STANLEY RITCHIE
BAROQUE VIOLIN
INDIANA UNIVERSITY,

SIEGBERT RAMPE
HARPSICHORD
GUEST ARTIST CONCERT SERIES
ORGAN HALL
SATURDAY, OCTOBER 21, 2006 • 7:30 PM

MUSIC
1-i-erberger College
of Fine Arts

ARIZONA STATE UNIVERSITY

Stanley Ritchie, a pioneer in the Early Music field in America, was born and
educated in Australia, graduating from the Sydney Conservatorium of Music,
where he was a pupil of Florent Hoogstoel, in 1956. After a further period of
study with Ernest Llewellyn, he left Australia in 1958 as recipient of the Ginette
Neveu Scholarship and a grant from the French Government to pursue his studies
in Paris, where he studied with Jean Fournier, subsequently working in the United
States with Joseph Fuchs, Oscar Shumsky and Samuel Kissel.
In 1962 he settled in New York, where he was appointed concertmaster of
the New York City Opera in 1963 and associate concertmaster of the
Metropolitan Opera in 1965. Upon resigning from the Metropolitan Opera in
1970 he became concertmaster of the Musica Aeterna Orchestra and a member of
the New York Chamber Soloists, touring widely in Europe and North America. In
1975 he joined the Philadelphia String Quartet (in residence in the University of
Washington in Seattle) with whom he played as first violinist and performed in
Europe, North and South America, until accepting his current appointment as
professor of violin at Indiana University School of Music in 1982.
His interest in Baroque and Classsical violin dates from 1970 when he
embarked on a collaboration with harpsichordist Albert Fuller which led to the
founding in 1973 of the Aston Magna Festival. His association with this
organization's workshops, academies and festivals continued for more than two
decades. In 1974 he joined harpsichordist Elisabeth Wright in forming Duo
Geminiani and since that time has also performed with many other prominent
musicians in the Early Music field, including Christopher Hogwood, John Eliot
Gardiner, Frans Brueggen, Roger Norrington, Malcolm Bilson and Anner
Bylsma. For twenty years he was a member of The Mozartean Players with
fortepianist Steven Lubin and cellist Myron Lutzke. In 2005 he formed the
Classical string trio ViVaCe with Allison Edberg, viola, and Joanna Blendulf,
cello.
Recognized as a leading exponent of Baroque and Classical violin playing,
he performs, teaches and lectures worldwide, most recently in Canada, Australia,
New Zealand, Germany, Italy, Iceland and at the Internationaler
Sommerakademie far Alte Musik in Innsbruck. He has appeared as soloist or
conductor with a number of major Early Music orchestras, among them the
Academy of Ancient Music, Tafelmusik, Philharmonia Baroque Orchestra, the
Handel and Haydn Society Orchestra, and the New York Collegium. In July 2006
he directed orchestral concerts in the Accademia di Musica Antica in Bruneck,
Italy, and the Skalholt Summer Festival in Iceland.
His recordings include Vivaldi's Op.11 Violin Concertos with Hogwood and
the Academy of Ancient Music (Oiseau Lyre), the Mozart piano quartets, the
complete piano trios of Mozart and Schubert, as a member of The Mozartean
Players, and a CD of 17th Century music for three violins and continuo entitled
Three Parts upon a Ground, with John Holloway, Andrew Manze, Nigel North
and John Toll (all for Harmonia Mundi USA), and selected Concerti and Serenate
of Francesco Antonio Bonporti, with Bloomington Baroque (Dorian Discovery).
His teaching career has led to pedagogical research and he is currently working
on a method for Baroque and Classical violin.

Program
Sonata Terza op. 8,3 (1629)

Biaggio Marini
(1594-1663)

Sonata Seconda in D (1641)

Giovanni Battista Fontana
(1589-1631)

Toccata III in E (c. 1660)

Passacaglia in G (1675)
from the Rozenkranz Sonatas

Matthias Weckmann
(c.1616-1674)
Heinrich Ignaz Franz Biber
(1644-1704)

Ricercar a 6 C Minor
BWV 1079 (1747)
from the Musical Offering

Johann Sebastian Bach
(1685-1750)

Sonata in E Minor
BWV 1023

Johann Sebastian Bach

[con discrezionej-Adagio ma non tanto
Allemande
Gigue

**There will be a 10-minute intermission**
Six Variations in G Minor
Wolfgang Amade Mozart
KV 360 (374b) (1781)
(1756-1791)
on the French Song Au bord d'une fortune
Wolfgang Amade Mozart

Sonata in C Major
KV 296 (1778)
Allegro vivace
Andante sostenuto
Rondeau: Allegro

***************

In respect for the performers and those audience members around you, please turn
all beepers, cell phones and watches to their silent mode.
Thank you.

Siegbert Rampe is the new Assistant Professor of Early Music and Harpsichord
at ASU. From 1997 to 2004 he was professor at the Folkwang-Hochschule in
Essen and at the Mozarteum University in Salzburg where he taught a young
generation of harpsichordists and fortepianists.
Born in 1964 in South Germany, he studied harpsichord, piano, fortepiano,
organ, and composition in Stuttgart, Amsterdam, and Salzburg with Kenneth
Gilbert, Ton Koopman, Ludger Lohmann, Helmut Lachenmannn and others.
Since his concert debut at the Frescobaldi Festival in Ferrara (1983) he has
appeared on the harpsichord, fortepiano, and organ in solo and chamber music
recitals and as a conductor. His concert tours have taken him to practically every
country, music festival and broadcasting/TV company in Europe as well as to
Russia, the Far East, and the United States. In 1988, he founded Nova
Stravaganza, an ensemble specializing in performances on period instruments
which in 2005 received Echo Classics Artist of the Year, the most outstanding
record award of Europe. From 1998 to 2002 he was also artistic director of the
famous Bach Festival in C8then Castle. Being a Mozart specialist as well his
current schedule includes recitals at Mozart festivals in Salzburg and Vienna. In
2006 he will finish his second complete recording of Mozart's piano music on
period instruments, begun in 2004.
Rampe's repertoire on period keyboard instruments ranges from the Medieval
to Cesar Franck and Johannes Brahms. His list of recordings includes more than
65 CDs, all of which were made exclusively for EMI and Virgin since 1987 and
also for MDG since 2000. Many of them have received international awards.
Among them are a large number of ensemble, clavier and organ works by Bach,
Mozart, and Beethoven, as well as music from the sixteenth and seventeenth
centuries.
Peter Cosse referred to Rampe's recording debut in 1987, with Mozart's clavier
sonatas, as "sensational" and "the utmost in technique and artistry." To HeinzJosef Herbort, Rampe is "a performer who forces one to listen intently" (Die Zeit).
His interpretations are rooted in a thorough study of compositional technique,
performance practice, and the composers' surroundings. His constant quest for an
understanding of both composer and work has led to new insights and opened up
new avenues of expression. The certificate of the German Record Critics Award
maintains that "Siegbert Rampe has emerged as a musician of remarkably incisive
and independently-minded powers of expression. The result is music-making of a
linearity, presence, and intensity that literally beggars comparison."
Rampe has also conveyed his discoveries in several books (e.g. on Bach
and Mozart), more than 50 journal articles, and a new generation of complete
editions of early music (over 30 volumes). These editions meet the demands of
ost of his writings an editions have been pu

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