Harpsichord

enjoyable and we 're all well played. This concert included an ensemble: the flute, the cello, the piano, and the harpsichord. Peggy Bair, who played the flute, was very enthusiastic. Irma Cripe, who played the cello, was quiet for the first part of the concert but gradually became more important throughout the concert. And lastly, the virtuous Gary Kirkeby, who played the piano and harpsichord, served as the backbone of all parts of the concert and made this concert very enjoyable. When the concert first

Muzio Clementi known as “the father of the piano” was born in Rome, Italy in 1752. When he was very young his father became aware of his musical talent. He studied the fundamentals of music from his local church’s choirmaster. At the age of seven, he started taking organ lessons with Cordicelli. Clementi was so good that at the age of 14 he was appointed to the position of church organist. His exceptionally amazing talent was becoming known to more and more people. A wealthy Englishman by the name

Dalton Hocutt Scott Baine Art 1113 VG 01 4 October 2017 Part one: General Information Title: Lady at the Virginal with a Gentleman, The Music Lesson’ Artist: Johannes Vermeer Date: 1662-1665 Provenance: This painting was painted in London, England. It was painted for a fellow named Jacob Dissius, and around 1742 it was acquired by King George the 3rd. Location: This painting was located in the Royal Collection in London. Later it was moved to the Buckingham Palace. Media: Vermeer

A. Scott Baine ART 1113 GT01E October 4, 2017 Part I General Information Title: Lady at the Virginal with a Gentleman, ‘The Music Lesson’ Artist: Johannes Vermeer Nationality: Dutch Date Created 1662-1665 Provenance: The painting was made in Great Britain for Jacob Dissius before 1696. After that it was obtained by the low countries by Giovanni Antonio Pellegrini in 1718. After these events the painting started getting sold and bought from person to person. Joseph Smith bought it from Giovanni’s

A performance practice on Louis Marchand’s first harpsichord suite Musicians now tends to pay more attention on the composers of the first and second generation of the French harpsichord music (Jacques Champion de Chambonnières, Louis Couperin, and Henri d’Anglebert for the first generation; François Couperin, Daquin, and Rameau for the second generation). However, what should not be ignored is that the first decade of the 18th century, which was one of the most productive periods in the history

PIANO HANDBOOK In this book McCombie explains how Bartolomeo Cristofori changed a Harpsichord in to a piano over three hundred years ago. McCombie goes on describing how when Cristofori was angry and frustrated he banged on the keys of the Harpsichord. Cristofori found that they didn’t respond with satisfactory crashing chords. By the year 1700 Cristofori changed the Harpsichord so that he could use two strings for each note and a set of leather covered hammers to strike

century to the middle of the 18th: the harpsichord and its near relations, the spinet and virginal; and the clavichord. In the harpsichord family the string is plucked by a small plectrum, originally of quill. The variety of sound from these plucked instruments is achieved not primarily by finger pressure, but more subtly by phrasing and articulation. Variety of tonal color can be obtained, on a harpsichord by judicious choice of registration. The harpsichord was used both for solo performance and

Most of the history takes place during the years of the Regency that the popularity of the Piano and the Harpsichord instruments intersect, they both have seen their time in the spotlight. Many of the more affluent homes during this period had both keyboard instruments, nowadays you mostly see a Piano instead. But though they are somewhat similar in appearance, they are very different in terms of their construction, their touch and feel when being played, and the quality and volume of the sounds

rest. The harpsichord was already in it’s decline by Haydn’s time and the fortepiano was rapidly becoming popular among musicians, professionals and amateurs alike. However, it had not yet become obsolete. There were many amateurs and professional musicians who still owned a harpsichord or two, including Haydn, who owned a few harpsichords himself. (He owned a similar harpsichord as the one pictured on the left.) Haydn grew up learning the harpsichord and even taught the harpsichord when he was

physical figure as well its tone colour and texture(?). The harpsichord served as a starting point for future developments of the piano and essentially laid out the basis for the emergence of the pianoforte. Up until the mid 18th century, the harpsichord was a