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The third edition of Donald H. Boalch's Makers of the Harpsichord and Clavichord, 1440-1840 is a complete revision of the second edition published in 1974. The volume is now divided into two parts. Part I contains biographical details of all known makers, including some 500 not listed previously, and updated entries for more than 400 makers appearing in the second edition. Enlarged (and in some cases extended) descriptions of more than 2,000 surviving instruments by the makers are consigned to Part II, and the whole is complemented by a number of tables, a geographical and chronological conspectus of makers, and a new Index of Technical Terms in seven languages by Dr Andreas H. Roth.
Covers every aspect of the harpsichord and its music, including composers, genres, national styles, tuning, and the art of harpsichord building.
This is a richly illustrated history of the clavichord, the forerunner of the modern piano.
The twentieth-century revival of early music unfolded in two successive movements rooted respectively in nineteenth-century antiquarianism and in rediscovery of the value of original instruments. The present volume is a collection of insights reflecting the principal concerns of the second of those revivals, focusing on early keyboards, and beginning in the 1950s. The volume and its authors acknowledge Canadian harpsichordist Kenneth Gilbert (b. 1931) as one of this revival’s leaders. The content reflects international research on early keyboard music, sources, instruments, theory, editing, and discography. Considerations that echo throughout the book are the problematics of source attributions, progressive institutionalization of early music, historical instruments as agents of artistic change and education, antecedents and networks of the revival seen as a social phenomenon, the impact of historical performance and the quest for understanding style and genre. The chapters cover historical performance practice, source studies, edition, theory and form, and instrument curating and building. Among their authors are prominent figures in performance, music history, editing, instrument building and restoration, and theory, some of whom engaged with the early keyboard revival as it was happening.
The Encyclopedia of the Piano was selected in its first edition as a Choice Outstanding Book and remains a fascinating and unparalleled reference work. The instrument has been at the center of music history with even composers of large symphonic work asserting that they do not write anything without sketching it out first on a piano; its limitations and expressive capacity have done much to shape the contours of the western musical idiom. Within the scope of this user-friendly guide is everything from the acoustics and construction of the piano to the history of the companies that have built them. The piano-lover might also be surprised to find an entry for Thomas Jefferson, and will no doubt read intently the passages about the changing history of the piano's place in the home. Uniformly well-written and authoritative, this guide will channel anyone's love for the instrument, through social, intellectual, art history and beyond into the electronic age.
Presents previously unpublished memoirs (1933-77), lectures, and essays by the eminent harpsichordist and scholar Ralph Kirkpatrick.
This book explores the history of keyboard instruments from their fourteenth-century origins to the development of the modern piano. It reveals the principles of their design and describes structural and mechanical developments through the medieval and renaissance periods and eighteenth- and nineteenth-centuries, as well as the early music revival. Stewart Pollens identifies and describes the types of keyboard instruments played by major composers and virtuosi through the ages and provides the reader with detailed instructions on their regulating, stringing, tuning and voicing drawn from historical sources.