The Development of the Tuning and Tone Colour of an Instrument Made in Venice About 1500
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THE DIAPASON FEBRUARY 2021 Quimby Pipe Organs, Inc. 50th Anniversary Cover feature on pages 18–20 PHILLIP TRUCKENBROD CONCERT ARTISTS ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Twelfth Year: No. 2, 20 Under 30 Whole No. 1335 We thank the many people who submitted nominations for FEBRUARY 2021 our 20 Under 30 Class of 2021. Nominations closed on Feb- Established in 1909 ruary 1. We will reveal our awardees in the May issue, with Stephen Schnurr ISSN 0012-2378 biographical information and photographs! 847/954-7989; [email protected] www.TheDiapason.com An International Monthly Devoted to the Organ, A gift subscription is always appropriate. the Harpsichord, Carillon, and Church Music Remember, a gift subscription of The Diapason for a In this issue friend, colleague, or student is a gift that is remembered each Gunther Göttsche surveys organs and organbuilding in the CONTENTS month. (And our student subscription rate cannot be beat at Holy Land. There are approximately sixty pipe organs in this FEATURES $20/year!) Subscriptions can be ordered by calling our sub- region of the world. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
Italian Harpsichord-Building in the 16Th and 17Th Centuries by John D
Italian Harpsichord-Building in the 16th and 17th Centuries by John D. Shortridge (REPRINTED WITH CHANGES—1970) CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY UNITED STATES NATIONAL MUSEUM BULLETIN 225 · Paper 15, Pages 93–107 SMITHSONIAN INSTITUTION PRESS · WASHINGTON, D.C. · 1970 Figure 1.—OUTER CASE OF ALBANA HARPSICHORD. Italian Harpsichord-Buildingin the 16th and 17th Centuries By John D. Shortridge The making of harpsichords flourished in Italy throughout the 16th and 17th centuries. The Italian instruments were of simpler construction than those built by the North Europeans, and they lacked the familiar second manual and array of stops. In this paper, typical examples of Italian harpsichords from the Hugo Worch Collection in the United States National Museum are described in detail and illustrated. Also, the author offers an explanation for certain puzzling variations in keyboard ranges and vibrating lengths of strings of the Italian harpsichords. THE AUTHOR: John D. Shortridge is associate curator of cultural history in the United States National Museum, Smithsonian Institution. PERHAPS the modern tendency to idealize progress has been responsiblefor the neglect of Italian harpsichords and virginals during the present day revival of interest in old musical instruments. Whatever laudable traits the Italian builders may have had, they cannot be considered to have been progressive. Their instruments of the mid-16th century hardly can be distinguished from those made around 1700. During this 150 years the pioneering Flemish makers added the four-foot register, a second keyboard, and lute and buff stops to their instruments. However, the very fact that the Italian builders were unwilling to change their models suggests that their instruments were good enough to demand no further improvements. -
Keyboard Music Is
Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe David Schulenberg (2004, updated 2021) Keyboard music is central to our understanding of the Baroque, particularly in northern Europe, whose great church organs were among the technological and artistic wonders of the age. This essay treats of the distinctive traditions of keyboard music in Germany, Austria, and the Netherlands before the time of Johann Sebastian Bach and other eighteenth-century musicians. Baroque keyboard music followed in a continuous tradition that of the sixteenth century, when for the first time major composers such as William Byrd (1543–1623) in England and Andrea Gabrieli (ca. 1510–1586) in Italy had created repertories of original keyboard music equal in stature to their contributions in other genres. Such compositions joined improvised music and arrangements of vocal and instrumental works as the foundations of keyboard players' repertories. Nevertheless, the actual practice of keyboard players during the Baroque continued to comprise much improvisation. Keyboard players routinely accompanied other musicians, providing what is called the basso continuo through the improvised realization of a figured bass.1 On the relatively rare occasions when solo keyboard music was heard in public, it often took the form of improvised preludes and fantasias, as in church services and the occasional public organ recital. Hence, much of the Baroque repertory of written compositions for solo keyboard instruments consists of idealized improvisations. The capacity of keyboard instruments for self-sufficient polyphonic playing also made them uniquely suited for the teaching and study of composition. Thus a second large category of seventeenth-century keyboard music comprises models for good composition, especially in learned, if somewhat archaic, styles of counterpoint. -
Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION in MUSIC
Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION IN MUSIC: AN ANTHOLOGY Artistic Experimentation in Music: an Anthology Edited by Darla Crispin and Bob Gilmore Leuven University Press Table of Contents 9 Introduction Darla Crispin and Bob Gilmore Section I Towards an Understanding of Experimentation in Artistic Practice 23 Five Maps of the Experimental World Bob Gilmore 31 The Exposition of Practice as Research as Experimental Systems Michael Schwab 41 Epistemic Complexity and Experimental Systems in Music Performance Paulo De Assis 55 Experimental Art as Research Godfried-Willem Raes 61 Tiny Moments of Experimentation: Kairos in the Liminal Space of Performance Kathleen Coessens 69 The Web of Artistic Practice: A Background for Experimentation Kathleen Coessens 83 Towards an Ethical-Political Role for Artistic Research Marcel Cobussen 91 A New Path to Music: Experimental Exploration and Expression of an Aesthetic Universe Bart Vanhecke 105 From Experimentation to Construction Richard Barrett 111 Artistic Research and Experimental Systems: The Rheinberger Questionnaire and Study Day: A Report Michael Schwab 5 Table of Contents Section II The Role of the Body: Tacit and Creative Dimensions of Artistic Experimentation 129 Embodiment and Gesture in Performance: Practice-Based Perspectives Catherine Laws 141 Order Matters A Thought on How to Practise Mieko Kanno 147 Association-Based Experimentation as an Artistic Research Method Valentin Gloor 151 Association -
Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010)
Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010) . portions used for ALCM Conference workshop, “This, That, Neither, or Both,” June 2012, Bethlehem, PA, So, this all started when a student asked me questions about Spanish music about which I had not a clue . just think what would happen if they asked me about something really complicated!! _________________ 12 th century Theophilus, a monk, documented an organ that contained an ensemble of pipes speaking in octaves and fifths known as a Blockwerk , literally a ‘block of sound’ from which individual ranks could not be separated. 14 th and 15 th centuries – Late Medieval Organs Multiple manuals and split-chest systems enabled separating the Principal ranks from the higher Mixture sounds. By the 14 th century, there were pedals, fully chromatic keyboards, and tripartite façade arrangements accommodating large ‘bourdon’ or ‘tenor’ pipes. By the 2 nd half of the 14 th century, there was the addition of secondary manual and pedals on separate actions and wind chests. For organs built c. 1350-1400 (which can be translated to modern organs): >simple organ would be a Blockwerk of Mixtures, probably based on 4-foot pitch >double organ would add an octave lower at 8-foot pitch >RH would probably feature a decorative treble voice on the Blockwerk sound, while the LH on the ten lowest keys would sound the tenor on sustained Principals >the organ could be played so that only the ten tenor keys of the main manual were doubled an octave lower >4-foot Principal stops on a separate manual is an option >8-foot plenum for the tenor on one keyboard with other voices on the 4’ plenum Organ built in 1361, renovated in 1498, described by Praetorius: >two upper manuals were called Diskant with 22-note chromatic compass >third manual or Bassklavier had 12 keys from B to b >pedal had the same one-octave compass The Principal chorus of inseparable registers is the most heavily documented type of late- medieval organ. -
'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. -
17Th C. Flemish Single-Manual Harpsichords
HUBBARD HARPSICHORDS INCORPORATED FLEMISH 16TH AND 17TH CENTURY SINGLE-MANUAL HARPSICHORDS If the harpsichord was born in Italy during the 15th century, it matured into prominence as a solo instrument in Flanders between 1575 and 1650. Flemish builders were not hesitant about using a more robust construction than that traditionally used in the typical Italian instruments. The results of their innovations became the most widely emulated approach to harpsichord building in the classical era. By 1625, Antwerp was the acknowledged center for harpsichord production, a position it held until the growth of the French school in the next century. Until the harpsichord was discarded as a vehicle for musical expression, nearly all North European makers claimed descent from the great workshops of Antwerp. À PETIT RAVALEMENT HARPSICHORD AFTER HANS MOERMANS (1584) WITH EXTENDED RANGE The Hubbard large Flemish single-manual harpsichord is patterned on an instrument built in Antwerp in 1584 by Hans Moermans. Frank Hubbard was privileged to obtain this instrument from a Belgian collection in the 1960's. Following 18th c. period French practice, we have preserved the outline and structure of the instrument but enlarged the 55-note, bass short-octave range of the original keyboard to a chromatic span of 58 notes (GG-e''') and adapted the layout to provide a French 18th-century scaling. In true 18th century fashion, the instrument possesses two choirs of strings at eight-foot pitch (2 x 8’). The design allows for transposition between a' = 415 and 440 Hz – all keys play in either position. The instrument has a crisp, free- speaking tone capable of performing the brilliant solo keyboard works of both the 17th and 18th centuries as well as concerti with baroque orchestra. -
Historic Organs of Southern Germany & Northern Switzerland
Gallery Organ, Rot an der Rot, Germany an der Rot, Gallery Organ, Rot AND present Historic Organs of Southern Germany & Northern Switzerland April 28 - May 11, 2006 With American Public Media’s PIPEDREAMS® host J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from the National Endowment of the Arts, Mr. and Mrs. Wesley C. Dudley, the MAHADH Fund of the HRK Foundation, by the contributions of listeners to American Public Media stations, and by the Associated Pipe Organ Builders of America, APOBA, representing designers and creators of fine instruments heard throughout the country, on the Web at www.apoba.com, and toll-free at 800-473-5270. See and hear on the Internet 24-7 at www.pipedreams.org i Dear Pipedreams Friends and Tour Colleagues, Welcome aboard for another adventure in the realm of the King of Instruments. I'm delighted to have you with us. Our itinerary is an intense one, with much to see and hear, and our schedule will not be totally relaxed. I hope you are up to the challenge, and know that the rewards will make it all worthwhile. I'd been in and around Munich during my very first visit to Europe back about1970, and even had a chance to play the old organ (since replaced) in Benediktbeuron. This was a revelation to a young student who had never before laid hands on an old keyboard, nor thought about how one must phrase and the tempos one must adopt when playing into a voluminous room with a lengthy acoustic decay. -
Parts Catalog 2007
HUBBARD HARPSICHORDS 1 Watson Place Framingham, MA 01701 TEL (508) 877-1735 FAX (508) 877-1736 E-mail - [email protected] WWW - http://www.hubharp.com PARTS & SUPPLIES FOR HISTORIC KEYBOARD INSTRUMENTS Included with a print copy of this catalog is a current price list (loose) and an order form (bound-in). Electronic copies of this catalog, the order form and current price list may be obtained from http://www.hubharp.com/parts.htm. Orders may be placed by telephone, fax, post or e-mail (see caution below). Checks and money orders (in US funds drawn on US banks, please) are accepted with orders. VISA and MasterCard are also accepted. Please take care to transmit credit information by voice, fax or post ONLY - e-mail is NOT secure. CONTENTS Action: Jacks................................................................................................................... 3 Jack Guidance Action: Keyboard........................................................................................................... 6 Keyboard Cloth And Felt Keyboard Punchings Keyboard Hardware Other Action: Leather.............................................................................................................. 9 Carrying Covers............................................................................................................ 10 Case fittings: Construction........................................................................................... 11 Hinges Locks Case fittings: Decorative............................................................................................. -
China and the West: Music, Representation, and Reception
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk. -
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.