Playing the Harpsichord Expressively: A Practical and Historical Guide

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Scarecrow Press, 2004 - 121 pages
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The art of expressive harpsichord playing was lost when the instrument was replaced by the piano in the nineteenth century. Despite the great strides in harpsichord performance and building made during the last 100 years, the full expressive potential of the instrument has not yet been realized, or sometimes even acknowledged by professionals or amateurs. This book reveals the depth of expression that is possible on the harpsichord, and teaches the performer how to achieve it. Previous books devoted to playing the instrument have either been written for amateurs and beginners with little or no experience on the harpsichord, or they take a scholarly approach. This resource is written with a different goal in mind: teaching the art of expressive harpsichord playing to those who have had experience on the instrument, and also to pianists and organists who love the repertoire, and want to play it on the keyboard instrument for which it was composed. Presented together with quotes from the most important primary sources on the instrument, the book contains more than 100 musical examples in an easily-accessible format and one of the most comprehensive bibliographies available.
 

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Table des matières

VI
1
VIII
4
IX
6
X
10
XII
15
XIII
16
XIV
21
XV
22
XXXIII
58
XXXV
61
XXXVI
63
XXXVII
64
XXXVIII
67
XXXIX
68
XL
70
XLIII
71

XVI
26
XVII
31
XIX
34
XX
36
XXI
37
XXII
44
XXIV
47
XXV
48
XXVI
49
XXVII
51
XXVIII
52
XXIX
55
XXX
56
XXXII
57
XLIV
72
XLV
73
XLVI
77
XLVII
81
XLIX
82
L
85
LI
97
LII
99
LIII
103
LIV
109
LV
117
LVI
121
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À propos de l'auteur (2004)

Mark Kroll, recognized as one of the world's leading harpsichordists and fortepianists, has won critical acclaim for his virtuosity and expressive playing during a career that has spanned more than three decades. A noted authority on period instruments and performance practice, he has written on a wide range of subjects, given master classes and courses throughout the country and Europe, and served for 25 years as Professor of Harpsichord and Fortepiano and Chairman of the Department of Historical Performance at Boston University.

Informations bibliographiques