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Early Music Review EDITIONS of MUSIC a Study That Is Complex, Detailed and Seems to Me to Reach Pretty Plausible Insights
Early Music Review EDITIONS OF MUSIC a study that is complex, detailed and seems to me to reach pretty plausible insights. His thesis in brief is ‘that the nativity of Christ is BOOKS represented in the first sonata in G minor while the juxtaposed D minor partita and C major sonata are the Ben Shute: Sei Solo: Symbolum? locus of passion-resurrection imagery.’ He acknowledges The Theology of J. S. Bach’s solo violin works that there have been both numerological and emotion- Pickwick Publications, Eugene, Oregon based interpretations in these areas, but none relying ISBN 978-1-4982-3941-7 on firm musicological bases. These he begins to lay out, xxvii+267pp, $28.00 undergirding his research with a sketch of the shift from thinking of music as en expression of the divine wisdom, his is not the first monograph to employ a variety an essentially Aristotelian absolute, towards music as a of disciplines to delve beneath the surface of a more subjective expression of human feeling, revealing the Tgroup of surviving compositions by Bach in the drama and rhetoric of the ‘seconda prattica.’ In Germany hope of finding a hidden key to their understanding and these two traditions – ratio and sensus – remained side by interpretation: nor will it be the last. But what is unusual side until the 18th century, and the struggle to balance the about Benjamin Shute is that he does not go overboard two is evident in Bach’s work. So stand-alone instrumental for the one-and-only solution, instead adopting a multi- music has a theological proclamation in its conviction faceted approach to unearthing the composer’s intentions. -
Guide to the Dowd Harpsichord Collection
Guide to the Dowd Harpsichord Collection NMAH.AC.0593 Alison Oswald January 2012 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: William Dowd (Boston Office), 1958-1993................................................ 4 Series 2 : General Files, 1949-1993........................................................................ 8 Series 3 : Drawings and Design Notes, 1952 - 1990............................................. 17 Series 4 : Suppliers/Services, 1958 - 1988........................................................... -
Early French Harpsichords
Early French Harpsichords by Michael Thomas I am going to discuss two early French harpsichords My own building has been influenced by the —Philippe Denis (1674) and Sebastien Gamier enormous variations which are found in early (1747)—in detail, and show a complex relationship Italian instruments. Wanting to make double-manual which these instruments had with those of other instruments without being restricted by the countries. limitations of the Ruckers style, I made doubles Three instruments have recently been discovered. which were like the Italian but with slightly thicker While none of them is dated or signed, various sides and deeper cases. This produced instruments experts have contradicted each other with guesses singularly like those that were later discovered, about their places of origin, which include France, e.g. the Denis of 1674 and the Tisseran of 1710. Spain, Italy, Sweden, Germany and England. This One cannot assume that the indigenous French- suggests that while in the later 18th century there English style was copied from the Italian, but it were clear types of instruments in, say, Paris or does suggest at least a common ancestor. I believe London, in the earlier period there was a greater that as the instrument was built in France it was as exchange of ideas, and certain types of instruments close as possible to such hand-plucked instruments that appear in several countries. as the lute. The Layout of the Soundboard of the P. Denis Photograph No. 1 and the first diagram show the layout of the Denis harpsichord of 1674. There is a large area of soundboard between the case and the 8ft. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository 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. -
Harpsichords Extraordinaire Two Keyboards, Each with a Story to Tell
TREASURE Harpsichords Extraordinaire Two keyboards, each with a story to tell ! 1900, no one in America was building acquired the harpsichords. Pianos ruled, and that Dolmetsch in was that. Then in 1905, the French- 1929, and ju- born musician and instrument maker nior Ralph Kirkpatrick IArnold Dolmetsch (1858-1940) arrived in ’31, later an acclaimed harpsi- Boston, where he spent the next six years chordist and musicologist, con- building clavichords and harpsichords with certized on it at Paine Hall the piano makers Chickering & Sons. Dolmetsch next year. was “the man in front of the ‘early-music’ The 1906 harpsichord has revival in the United States,” says Mariana two keyboards, or “manuals.” In his foreword Quinn, manager of Piano Technical Services Dolmetsch used ebony for to Hubbard’s Three (PTS) at Harvard. Early-music aficionados the natural notes and ivory Cen turies of Harpsi- sought to build authentic reproductions of for the accidentals, yielding a color chord Making (1965), ancient instruments and to perform centu- scheme that reverses the conventional one. Kirkpatrick writes ries-old pieces in ways true to their origins. Its beautiful case, with ivory inlays, may be of hearing about Two extraordinary harpsichords, one of Indian rosewood, according to PTS senior “two graduate stu- which Dolmetsch built with concert technician Paul Rattigan. dents in English…who had built what I Chickering in 1906, re- Piano keys trigger hammers, but pressing believe was a clavichord....it became per- side in the PTS work- a harpsichord key raises a jack with plec- fectly clear to me that Frank Hubbard and shop in Vanserg trum that plucks a metal string. -
William Dowd Rememberance.1.1
Remembering William Dowd (February 28, 1922 – November 25, 2008) Depending on one’s worldview, it was either serendipity or fate that brought William Dowd and Frank Hubbard (1920–1976) together at Harvard in 1940. It was here that the boyhood friends saw their first harpsichord, an instrument by Arnold Dolmetsch (1858–1940) built at the Chickering Piano Factory in Boston. More harpsichord sightings ensued: fellow Harvard student Daniel Pinkham (1923–2006) owned an instrument by John Challis (1907–1984), and they also heard Pinkham’s teacher, harpsichordist and harpsichord builder Claude Chiasson (1914–1985) play in concert as well. The two English majors fell in love with the instrument, and were determined to begin building harpsichords that, unlike many built at the time, adhered to the principles of 17th- and 18th-century craftsmanship. It was a decision that in many ways started a revolution, the effects of which are still strongly felt. Both young men temporarily left Harvard to serve in World War II, but upon finishing their degrees they decided to embark on apprenticeships with two of the early revivalists whose work had loomed large: the French-born Dolmetsch, and the Michigan-born Challis, who had spent four years as an apprentice of Dolmetsch in England. While Dolmetsch had passed away before Hubbard could work with him, his shop was still active, and Hubbard learned some of the necessary fundamentals there. However, he later learned more about extant antiques from the extensive research of Hugh Gough, and by visiting instrument collections in London, Paris, Brussels, and The Hague. Dowd, meanwhile, had a very productive year-and- a-half with Challis in Detroit, learning not only the craft of instrument building but also the importance of having integrity as a builder. -
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. -
Proyecto Final “Master Renaissance Studies” El Programa Iconográfico
Proyecto final “Master Renaissance Studies” El programa iconográfico de las tapas armónicas en los Clavecines Ruckers. Docente: Ghislain Kieft Verónica Estevez 0266779 Utrecht, 08-2006 Índice Introducción……………………………………………………………………… Pag. 2 La Familia Ruckers, sus raíces y su arraigo………………………………….. Pag. 7 Amberes en el tiempo del los Ruckers……………………………………...... Pag. 9 El gremio de San Lucas…………………………………………………………. Pag. 10 El ambiente artístico en Amberes……………………………………………... Pag. 12 Los instrumentos y sus decoraciones…………………………………………. Pag. 14 El motivo azul……………………………………………………………………. Pag. 18 El color y la técnica……………………………………………………………… Pag. 21 Las flores de la tapa armónica…………………………………………………. Pag. 23 El programa decorativo en las tapas armónicas……………………………... Pag. 29 María, Reina del cielo y la tierra………………………………………………. Pag. 32 La Virgen y el azul………………………………………………………………. Pag. 48 Virginal…………………………………………………………………………… Pag. 51 Hortus omnium deliciarum……………………………………………………. Pag. 54 El jardín de las delicias…………………………………………………………. Pag. 56 Bibliografía………………………………………………………………………. Pag. 57 Lista de Ilustraciones…………………………………………………………… Pag. 59 1 Introducción a iconografía sobre instrumentos musicales está ligada históricamente a la representación de instrumentos en pinturas. En mi ensayo, voy a referirme Lmás específicamente a lo representado en los instrumentos e intentando un acercamiento iconográfico desde otro punto de vista. Para expresarme más claramente, mi idea no es hacer un racconto de cuantos clavecines se encuentran representados en la historia del arte, sino que intrigada por las decoraciones que presentan estos instrumentos, he decidido profundizar en la simbología, la tradición visual y la práctica pictórica que confluyeron en este tipo de ornamentación. El tema es claramente específico y de carácter casi hermético. No se trata de una de las grandes incógnitas de la historia del arte sino solo de una respuesta a un porqué casi personal. -
Painted Wood: History and Conservation
PART TWO Historical Perspectives 82 Support and Polychromy of Altarpieces from Brussels, Mechlin, and Antwerp Study, Comparison, and Restoration Myriam Serck-Dewaide , comprising painted and sculpted ele- ments (really pieces of liturgical furniture) had already appeared in Cgreat number by the middle of the fourteenth century in different regions. They functioned at this time as tabernacles,1 and cupboards for relics and for individual figures of saints and narrative scenes. Gilded archi- tectural elements, baldachins,2 and rhythmic colonnettes strictly compart- mentalized the space. The painted wings served to close these “cases,” revealing the figures to the faithful only on feast days. Altarpieces were popular throughout Europe in the fifteenth and sixteenth centuries. The regional workshops—for example, Germanic, Franco-Flemish, Spanish, and Italian—evolved differently, varying the dimensions, space, perspective, lighting, and polychromy of the altarpieces (Skubiszewski 1989). Only altarpieces from the historic Brabant region3 are considered here—in particular, the sculpted parts of these Brabantine altarpieces. In the fifteenth century, Brabantine altarpieces evolved toward a more realis- tic expression and a more accentuated relief. Compositions were grouped in successive arrangement, presenting scenes of small characters, related as in a theatrical setting. Over time, the architecture changed, reducing in size, until eventually there was no more than a frame presenting scenes consecrated to the Virgin, to the lives of the saints, or to cycles of the infancy and Passion of Christ. This evolution progressed very slowly dur- ing the mid–sixteenth century, from late Gothic decoration to Renaissance motifs. From the second half of the fifteenth century, Brabantine altar- pieces became so successful that, in order to satisfy the demand, a division of labor became necessary. -
KEYBOARD INSTRUMENTS by Howard Schott
CATALOGUE OF MUSICAL INSTRUMENTS IN THE VICTORIA AND ALBERT MUSEUM Part I: KEYBOARD INSTRUMENTS by Howard Schott Part II: NON-KEYBOARD INSTRUMENTS by Anthony Baines Catalogue of MUSICAL INSTRUMENTS in the VICTORIA AND ALBERT MUSEUM Part I: Keyboard Instruments by Howard Schott Part II: Non-Keyboard Instruments by Anthony Baines New catalogue entries, supplementary notes and bibliography by James Yorke V&A PUBLICATIONS Catalogue of Musical Instruments, Volume I: Keyboard Instruments Originally published by HMSO, 1968, second edition 1985 Catalogue of Musical Instruments, Volume II: Non-Keyboard Instruments Originally published by HMSO, 1968, second edition 1978 First published as a single volume by V&A Publications, 1998 V&A Publications 160 Brompton Road London SW3 1HW ©The Board of Trustees of the Victoria and Albert Museum, 1998 Keyboard Instruments © Crown copyright 1968,1985 Non-Keyboard Instruments © Crown copyright 1968,1978 Howard Schott and Anthony Baines assert their moral right to be identified as authors of this book ISBN 185177 250 2 A catalogue record for this book is available from the British Library All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Printed in Hong Kong by Imago Front cover: Theorbo by Cristoforo Choc, about 1620. Ivory and ebony neck with rosewood ribbing. 7756-1862. Back cover: Jewelled spinet by Annibale Rossi, 1577. Covered with lapis lazuli, and other precious and semi-precious stones. 809-1869. Publishers' Note: This new single volume edition has been compiled from two volumes previously published separately. -
Frank Hubbard
Frank Hubbard INTERVIEWED by TOM McGEARY No one involved with the harpsichord today is chord or the glorious examples still extant, 1 unfamiliar with the work of Frank Hubbard. Much of learned nothing. the impetus and direction of the revival of the It was from Hugh Gough, with whom I worked harpsichord during the last two decades has been for a year, that I gained a great deal of information due to his work as a builder, restorer, and historian. about the history of the instrument and the general Mr Hubbard was among the first builders to begin approaches of the musical historian in this field. making harpsichords after historic models—in While in England I also had a brief connection as a contrast to other modern builders who took their third rate 'gamba student with the editor of this inspiration from the twentieth-century piano. He magazine, Edgar Hunt. I inflicted my presence on accomplished what Ralph Kirkpatrick called 'the him in order to get the subsistence allowance that major revolution of this century in harpsichord the G.I. Bill offered. I had to be a student some- building'. His book, Three Centuries of Harpsichord where, so 1 was a student at the Trinity College of Making (Cambridge, Mass.: Harvard University Music. He had the thankless job of teaching me to Press, 1965), is the single most important work in the play the 'gamba, an instrument which I had no time field, valuable for its scholarly presentation of many to practise at that stage of my life. historic documents concerning the harpsichord, its Tom McGeary: You have spent some twenty-five detailed description of instruments, and its attempt to years working with and studying historic harpsi- describe actual building practices of the past. -
Ma/)4I^U<Mmw(A Am^L ~^'U)(Ymc-Mi4(D/X
Ma/)4i^U<Mmw(A am^l ~^'U)(ymc-mi4(d/X ^•^ CYNTHIA A. HOOVER DIVISION OF MUSICAL INSTRUMENTS NATIONAL MUSEUM OF HISTORY AND TECHNOLOGY J?^^i^mc^^/ and ^lamcno^c/^ SMITHSONIAN INSTITUTION PRESS CITY OF WASHINGTON 1969 Cover: Virginal by Giovanni Battista Bom, 1617 {see pages 22-25) Photo: Robert Lautman For sale by the Superintendent oj Documents, U.S. Government Printing Office Washington, B.C. 20402 Price 40 cents .Ct' The harpsichord and the clavichord represent the two most important types of stringed keyboard instruments used from the 15th through the 18th centuries. By the 19th century, the piano had become the most important domestic keyboard instrument. In this booklet are described a few of the restored Smith sonian harpsichords and clavichords that are occasionally on exhibit in the Hall of Musical Instruments or in use in the series of concerts sponsored by the Division of Musical Instru ments. Models showing how the sound is produced on these instruments are also on exhibit. A complete list of the keyboard collection is found in A Checklist of Keyboard Instruments at the Smithsonian Institution (Washington, 1967), which is available from the Division of Musical Instruments, Smithsonian Institution, Washington, D.C. 20560. ryuM^icrie'}^^ The harpsichord and its smaller relatives, the virginal and the spinet, have strings that are plucked. The harpsichord is wing-shaped, most virginals and spinets are either rectangular or polygonal. When the harpsichord key is pressed, a wooden jack is raised so that a quill or leather plectrum inserted into the jack tongue plucks the string. When the key is released, the jack falls back into place, the pivoted tongue allowing the plectrum to pass the string without plucking it.