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Great Musicians Series: Mary Springfels

Our Great Musicians Series continues this week with gambist Mary Springfels... plus a new release by harpsichordist Arthur Haas.

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woman playing bowed instrument

Photo: Scott

Mary Springfels playing a medieval vielle.

Think of the name Mary Springfels and a few words come to mind: musician, teacher, and director.  As a veteran of the early music movement, she has been a guiding light for decades in repertoire spanning several centuries.  With her appointment as the Newberry Library’s Musician-in-Residence in 1982, and her subsequent founding of The Newberry Consort, she has left an indelible mark as a world-class interpreter of early music, and, in particular, the music of the Middle Ages.

The past year marked a turning point for Mary as she retired from her directorship of the Newberry Consort and decided to pursue other avenues.  Mary was in our studios and recollected her early days at the Newberry Library.  In the midst of sharing her thoughts, there was one name in particular that came to mind:

“Lawrence ‘Bill’ Towner, who was a visionary, saw the library as a free university for people who didn’t necessarily have degrees but had a lot of intellectual curiosity.  He added ‘centers’ to the library, which was basically an eccentric private collection from the 19th Century that he turned into a little college; basically, with a center for Renaissance studies, [and] an endowed chair for the history of the printed book.  It had a research and education department that involved adult ED classes of all kinds, and he and a man named Richard Brown became great grant getters, between the NEH grants and grants by private funding organizations.  We had an army of scholars at all times.  A lot of the important stuff that was done at the library that I was able to benefit from was done by the scholars, and so I would talk to these interesting people, at least one of whom a year had something to do with the history of music and we would look up projects, some of which got performed and some didn’t.  So, there was something going on all the time.”

Not long ago, Mary discovered a difference in perspectives between younger and older early musicians.  The conclusion was an upbeat one.  She summed up the experience:

“A couple of years ago, I was asked to do a ‘state of early music’ key-note address for Early Music America, and I decided to do it based on a bunch of interviews.  There was a real disconnect [between the] generations.  Older people were saying ‘ain’t what it used to be; world’s comin’ to an end, funding’s running out, it’s goin’ down the tubes.’  Younger people [were] totally upbeat, saying ‘I don’t expect to be a millionaire; I’m going to be doing a whole bunch of things; I’m going to play baroque oboe well enough so I can satisfy my 15th Century habit.’  It was a completely different sense of reality, and I tend to buy what the younger kids are doing.”

Mary shared her thoughts on where the presentation of early music might be headed:

“I think that we can make a living playing very well or singing very well on a much more jazz-like circuit.  In other words [a circuit] of clubs, small venues, [and] unusual venues.  I think that that’s where things are going to be for a while.  I think that there’s tremendous creative energy out there.  I think there are a lot of interesting possible collaborations with artists and dancers and people like that that everybody is exploring, but I think that it’s going to be under the radar for a while, but it’s going to be happening, all over.  There are some really talented people all over the country; I think New York has lost its edge as a center.  It could happen anywhere now because there is no such thing as the middle of nowhere anymore.  I see a kind of decentralization of early music along with all kinds of other music.”

Arthur Haas is the harpsichord soloist in our new release of the week with a recording of music by Elisabeth Jacquet de la Guerre and François Couperin.  The recording is the second volume in the Plectra label series Le Clavecin Français.

Music Heard On This Episode

Elisabeth Jacquet de la Guerre: Pièces de Clavecin, 1707
Arthur Haas, harpsichord — Le Clavecin Français: La Terpsicore: Music of Elisabeth Jacquet de la Guerre and François Couperin (Plectra , 2007)
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Elisabeth Jacquet de la Guerre: Pièces de Clavecin, 1707
Arthur Haas, harpsichord — Le Clavecin Français: La Terpsicore: Music of Elisabeth Jacquet de la Guerre and François Couperin (Plectra , 2007)
Buy from Amazon »
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Anon./Simone Prudenzani: La Badessa
The Newberry Consort (Mary Springfels, dir.) — Il Solazzo: Music for a Medieval Banquet (HMU , 1993)
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Anon, Codex Faenza: Bel fiore danza
The Newberry Consort (Mary Springfels, dir.) — Il Solazzo: Music for a Medieval Banquet (HMU, 1993)
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Zacara: Un fior gentil
The Newberry Consort (Mary Springfels, dir.) — Il Solazzo: Music for a Medieval Banquet (HMU, 1993)
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Martin Codax: Cantiga I Ondas do mare de Vigo
The Newberry Consort (Mary Springfels, dir.) — Wanderers' Voices: Medieval Cantigas & Minnesang (HMU , 1993)
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Neidhart: Sinc an, guldîn huon!
The Newberry Consort (Mary Springfels, dir.) — Wanderers’ Voices: Medieval Cantigas & Minnesang (HMU, 1993)
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Juan Hidalgo: See
The Newberry Consort (Mary Springfels, dir.) — ¡Ay Amor!: Spanish 17th c. Songs & Theatre Music (HMU, 1990)
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Christopher Simpson: Division to a Ground
The Newberry Consort (Mary Springfels, dir.) — Musick for Severall Friends: 17th Century English Musick (HMU , 1989)
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Gherardello da Firenze (d. 1364): Ballata: I'vo bene
The Newberry Consort (Mary Springfels, dir.) — Puzzles and Perfect Beauty: Italian Music at the End of the Middle Ages (NP [no number --- http://noyseproductions.com], 2007)
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Senleches: Ballade: Fuions de ci
The Newberry Consort (Mary Springfels, dir.) — Puzzles and Perfect Beauty: Italian Music at the End of the Middle Ages (NP, no number --- http://noyseproductions.com], 2007)
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François Couperin: Allemande La Laborieuse
Arthur Haas, harpsichord — Le Clavecin Français: La Terpsicore - Music of Elisabeth Jacquet de la Guerre and François Couperin (Plectra PL 20702 [http://www.plectra.org/], 2007)
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Bernard Gordillo

Bernard Gordillo was born in Managua, Nicaragua, and raised in New Orleans. He holds degrees from Centenary College of Louisiana, the Early Music Institute at Indiana University, and the Guildhall School of Music and Drama (London). Bernard also writes and hosts the Harmonia Early Music Podcast.

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