Great Barrington — If you hold strong opinions about tuning systems, it could be a sign that you are a harpsichord geek.
Most piano tuners use the equal temperament system, but advanced harpsichordists sometimes tune their instruments using historical temperaments popular in earlier times. Such is the case with Mariken Palmboom, Elliot Figg, and Caitlyn Koester, the musicians performing in the Berkshire Bach Society’s harpsichord festival, which will be held on November 12 at the Kellogg Music Center, Simon’s Rock.
Why should anyone care about tuning systems?
Because, depending on the repertoire, the sound of a harpsichord tuned to a historical temperament may be more pleasing to the ear than what you get from equal temperament (which never sounds perfectly in tune no matter what the key).
To geeks and audiophiles, the difference between tuning systems is substantial, if subtle. That is why the three musicians performing in this festival like to tune their instruments using systems intended to enhance the expressiveness of music in specific keys. They like the way it sounds, and they want to make their audience aware of this preference, because they are adamant about it. (You could even say it is part of their brand.) For this reason, the players will hold a Q&A panel discussion on the subject immediately following the performance. (The last time Berkshire Bach did this, the discussion lasted for nearly an hour, because the audience was so curious and engaged.)
As you would expect, the Berkshire Bach Society’s Interim Executive Director Terrill McDade loves to talk about Baroque tunings:
“The harpsichord is iconic and the festival gives us the chance to showcase its versatility and especially to grapple with one of the most intriguing aspects of Baroque music, tuning, and how it differs from what is typically used today.
“The idea of equal temperament came to dominate European music after Bach’s time. If you’ve ever wondered how people tuned before Bach, here’s your chance to hear the difference and all the wonderful, unique colors that early Baroque composers expressed in their music.
“It is unexpected to the ear trained in equal temperament—but also revelatory.”
The first concert in the festival featured Dutch harpsichordist Mariken Palmboom performing 17th-century works by Sweelinck, Bull, Gibbons, Purcell, and J.S. Bach. The second and concluding concert on Sunday, November 12, features Elliot Figg and Caitlyn Koester presenting a two-harpsichord program of pieces by members of two prominent Baroque-era keyboard dynasties. Works by Johann Sebastian Bach, Wilhelm Friedemann Bach, Louis Couperin, and François Couperin preview a concert the duo will present on November 30 at St. Malachy’s Church in New York City, sponsored by Gotham Early Music Scene Inc.
Elliot Figg and Caitlyn Koester are graduates of the Historical Performance Program at The Juilliard School and will make their debut as a duo with Berkshire Bach on November 12.
Hear Elliot Figg and Caitlyn Koester perform in the Berkshire Bach Society’s harpsichord festival at Kellogg Music Center, Simon’s Rock, 84 Alford Road, Sunday, November 12, at 4 p.m. Tickets: $45. Card to Culture tickets: $10. Admission for children under 18 and students with ID is free.
