Her classes, rendition of great baroque music, and performances that are recorded on vinyl and CD, are not just instructional, they are of historical importance. Her style, attention to detail, and perfection, make this the only source we have to connect with the truth of the original sources including J. As a revivalist, she poses as the key element in our connection with the era of all the famous keyboard musicians and composers of the baroque.
Her keyboard technique is beyond reproach, and her attention to style, tonality, registration, and every other important detail, is simply sublime. Just buy it, and enjoy it, as the only real connection we will ever have with the time that many of us still treasure immensely.
One person found this helpful. I disagree with the other reviewers who hate the clavichord. When Kirkpatrick plays these preludes and fugues on the clavichord, it just feels right to me. There's a depth that's missing from the harpsichord. It's a fine set and I'm very glad it's back in print. My mom gave me the two CD sets last Christmas because: 1 I love Bach 2 I love harpsichord How could she go wrong with a gift like this to someone like me?
It is great having hours of great music I can just sit down and listen to as I read a book or study. I just love it! Music is growing too popular, too democratic. There must be virtual explosions, torrents of sound and electric displays in order that the fatigued listener may not fall asleep! This exaggerated regard for intensity and noise has been a prominent factor in the so-called improvements of other modern instruments. For example, take the modern organ, and immense constructions operated by water or electricity.
In his book on Bach, Mr. Albert Schweitzer, a remarkable organist and a competent authority in all that concerns the organ, gives up an entire chapter to this very question.
These fugues, according to Mr. Schweitzer, played on the organ of today, become as heavy and massive as engravings reproduced in crayon. As for our concert-grand, that machine goes to deafen an entire audience. Compare its massive legs with the fine and fragile lines of those of the harpsichord and you will find the difference in taste between the two epochs summed up.
She has made searching studies in the music of the clavichord and harpsichord periods, as well as the instruments themselves, and has made of herself an authority on these subjects. Landowska does not specify which text or lecture she cites. Macy Accessed 29 September , www.
English translation edited by W. Mitchell, New York, Philipp Spitta was a music historian; he wrote about Bach, Palestrina, among other subjects, and edited complete works of Schutz. Edward Dannreuther was an English pianist and music critic, author of Musical Ornamentation London, Andre Pirro was a French organist and scholar, the author of a history of th century music. Max Seiffert was a German musicologist specializing in Baroque music; he published editions of Scheidt, Sweelinck, Buxtehude and others.
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Prelude Fugue Allegro Total Playing Time: Composition Title.Jul 05, · Possibly the single most influential popularizer from the harpsichord within the twentieth century, Wanda Alexandra Landowska began playing piano at age four. She got lessons with Jan Klecynski, moved into the Warsaw Conservatory where she researched piano with Aleksander Michalowski, and researched in Berlin with Moritz Moszkowski. In Berlin, she also researched .