Galpin Society Archive Handlist
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1785-1998 September 1998
THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods. -
A Harpsichord Odyssey
A Harpsichord Odyssey (II) by Edgar Hunt Major Benton Fletcher had acquired Old Devonshire House in 1934 when it was in a very poor state, cleaned it up, stripping off several coats of wall paper and plaster to reveal the original wood panelling, and made it a fit home for his collections. Built in the seventeenth century, it had been the town house of the Cavendish family, one of whom once rode his horse up the broad staircase for a wager. Now it was to provide the perfect setting for the Major's collection of early keyboard instruments and antique furniture. The Major himself, besides having been a soldier (he served in the Boer War and World War I), an egyptologist who had worked with Flinders Petrie and an artist (among other things he illustrated Braybrook's Pepys* Diary for Dent), had built up a collection of The first floor 'Great Chamber'. harpsichords and other early keyboard Old Devonshire House. (Photo: Country Life) instruments as he feared lest their tone quality instruments to be available for concerts (one might otherwise be lost to future generations. was regularly used for Bach performances at He strongly disapproved of the way the Westminster Abbey) and for students to modern harpsichord was going, with its metal practice on at 6d (=2ip) an hour. A Mr Irwin frame, row of pedals and lack of sonority, and Hinchliffe ARCM, who helped with the wanted his restoration and maintenance of his harpsichords, was available to teach, and Mrs Frances Jackson, his housekeeper, acted as curator. But the Major also wanted Old Devonshire House to become a centre for early music where anyone interested could also study the viola da gamba or recorder and join in ensembles with harpsichord continue. -
Trevor Pinnock Journey
TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13. -
Sampling the Past: a Tactile Approach to Interactive Musical Instrument Exhibits in the Heritage Sector
KES Transactions on Innovation in Music: Vol 1 No 1 Special Edition - Innovation in Music 2013 : pp.110-125 : Paper im13bk-011 Sampling the past: A tactile approach to interactive musical instrument exhibits in the heritage sector Dr Kenneth B. McAlpine School of Arts, Media and Computer Games, University of Abertay Dundee, DD1 1HG, UK [email protected] 1. Abstract In the last decade, the heritage sector has had to adapt to a shifting cultural landscape of public expectations and attitudes towards ownership and intellectual property. One way it has done this is to focus on each visitor’s encounter and provide them with a sense of experiential authenticity. There is a clear desire by the public to engage with music collections in this way, and a sound museological rationale for providing such access, but the approach raises particular curatorial problems, specifically how do we meaningfully balance access with the duty to preserve objects for future generations? This paper charts the development of one such project. Based at Fenton House in Hampstead, and running since 2008, the project seeks to model digitally the keyboard instruments in the Benton Fletcher Collection and provide a dedicated interactive exhibit, which allows visitors to view all of the instruments in situ, and then play them through a custom-built two-manual MIDI controller with touch- screen interface. We discuss the approach to modelling, which uses high-definition sampling, and highlight the strengths and weaknesses of the exhibit as it currently stands, with particular focus on its key shortcoming: at present, there is no way to effectively model the key feel of a historic keyboard instrument. -
'The British Harpsichord Society' April 2021
ISSUE No. 16 Published by ‘The British Harpsichord Society’ April 2021 ________________________________________________________________________________________________ INTRODUCTION 1 A word from our Guest Editor - Dr CHRISTOPHER D. LEWIS 2 FEATURES • Recording at Home during Covid 19 REBECCA PECHEFSKY 4 • Celebrating Johann Christoph Friedrich Bach COREY JAMASON 8 • Summer School, Dartington 2021 JANE CHAPMAN 14 • A Review; Zoji PAMELA NASH 19 • Early Keyboard Duets FRANCIS KNIGHTS 21 • Musings on being a Harpsichordist without Gigs JONATHAN SALZEDO 34 • Me and my Harpsichord; a Romance in Three Acts ANDREW WATSON 39 • The Art of Illusion ANDREW WILSON-DICKSON 46 • Real-time Continuo Collaboration BRADLEY LEHMAN 51 • 1960s a la 1760s PAUL AYRES 55 • Project ‘Issoudun 1648-2023’ CLAVECIN EN FRANCE 60 IN MEMORIAM • John Donald Henry (1945 – 2020) NICHOLAS LANE with 63 friends and colleagues ANNOUNCEMENTS 88 • Competitions, Conferences & Courses Please keep sending your contributions to [email protected] Please note that opinions voiced here are those of the individual authors and not necessarily those of the BHS. All material remains the copyright of the individual authors and may not be reproduced without their express permission. INTRODUCTION ••• Welcome to Sounding Board No.16 ••• Our thanks to Dr Christopher Lewis for agreeing to be our Guest Editor for this edition, especially at such a difficult time when the demands of University teaching became even more complex and time consuming. Indeed, it has been a challenging year for all musicians but ever resourceful, they have found creative ways to overcome the problems imposed by the Covid restrictions. Our thanks too to all our contributors who share with us such fascinating accounts of their musical activities during lock-down. -
Roger Quilter
ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. -
Amateur Instrumental Music in America, 1765 to 1810. Benjamin Richard Compton Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Amateur Instrumental Music in America, 1765 to 1810. Benjamin Richard Compton Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Compton, Benjamin Richard, "Amateur Instrumental Music in America, 1765 to 1810." (1979). LSU Historical Dissertations and Theses. 3329. https://digitalcommons.lsu.edu/gradschool_disstheses/3329 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “ target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
Download Booklet
Richard Lester’s Complete Scarlatti Sonatas FRESCOBALDI RICHARD LESTER Harpsichord & Virginals NI 1725 NI 1726 Vo lum e 3 NI 1727 NI 1728 NI 1729 NI 1730 NI 1731 NI 5822/3 16 NI 5870 NI5870 1 See NI 5861 Harpsichord by Giovanni Battista Boni (c1619) 2 NI 5870 NI5870 15 Richard Lester’s FRESCOBALDI series: Girolamo Frescobaldi (1583-1643) ‘If you enjoyed the first CD, this second will exceed your expectations. Now to have Volume 3 available as accomplished a projected series of recordings as this is truly a treat. Here is a performance and recording enterprise that deserves landmark status of its RICHARD LESTER own. Unhesitatingly recommended.’ 1 Toccata Seconda 4:33 Mark Sealey. Classical Net 2 Capriccio fatto sopra La Cucchu 5:45 3 Toccata Quarta 4:30 4-6 Balletto Primo - Corrente del Balletto Passacagli 2:28 Volume 1 Harpsichord (NI 5850) 7 Aria detta Balletto 7:08 Toccatas, Canzonas, Capriccios and Partites from 8-9 Balletto Seconda - Corrente del Balletto 1:39 Il primo libro di toccate, Il secondo libro di toccate e canzone and 10 Toccata Undecima 5:19 Il primo libro di capricci. 11 Canzona Prima 3:51 Volume 2 Harpsichord (NI 5861) 12 Toccata Decima 4:35 Gagliardes, Toccatas and Partites from 13 Canzona Quinta 1:51 Il primo libro di toccata and Il secondo libro di toccate 14 Capriccio di Durezze 2:48 15 Capriccio sopra l’aria di Ruggiero 6:22 Volume 4 Organ 16 Recercar Terzo 4:28 Toccatas, Canzonas, Capriccios, Fantasies and Ricercars from 17 Capriccio Fra Jacopino sopra l’Aria du Ruggiero 4:02 Il secondo libro di toccate, Fiori Musicali and the Chigi manuscript 18-20 Balletto Terzo - Corrente del Balletto – Passacagli 3:21 21 Capriccio sopra La Bassa Fiamenga 5:35 22 Correntes 1-4 4:21 Visit www.frescobaldi.org.uk or www.wyastone.co.uk for release dates and track listings. -
GSJ Back Numbers, Music in the Royal Collection the GALPIN SOCIETY Registered Charity No
The Galpin Society For the Study of Musical Instruments Newsletter 50 February 2018 May 2015 Queen Victoria’s Erard piano (1856) In the Royal Collection CONTENTS: ::2:: Contacts, New Members ::3:: Editorial, AGM Notice ::4:: The Genius of Grinling Gibbons ::7:: Your Expertise is Required ::9:: Founders of The Galpin Society ::11:: GSJ back numbers, Music in the Royal Collection THE GALPIN SOCIETY Registered Charity no. 306012 President: Jeremy Montagu [email protected] Vice-Presidents: Margaret Birley, Charles Mould, Arnold Myers, Graham Wells The Master of the Worshipful Company of Musicians THE COMMITTEE Chairman: Graham Wells, 24 Gloucester Road, Teddington, Middlesex, TW11 0NU [email protected] Administrator: Maggie Kilbey, 37 Townsend Drive, St Albans, Herts, AL3 5RF [email protected] Editor & Vice-Chairman: Lance Whitehead, 3 Hazelbank Terrace, Edinburgh, EH11 1SL [email protected] Journal Editor and Advertisement Manager: Michael Fleming, 13 Upland Park Road, Oxford, OX2 7RU [email protected] Reviews Editor (UK): Mimi Waitzman, Horniman Museum, London Road, Forest Hill, London, SE23 3PQ [email protected] Reviews Editor (USA): Bradley Strauchen-Scherer, Dept of Musical Instruments, Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028-0198, USA [email protected] Newsletter Editor: Andy Lamb, The Bate Collection, Faculty of Music, St Aldate’s, Oxford, OX1 1DB [email protected] Archivist: Diana Wells, 24 Gloucester Road, Teddington, Middlesex, TW11 0NU [email protected] Other committee members: Marie Kent, Douglas MacMillan, Gabriele Rossi Rognoni, Owen Woods, Opinions expressed by authors in the newsletter are not specifically endorsed by The Galpin Society. -
University of Southampton Research Repository
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 1 of 1 The Harpsichord in Twentieth-Century Britain by Christopher David Lewis Thesis for the degree of Doctor of Philosophy September 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy THE HARPSICHORD IN TWENTIETH-CENTURY BRITAIN by CHRISTOPHER DAVID LEWIS This dissertation provides an overview of the history of the harpsichord in twentieth- century Britain. It takes as its starting point the history of the revival harpsichord in the early part of the century, how the instrument affected both performance of historic music and the composition of modern music and the factors that contributed to its decline. -
The Harpsichord: a Research and Information Guide
THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo. -
2019 Guaranteed Departures
2019 Guaranteed Departures Fitzwilliam Museum Jacobite Steam Train, Glenfinnan Viaduct © Damien Vickers Dear Royal Oak Members and Friends, Delve Deeper into Britain’s Heritage I am very pleased to share with you our 2019 heritage tour program produced in Fenton House – a hidden gem in London partnership with Albion. These group tours offer Royal Oak members the unique th opportunity to discover the vast cultural and natural heritage of Britain including many of Fenton House is a 17 -century merchant’s house, bequeathed to the National Trust in the impressive places owned by the National Trust of England, Wales and Northern Ireland. 1952 by its last owner and resident Lady Binning. The interior houses the Benton Fletcher collection of early keyboard instruments and collections of portraits and paintings, including With behind-the-scenes tours, after dinner lectures and insights from the owners of the the collection of Peter Barkworth, and loans of Sir William Nicholson paintings, porcelain, properties themselves, you can really immerse yourself in the locations that you visit and in 17th-century needlework pictures and Georgian furniture. This handsome brick mansion 2019, these tours will take you even further too – with a wider variety of locations on offer also has a walled garden, a working kitchen garden and a 300-year-old orchard, where than ever before. HawksheadHighclere Castle about 30 types of apple trees flourish. Both Albion and The Royal Oak Foundation are proud to be partners of the National Fenton House features on the London’s Hidden Houses tour (page 10). Trust, helping to support the Trust’s vital conservation work.