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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. Special thanks to Hyunjung Choi and Dongsuk Kim, as well as to Monica Garces and Nils Schneider, who generously let me use their apartments in Champaign-Urbana after I moved away from the area. Finally, I am indebted to my parents and my husband Rob for their love and support. iii INTRODUCTION......................................................................................................................... 1 THE GOAL AND SCOPE OF THE GUIDE.......................................................................................... 1 ORGANIZATION AND CONTENTS .................................................................................................. 2 FORMAT OF ENTRIES.................................................................................................................... 4 CHAPTER ONE: REFERENCE AND GENERAL STUDIES................................................ 5 GENERAL MUSIC REFERENCE ...................................................................................................... 5 ELECTRONIC RESOURCES............................................................................................................. 7 KEYBOARD REFERENCE............................................................................................................... 9 PERIODICALS, NEWSLETTERS, AND MAGAZINES........................................................................ 10 DISCOGRAPHIES ......................................................................................................................... 13 CHAPTER TWO: HARPSICHORD MAKING AND MAINTENANCE ............................ 15 HISTORY AND GENERAL STUDIES .............................................................................................. 15 STUDIES BY REGION .................................................................................................................. 21 RELATED AND SPECIAL INSTRUMENTS....................................................................................... 37 HARPSICHORD BUILDERS OF THE PAST AND THEIR INSTRUMENTS ............................................ 44 COLLECTIONS ............................................................................................................................ 68 MANUALS AND GUIDES ........................................................................................................... 117 STUDIES CONCERNING MATERIALS AND PARTS ...................................................................... 118 ICONOGRAPHY ......................................................................................................................... 125 CHAPTER THREE: HARPSICHORD MUSIC ................................................................... 127 GENERAL REPERTOIRE STUDIES .............................................................................................. 127 STUDIES BY REGION................................................................................................................. 133 FOR TWO OR MORE PLAYERS .................................................................................................. 148 FOR PARTICULAR INSTRUMENTS.............................................................................................. 149 COMPOSER STUDIES................................................................................................................. 150 WOMEN COMPOSERS ............................................................................................................... 234 THE TWENTIETH CENTURY AND BEYOND................................................................................ 234 iv CHAPTER FOUR: PERFORMANCE PRACTICE............................................................. 238 GENERAL PERFORMANCE PRACTICE ........................................................................................ 238 KEYBOARD TECHNIQUE AND INTERPRETATION ....................................................................... 242 HARPSICHORD REVIVAL .......................................................................................................... 254 PEDAGOGICAL METHOD BOOKS .............................................................................................. 257 BASSO CONTINUO .................................................................................................................... 258 TUNING AND TEMPERAMENT ................................................................................................... 263 CHAPTER FIVE: ORGANIZATIONS AND SOCIETIES ................................................. 268 GENERAL ................................................................................................................................. 268 HARPSICHORD AND EARLY KEYBOARD SOCIETIES .................................................................. 269 REFERENCES FOR THIS PROJECT.................................................................................. 276 APPENDIX: SELECTED HARPSICHORD COMPETITIONS......................................... 279 v INTRODUCTION THE GOAL AND SCOPE OF THE GUIDE This document is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics. Although numerous research guides have appeared in recent years on composers, musical genres and forms, as well as on performing forces, fewer have been published concerning literature on individual instruments and related topics. In the area of harpsichord studies, The Harpsichord and Clavichord: An Encyclopedia {20} edited by Igor Kipnis provides authoritative articles and definitions, while various valuable bibliographies focus on the repertoire, such as Bruce Gustafson’s French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sources with Commentary {409}, Alexander Silbiger’s Italian Manuscript Sources of 17th Century Keyboard Music {433}, John Caldwell’s English Keyboard Music before the Nineteenth Century {395}, Adel Heinrich’s Organ And Harpsichord Music by Women Composers: An Annotated Catalog {748}, and Frances Bedford’s Twentieth-Century Harpsichord Music: A Classified Catalog {750}. William Parsons’s four bibliographies {21} published in the Early Keyboard Journal between 1989 and 1993 are valuable resources on the literature of early keyboards. As for other areas concerning history, design, construction and repair, as well as performance practice, there is yet to be published a detailed bibliography that guides instrument makers, curators, restorers, musicologists, performers, teachers, and students to the appropriate resources. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. In this document I have sought to offer an organized list of selected sources related to the harpsichord. “Harpsichord” is a generic term here referring to the plucked string keyboard instrument in use from the 15th through 18th centuries and revived since the 1880s. While the large wing-shaped instrument is called a harpsichord, this keyboard family also includes the virginal, the muselar, the spinet, the clavicytherium, as well as other special and experimental instruments. This study serves as a review of the literature, including selected books, articles, and doctoral dissertations addressed solely to the harpsichord and related topics published before 2011. Other materials, such as selected writings that include significant sections on the 1 harpsichord within books, articles, and dissertations on other topics, as well as a few prefaces to scholarly editions, are also cited. Although some citations on the harpsichord also include information on other early keyboard instruments, the organ, the clavichord, and the fortepiano
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