Keyboard Resource Guide

The contents of the first volume of the series include a posthumous publication of Frank Hubbard's, a detailed study of the surviving instruments from the famous Blanchet workshop in 18th-century Paris by his life-long friend and sometime partner, William Dowd (Cambridge, MA), and a pioneering investigation by Christopher Page (New College, Oxford), into the medieval origins of the harpsichord.

The third edition of Donald Boalch's Makers of the Harpsichord and Clavichord, 1440-1840 is a thorough revision of the second edition published in 1974. Part I contains biographical details of all known makers, including some 500 not listed previously, and updated entries for more than 400makers appearing in the second edition. Enlarged (and in some cases extended) descriptions on 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 ofTechnological Terms in seven languages by Dr Andreas H Roth.

Edward L. Kottick draws on his extensive technical knowledge and experience as a harpsichord builder to detail the changing design, structure, and acoustics of the instrument over six centuries. Based on painstaking research, the book considers the place of the instrument in society and vividly describes the market forces that brought about changes in its form, decoration, and cultural importance.

A practicing musician and professor of music offers the first work in English to comprehensively survey the development of solo keyboard works. Gillespie discusses 350 composers and their works for harpsichord and piano, including Bach, Handel, Mozart, Beethoven, and Debussy. Includes 116 musical examples, illustrations, and a glossary of musical terms.

This collection of unpublished writings by the eminent harpsichordist and scholar Ralph Kirkpatrick contains his memoirs for the period 1933-77 as well as essays on a variety of topics, including his preparation for the first performance of Elliott Carter's Double Concerto, thoughts on editing Bach's Goldberg Variations, and reflections on recording, chamber music, performance, and harpsichords and their transport.

This volume explores the life and career of Yella Pessl, a Bach specialist, virtuoso harpsicordist and pianist, and authority on 17th- and 18th-century Baroque keyboard music, which she wrote about and edited.

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Peter Watchorn provides an engaging study of this pioneer and argues that Isolde Ahlgrimm's contribution to the harpsichord and fortepiano revival was pivotal, and that her use of period instruments and the inspiration she instilled in younger musicians has been almost entirely overlooked by the wider musical world.