Jesus College Music Society
&
Piccola Accademia di Montisi
present
JUSTIN TAYLOR
IN THE EIGHTH RECITAL BY INTERNATIONAL ARTISTS ON THE
BRUCE KENNEDY HARPSICHORD AT
JESUS COLLEGE CAMBRIDGE
Saturday 13
th
February 2016
8.00pm
by kind permission of the Master and Fellows
A FORQUERAY PORTRAIT
Antoine, Michel, Jean-Baptiste, Nicolas-Gilles... These are a few first names from a great
family of French composers, violists, and organists: the Forquerays. At the mere age of twenty,
Antoine Forqueray, born in 1672, is already considered to be one of the most accomplished
violists of his time; he is appointed to the coveted position of Musician of the King’s Chamber.
However, with his son Jean-Baptiste, born in 1699, he will maintain a complicated love-hate
relationship. Indeed, jealous of his son’s talent for the viol, Antoine has him locked up at the
tender age of sixteen!
Unmeasured prelude in D minor
Antoine Forqueray (1672–1745) or Jean-Baptiste Forqueray (1699–1782)
First Suite in D minor
Allemande La Laborde
La Forqueray
La Cottin
La Bellmont
La Portugaise
La Couperin
Jean-Baptiste Forqueray
La Superbe ou La Forqueray
François Couperin (1668–1733)
La Forcroy
Josse Boutmy (1697–1779)
Suite for three viols (transcription by Justin Taylor)
Allemande
Courante
Sarabande
Antoine Forqueray
La Forqueray
Jacques Duphly (1715–1789)
Fifth suite in C minor
La Rameau
La Guignon
La Léon, sarabande
La Boisson
La Montigni
La Sylva
Jupiter
Jean-Baptiste Forqueray
JUSTIN TAYLOR
Justin Taylor began studying the harpsichord at the age of eleven in his
hometown of Angers, with Françoise Marmin. His passion for the instrument
induced him to continue his studies with Olivier Baumont and Blandine Rannou at
the CNSM (Conservatoire National Supérieur de Musique) of Paris, to which he
was accepted in 2011.
From the onset of his studies, Justin Taylor was asked to participate as the
harpsichordist in concerts directed by Vincent Dumestre, Patrick Cohën-Akénine,
Jay Bernfeld, and Julien Chauvin. His love for the baroque chamber music
repertory led him to create a duo with the violist Salomé Gasselin, and they won
second prize in the International Chamber Music Competition in San Ginesio
(Italy) in 2014. The two young musicians have given concerts in several cities of
France and Europe, including Brugge (the MA Festival), Utrecht (the Early Music
Festival), and Angers (the Anacréon baroque concert series). Justin Taylor was
selected as the harpsichordist for the OFJ-B (Orchestre Français de Jeunes-
Baroque) for the year 2015.
As a soloist, Justin Taylor has played at the Paris Philharmonie (at Bach’s
Complete Works Festival), at the Hôtel de Soubise in Paris (the Young Talents
Festival), at the Rendez-Vous de Rochebonne, as well as at Les Invalides, where he
performed C.P.E. Bach’s double concerto for harpsichord and pianoforte.
In order to enhance his approach to the harpsichord, he studied piano with
Roger Muraro at the CNSM of Paris, and he has also earned the superior degree in
musical analysis at the same institution.
In 2015, he earned his Master’s degree in harpsichord with highest honours
and “unanimous congratulations”. The same year, Justin Taylor won First Prize at
the Musica Antiqua International Harpsichord Competition in Brugge, where he
also received the Audience Prize, the Alpha Prize (for a recording under this
prestigious label), and the European Union Baroque Orchestra Developing Trust
Prize, which is awarded to the most promising young European baroque musician.
PICCOLA ACCADEMIA DI MONTISI &
JESUS COLLEGE CAMBRIDGE
The Piccola Accademia di Montisi is located in a medieval village in southern
Tuscany. It was founded by Bruce Kennedy as an international centre for the study
and practice of the harpsichord. One of the Accademia’s most important activities
is that of providing students and recent graduates from all over the world with
master classes in harpsichord performance given by such leading harpsichordists as
Christophe Rousset, Pierre Hantai, Bob van Asperen, Ketil Haugsand and Skip
Sempé.
Jesus College Cambridge was founded out of the ancient nunnery of St Radegund
in 1496 and has a long tradition of music, which has been considerably enhanced by
the acquisition of the Hudleston Organ (Orgelbau Kuhn, 2007), the Rawlinson
Organ (Tickell Organ Builders, 2010), the Kennedy harpsichord (2012), the new
Steinway concert grand piano (2013), and the restored Sutton Organ (1849
original, restored William Drake 2012). The collaboration between the
Accademia and Jesus College allows the best of recent Montisi students to perform
in Cambridge on the Kennedy harpsichord and share with the students here their
knowledge and skills. Performers in the series have included Stanislav Gres,
Korneel Bernolet, Anna-Riikka Santapukki, Jean Christophe Dijoux, Mark
Edwards, Tamar Halperin and Jean Rondeau.
THE INSTRUMENT
In the initial discussions about the commissioning of a harpsichord for Jesus
College, Mark Williams and I considered details of the Chapel’s acoustic, the
interests of the donor and, in particular, the requirements of the instrument for
accompanying concerts, and acting as a continuo, solo and teaching instrument. I
soon reached the conclusion that a double-manual version of an original instrument
I had seen some 25 years ago in Hamburg – the 1728 Christian Zell which had then
been recently restored – was the instrument needed for these circumstances.
When I made my first “copy” of the instrument in 1986 for the current
harpsichordist of the music ensemble Musica Antiqua Köln I attempted to be as
faithful to the original as I could – an essential approach when first getting to know
another maker’s work (sometimes repeating the process several times to be more
certain of his ‘acoustic world’). But today, after the experience of thirty years of
building more than 160 harpsichords of various historic models, I have started to
shape those diverse ideas into my own vision of what any given musical situation
demands. It was clear that Jesus College needed the clarity and speech-like quality
of a continuo instrument to accompany the choir and other musical ensembles that
perform in the Chapel, while still enjoying the power, depth and diversity of a
double-manual harpsichord for concertos and solo performance suitable for various
composers. The original Zell was an excellent starting point but its keyboard key
lengths were excessively long – not designed for fast ornamentation in the bass as is
sometimes required in French music – so they were modified.
The original soundboard produces a very refined sound, better heard at a distance
than close to the instrument. To create a more focused sound that could project
clearly to all listeners, I have made modifications to the soundboard design, while
never altering the original scaling and pluck points of this the northern German
“sound ideal” that works so well for Bach’s polyphony. As to its décor, while I
chose elements such as the leg design or the gold motifs on the case that are typical
of the first half of the 18
th
century, the colours were specifically chosen to fit the
chapel. The soundboard painting features the 1575 version of the College Arms.
BRUCE KENNEDY
www.justintaylorharpsichord.com
www.piccolaaccademia.org
www.kennedyharpsichords.com
www.jesus.cam.ac.uk
jcms.jesus.cam.ac.uk
www.jesuscollegechoir.com
We are very grateful to Dr Daniel Tidhar for preparing the instrument for this evening’s
concert, and to Professor Stephen Heath, Fellow of the College, who donated the instrument
FORTHCOMING CONCERTS
IN JESUS COLLEGE CHAPEL
Saturday 20
th
February, 8.00pm
Julia Sinclair and Jaliya Senanayake (Soprano and Tenor)
‘Ye sacred muses’
−
Julia and Jaliya, current and former Choral Scholars respectively,
give a joint recital of English song from Byrd to Britten. Mark Williams, Director of Music at
Jesus College, accompanies.
ADMISSION FREE
Saturday 27
th
February, 8.00pm
Magdalena
This vocal consort, the junior branch of the Gramophone award-winning Alamire, performs motets
and madrigals by de Rore and other Franco-Flemish composers, and is conducted
by Charlotte Rowan.
ADMISSION FREE
Saturday 5
th
March, 8.00pm
Cambridge University Consort of Viols
This group frequently accompanies some of the University’s finest choirs and singers, and tonight
performs a selection of English Consort Music.
ADMISSION FREE
Thursday 17
th
March, 7.00pm
J.S. Bach ST JOHN PASSION
sung in German
The Choirs of Jesus College Cambridge & the Saraband Consort
Ed Lyon, Evangelist, Katy Hill, Anna Harvey, Jaliya Senanayake, Michael Mofidian, soloists
Mark Williams, conductor
Tickets: sighted – £20, £10 (students); unsighted – £10, £5 (students)
available from the ADC box office 01223 300085
www.adcticketing.com
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