{"id":24353,"date":"2023-08-01T09:53:36","date_gmt":"2023-08-01T13:53:36","guid":{"rendered":"https:\/\/alumni.cornell.edu\/cornellians\/?p=24353"},"modified":"2023-08-04T12:06:05","modified_gmt":"2023-08-04T16:06:05","slug":"historical-keyboards","status":"publish","type":"post","link":"https:\/\/alumni.cornell.edu\/cornellians\/historical-keyboards\/","title":{"rendered":"Campus Center Holds the \u2018Keys\u2019 to Musical History"},"content":{"rendered":"\n

From fortepianos to pipe organs, the Hill boasts one of the world\u2019s leading collections of performance-ready vintage instruments<\/p>\n\n\n\n

By Joe Wilensky<\/strong><\/p>\n\n\n\n

What do Sage Chapel\u2019s massive pipe <\/strong>organ, a fortepiano from 1799, and a 1960s-era synthesizer have in common? In addition to their ability to produce music, they share the same interface: a keyboard.<\/p>\n\n\n\n

These, and more than two dozen other keyboard-based instruments, form a selective-but-notable collection: the Cornell Center for Historical Keyboards<\/a>, one of the world\u2019s most significant resources of performance-ready historical pianos, harpsichords, clavichords, and organs.<\/p>\n\n\n\n

\"In
A summer 2022 performance on fortepiano.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The center\u2019s collection includes both original instruments and historically accurate replicas that run the gamut of keyboard history. Among its core holdings are fortepianos that emeritus professor Malcolm Bilson<\/a>, a giant in the field of the period instruments, gifted to the University from his own collection.<\/p>\n\n\n\n

It also houses some much more contemporary items: it recently acquired <\/strong>four synthesizers, including two original instruments designed by Robert Moog, PhD \u201965, a pioneer in electronic music.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n

Founded in 2019, the center has a physical home on the ground floor of 726 University Avenue.<\/p>\n\n\n\n

The building, brick Colonial on the edge of West Campus, is a former fraternity house that now hosts several offices of the College of Arts & Sciences.<\/p>\n\n\n\n

<\/p>\n<\/div>

\"One
An original Minimoog variant of the Moog synthesizer.<\/figcaption><\/figure><\/div>\n\n\n\n

It draws students and faculty from diverse fields\u2014from composers to engineers to physicists\u2014to study instruments\u2019 sonic properties, craftsmanship, materials, and more.<\/p>\n\n\n\n

Some of the center\u2019s holdings reside elsewhere, including the German Baroque organ in Anabel Taylor Chapel, instruments in Lincoln and Barnes halls, and its largest item of all: Sage Chapel\u2019s Aeolian-Skinner organ, which boasts more than 4,000 pipes.<\/p>\n\n\n\n

\"Detail
The Anabel Taylor organ.<\/figcaption><\/figure>
\n

Also in the chapel: the center\u2019s oldest instrument, a Neapolitan organ that dates to 1746, its maker\u2019s name still visible on an engraved panel inside.<\/p>\n\n\n\n

On an early summer day, Annette Richards\u2014professor of music, the University\u2019s organist, and the center\u2019s founding director\u2014puts the nearly 300-year-old instrument through its paces for Cornellians<\/em>, playing a toccata by a 17th-century Roman composer.<\/p>\n\n\n\n

She pauses to show off the organ\u2019s leather bellows and 45 boxwood keys, whose uneven grooves display generations of use.<\/p>\n<\/div><\/div>\n\n\n\n

\u201cInstruments like this, every part was made by hand,\u201d she notes. \u201cEverything is the result of craft. It has this incredible character and charm; it can essentially transport you back to late-17th-, early-18th-century Italy. It\u2019s really remarkable.\u201d<\/p>\n\n\n\n

(The organ even sports a bonus feature, likely added many years later: a set of tiny pipes, called a \u201cbird stop,\u201d that can imitate a warbling chorus of nightingales.)<\/p>\n\n\n\n

\n

Feast Your Ears<\/h2>\n\n\n\n

Check out this sampling of performances:<\/em><\/p>\n\n\n\n

A Schumann selection<\/a> on an 1835 piano<\/p>\n\n\n\n

Selections by Sweelinck<\/a> on the Anabel Taylor organ<\/p>\n\n\n\n

Beethoven\u2019s Diabelli variations<\/a> on two pianos<\/p>\n\n\n\n

Music by Handel<\/a> on the Anabel Taylor organ<\/p>\n\n\n\n

Beethoven sonata<\/a> on a circa-1800 piano replica<\/p>\n<\/div><\/div>\n\n\n\n

The center grew out of the music department\u2019s long experience in historical organ and piano performance, as well as its connection to the nonprofit Westfield Center for Historical Keyboard Studies<\/a>, of which Richards was the executive director from 2007\u201317.<\/p>\n\n\n\n

Now serving as Westfield\u2019s physical home and expanding its programming and outreach, the center offers music salons, research opportunities, scholarly residencies, and more. <\/p>\n\n\n\n

\"One
A salon at the A.D. White House in 2022.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

It also presents public concerts and festivals, often in partnership with other universities and historic orchestral groups.<\/p>\n\n\n\n

In May 2023, for example, it hosted a weekend of masterclasses in Barnes Hall (in collaboration with the Warsaw-based Chopin Institute) with guest artists and scholars, showcasing the beauty of Chopin\u2019s music on pianos from his time.<\/p>\n\n\n\n

In addition to the breadth and depth of the center\u2019s collection, one of its most notable aspects is that its instruments are generally available for use.<\/p>\n\n\n\n

\n

Kept performance- and concert-ready, they offer aficionados the rare ability to play and hear pieces on the instruments for which they were composed.<\/p>\n\n\n\n

For classical musicians, that can be a transformative experience.<\/p>\n<\/div>

\"Annette
Richards plays in Anabel Taylor Chapel.<\/figcaption><\/figure><\/div>\n\n\n\n

As Bilson explains: before the piano industry became standardized in the mid-1800s, manufacturers experimented with different casings, strings, and octave ranges, and even varied the number of keys.<\/p>\n\n\n\n

Compared to modern instruments, he says, that diversity of materials created a much wider variety of sounds, tones, and playing styles. <\/p>\n\n\n\n

Bilson himself became known in the 1970s as a performer of Haydn, Mozart, Beethoven, and Schubert on late-18th- and early-19th-century pianos.<\/p>\n\n\n\n

\"Malcolm
Bilson teaches a masterclass in Barnes Hall in 2022.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

He was an integral part of the burgeoning historical orchestra movement during that decade, when the entire oeuvres of classical composers were re-recorded by major labels, using period instruments and guided by musicologists.<\/p>\n\n\n\n

Even decades later, Bilson still vividly recalls the first historical piano he ever played\u2014the same type of 18th-century fortepiano that Mozart himself used.<\/p>\n\n\n\n

\u201cI was rehearsing for a concert, and I started to see that I was actually going to be able to play what Mozart wrote, which nobody can on a Steinway,\u201d he says.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Tickling
Anabel Taylor\u2019s 1746 Neapolitan organ is the collection\u2019s oldest item. (Joe Wilensky \/ Cornell University)<\/em><\/figcaption><\/figure>
\n

\u201cWhat you hear on a piano like this is a very sharp attack, and an immediate decay. Modern pianos play everything smoothly. And if they\u2019re good, it\u2019s beautiful\u2014but it\u2019s not what Mozart wrote.\u201d<\/p>\n\n\n\n

Bilson\u2019s colleague Roger Moseley, an associate professor of music, echoes that sentiment.<\/p>\n<\/div><\/div>\n\n\n\n

<\/div>\n\n\n\n

Many early pianos, he says, \u201chave this wonderful precision and clarity when it comes to articulating musical textures.\u201d <\/p>\n\n\n\n

He sits down at a Viennese instrument from the early 1800s to demonstrate. <\/p>\n\n\n\n

\u201cThe bass on a modern piano often overpowers the treble,\u201d he says. \u201cOn this instrument, it doesn\u2019t.\u201d<\/p>\n\n\n\n

Perhaps surprisingly, many of the center\u2019s instruments can be (carefully) transported across campus for performances. <\/p>\n\n\n\n

\"Roger
Moseley tickles the (antique) ivories at the center\u2019s University Avenue home. (Joe Wilensky \/ Cornell University)<\/em><\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Occasionally, they even go farther afield: postdoc Ryan McCullough, DMA 2020, <\/strong>has <\/strong>used its restored 1857 Streicher piano to perform a rarely heard Brahms song cycle in Cambridge, MA.<\/p>\n\n\n\n

\u201cThe wealth of the keyboard collection is the incredible variety of timbres and personalities,\u201d McCullough marvels. \u201cDesigns even just 20 years apart seem like they were built for completely different kinds of music, with entirely unique sensibilities.\u201d <\/p>\n\n\n\n

<\/p>\n\n\n\n

Top: A student researcher and visiting scholar tune a replica of a circa-1800 piano in 2021 (Jason Koski \/ Cornell University). Photos provided by the Cornell Center for Historical Keyboards, unless otherwise indicated.<\/em><\/p>\n\n\n\n

Published August 1, 2023<\/p>\n\n\n\n

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