Geelvinck Fortepiano Symposium 2018

14 augustus 2018 | 10.30 uur | Muziek Museum Zutphen, Zutphen
Deel dit bericht:

This international scientific symposium concerning historical informed performance on original historic pianos and related instruments from the 18th, 19th and early 20th centuries, aims to bring together professional practitioners, musicians, music historians, musical instrument curators, restorers, piano tuners and technicians, builders of historical key-board instruments, collectors and connoisseurs, for lecture-recitals, paper presentations and discussion on new developments and finds.

Theme: ‘Fortepiano, Fashion and Dance’

Instruments: fortepiano, square piano, clavichord, pianola and glass armonica

Keynote speakers:
– Prof. Peter Sykes (USA)
– Prof.Em. Dennis James: glass armonica (USA)

– Dr. Michael Tsalka

– Mr. Peter Bavington (UK) and Mr. Sander Ruys (NL)
The History and Restoration of the Meerbach Clavichord at the Geelvinck Music Museum
– Mr. Tom Bouwman (NL)
Mozart’s Late Piano Works: A Case for Stein
– Dr.h.c. Jurn Buisman (NL)
A museum to conserve musical instruments, or to preserve sound heritage ?
– Mr. Ratko Delorko (Germany)
An Introduction to the Maene Straight-Strung Grand Piano
– Ms. Monika Lustig (Germany)
The Traveling Schiffsklavier: Tracing the History of the De Ruijter Pianino at the Kloster Michaelstein Music Academy
– Ms. Chie Hirai (Japan)
Fashionable Folklore: The Air Russe and the Fortepiano in the 1820s
– Dr.Prof.Em. Olaf van Hees (NL)
Original Condition?: Square Pianos meet the XXIst-century Market
– Prof.Em. Dennis James (USA)
The Glass Armonica and its relation to the Fortepiano
– Mr. Cristian Leal (Chili)
A Chilean Chopin: Four Doloras by Alfonso Leng Haygus (1884-1974)
– Prof. Gabriele Toia (Italy)
Improvisation and Historical Fortepianos
– Dr. Michael Tsalka
Ignaz Moscheles and the Divas of London’s King’s Theatre:
– Mrs.Dr. Diana Weston (Australië)
Keeping the Tempo: Fortepianos and Dance Music

The program includes several (lecture)recitals.

– Matthäus Heilmann, Mainz, c. 1780-1790
Fortepiano. Revision: Gijs Wilderom; Tuning: Sara Lewensztain
– J.C. Meerbach, Gotha, c. 1800-1820
Clavichord. Restoration: Sander Ruys; Tuning: S. Ruys
– Conrad Graf, Wenen, 1826, Collectie Edwin Beunk
Fortepiano. Restoration: E. Beunk; Tuning: E.Beunk/S.Lewensztain
– De Ruijter, Breda, 1833
Square piano. Revision: Gijs Wilderom; Tuning: S. Lewensztain
– Pleyel, Parijs, 1842, Collectie Edwin Beunk
Fortepiano. Restoration: E. Beunk; Tuning: E.Beunk/S.Lewensztain
– Collard & Collard, London c. 1840-1850
Fortepiano. Restoration: Gijs Wilderom; Tuning: S. Lewensztain
– Collard & Collard, London c. 1845
Square piano. Restoration: Gijs Wilderom; Tuning: S. Lewensztain
– Glass armonica by Dennis James

For the full program: scroll down and click on Bekijk het concert programma‘.


Date: Tuesday 14th August 2018

The program starts 10h30 am (door open: 10h00 am) and continues till 17h00 pm, after which we will serve drinks.

Geelvinck Music Museum Zutphen
Zaadmarkt 88
7201DE Zutphen

Please note: English spoken

In the evening (20h00 pm), Peter Sykes will perform a concert on historic fortepianos of the museum. He will also perform on the Meerbach clavichord (c. 1810), previously from the Colt Collection, which was recently restored by Sander Ruys.
Read more about the concert


For tickets please purchase these on-line:
regular: € 35
– besides the discounts listed under the tab “kortingen”, in addition the following professional practitioners may use the knob marked “discount“: musicians, restorers, piano technicians, piano and early key-board builders, curators and museum directors and private collectors of historic pianos: € 25
students (including post-master and technical studies) and as well all under 28 of age, may use the “students” discount: € 10
– conference speakers, musicians performing in the festival, host families for musicians and speakers and those who have participated in the Geelvinck Fortepiano Competition present or past, can participate free of charge (knob “vrijkaart”)
luncheon is not included in the symposium ticket: if you like to have the sandwich lunch buffet for just € 7,50 extra, please mark this with the knob “all-in sandwichlunchbuffet in the Stijlkamers”
– if you are interested in attending the symposium and the subsequent evening concert by Peter Sykes, please purchase the “combi kaart” for just € 10 extra

For more information or in case you have a problem with the on-line ticket system, please do not hesitate to e-mail us at


Please note the Call for Papers and posters for the symposium is still open till June 11th 2018.
Announcements and other requests intended for the speaker’s corner can be send to up till three days in advance of the symposium.


[read more="Bekijk het concertprogramma" less="Sluit het concertprogramma"]


Moderator: Dr. Michael Tsalka

Registration opens


Introduction by Keynote Speaker Prof. Emeritus Dennis James (USA)

Demonstration by Mr. Cristian Leal (Chili)
A Chilean Chopin: Four Doloras by Alfonso Leng Haygus (1884-1974)

10:50-11.30  Lectures by Mr. Peter Bavington (UK), and by Mr. Sander Ruys (Netherlands)
The History and Restoration of the Meerbach Clavichord at the Geelvinck Music Museum Zutphen

Lecture by Mr. Tom Bouwman (Netherlands)
Mozart’s Late Piano Works: A Case for Stein


Lecture by Ms. Monika Lustig (Germany)
The Traveling Schiffsklavier: Tracing the History of the De Ruijter Pianino at the Kloster Michaelstein Music Academy

Demonstration by Dr. Michael Tsalka
Ignaz Moscheles and the Divas of London’s King’s Theatre

With a performance of “Pensieri alla Pasta”, Op. 74
on the De Ruijter Square Piano of the Geelvinck Music Museum




Introduction by Keynote Speaker Prof. Peter Sykes (USA)

Lecture by Mr. Ratko Delorko (Germany)
An Introduction to the Maene Straight-Strung Grand Piano

Introduction and demonstration by Prof. Gabriele Toia (Italy)
Improvisation and Historical Fortepianos

Lecture by Dr. Jurn A.W. Buisman (Netherlands)
A museum to conserve musical instruments, or to preserve sound heritage ?

Lecture-Recital by Ms. Chie Hirai (Japan)
Fashionable Folklore: The Air Russe and the Fortepiano in the 1820s


Lecture by Dr. Prof. Emeritus Olaf S. van Hees (Netherlands)
Original Condition?: Square Pianos meet the XXIst-century Market

Lecture-Recital by Dr. Diana Weston (Australia)
Keeping the Tempo: Fortepianos and Dance Music

Lecture-Recital by Prof. Emeritus Dennis James (USA)
The Glass Armonica and its relation to the Fortepiano

With a performance of Mozart’s K. 356 (solo glass armonica) and K. 617
(duo for fortepiano and solo armonica, transcribed by Dennis James) with Dr. Michael Tsalka

Closing Statements

Drinks in the Period Room of the museum

After the Symposium

Not part of the symposium, but highly recommended:


A. Tom Bouwman:
Mozarts late piano works: a case for Stein

The instruments of the Augsburg builder Johann André (Andreas) Stein where much favored by Mozart. In his oft-quoted letter from 1777, Mozart describes the pianofortes by Stein in great detail and expresses his enthusiasm about their construction and sound quality. Yet, shortly after moving to Vienna in 1781, Mozart bought his own piano from the local builder Gabriel Anton Walter. How this decision has influenced fortepianists in their choice of instruments when performing and recording Mozarts piano-works is obvious from the discography. In the literature on the subject the instruments of Walter are often readily put forward as ‘the most suitable’ for Mozarts later piano works. This lecture not only tries to illuminate the incorrectness of this assumption, but also offers a wider and more pragmatical view on the subject of choosing the ‘right’ piano for Mozart.

Tom Bouwman is a Dutch fortepianist and Mozart-scholar. He regularly performs with Mozart’s work on historical keyboard instruments and his lectures tend to focus on the more hidden aspects of the composers life and work. In 2019 several of his completed Mozart-fragments will appear in print. Together with cultural theologian Frank Bosman he is currently working on a new book about the composers religious views and the theological aspects of Mozart’s legacy.

B. Diana Weston: Keeping the Tempo

Dance and dance music became formalised in the seventeenth century in the reign of Louis XIV. Its/his influence was enormous. This talk will start with a look at the dance music of this period from the perspective of the continuo and the dance suite, in which it will examine the principles of performance particularly in relation to rhythmic structure. Recognizing that the art of ballet emerged from the dance suite, the talk will then demonstrate through excerpts from Debussy’s short children’s ballet La Boîte àjoujoux, that the same principles apply in this related but different dance-form. And finally, that dance-music from other sources such as the quintessential twentieth century dance, the tango, is served equally well with an understanding of these principles.

Program/Musical Examples

  • Jacques Hotteterre (1674-1763) Suite in D Op.11 No. 1 (continuo part) – (fortepiano)
  • Allemande La Royalle; Rondeau Le Duc D’Orleans; Sarabande La d’Armagnac; Gavotte La Meudon; Menuet Le Comte de Brione; Gigue La Folichon
  • Claude Debussy (1862-1918) – excerpts from La Boîte à joujoux(Collard & Collard)
  • Astor Piazzolla (1921-1992) -Fuga y misterio (fortepiano x2)

C. Monika Lustig

I am the curator of the musical instrument collection in Kloster Michaelstein – music academy for performance practice and education. In our collection there is a pianino made by the dutch piano maker Petrus de Ruijter (Breda, mid 19th century) for the special use in ships (in German called “Schiffsklavier). For this special use this instrument shows some characteristic features. For example, it is very small, has a hinged manual and a carrying handle. Such pianos are very rare.
I would like to ask you if a view on such instrument could be of interest for your symposium (for a poster presentation) because of its rarity and as an example of piano making in the Netherlands.

D. Olaf van Hees
Original Condition ?

Frequently, square pianos are announced to be for sale in “Original condition”, “Concert ready”, or “Only needs tuning”. While the last two qualifications are just ridiculous, the first one is disputable.
It is undeniable that the square piano in the past had a bad name, mostly due to bad restoration, but was gaining some respect the last 10-15 years. But now again it is beginning to look like a rather dubious second hand car business, with an overestimation of the “Original Condition”. Still there is a lot of confusion between “restoration”, “conservation”, and “concert ready”. The last seems to be a contradiction to the first two.
The target of this short presentation is to make us aware of the sheer conflicting terms and targets, and sometimes commercial abuse of these subjects.

Em. Prof. Dr. Olaf S. van Hees started his professional life as an officer of the Royal Field Artillery, studied Medicin and specialized in occupational diseases (with special interest in the fields of music, theatre, museums and restoration) and Forensic Pathology. In between he was a sky diver and a historical cavalry stuntman. After early retirement he turned his hobby into his profession of restoration of pianofortes and harpsichords and specialized in the (Dutch) square piano. In this world he is considered as an authority.


Further abstracts will follow soon.


Onderstaande kortingen zijn niet van toepassing op tickets voor het Beethovenfestival.

Afhankelijk van het concert dat u bezoekt kunnen onderstaande kortingen van toepassing zijn. Kortingsregelingen gelden ook voor partners.
english Depending on the concert you visit various discounts can be applicable, see the list below. Discounts are also applicable for partners.

- Vrienden Museum Geelvinck
- Museumkaarthouders
- IAmsterdam (concerten Pianolamuseum en Cromhouthuis)
- Mecenas (wanneer u ons een instrument heeft geschonken)
- donateur Pianola Museum (Stichting Nederlands Piano Museum)
- donateur Chopin Stichting Nederland
- donateur Wijnhuisfonds
- Vriend Zutphense Musea
- lid EPTA
- lid VVPN
- lid ICOM
- lid ICOMOS
- lid Europa Nostra
- lid Vereniging Rembrandt
- lid Nederlands Clavichord Genootschap
- lid Nederlands Clavecimbel Genootschap
- lid Cultuur & Historisch Platform Zutphen
- lid Platform Zaadmarkt
- lid Nederlandse Pianola vereniging
- lid Harmonium Vereniging Nederland
- lid KVNM
- lid CCN
- lid sKBL
- lid Kon. IGC
- lid Jonge Soos Heerde
- lid van het Gilde Zutphen
- Lid van de Amsterdamsche Kring
- studenten conservatorium en musicologie
- post-master muziekstudenten
- muziekdocenten


Muziek Museum Zutphen

Het Geelvinck Muziek Museum opende op 30 juni 2017 zijn deuren in Huis De Wildeman (voorheen Museum Henriëtte Polak), pal in de historische binnenstad van Zutphen. Dit imposante patriciërshuis met zijn eind 18e eeuwse klassieke gevel, stamt uit de late middeleeuwen. De stijlkamers met historische fortepiano's ademen de sfeer van Beethoven's tijd. Aan deze iconische componist, die volgens sommigen in Zutphen werd geboren, is de tentoonstelling op de 1e verdieping gewijd. Op de 2e verdieping – bij het open depot met restauratieatelier – bevindt zich een schuilkapel uit 1628. Regelmatig vinden er concerten op historische piano's uit de 18e en 19e eeuw plaats.

Zaadmarkt 88
7201 DE Zutphen
020-6390747 / 0642228300

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