Conferences 2016

Conferences 2016: (US) Submit proposals by September 30, 2015 | 2016 5th Annual Meeting of the Historical Keyboard Society of North America (HKSNA)

Contributed by sonialee on Aug 18, 2015

Oberlin College’s Conservatory of Music (Ohio, USA) will host the fifth annual meeting of the Historical Keyboard Society of North America (HKSNA) from Monday, 21 March, to Wednesday, 23 March 2016. The meeting’s theme “The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo” hopes to inspire us with the variety of instruments played by our forefathers and foremothers.

Three days of morning and afternoon events (Monday to Wednesday) will include papers, lecture-recitals, mini-recitals, and an exhibition of publications, recordings, and contemporary instrument makers’ work. Proposals for individual presentations or for themed sessions with multiple participants on any subject relating to historical keyboard instruments, their use and repertories from the Middle Ages to the twenty-first century, are welcome.

*Of special note: Oberlin College will also host the Eighth Jurow International Harpsichord Competition during 22-24 March 2016. For more details, visit:


Please submit proposals by electronic means only, via email to by 30 September 2015. Individual presentations will be limited to 25 minutes. For papers and themed sessions, submit a one-page abstract attached to the e-mail as a Microsoft Word document. For mini-recitals and lecture-recitals, submit complete program information and a representative recording as an internet link or as an attached MP3 file. For performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments, instruments will be available, based on needs for the Jurow harpsichord competition; see list below. All proposals must include short biographical statements (250 words or less) for all presenters and indicate any audio-visual/media needs.

Notification of accepted proposals will be made by 31 October 2015. Presenters must be members of HKSNA and must register for the conference. Presenters must also cover their own travel and other expenses. Further information, as it becomes available, will be posted on the website of HKSNA (



  • David Breitman
  • Lisa Goode Crawford
  • Frances Conover Fitch
  • Joseph Gascho
  • Sonia Lee
  • Webb Wiggins, chair

*          *          *

Below is a list of Oberlin Conservatory’s Historical Performance Program keyboard instruments; not all may be available for use in your proposal due to use in the Jurow harpsichord competition or hall availability.

French Harpsichords

  • Richard Kingston double, 1990
  • Keith Hill double, 1987
  • John G. P. Leek double, 1975
  • William Dowd double, 1969
  • Willard Martin single, 1979

Flemish Harpsichords

  • Zuckermann double after Moermans, 2007
  • Robert Myerly single, 1989
  • Willard Martin single, 1979

German Harpsichords

  • John Phillips double after Gräbner, 2014
  • William Dowd double after Mietke, 1986 (Wiggins)

Italian Harpsichords

  • David Sutherland, 1983
  • Anderson Dupree, 1982
  • William Dowd, 1965 (A=415/440/463)


  • Edward Kottick muselar (mother & child), 2004 (A=440)
  • Willard Martin muselar, 1973 (A=415)
  • potential Owen Daly Italian, 2016 (A=463)

Chamber Organs

  • Gerrit Klop chamber organ, 1985 (8’ 4’ 2 2/3’ 2’ flutes, 8’ wooden principal treble only)
  • Robert Byrd chamber organ, 1990’s (8’ 4’ 2’ flutes)
  • A. Flentrop chamber organ, 1956

Concert Organs

  • A. Flentrop three-manual North European organ in Warner Concert Hall, 1974
  • C. B. Fisk three-manual late-Romantic organ in Finney Chapel, Op. 116
  • John Brombaugh two-manual early 17th century meantone organ in Fairchild Chapel, 1981


  • Joel Speerstra pedal and two-manual clavichord, c. 2006
  • Gough unfretted 5-octave clavichord, c.1964
  • Zuckermann “King of Sweden” fretted 4-octave clavichord, 2009

Early Pianos

  • Thomas & Barbara Wolf after Dulcken, Viennese, 5-octave + 2 notes (FF-g’’’), c. 1990’s
  • Paul McNulty after Walter, Viennese, 5-octave + 2 notes (FF-g’’’), c. 2005
  • Anton Zierer fortepiano, Viennese, 6 ½-octave (CC-g’’’’), c. 1829
  • Broadwood parlor grand piano #5418, 7-octave (85 notes), c. 1865