The Modern Harpsichord

Interviewed by Sally Mosher

Harpsichord artist Elaine Funaro is focused on bringing the harpsichord into the 21st century with her many recitals and as Executive Director of Aliénor, an organization dedicated to promoting contemporary music for the harpsichord. Elaine enlightens us about her career and her mission in this interview.

1) When and how did you decide on the harpsichord as your instrument of choice?

While majoring in music as a pianist at Oberlin College, Ohio, I spent my junior year abroad, studying in Florence, Italy. During that year it became clear to me that the harpsichord suited my interests more than the piano. Already fluent in both Italian and French, I found that I was very happy working with singers, and had already found pleasure in ensemble work. I enjoyed both the sound and the intimate "feel' of the harpsichord, and was pleased to hear so much more of it while in Florence

Temperamentally, I was not at all suited to the "which Schubert sonata are you playing this week" frame of mind that was so prevalent at the conservatory at that time. Further, I was not especially comfortable playing by memory, which is expected for solo piano performance, while it is customary, and indeed preferable, for harpsichordists to use the music.

2) How does the appeal of the harpsichord differ from that of the piano?

My response to the harpsichord was sparked by a feeling of intimacy with "early music" that I didn't experience with the piano. Indeed, whatever one plays on the the harpsichord, there is a feeling of closeness with the instrument, a feeling of immediacy; physically, one feels a part of the harpsichord.

3) How is contemporary harpsichord music different from the historical repertoire?

For the contemporary composer, there is a greater sense of exploration, as well as the freedom to use all the forms and resources of the historical past, not only of the harpsichord, but of music in general. The contemporary composer can explore different forms, tonalities, rhythms, and attitudes.

Another wonderful thing about the harpsichord is that being a "plucked keyboard" it shares sonorities with other "plucked" instruments....such as guitar, koto, and mbira, therefore opening up many rich rhythmic compositional techniques.

4. What approaches are composers using to bring harpsichord music into the into the 21st century?

Some composers are combining the harpsichord with recorded tapes or other electronic sounds, even using the harpsichord's lid as a video screen. I haven't yet been involved in these approaches in my performances. However, things that composers in the past have used successfully are still appropriate: producing different levels of sound by using different size chords, using the contrast between the different sounds of the two keyboards (a technique that has been exploited well in minimalist pieces), and extensive use of the rich sound of elaborate rolling chords.

5. Are any structural modifications being made to harpsichords because contemporary music has different demands?

Some players use electronic enhancements. This is an interesting area of exploration. I'll mention in passing that it is possible to amplify the sound of the harpsichord electronically (a well-placed microphone) without distorting it, thus enabling performances in larger venues.

6. As Executive Director of Alienor, what are you doing to promote contemporary music for the harpsichord? I think our readers would also like to know about the name Alienor - its meaning and origin.

Aliénor was named in honor of Eleanor of Aquitaine, a famed 12th century patron of the arts. Eleanor was the richest woman in Europe, and was married successively to King Louis VII of France and King Henry II of England (the first Plantagenet king). Her name was actually Alia Enor (literally "another Enor," since her mother was named Enor). Alienor is merely an elision of Alia Enor. Incidentally, Eleanor was mother to the English Kings Richard the Lionharted and John Lackland, who was forced to sign the Magna Carta in 1215. All told, she is one of the most notable women in European history.

The "Aliénor" competition for new music was started 26 years ago under the aegis of the Southeastern Historical Keyboard Society (SEHKS). The patroness who started this has recently retired and I was invited to take it over as a non-profit corporation

There have been six competitions since its inception, with over 400 new scores generated from composers all around the world. The 2004 competition had 85 entries, with compositions coming from Australia, Japan, New Zealand, numerous European countries, and 15 states in America.

Presently, as Executive Director, I have been presenting "Aliénor Soirées" as a way for people to hear this wonderful new repertoire. Since this past August I have performed in Taos and Santa Fe, NM, Chapel Hill, NC and San Diego and Pasadena, CA. In addition to the competition, we are looking to publish the winning compositions and make more music available to the public. We are hoping to have more concerts and commission more compositions, as well.

7. Is there a calendar of recitals and festivals dedicated to contemporary harpsichord music? What avenues are available for the general public to hear this music?

I recently returned from Manchester, England where I attended a "Harpsichord Fest" of contemporary music. It was an intense two days of various concerts and lectures, with numerous premieres of works for combinations such as two harpsichords; one harpsichord and tape; electric guitar and amplified harpsichord.

Other avenues.....good question. I always make a point of performing at the major "early music" festivals in this country to expose audiences to other possibilities of an instrument they are already interested in, but so far have experienced mostly only through historical music. I have four CD's out with solely contemporary music: "Into the Millennium"- winning Aliénor compositions from the first three competitions; "Overture to Orpheus" - music written for women; "Dances with Harpsichords" - which includes many Aliénor winning dances, and most recently “Incantations and Inspirations”- newly commissioned works for baroque oboe and harpsichord with Geoffrey Burgess

8. How can an interested pianist gain access to a harpsichord, and what are the best avenues for learning to play it?

Look around. There is probably a harpsichord hiding somewhere in a college classroom, or a church choir room, or a neighbor might have built one. You'd be surprised; they exist. There is a comprehensive list of used instruments available through the "Harpsichord Clearing House". A

valuable source of information locally, as well as of construction and repair, is The Harpsichord Center in Eagle Rock, CA. As far as learning to play it.....I've been working on it for 30 years now and am still making discoveries!

Our new website is: www.harpsichord-now.org <http://www.harpsichord-now.org> that lists the “Call for Scores” for the 2008 competition. The last competition gave out more than $7,000 in cash prizes. If you have any questions or would like to help our cause, please contact me at: e.funaro@webmail.com

This interview was conducted by Sally Mosher and was published in the “Piano Forte” newsletter out of South Pasadena, CA, Winter 2007, VOL 10, number 1. Editor: Mary A. Hannon. This interview is reproduced with permission of the author.

Sally Mosher
1260 Rancheros Road
Pasadena 91103-2759
(626) 795-3146