H35 G98 In-library use. More options. Find it at other libraries via WorldCat Limited preview. Contents Explanation of the catalogue. Printed sources: inventories of all known printed sources.
ISBN 13: 9782213016399
Manuscript sources: summaries of all known manuscripts-- inventories of selected manuscripts. Appendices: A - chronological list of printed and manuscript music-- B - list of printed and manuscript music by medium-- C - additions and corrections to Gustafson footnotes for appendix C. It has entries for all of the printed music known to have existed, over volumes, and manuscripts. It offers precise transcriptions of the title pages, full contents, dating, locations, editions, facsimiles, evaluations in the contemporary press, identifications of dedicatees, and stylistic comments.
The eighteenth-century French harpsichord repertory is shown to extend from to about , from Louis Marchand's Pieces de clavecin to the four Symphonies concertantes by Jean-Francois Tapray that juxtapose the harpsichord and piano as solo instruments. All original keyboard music is included. Since the introduction of the piano into France occurred during the twenty years preceding , this Catalogue includes some music that may have been intended for that instrument rather than for the harpsichord.
Ralph Lucano The hemispheres of Ralph Lucano's brain have always coexisted uneasily. Torn between music and mathematics, he studied both in college, exploring the mysteries of algebraic topology one day and the waltzes of Chopin the next. When he realized his fingers would never do what Dinu Lipatti's did, he headed for a career in mathematics, but happily gave up hours of study time to stand through operas at the Met. While there's certainly an austere beauty in the different forms of Green's Theorem, the delight in contemplating them is purely intellectual.
Hearing a great voice is exquisitely sensual. As time passed Mr Lucano grew ever more addicted to opera. Now he lives on Long Island and has retired from teaching mathematics and physics and devotes most of his time to music. He has been writing for ARG since He is a violinist and violist with degrees in music and art history. He has played in many a chamber ensemble and some orchestras, mostly in Michigan. He has taught violin. Like a number of us, he spent a few years as a classical music radio announcer.
He joined ARG in John McKelvey He learned about classical music in the s and has pursued it avidly in the concert halls, opera houses, and record stores ever since. He is a physicist, not a professional musician, but his education has been useful in learning musical acoustics and audio technology. He designed and built amplifiers and speaker enclosures in the rpm era before good commercial hi-fi equipment was readily available, which contributed substantially to his work in experimental semiconductor physics.
He was a regular at Pittsburgh Symphony concerts during the Steinberg years and at the Cleveland Orchestra during Szell's imperial reign. Recently now in his 80s he has derived much enjoyment from the Florida Orchestra. As a reviewer he has been concerned mostly with the mainstream symphonic and operatic repertoire, especially Wagner, Bruckner, Strauss, Sibelius, and Elgar and his British successors. He is retired in Clearwater, Florida and is an avid swimmer.
Her doctoral thesis on the 17th Centruy composer Michelangelo Rossi was published as a book by Garland in , and she wrote the article on him for the revised New Grove. She has also been involved in the music business since and has her own marketing consulting firm. David Moore has played principal cello for the Queens Symphony Orchestra for almost 40 years. He has recorded for five record labels and was a member of the Kohon Quartet. For many years he played the cello for the Broadway production of Les Miserables.
Mr Moore has written for ARG since , reviewing a wide range of music. His interest in music of all kinds is insatiable. He lives with his wife Sharon in the New York area. He has loved music from childhood, played various musical instruments, sung in choirs, and collected recordings for 50 years.
One of his strongest interests is lieder and vocal music, which he reviews for ARG. He also enjoys travel, cinema, and gardening. He won five national kitchen and bath design awards and in was inducted into the National Kitchen and Bath Industry Hall of Fame. His lifelong interest in classical music included a time as the music critic for the Syracuse Post-Standard and the Syracuse Herald Journal From to he wrote a local record review column.
He was also a contributor to the Millennium Edition of Groves Dictionary.
Get PDF Guide de la musique de piano et de clavecin (French Edition)
Charles H Parsons He has been involved in almost every facet of opera research and production. He studied music, literature, and fine arts at the University of Cincinnati.
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He loves travel—a remnant from his times living in London and Rome. He is also interested in languages, archeology, and art history, and is active in the Episcopal Church. David Radcliffe Mr Radcliffe is not an older collector who grew up with 78s, as one might expect he has always covered older recordings in ARG. In fact, he was born in and grew up in the Cincinnati area, where he sang in the choir at the May Festival. He began listening to old records in his college years and was immediately fascinated by the way people expressed themselves in an earlier era.
It's not that there were better musicians 50 or 80 years ago; it's the differences and the period flavor.
For many years he has taught literary history in Virginia , so there must be some kind of connection. Antonia Brentano, Netherlands Bach's music comes first; if you use the piano, harpsichord or clavichord to get message across is simply less important. Harpsichord players, however, tend to have better knowledge of baroque performance practices then most pianists.
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I have no problem at all with Bach being played on piano as long as does justice to Bach's rich musical ideas. I compose for the harpsichord, and perform historical repertoire as well. Formerly, I performed as a pianist, playing a fair amount of Bach. Bach can work well on the piano. You would use the resources of the instrument, and play the pieces quite differently from the way you would on the harpsichord. Remember, though, that Bach was composing them on the harpsichord, using the resources available on the harpsichords of his time. So, the pieces are geared to the harpsichord.
Another consideration is that Bach was concerned primarily with form, as opposed to French Baroque music where sound is so much more a factor in realizing them, of showing their beauty. Thus, French Baroque works generally would not work well on the piano.
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- A catalogue of French harpsichord music, in SearchWorks catalog.
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Thomas Dent, Heidelberg Some players may be incapable of playing the harpsichord expressively, but that doesn't mean it is impossible. If you hear a good player with a good instrument you will find it has just as much resources as the modern grand, though produced in a different way. Naturally enough, modern piano technique on an early instrument merely sounds dull. And the other way round: many of the techniques known from Bach's era don't work on the piano.
The notion that Bach must have felt some deficiency in the harpsichord is just silly - he owned half a dozen and composed so much music for the instrument, in a way that was clearly adapted to exploit the things that it did best. Half of the music he published was explicitly for harpsichord! Just one example, the way to create a stronger dynamic on the harpsichord is to write or play more notes at once, and go down into the bass of the instrument.
See the beginning of the G minor English Suite. But on a grand piano, instead of creating power, this creates mud - forcing the player to reduce the tone and contradict Bach's composed-in dynamics! There is no piano in the Baroque period. Bach himself preferred the clavichord a forerunner of the hammerklavier to the harpsichord, but the clavichord was too low for performances beyond an audience of more than one person - the player himself.
Apart from this it is known that J. Bach worked on a sort of hammerklavier together with the famous organ-builder Gottfried Silbermann. Bach must have had more than a glimpse of how his music for keyboard would sound from a "modern" piano So, Neil Coleman, London, is completely right.