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The CCHK presents an end-of-year gala celebration on December 10–11. Xak Bjerken, Roger Moseley, Malcolm Bilson, and Mike Lee will share the Barnes Hall stage alongside guest artist Martha Guth and students on multiple instruments from the center’s collection. This will be followed the next day by a mini-symposium with guest speakers on the topic of instrument conservation and collection management. The weekend will conclude with a celebration of the career of our longtime colleague and friend, Ken Walkup, who not only has served as Cornell’s chief piano technician but has been a key contributor to the Center’s maturation in more ways than we can acknowledge.
All in-person events will follow current Cornell COVID-19 protocols. Compliance with the university’s mask mandate will be required for all audience members. Please note the following public health requirements:
All attendees who are current Cornell students or employees must show their Cornell ID for admission to events. Cornell employees must complete the Daily Check prior to attendance.
All attendees who are not current Cornell employees or students (such as alumni, visitors, guests, parents, community members, third party event attendees and others) must provide one of the following: 1) proof of being fully vaccinated for COVID-19 with an FDA- or WHO-authorized vaccine; 2) results of a negative FDA- or DOH-authorized PCR, rapid PCR, or nucleic acid amplification test (NAAT) COVID-19 test collected within 72 hours of the event start; or 3) an FDA-authorized antigen test performed on a specimen collected within six hours of the event start.
As a teaser for the final events of Future Imperfect: Brahms and the Passage of Time – a performance of variations on Friday, November 12 and the Op. 8 Piano Trio on Saturday, November 13 – we are delighted to upload new web content based on two events from earlier in the series: a roundtable with Jacquelyn Sholes and a performance by Malcolm Bilson.
Organ recitals this semester bring you the multifaceted music of the Northern European baroque, balancing the splendid with the learned, the glittering with the melancholic. The semester’s piano events, meanwhile, explore works by Haydn, Bach, Brahms, Beethoven, Chopin, and more, on several of the Center’s distinctive array of instruments.
Elizaveta Zabelina ’24’s project demonstrates how instruments, performance and research intersect at the Cornell Center for Historical Keyboards. “Both the act of performing and doing technical work inside the mechanism involve a developing relationship between the human and the instrument,” Zabelina said. “I’m observing and participating in the relationship between material and immaterial.”
The Cornell Center for Historical Keyboards is delighted to announce the arrival of Conrad Graf Opus 502 (ca. 1823-24) into our collection. The piano is the generous gift of Nancy Garrett, Professor Emeritus of Piano at the Butler School of Music, University of Texas at Austin (who is also the benefactor of our 1799 Broadwood).
DMA candidate Richard Valitutto documents his ongoing work into the music, performance practice, and personality of Julius Eastman.
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Cornell Center for Historical Keyboards is the home and host of the Westfield Center for Historical Keyboard Studies. Learn about the Westfield Center at www.westfield.org.