Rebecca Klein gave a standard full-length solo recital her third year at Oberlin and then turned towards early music in earnest. She began an in-depth exploration of the Baroque guitar and it's repertoire, purchasing a gorgeous one for her constant use, after borrowing the Conservatory's instrument for a couple of semesters. Her new guitar, by luthier Alexander Hopkins, sounded clear, full and sweet-toned, and had no trouble filling a large room. She took some external lessons in addition to her work with me (I used to play the Baroque guitar in concerts in the 1980's), gaining valuable insights into some of the instrument's arcana--how to tie frets, how to execute specialized strumming techniques, and on the interpretation of some of the more ambiguous markings in the tablature she was reading from. Those lessons, with Simon Martyn-Ellis in Cleveland and with Ophira Zakai in Israel, when she was on a semester-abroad experience last spring, helped immensely and the teachers provided valuable models for her in the world of instrument specialization.

Her all-Baroque Guitar concert this week was an Oberlin first. She played with a keen sense of style, with a degree of professional command that was absolutely compelling and, as she always has, with a suave and subtle sense of lyricism and a commitment to beauty of sound. She included with her standard program, a liner-note essay that was beautifully written, informative and deeply moving (both are reproduced below). 

It was a full house in Fairchild Chapel, the perfect room for the music. She gave a brilliant farewell concert and the audience responded with an instantaneous universal standing ovation. Congratulations, Rebecca: we will miss you!