| Toccata in C Major | Jan Pieterszoon Sweelinck (1587–1621) |
| Magnificat VII. Versus Versus Versus auff 2 Clavier Versus Pedaliter |
Toni Heinrich Scheidemann (c.1595–1663) |
| Echo ad manuale duplex forte et lene à 4 Voci Echo alio modo from Tabulatura nova (1624) |
Samuel Scheidt (1587–1654) |
| Ricercar | Sweelinck |
| Praeludium in E Major, BuxWV 141 Der Tag, der ist so freudenreich, BuxWV 182 Passacaglia, BuxWV 161 | Dieterich Buxtehude (1637–1707) |
| Two Chorale Preludes Allein Gott in der Höh’ sei Ehr, BWV 662 Komm, Heiliger Geist, BWV 651 |
Johann Sebastian Bach (1685–1750) |
The Artist
| Gail Archer is director of the music
program at Barnard College, Columbia
niversity, and conductor of the Barnard–Columbia Chorus. The Barnard
faculty selected her as the recipient of the Bank of New York Teaching
Excellence Award for academic year 1999–2000. She is a member of the
music history faculty at the Manhattan
School of Music, where she teaches the doctoral seminar in historical
performance practice and undergraduate course in Baroque music. She is also
music director and organist at
All Saints Episcopal Church in Manhattan. |
| Ms. Archer holds a DMA in organ performance
from the Manhattan School of Music, where she studied with McNeil Robinson
and received the Helen Cohn Prize as the outstanding graduate in the doctoral
program. She recently earned the artist diploma from the Boston Conservatory,
where she studied with James David Christie and Jon Gillock. Her modern
edition and translation of Cantate, ariete à una, due,e tre voci,
Op. 3, by the seventeenth–century Venetian composer Barbara Strozzi,
has been published in the A–R Editions Recent Researches series; a CD
of the edition has been released on the Dorian label. |
| Ms. Archer is available for organ recitals
and lectures on Baroque topics including early fingering and organ
registration in the Dutch and North German School from Jan Pieterszoon
Sweelinck and his circle to Dietrich Buxtehude and Johann Sebastian Bach. She
can offer complete performances of the Leipzig Great Eighteen chorale
preludes and Klavierübung III, as well as mixed programs drawn from the
full spectrum of the principal composers: Sweelinck, Scheidemann, Strunck,
Scheidt, Böhm, Buxtehude and Bach. Her interest also extends to the
Italian and Spanish schools of the sixteenth through eighteenth centuries,
with particular emphasis on Frescobaldi. Her complementary interest is the
music of Olivier Messiaen, and she can offer performances of Le Banquet
celeste, Apparition de L’Église Éternelle,
L’Ascension, La Nativité du Seigneur, Messe de la
Pentecôte, and Les Corps Glorieux. |
