The instrument being used by Geoffrey Lancaster for the Haydn Keyboard Sonata Series is described below:

FORTEPIANO

Paul McNulty (Divisov, Czech Republic)

Copy after Anton Walter & Sohn (Vienna, 1805)

The fortepiano used in this recital series is a copy by the American fortepiano maker Paul McNulty (Divisov, Czech Republic), of an instrument made in 1805 by the Viennese fortepiano maker Anton Walter (1752-1826).

The instrument has two knee-levers under the keyboard.  The right-hand knee-lever raises the dampers; the left-hand knee-lever engages the ‘moderator' (a mechanism that interposes a series of cloth tongues between the hammers and the strings, so that the hammers strike the strings through the tongues; this creates a dark, distant, muted sound).

Many of the greatest musicians of Vienna favoured Walter's fortepianos.  Walter's pianos were regarded as appropriate instruments for those pianists who preferred a powerful, overtly virtuosic, ‘public' style of playing.

The Jahrbuch der Tonkunst von Wien und Prag (1796) characterized players of the instruments of Walter in the following way:

By close observation we can detect two classes of players amongst our best piano players. One of these classes loves a great musical treat, that is, a powerful sound; to that end they play with a rich texture, extremely fast, study the most difficult runs and the fastest octaves...For the virtuosi of this kind we recommend the Walter style of piano.

Paul McNulty is regarded as one of the greatest living fortepiano makers.  A Texan by birth and graduate of the Peabody Conservatory in Baltimore, he maintains his workshop in Divisov, Czech Republic.  His pianos are represented in many significant international keyboard collections.  His instruments also feature on many significant recordings made by the great fortepianists of our time.

The piano was commissioned by the University of Western Australia Music Department.

Pitch: a-430Hz

Temperament: Vallotti - ca. 1720-1750s / 1781.

©  Geoffrey Lancaster

Fortepiano after Anton Walter (Vienna, 1796) by Paul McNulty (Prague) 1999

The terms piano, pianoforte, piano e forte‚ and fortepiano‚ are used to describe a touch-sensitive keyboard instrument in which strings are struck by rebounding hammers. During the eighteenth century and the first half of the nineteenth century, all these terms were used interchangeably. Today, the term fortepiano‚ is used to describe pianos whose design originated prior to the early-nineteenth century, in order to distinguish them from later instruments.

The fortepiano used in the Haydn Keyboard Sonatas recital series was commissioned in 1997 for the University of Western Australia by Geoffrey Lancaster, whilst he was on faculty at the UWA School of Music.  It was delivered to UWA in 1999 and is a copy by the American fortepiano maker Paul McNulty (Prague/Divisov, Czech Republic), of an instrument made in 1796 by the Viennese fortepiano maker Anton Walter. The instruments of Anton Walter represent one of the pinnacles in the development of the piano. The French-polished veneer, ormolu, and enamel nameplate represent characteristic decorative features found on Walter‚s more expensive pianos.  This particular instrument is veneered in pyramid mahogany.

The instrument has two knee-levers under the keyboard. The right-hand knee-lever raises the dampers; the left-hand knee-lever engages the moderator‚ (a mechanism that interposes a series of cloth tongues between the hammers and the strings, so that the hammers strike the strings through the tongues; this creates a dark, distant, muted sound).

The action of Walter‚s pianos includes a back-check (a back-check prevents the hammer, once it has struck the string and fallen back, from bouncing up again and re-striking the string). The presence of a back-check enables the pianist to play not only forcefully (thus, loudly), but also with a greater dynamic range than is possible on a fortepiano without one.

Many of the greatest musicians of Vienna favoured Walter's fortepianos. Mozart premiered his mature concerti on his (still extant) Walter fortepiano, and Beethoven used one at least until 1800. Walter's pianos were regarded as appropriate instruments for those pianists who preferred a powerful, overtly virtuosic, public‚ style of playing. Both Mozart and Beethoven preferred Walter's instruments. Haydn however, preferred the instruments of Wenzel Schantz (without a back-check).

The Jahrbuch der Tonkunst von Wien und Prag (1796) characterized players of the instruments of Walter and Schanz in the following way:

By close observation we can detect two classes of players amongst our best piano players. One of these classes loves a great musical treat, that is, a powerful sound; to that end they play with a rich texture, extremely fast, study the most difficult runs and the fastest octaves! For the virtuosi of this kind we recommend the Walter style of piano. The other class of player seeks nourishment for the soul, and loves playing that is not only clear but also soft and melting. These can choose no better instrument than the [Schanz] type.

Furthermore, the Jahrbuch states that Walter's fortepianos have "a full, bell-like tone, a clear response, and a very strong, full bass."

(c) Dr Geoffrey Lancaster AM

 

Last year marked the 200th anniversary of Joseph Haydn's death-31 May 1809. The Royal Schools Music Club Haydn Series will celebrate Haydn's life and music with concerts over two weekends dedicated to the musical legacy of this Classic era genius.

Vocal Evolution

 

Royal Over-Seas League Award for Young Singers 2009

A thoroughly enjoyable afternoon was spent at the Eileen Joyce Studio for the Royal Overseas League Singing Competition on Sunday afternoon, 9th August.  A special  welcome was extended particularly to Mr Jeff Turner (President, WA Branch) and Mrs June Turner and friends  of the Royal Over-Seas League.  The Royal Schools Music Club gratefully acknowledges the contribution of the three prizes by the Royal Over-Seas League.

We are delighted to announce the results of the 2009 Royal Over-Seas League Award for Young Singers. A special 'thank you' to a most impressive Adjudicator, Ruby Philogene.

First place was awarded to Victoria Wilkie (soprano)
Second place to Alexandra Leonzini (soprano)
Third place to Kathleen How (soprano)

The other singers who performed were (in alphabetical order): Morgan Cowling (soprano), Elise Keeley (lyric mezzo soprano), Rabiya Plush-Noad (mezzo soprano), James Rhoads (tenor baritone).

The singers are students of the following teachers, whose support we would like to acknowledge: Christina Grønborg, Harry Coughill, Liz Pascoe, Patricia Price, Megan Sutton, Ian Westrip,

During the adjudication was a performance by Lawrence Lee who played the Max Bruch Violin Concerto (three movements) and he was ably accompanied by Joseph Havlat.
Both performers were given a standing ovation for their polished performance, and
Joseph then played an extra piece on the piano, the Toccata by Prokofiev,  much to the delight of the audience.

The afternoon concluded with the presentation of the prizes and certificates by Jeff Turner (chairman of the Royal Over-Seas League) and Ruby Philogene (adjudicator)

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  PAST ROSL AWARDS:

Royal Over-Seas League for young singers 2005

Royal Over-Seas League for young singers 2004

BOOK LAUNCH:  PAST PRESENT FUTURE: THE HISTORY OF THE ROYAL SCHOOLS MUSIC CLUB IN WESTERN AUSTRALIA 1926-2006

It is a great privilege to have been asked to help launch the book Past Present Future: the History of the Royal Schools Music Club in Western Australia 1926-2006 by my friend and colleague Jean Farrant.  As the club celebrates the wonderful milestone of its 80th Anniversary, it is appropriate that its history has been documented and doubly appropriate that it has been done so expertly by Jean who in recent years has been building a fine reputation as an expert on the history of music in Western Australia, especially in the first half of the twentieth century – a period which of course marks the early years of what was first known as the LAB Club, later to become the Royal Schools Music Club.

The concept of the Royal Schools Anniversary Scholarship originated in the Club’s 75th Anniversary year when the sub-committee (the late Marie Christie, Irma Lewis, Judy Thönell and Christine Morhall) felt that it was appropriate to create an enduring celebration of the Club’s longevity. It was decided that a Scholarship should be established and that it should be project-based rather than the more usual performance based. The project, which could be in any musical field, should both benefit the local community as well as advancing the musical education of the recipient, who would be an outstanding young West Australian musician, but who did not necessarily intend to pursue a career in music.

On Sunday 28th May 2006 Geoffrey Lancaster presented a Workshop on Performance Practice Issues in the Piano Music of Mozart.  It was very well attended by around 50 teachers and students. The presentation was filled with information and ideas on the flexibility of phrasing and ornamentation in the works of this period, and opening up ways of thinking about historically informed preparation of, in particular, the music of Mozart and Haydn. Thank you Geoffrey for an inspiring and informative morning!

Royal Over-Seas League Award for Young Singers - Congratulations!

We are delighted to announce the results of the Royal Over-Seas League Award for Young Singers presented by the Royal Schools Music Club. Rosario La Spina the adjudicator found the standard to be high and gave constructive and encouraging comments to all the singers.

(August 2005)

Royal Over-Seas League President congratulates the winner, Charles Mellor.

President Judy Cumming with the adjudicator, Rosario La Spina

ROSL entrants 2005: Charles Mellor, Thomas Wood, Duncan Rock, Ashton Cameron, Roberto Abate, Jamie Ward

Matthew Kidd and Jacinta Jakovcevic

Fiddling with Castanets

Deanna Blacher (castanets) Paul Wright (violin) Neville Cohn (piano)

On Sunday 10th July the Royal Schools Music Club's audience was privileged to witness a special and rare occasion. It is not often one has the opportunity to hear musicians of such a high calibre, and in such a fascinating ensemble of castanets, violin and piano. 

Juniors - Showcasing Young (in Spirit) Performers

On a wintry afternoon in June an almost full house was entertained with delightful performances from all ages – the youngest being only 2 years old! The range of instruments and styles included piano, violin, flute, trumpet and voice. It is always a reward for performers, teachers and parents to experience the performance in front of a live audience ...

Saturday 12th March 2005, 7.30 pm
Callaway Music Auditorium, School of Music, UWA

"Royal Schools Plays for Royal Schools" Presented by Lisa Rowntree & Friends

Lisa Rowntree Piano
Zak Rowntree Violin
Gregory Baron Cello
Sofie Cumming Flute
Roman Ponomariov French Horn

November Meeting - Playing Together

The concert on November 13 was aptly named Playing Together, and spotlighted three interestingly different items performed by very talented young musicians.

"The idea for this recital programme came to me when I realized how many of the short piano pieces I enjoy playing had titles including the name of a month or season. The possibility of organizing them into a suite of four segments and calling it The 4 Seasons (for Piano) seemed irresistible."

Roger Smalley

The Four Seasons for Piano
by Neville Cohn

This concert will show-case our advanced students. As all those who attend these concerts will know, their performances are of an extremely high standard and are inspiring and exciting to hear.

A review of Alexander Sunman's recital, A Musical Tour from Vienna to Moscow can be found at:

http://members.ozemail.com.au/~ozartsreview/Concerts/sunman.html

This is surely promising to be one of the highlights on our musical calendar - so do bring along young friends to hear other youngsters perform - they will be inspired!

Francois Couperin and "The Perfection of Music"

Those who attended the illustrated talk given by Emeritus Professor David Tunley found themselves transported into the French courts of the time of Louise XIV and were spellbound for a full hour. The presentation on Francois Couperin, the cultural life at the time, and insights into the music and dance of the period kept the audience enchanted, and one could have heard a pin drop! Louis XIV's idea of what "perfect music" would be, if the Italian and French schools were combined made for interesting listening. We wish him every success with his new book! As always it was a pleasure to hear the informed performances by Jillian Belbin. She performed six delightful pieces from the era on her exquisite harpsichord which complemented the talk superbly.

Bearing in mind that at the Easter long weekend, many of the members of the Royal Schools Music Club would have been away at holiday destinations around the state, the turnout to hear the recently formed ensemble Wild Utopia was entirely respectable on an otherwise deserted University of WA campus.

Royal Schools Plays for Royal Schools
Presented by Emily Gunson and Friends

Our musical year opened with a celebration of flute, voice, piano and cello, all interwoven musically in a well chosen programme of works arranged by the imaginative and talented flautist Emily Gunson. Her musical friends for this wonderful concert were Lisa Rowntree, whose piano playing was of the highest order - facile, articulate and expressive in the Pleyel Trio in G major.