canon that can be derived from a single notated part. Sam encourages us all to bring a harp (any kind) and join in. Lots of fun!
Christopher Preston-Thompson: Accompanying Medieval Song: Approaching Historical Plausibility
Through analysis of “L’amour dont sui espris” by the trouvère Blondel de Nesle (F-Pn. MS fr.846,79r), and its polyphonic counterpart, “Procurans odium” (I-Fl. MS Bibl. Laur. Med. Pluteus 29.1, 193r-v), this presentation proposes an approach to monophonic song accompaniment on the medieval harp in relation to contrapuntal relationships and structural elements found in polyphony of the same period, in order to develop stylistically appropriate and historically plausible accompaniments.
James Ruff: Tracing Gaelic Tunes
Restoring Old Gaelic harp tunes to the clarsach repertoire through the use of early manuscripts and publications, old harp techniques, and the Gaelic language itself.
Tomoko Sugawara – Chinese and Japanese court music from the 8th to 9th century
Manuscripts of Tang dynasty court music survived in Japan and late Tang lute music survives in China. The oldest versions are the simplest while later versions are more ornamented. They show us a style of ornamentation idiomatic to each instrument. Ms. Sugawara began transcribing these pieces in 2011 and has arranged them for kugo solo, and for her ensemble, Eurasia Consort.
5:00: General Membership Meeting
Monday, June 25
Masterclasses with Mara Galassi
9:30–11:00: Single Action Harp
11:15–12:45: Italian Baroque Harp