Harpsichord News

A Bach makes news

All Charges Dropped Against Singer Who Threatened Murder

My eyes were drawn to a news item from the Associated Press: "charges against heavy-metal singer Sebastian Bach will be dismissed if he avoids trouble for a year. The former lead singer for Skid Row, whose given name is Sebastian Bierk, was charged with terroristic threats and drug possession when apprehended during a bar fracas." (Reported in the Santa Fe New Mexican for July 27).

Bierk's brush with the law recalls an event in the life of "our" Sebastian Bach (as reported by various biographers, most recently Christoph Wolff, in Bach: The Learned Musician (pages 83-84): young JSB appeared before the Arnstadt Consistory on August 4, 1705, to complain about abusive treatment from a certain bassoonist named Geyersbach, with whom the composer had an altercation and street brawl. Bach's cousin Barbara Catharina witnessed the event, and her eyewitness testimony helped clear Bach of responsibility for initiating the incident, but the governing body suggested that perhaps he should have refrained from calling Geyersbach "a greenhorn bassoonist!"

Publications

Entrancing Muse: A Documented Biography of Francis Poulenc

Carl B. Schmidt's 2001 biography of the French composer is both complete and felicitously written. A chronological life story and details about Poulenc's works fill fourteen chapters. Extensive appendices include an explanatory "dramatis personae;" a complete listing of Poulenc's concerts, tours, and broadcasts; his recordings; and a "work-in-progress" list of drawings and portraits of the 20th-century master. (Pendragon Press: Lives in Music Series, number three; ISBN 1-57647-026-1).

The author's retelling of events surrounding the creation of Concert Champêtre for Harpsichord and Orchestra is comprehensive. To flesh out the words, two photos of the composer with Wanda Landowska (from the legacy of Momo Aldrich) are included. There is, however, a misprint in the dating of the photos. Momo's notation on the back of the pictures reads "Eté [19]28"--the season and year of mutual work on the piece (not the published 1918, at which time the composer had not yet met the pioneering harpsichordist).

Contemporary Music Review: volume 19 part 4; The Contemporary Harpsichord: A New Revival

Contemporary Music Review: volume 20 part 1; The Contemporary Harpsichord: New Perspectives

Two extensive and important paper- bound volumes published by Harwood Academic Publishers, edited by Jane Chapman, these books offer much information on the last century's development of the "modern" harpsichord. "A New Revival" comprises writings about compositions recorded on an accompanying compact disc (not sent with my copy). Among the articles are Annelie de Man's "Contemporary Music in the Netherlands;" "Points of Departure: An Interview with Simon Emmerson" (Jane Chapman); "Thoughts Before and After a Sonata"  (George Mowat-Brown and Helena Brown); "Déploration--In Memoriam Morton Feldman" (Brian Cherney, and in conversation with vivienne spiteri [sic]); "One Man's Noise Is Another Man's Music: The Demise of Pitch in Kevin Malone's Noise Reduction" (Pamela Nash); "Karyl Goeyvaerts' Litanie V for Harpsichord and Tape or Several Harpsichords" (Christine Wauters, Mark Delaere and Jef Lysens); and "Instrumentum Magnum" (Caroline Wilkins). Two gaffes noted in Chapman's introduction: "Challice" for "Challis" [p. 3]; and Howard Schott's name listed as "Henry" in her end notes [p. 6].

"New Perspectives" focuses more on the instrument's recent history: articles include "Harpsichord--a Mother of Necessity?" (Jukka Tiensuu); "Major 20th Century Composers and the Harpsichord" (Frances Bedford); "L'Interprète--La Memoire du Compositeur [The Performer--the Essence of the Composer]" (Elisabeth Chojnacka); "The Electroacoustic Harpsichord" (Simon Emmerson); "Notes Inégales in Contemporary Music" (Jane Chapman); "Ligeti's Harpsichord" (Ove Nordwall); "Brian Ferneyhough's Etudes ranscendantales" (Roger Redgate) together with an interview (Jane Chapman); "A Discussion of Overture to Orpheus with the composer Louis Andriessen" (Pamela Nash); "Lavender and New Lace: Sylvia Marlowe and the 20th-Century Harpsichord Repertoire" (Larry Palmer); and "The Harpsichord Works of Iannis Xenakis" (Ian Pace).

Early Keyboard Journal

Published under the editorship of Carol Henry Bates, this joint venture of the three early keyboard societies (Southeastern, Midwestern, and Western), Volume 19 (2001) is a veritable feast of valuable information for harpsichordists. Included are extensive articles by John R. Watson ("Instrument Restoration and the Scholarship Imperative"); David Chung ("Keyboard Arrangements and the Development of the Overture in French Harpsichord Music, 1670-1730"); the first part of an exhaustive catalog by R. Dean Anderson ("Extant Harpsichords Built or Rebuilt in France During the Seventeenth and Eighteenth Centuries--An Overview and Annotated List"); and Cynthia Adams Hoover's report on the extremely successful exhibition PIANO 300 at the Smithsonian Institution in Washington, D.C., together with brief descriptions of its European counterparts in Leipzig, Nuremberg, Berlin, and Prague.

Another musical B

Franz Benda (1709-1786), Bohemian composer at the court of Frederick the Great, composed a duet Sonata in E-Flat, opus 6, for Madame la Contesse de Hueseler. This pleasant work in two movements (Allegro Vivo; Presto Scherzando) for keyboard, four-hands has been edited by Norman D. Rodger, from an undated print in the Library of Congress. The few errata in the original have been corrected with care by the editor. If played on the harpsichord, several thick passages may need to be thinned a bit (such as repeated thirds low in the bass at measure 4 of the second movement, or the string of successive octaves beginning in measure 20), but, in general, the work sounds well for our instrument, and is a pleasant, charming addition to the repertoire. The score is available from Good Pennyworth Press, P. O. Box 1004, Oak Park, IL 60304 (312/491-0465).

Moonspender joins murders with pluck

Thanks to reader Michael Loris, we list some musical references in Jonathan Gash's eleventh Lovejoy murder mystery, Moonspender (Penguin Books, 1988). The story includes mention of a Tallis madrigal, the Tantum Ergo, Purcell, Franz Listz [sic], organ, positiv, harmonium, Bach, Boehm flute, and, most welcome of all, harpsichord, which first appears on page 17: ". . .though I like her because she's bonny and plays the harpsichord for Les Moran's music shop in the High Street."

The big moment occurs on page 157: "Not many two-manual harpsichords play during working hours, so the music led me to Dorothy, my favorite witch . . . 'John Dowland?' I guessed. . . 'A pavan from his Lachrymae, Lovejoy. . .' Her instrument was a kit assembly, based on an early seventeenth century Flemish maker called Ruckers.  New, it costs half the price of a new car."

Keep those harpsichord and organ references coming our way, please.

Features and news items are welcome for these columns. Please address them to Dr. Larry Palmer, Division of Music, Southern Methodist University, Dallas, TX 75275;<[email protected]>.

More than the notes

"Beyond Notation" was the well-chosen title for a conference presented at the University of Michigan, September 26-29, 2002. Sponsored by The Westfield Center and the University, the focus was on Mozart--ornaments, improvisation, cadenzas, Eingänge [introductory flourishes and "lead-ins" to the written harmonies] as essential, even compulsory, additions in the composer's keyboard music.

Robert Levin, Malcolm Bilson, Seth Carlin, Penelope Crawford, Pamela Ruiter-Feenstra, and Andrew Willis were the presenters. Through their lively and informative talks, as well as their expert playing, ideas for further study were encouraged. Small master classes and participation by the auditors, a welcome feature, afforded an opportunity to put these ideas into immediate practice.

May this conference be the first of many investigations "Beyond the Notes."

--Virginia Pleasants

Status Report on London's Handel House Museum

Director Jacqueline Riding reports in the latest Museum Newsletter that the interiors of both numbers 25 and 23 Brook Street have been transformed. Ceilings have been plastered on both the first and second floors of number 25. Panelling, based on profiles from the adjoining houses, is almost complete in the bedroom and parlor. Floorboards have been laid on the first floor.

Meanwhile, fabric has been ordered for the bed, curtains and window cushions in the Handel rooms. The design has been completed for the upholstery of a full tester bed, 8 feet 7 inches high, dressed in crimson harrateen with silk trimmings. A paint analysis has yielded some surprising results, bringing the project ever closer to recreating interiors that Handel might recognize.

£1.5 million are still needed. This sum will fund completion of the refurbishment of the two adjoined properties, help in the development of education and access programs, the acquisition of furnishings, artifacts, prints and drawings, the providing of live music, the design of exhibitions, and the ongoing maintenance and preservation of the Museum. American supporters may contribute through The Handel House Foundation of America, c/o Coudert Brothers, Avenue of the Americas, New York, NY 10036-7703.

Clavichord Day in Boston

At the Boston Early Music Festival, a concurrent event on Thursday June 14 will be devoted to the clavichord. The Boston Clavichord Society and the Boston Museum of Fine Arts, in collaboration with the Festival, present speakers and performers, including Mikko Korhonen (Finland), Darcy Kuronen (Curator, Department of Musical Instruments at the Museum), Howard Schott, Peter Sykes, and Richard Troeger. Instruments to be heard include antique clavichords from the Museum collection and modern instruments by Andrew Lagerquist and Allan Winkler. Events are scheduled from 10:30 till noon and from 1 until 3:30 in Remis Auditorium. Admission is free.

Harpsichord-associated events at BEMF: Byron Schenkman (1999 winner of the Bodky award) will play a harpsichord recital (In the Shadow of the Sun King: French Harpsichord Music from the Time of Thésée) and give a masterclass; Alexander Weimann plays Couperin's Les Folies françaises in a concert titled Tragicomedia in France; and, of course, harpsichords (played by Peter Sykes and Alexander Weimann) will be prominent as the keyboard continuo for the Festival's featured event: the staged performances of Lully's tragedie en musique, Thésée. For information or tickets,

e-mail:

website: .

Here & There

* Jazz harpsichordist Stan Freeman was found dead in his home in Los Angeles on January 13. He was 80 years old. As Time magazine headlined it in 1960, "Come-On-A-Stan's House, He Give You Harpsichord," referring to Freeman's 1951 chart-topping record with Rosemary Clooney, "Come On-A My House" (Columbia Records). Freeman followed Clooney's hit with his own jazz version scored for harpsichord, guitar, bass, and drums (1960).

* Writing in Early Music News (UK) for January 2000, author Robert White made a case for dubbing the 20th century The Harpsichord Century! Harpsichordists Maggie Cole, Malcolm Proud, and Alastair Ross gave a Wigmore Hall (London) concert under that title on December 14, 1999, emulating the special event which had taken place exactly a century earlier when Violet Gordon Woodhouse gave what must have been the earliest "modern" performance of Bach's Concerto in C for three harpsichords in a house concert at 6 Upper Brook Street.

* The very useful one-volume Guide to the Harpsichord by Ann Bond is now available in a paperback edition (Amadeus Press, $17.95; ISBN 1-57467-063-8). There are no changes from the orginial 1997 edition, save for the soft cover (and lower price).

* Harpsichordist and organist Nancy Metzger has a new web site dedicated to promoting historically informed performances of Baroque keyboard literature. Through this site, located at , the viewer may access performance tips under the title "The 7 Wonders of the World of Baroque Music." Also on view are a full description and a sample page from Metzger's book, Harpsichord Technique: A Guide to Expressivity, as well as her current recital calendar. The online order form lists bargain prices for the book, companion cassette, and her compact disc Suites & Treats, packaged with the monograph "What to Listen for in Baroque Music."

* Richard Kingston Harpsichords has a new address: P.O. Box 27, Mooresboro, NC 28114; ph 704/434-0104; emails and

Features and news items are always welcome for these columns.       Please send them to Dr. Larry Palmer, Division of Music, Southern Methodist University, Dallas, TX 75275.

Email: [email protected]

Examples of Enlivening a Figured Bass on the Harpsichord

Nothing is more dull in a performance of Baroque music than a continuo harpsichordist who mechanically plays a chord for every bass note in the score. Or who reverently plays a printed realization, which usually follows the same practice. Only rarely one hears a realization exhibiting some element of spark and imagination.

This "essay" consists of ten examples demonstrating various ways of treating a figured bass in a creative manner. The intended instrument is the harpsichord, not the organ, for the harpsichord is capable not only of furnishing chords, melodies, and polyphony, but is also--due to the noisy jacks--a percussive instrument, which quality may as well be exploited from time to time. Sometimes only jack-noise can be heard in an orchestral situation.

The most important advice is a) to be imaginative and do something different than a printed realization, and b) to be sensitive to the performance situation. These examples are intended for an orchestral continuo player, but some of the principles can be applied to chamber groups. (Continuo on the organ demands a different treatment.) All but the last example are from Handel's  Messiah, and include the printed realization available from Kalmus. I originally intended this article to be unencumbered with scholarly apparatus, but consultation with several colleagues prompted an annotated bibliography.

Bibliography/Notes

Arnold, Franck Thomas. The Art of Accompaniment from a Thorough-Bass, as Practised in the XVIIth & XVIIIth Centuries. Oxford: Oxford University Press, 1931; reprint, with introduction by Denis Stevens, in 2 vols., New York: Dover, 1965.  The title to ch. 4, "On Certain Niceties of the Accompaniment," is borrowed from C. P. E. Bach's chapter "Von gewissen Zierlichkeiten des Accompagnements" (Versuch, part 2, 1762, ch. 32; Mitchell trans., pp. 386-403). Arnold's book is the grand-daddy on the subject. Much of it, however, is about how to realize specific figures.

Ashworth, Jack. "How to Improve a Continuo Realization." American Recorder 26, no. 2 (May 1985): 62-65. P. 62: "The first axiom of playing continuo accompaniment from an editorially supplied part is that one must never hesitate to change it" (p. 62). Tips (p. 65): "1. Be sensitive to the frequent necessity of reducing the texture from four to three--or occasionally even to two--parts, depending on the volume of the solo instrument, the range in which it is playing, and the nature of the piece. 2. Do not feel compelled to play a chord on every bass note provided by the composer. In fact, don't even be tempted to. 3. Avoid doubling or going above the soloist's part in the realization. 4. Avoid playing full chords on bass notes taking the weak part of a beat unit. 5. Be sparing with ornamentation. 6. Above all, remain sensitive to the needs of the soloist, and accommodate those needs insofar as you can. Good continuo players must be as supportive as they are unobtrusive."

Bach, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen. Berlin, 1759, 1762. Trans. William J. Mitchell as Essay on the True Art of Playing Keyboard Instruments. New York: Norton, 1949. Ch. 6, "Accompaniment," is the most relevant, especially the section "Some Refinements of Accompaniment," pp. 386--403, a "must read" primary-source primer on the subject. There are many cross-references to Arnold's 1931 book in Mitchell's notes. Several valuable quotes: "Of all the instruments that are used in the playing of thorough bass the single-manual harpsichord is the most perplexing with regard to forte and piano.  To make amends for the imperfection of the instrument in this respect the number of parts must be increased or reduced" (p. 368). "It is often necessary to strike chords over short rests in advance of their bass notes, as a means of retaining order and winning variety" (p. 418, in a section "Chords that precede their bass notes"). For recitatives, see pp. 420--25, which includes, for the organ: "In recitatives with sustained accompanying instruments, the organ holds only the bass, the chords being quitted soon after they are struck."

Borgir, Tharald. The Performance of the Basso Continuo in Italian Baroque Music. Ann Arbor: UMI Research Press, 1987.  Ch. 19, "Neapolitan Continuo Practice: The Partimenti," 141--47, is the most important for this purpose. The term "partimenti" represents a bass needing realization in the treble, resulting in a piece that can serve as a keyboard solo. First developed by Gaetano Greco (ca. 1657--ca. 1728), it was further developed by Francesco Durante in a manuscript titled Partimenti, ossia intero studio di numerati, per ben suonare il cembalo. Durante's exercises consist of harmonizing ascending and descending scales (later called regola dell'ottave, rule of the octave). The advanced ones have written-out passages in the treble: scales or other motives in one hand imitating the other. Indeed, the third (and last) group of exercises is of fugues. Ch. 20 includes excerpts of written-out accompaniments, mostly in solo cantatas, by Francesco Gasparini (1695), Benedetto Marcello, Alessandro Scarlatti, and a sonata attributed to Handel for viola da gamba and "cembalo concertato."

Bötticher, Jörg-Andreas. "'Regeln des Generalbasses': Eine Berliner Handschrift des späten 18. Jahrhunderts." Basler Jahrbuch für Historische Musikpraxis 18 (1994): 87--114. This concerns a manuscript by "Herrn Musico Heering," dated 1771, which includes a realized edition of Largo and Vivace movements from a C-major sonata for two flutes by Johann Gottlieb Graun (pp. 111--13), with some examples of a right-hand chord on a beat where the bass part has a short rest. The issue also has these articles: Graham Sadler and Shirley Thompson, "Marc-Antoine Charpentier and the Basse Continue," 9--30; Arnaldo Morelli, "Basso Continuo on the Organ in Seventeenth-Century Italian Music," 31--45; George J. Buelow, "The Italian Influence in Heinichen's Der General-Bass in der Composition (1728)," 47--66; Regula Rapp, "Was der späte General-Baß?," 115--27; and see notes to the last item, below.

Buelow, George J. Thorough-Bass Accompaniment According to Johann David Heinichen. Berkeley: University of California Press, 1966. Rev. ed., Ann Arbor: UMI Research Press, 1986. An excellent guide to continuo playing by a highly respected scholar, based on the most important writer of the early 18th century (1711, 1728) on the subject. Heinichen took advantage of the publication of Gasparini (1708; see below). The most valuable section is ch. 6, "The 'Art' of Accompaniment: Specific Aspects of Style," pp. 175--218. Includes examples of changing right-hand realization in quarters or 8ths to 16th figuration; and even break up 8ths or quarters in the bass (pp. 194--202). But the reverse (pp. 202--03): change 16ths in bass to quarters or 8ths. There is a section (pp. 205--08) on imitating a solo voice in the right hand. Ch. 9 is a practical demonstration of realizing Alessandro Scarlatti cantata Lascia deh lascia al fine di tormentarmi più.

Daube, Johann Friedrich (1756), quoted in The Bach Reader, ed. Hans T. David and Arthur Mendel, rev. ed. (New York: Norton, 1966), 256:

For the complete practical application of thorough bass it is necessary to know three species: (1) the simple or common; (2) the natural, or that which comes closest to the character of a melody or a piece; (3) the intricate or compound.

The excellent Bach possessed this third species in the highest degree; when he played, the upper voice had to shine. By his exceedingly adroit accompaniment he gave it life when it had none. He knew how to imitate it so cleverly, with either the right hand or the left, and how to introduce an unexpected counter-theme against it, so that the listener would have sworn that everything had been conscientiously written out. At the same time, the regular accompaniment was very little curtailed. In general his accompanying was always like a concertante part most conscientiously worked out and added as a companion to the upper voice so that at the appropriate time the upper voice would shine. This right was even given at times to the bass, without slighting the upper voice. Suffice it to say that anyone who missed hearing him missed a great deal.

Daw, Brian A. "Alessandro Scarlatti's Continuo Realization of Da sventura a sventura (1690): An Analysis and Observations Relating to Late Seventeenth-Century Keyboard Practices." Early Keyboard Journal 4 (1985-86): 51--60. Shows (pp. 54--55) how Scarlatti anticipates or imitates motives in the solo voice; also keyboard textures a 3--7 (not necessarily the usual 4 parts), and distributing realization in both hands. Leaves out the 3rd in a cadence when it's sung by the voice. Main point: the continuo complements, not doubles, the voice.

Derr, Ellwood. "Concertante Passages in Keyboard Realizations in Handel: Some Guidelines." The Diapason, September 1985, 9--12. Liberally quotes Heinichen/Buelow. Subjects: arpeggiation; furnishing imitations, as explained by Heinichen, and with example from J. S. Bach; examples from Handel's "O thou tellest" (the descending scale, imitations by Handel). "What eighteenth-century writers have not commented upon is the matter of necessity, as occasions arise, for the treatment of the concerting harpsichord part to complete the musical surface. It is then the task of analysis to ferret out these details. While realizations of certain passages may be undertaken on the basis of examples in treatises, those made on the basis of contextual settings in real pieces by composers of stature are likely to be more successful still, especially in the hands of a capable continuo harpsichordist" (p. 12).

Donington, Robert. The Interpretation of Early Music. Rev. ed. New York: Norton, 1992. The section "Going Beyond the Figures," especially pp. 306--07, 313--15, is valuable, relevant, and includes quotes from 17--18th-century authors.

Dreyfus, Arthur. Bach's Continuo Group: Players and Practices in His Vocal Works. Cambridge: Harvard University Press, 1987. " . . . manuscripts . . . provide no evidence to indicate how keyboard players voiced the chords of the continuo realization. For this reason I have not discussed styles of continuo realization."

Gasparini, Francesco. L'armonico pratico al cimbalo: Regole, osservazione, ed avvertimenti per ben suonare il basso, e accompagnare sopra il cimbalo, spinetta, ed organo. Venice, 1708. Facsimile, New York: Broude Bros., 1967. Trans. Frank S. Stillings, ed. David L. Burrows, as The Practical Harmonist at the Harpsichord. New Haven: Yale University Press, 1963. Ch. 10, "Del diminuire, abbellire, or risiorire gli accompagnamenti" (diminution, embellishment, and adornment of the accompaniment) has examples of right-hand counter-melodies; ch. 11, "Del diminuire, ò risiorire il fondamento" (diminution, or adornment of the bass), has examples of breaking up or arpeggiating the continuo line.

Gudger, William D. "Playing Organ Continuo in Handel's Messiah." The American Organist 19, no. 2 (February 1985): 91--92. On use of organ vs. harpsichord, and how the organ was often used only to double bass line and imitative entries of the chorus. Handel normally had two harpsichords for oratorios--the first played by himself until the late 1730s, when he had a claviorganum (combination organ/harpsichord).

J. S. Bach's Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts. Trans. Pamela L. Poulin. Oxford: Clarendon Press, 1994. Dated 1738, much is adapted from Friederich Erhardt Niedt, Musicalische Handleitung oder Gründlicher Unterricht (Musical guide or fundamental instruction; Hamburg, 1700/10). How to realize the figures; nothing more creative.

Keller, Hermann. Thoroughbass Method: With Excerpts from the Theoretical Works of Praetorius, Niedt, Telemann, Mattheson, Heinichen, J. S. & C. P. E. Bach, Quantz, and Padre Mattei, and Numerous Examples from the Literature of the 17th and 18th Centuries. Trans. and ed. Carl Parrish. New York: Norton, 1965. From Mattheson, Grosse Generalbaß-Schule (Hamburg, 1731): break up right-hand chords like a pleasing toccata (p. 47). From Heinichen, Der Generalbass in der Composition (Dresden, 1728): instead of "poor kind of accompaniment" or "very plainly accompanied," "either 1) divide the accompaniment between both hands . . . or 2) undertake the full-voiced accompaniment with the left hand alone and thereby enable to the right hand with more ease to invent a separate song or melody to the bass, as far as our ideas, taste, and talent will allow" (p. 48).

Ledbetter, David, ed. Continuo Playing According to Handel: His Figured Bass Exercises. Oxford: Clarendon Press, 1990. Dated from 1724 and mid-30s, when he was teacher to daughters of George II, especially Princess Anne. Root, 6 chord, 6/4 chords, 6/5 chords, 2 chords, &c.; exercises in fugue, with models. Nothing especially creative.

Rogers, Patrick J. Continuo Realization in Handel's Vocal Music. Ann Arbor: UMI Research Press, 1989. The first part deals with figuring in the sources; it's the second part, "Realization Problems," that is of more use: unison textures (play realized or unrealized?), and problems of realization in recitatives. Ch. 8, "Short Rests in the Bass," deals with whether to play a chord over a bass rest, and supports doing so from examples. Theorists of the time also describe the practice--for example, see quote from C. P. E. Bach, above. Mattheson's Grosse General-Baß Schule (Hamburg, 1731): ". . . it must be observed that the right hand must necessarily sound first when a sixteenth rest occurs . . . because the empty space offends the ear, which wishes most of all that everything be orderly and continuous, complete, and not broken up. Striking first with the right hand can be used with such rests throughout in accompanying, except for a few instances where the composer's intentions must be regarded" (quoted p. 148). Cites Telemann's Singe-, Spiel- und Generalbass-Übungen (Hamburg, 1733--34)--of 48 short songs, figured rests are used in six. Ch. 9, on pedal points, concludes, backed up by Heinichen, Telemann, and C. P. E. Bach, that figured pedal points generally should be harmonized, but unfigured ones not. Includes (pp. 186--87) detailed figuring of the Messiah's Pifa, meas. 1--11.

Rogers, Patrick J. "A Neglected Source of Ornamentation and Continuo Realization in a Handel Aria." Early Music 18, no. 1 (February 1990): 83--89. 1st: 2-part arrangement Ms. (ca. 1725) at the Fitzwilliam Museum of "Molto voglio" from Rinaldo, is included in Chrysander's 2nd ed. (1894) of the opera. 2nd: "Sventurato, godi o core abbandonato" from Floridante. 3rd: "Cara sposa" from Radamisto. These arrangements: 1) frequently contain at least part of the aria text; 2) usually are not literal transcriptions, and segments are recomposed and improved; 3) they are effective idiomatic keyboard pieces; 4) either are simple 2-part versions, which may relate to Handel's teaching duties, or more elaborate arrangements in 3 or more parts; 5) some have extensive ornamentation of the original vocal line. "Cara sposa" is a continuo aria, with complete text between staves. Rogers concludes that it's really a keyboard piece, perhaps freely based on pre-existing vocal ornamentation--best example of such ornamentation--and includes a complete edition in the article.

Thieme, C. A. Treatise, "Some Most Necessary Rules of Thorough Bass by J. S. B." [1725], once owned by Johann Peter Kellner, trans. in Bach Reader, 390--98. Basically how to realize chords from the figures.

Towe, Teri Noel. "Messiah: Reduplication without Redundancy: Editions and Recordings Past and Present." The American Organist 19, no. 2 (February 1985): 74--90. Occasional references to continuo playing in recordings.

Williams, Peter. Figured Bass Accompaniment. 2 vols. Edinburgh University Press, 1970. The best modern book on the subject, with many quotes and examples from the treatises, and vol. 2 has many unrealized examples, with interspersed suggestions for completing them. "When the bass rests on the beat, play the chord in the right hand" (p. 31, from Bologna Ms., ca. 1730; C. P. E. Bach, ch. 37; Manfredini 1775, 59). "Not all quick repeated bass notes have to be played; they may be omitted or broken" (Türk 1822, 293).

Williams, Peter. "Johann Sebastian Bach and the Basso Continuo." Basler Jahrbuch für Historische Musikpraxis 18 (1994): 67--86. Includes (pp. 77--78) a realization by Heinrich Nikolaus Gerber (Bach's pupil) of Sonata no. 6 from Tomaso Giovanni Albinoni, Trattenimenti armonici per camera, op. 6 (Amsterdam, ca. 1712)--the realization (ca. 1724--25), according to Gerber, "durchcorrigirt von Sebastian Bach." Williams: ". . . at least a few ties between the upper parts are beginning to suggest an articulated part-writing." Also cites Bach's written-out accompaniment for the Largo of the Flute Sonata in B minor, BWV 1030, from the autograph score. "There is some evidence in Germany that players were sometimes encouraged to work towards a more 'künstlerisches' accompaniment than can easily be produced from a merely 'schulmeisterlich' harmonization in four parts" (p. 81). Bibliography, pp. 85--86.

Larry Palmer is harpsichord editor of THE DIAPASON.

Facsimiles from Fuzeau: Sources for Lifelong Learning

Alternately fascinating and frustrating, facsimiles of original manuscripts and printed editions have become increasingly available. For the harpsichordist there is little that is more rewarding than playing from an actual musical “picture” as presented by the composer. Reading from the “original” certainly does not answer all questions, but it does give an unadulterated source as basis for making one’s own musical decisions. For this reason, I heartily recommend playing from facsimiles as a challenging, and often a cleansing, exercise in musical growth.

To utilize these recent scores from publisher Jean-Marc Fuzeau of France, it will help to have an adventurous spirit, as well as a willingness to learn the occasional unfamiliar clef, frequently used in earlier music manuscripts to avoid excessive employment of ledger lines.

Alessandro Poglietti: Rossignolo  [Collection Dominantes Number 5905].

Works for harpsichord or organ by the Italian composer who died in 1683 during his flight from Vienna following the Turkish siege of that city. Three main sources for these pieces are introduced by Peter Waldner, whose notes in French, English, and German include both biographical and bibliographical information and a listing of available modern editions. Fuzeau’s publication comprises three slim paperbound volumes in a folder: an autograph manuscript from the Austrian National Library, Vienna (Cod. 19248), an early edition from the Music Library of the Benedictine Monastery of Marienberg, Burgeis (60/q 366), and another copy of an old source, now housed in the Deutsche Staatsbibliothek, Berlin (Mus.ms. 17670). All utilize the soprano clef (notes written a third higher than the customary G clef) and the familiar bass clef on F. Individual pieces include a Toccata, Canzone, Allemande Amour, Courante, Sarban, Gigue, Ayre, as well as Il Rossignolo Capricio [sic] and a Petitte Ayre gay “in imitation of the Nightingale.”

Johann Kuhnau: Neue Clavier-übung, Partie I (1689) [Collection Dominantes Number 5716], consists of seven short keyboard suites in C, D, E, F, G, A, and B-flat, prefaced by eleven pages of introductory material by Philippe Lescat. Each group of pieces begins with a Prelude (the fourth suite, a Sonatina). The volume is engraved in a large, clear format employing the first line soprano clef and the familiar bass clef on F.

For a modern performing edition of these works (and others, including the popular and appealing Biblical Sonatas) by Bach’s immediate predecessor as Cantor of Leipzig’s  Thomaskirche, consult the beautifully-presented two-volume set of Kuhnau’s Collected Works for Keyboard edited by C. David Harris, available from The Broude Trust, New York (ISBN 0-8540-7660-4).

Christoph Graupner: Monatliche Clavir Früchte (1722) [Collection Dominantes Number 5855].

Not surprisingly, this collection of “Monthly Keyboard Fruits” comprises twelve groups of keyboard pieces illustrating the months of the year. (I suppose one could create a larger work--Seasons--by playing these suites in groups of three!) Graupner, student of and assistant to Kuhnau in Leipzig, spent most of his distinguished career in Darmstadt. Soprano and bass F clefs, notes by Oswald Bill.

Louis Marchand: Pièces de clavecin (Book I, 1699; Book II, 1702), Air (La Venitienne) [La Musique Française Classique Number 5761].

Book One contains a Suite in D minor, consisting of a (measured) prelude and eight dance movements (including an elegant Chaconne with four couplets) engraved primarily in soprano and third line F clefs (with occasional deviations to G and third line C clefs). Book Two contains a Suite in G minor, the prelude of which has some unmeasured passages. Seven short dance movements follow.

Edited by Thurston Dart, Marchand’s two suites were published by Editions L’Oiseau Lyre in 1960. Dart’s edition does not contain the short Air (printed by Ballard as the character piece “La Venitienne” [in Pièces Choisies pour le clavecin]), included in the facsimile (with easy-to-read G and F clefs). Introductory notes to Fuzeau’s publication include an essay on “French Harpsichord Makers of Marchand’s Time” by Philippe Lescat. An amusing attribution in his Bibliography replaces American harpsichord maker and instrument historian FRANK Hubbard’s first name with the more Gallic spelling FRANCK.

Christian Gottlob Neefe: Zwölf Klavier-Sonaten (1773) [Collection Dominantes Number 5880].

Twelve early classic works for clavichord by Beethoven’s teacher; published in Leipzig with a dedication to “Herr Kapellmeister [C P E] Bach in Hamburg.” The original print featured a clear, clean text (soprano, bass F clefs). The inevitable printer’s errors are noted and corrected in introductory material by Pascal Duc.

Number Twelve in the Fuzeau series Méthodes & Traités  fills two volumes, each containing more than 200 pages. Clavecin presents in chronological order selections from the most important French sources concerning the harpsichord. A reading knowledge of French would be helpful, but for those who are challenged by the language, a great amount of enjoyment may be gleaned from the generous offering of harpsichord-related images, easily-deciferable information, and the many musical examples.

Beginning with tuning and building information from Mersenne’s Harmonie universelle (1636) and Denis’ Traité de l’accord de l’espinette (1650), volume one continues with ornament tables found in the keyboard volumes by Chambonnières (1670), d’Anglebert (1689), Dieupart (1701: a volume dedicated to the Countess of Sandwich), Le Roux (1705), François Couperin (Book I, 1713), Dandrieu (1724), Dagincourt (1733), Michel Corrette (1734), Louis-Claude Daquin (1735), Rameau (1736), Van Helmont (1737), Jollage (1738), and Royer (1746), plus complete facsimiles of Saint-Lambert’s Les Principes du Clavecin, (1702) and Couperin’s L’art de toucher le clavecin (1717). [Consult the original layout of Couperin’s Troisième Prélude (page 175) to substantiate a correct reading of the never-corrected faulty first bass note at the beginning of the last score: the guide (guidon) from the preceding line shows it to be a “C,”  but the engraver actually notated a “B-flat,” creating a chord unidiomatic to an 18th-century piece.]

Also included are two documents including important information for stylistic performance of French keyboard music: a letter by Le Gallois concerning the playing of the prélude non mésurée (1680) and Rameau’s two-page commentary on proper touch at the harpsichord (1724), ending with his intriguing comment that the same techniques are applicable as well to the organ.

Volume Two continues this rich treasure trove with Michel Corrette’s Les Amusemens du Parnasse, a short and easy method for the harpsichord (1749). This includes a simple Suite in C for beginners, with fingerings provided AND utilizing the familiar G and F clefs, followed by an additional twelve pages of easy pieces. At the end of the volume Marpurg’s Art de toucher le clavecin (1797) gives a fin de siècle example of keyboard instruction, concluding with another lengthy set of easier pieces by Mr. Sorge, organist and mathematician of Lobenstein (once again using “modern” clefs).

Other gems reprinted in this second volume include composer Duphly’s handwritten remarks on fingering (1769) as preserved in the copy of his Pièces de clavecin, Book I, belonging to his student, English Lord Fitzwilliam; illustrations of harpsichord construction from Diderot’s Encyclopédie (1751- 1772); Lessons and Principles of Harmony by Bemetzrieder (1771) reproduced from a copy once owned by the important 19th-century musical reformer Choron; and several more enchanting engravings of variously styled harpsichords with other instruments from the Essai sur la musique ancienne et moderne by Laborde (1780).

For more complete details, including current prices, consult the publisher’s website: <classical-music.fuzeau.com>. A recent promotional offering, a miniature volume of selected pages from facsimile publications, is offered at this address. Let your discoveries begin!

Send news items or comments about Harpsichord News to Dr. Larry Palmer, Division of Music, Southern Methodist University, Dallas, TX 75275;

<[email protected]>.

Carillon Repertory: Early carillon music

Little is known about the music that was manually performed on the carillon prior to the 18th century.  We know that it was normally the job of the carillonneur to insert the pins into the large revolving drums which played the carillon bells automatically. This voorslag music was changed several times a year, and the carillonneur often kept a book of music which he had marked with numbers in order to facilitate resetting the pins. This was known as a versteekboek, or "pinning book." It is reasonably safe to assume that the music found in versteek books bears a considerable similarity to the style of live performance, and may have been used for this task as well. The earliest extant example is a collection of hymns and folksongs arranged for the carillon of Brussels by municipal carillonneur Théodore de Sany in 1648.  The collection is primarily composed of pieces, such as hymns, sequences and psalms, inspired by Catholic church melodies and organized by the liturgical calendar.

The next extant pinning book is the collection made by Phillip Wyckaert during the period from 1661 to 1693, entitled Den Boeck van den Voorslach van Ghendt Toebehoorrende myn Edele Heeren Schepenen vander Keure (The Book of the Voorslag of Ghent belonging to my Noble Aldermen of the Electorate). It consists of 112 pieces in various styles. Dance pieces include allemandes, courantes, gavottes, pavanes, galliardes, and rigaudons. There are opera excerpts and song variations as well as religious music.

In 1644, Jacob van Eyck published Der Fluyten Lust-hof, Vol Psalmen, Paduanen, Allemanden, Couranten, Balletten, Airs, &c.  . . . Dienstigh voor alle Konst-lievers tot de Fluit, Blaes- en allerley Speel- tuigh. (The Flute's Pleasure Garden, Full of Psalms, Pavannes, Allemandes, Courantes, Ballets, Airs, etc.   . . .  Of use to all art lovers for the flute, woodwinds and all types of musical instruments.) He played these melodies on his carillons as well as on his flute.

Several volumes of music have survived to document the 18th-century carillon playing traditions. Beÿaert 1728 is the earliest extant collection of music arranged specifically for manual performance on a carillon. It consists of 49 songs, often very short, for the season from Christmas through Epiphany, many of which are extracted from Joanne Berckelaers' 1679 collection Cantiones Natalitiæ.  The manuscript is preserved in the Antwerp City Archive and was most likely written by Theodorus Everaerts who was the city carillonneur from 1720 until his death in 1739.

A much more significant collection belonged to Everaert's successor, the organist, carillonneur, and violinist Joannes de Gruytters (1709-72).  His carillon book consists of 194 pieces, most of which are arrangements of existing works of a secular nature, and nearly half are minuets. Composers represented include Baustetter, Colfs,  Corelli, Couperin, De Croes, De Fesch, Fiocco, Handel, Lully, Raÿck, Schepers, Vivaldi, and De Gruytters.

The Leuvens beiaardhandschrift, or Louvain Carillon Manuscript dates from 1755-60. It is comparable with the De Gruytters carillon book in many ways, and some pieces are found in both collections. In addition to much dance music, there are transcriptions of harpsichord works such as François Couperin's Les Bergeries, variations on popular tunes of the period such as Les Folies d'Espagne and Ik zag Cecilia komen, and pieces for special occasions such as festive processions and various guild celebrations.

In contrast to the other carillon collections from this period, the carillon repertory of André Jean Baptiste Bonaventure Dupont includes numerous transcriptions of vocal pieces, such as fashionable French operatic arias.  Composers represented include Couperin, Duni, Grétry, Martine, Monsigny, Veras, and Dupont himself.  Minuets are also plentiful, as are transcriptions of French harpsichord pieces such as Couperin's Réveil-matin, Les Vendangeuses, and Les bergeries.  The pieces were clearly collected for Dupont's own performance, as a basis for improvisation.

The carillon repertory of Johan and Frederik Berghuys of Delft remains, for the most part, in 14 notebooks in that city's archives. Johan was city carillonneur from 1741-1801, and his son Frederik succeeded him, playing through 1835. The music consists of melodies with letters beneath the staff indicating pedal notes or harmony--a sort of musical shorthand.

The most significant 18th-century contributions to the carillon repertory are the eleven preludes composed specifically for the carillon by the Louvain City Carillonneur, Matthias van den Gheyn (1721-85). These carillon preludes represent a milestone in the carillon repertory.  Until this time, music composed for the carillon merely mimicked the style of keyboard music, which was the customary source of the transcriptions that had been the staple of the carillon repertory. Van den Gheyn was the first to use the tonal properties of the carillon to their best advantage, incorporating elements of the current musical style.

Little music remains to account for the 19th-century norms of carillon repertory. The most significant contribution is the 1841 collection of twelve Préludes Mélodiques by Joannes Franciscus Volckerick (1815-1897) who was carillonneur of Antwerp from 1834 to 1864. Written in an improvisational character, cadenzas and changes of texture, tempo and meter fill the preludes.  Volckerick calls for the full dynamic range from pianissimo to fortissimo.

Of all the bell music written prior to the 20th century, only the preludes of Matthias van den Gheyn and a selected number of pieces from the De Gruytters carillon book have gained a permanent place in the modern carillon repertory. This phenomenon is the result of the combination of two factors: this music represents the highest quality of all the 18th-century carillon repertory as well as the most idiomatic, effective approach to carillon playing. It is only due to the recentness of their discovery that portions of the Louvain manuscript have not yet achieved this distinction.

Larry Palmer is a contributing editor of THE DIAPASON.

Edward L. Kottick: A History of the Harpsichord.

"There may be those whose knowledge of the harpsichord encompasses the whole of its six-hundred-year history, but I am not among them." Thus begins Edward Kottick's 557-page magnum opus, now handsomely in print, courtesy of Indiana University Press. Such modesty, both courteous and engaging, brought an immediate reaction, "If not Kottick, who?" With his outstanding career as music historian and university professor, his successful sideline of harpsichord making, and the writing of two earlier books, one an invaluable guide to the instrument's care and maintenance, the other (with George Lucktenberg) a guide to European keyboard instrument collections, who could be better qualified to write such a comprehensive survey?

And comprehensive it certainly is! Kottick divides his book into five large sections, tracing the harpsichord's story, century by century. Part I: The Fourteenth and Fifteenth Centuries mines the distant past ("From Psaltery and Monochord to Harpsichord and Virginal"), introducing the putative (and colorful) "inventor" of the harpsichord, Hermann Poll, Henri Arnaut's manuscript drawing and description of the instrument, and a comparison of  Arnaut's description with an actual surviving instrument, a Clavicytherium now in the Royal College of Music, London.

Part II: The Sixteenth Century deals with the development of the harpsichord in northern Europe, Antwerp harpsichord building between Karest and Ruckers, and early Italian harpsichords, virginals, and spinets. In Part III: The Seventeenth Century the story progresses via the Ruckers-Couchet dynasty of harpsichord makers to those of the later Italian style, the seventeenth-century international style, and the national "schools" of harpsichord making in France, Germany, Austria, and England.

Part IV: The Eighteenth Century, not surprisingly the lengthiest section of the book, has chapters concerned with the decline of the Italian harpsichord, the increasingly-important instruments of the Iberian Peninsula, harpsichord building in France until the Revolution, instruments of the Low Countries in the post-Ruckers era, and discussions of the harpsichord in Germany, Scandinavia, Austria, Switzerland, Great Britain, and colonial America.

Part V: The Nineteenth and Twentieth Centuries details the "hibernation of the harpsichord" in the 19th century, its revival from the 1889 Paris Exhibition until  World War II, and the subsequent period of the "modern" harpsichord from historically informed builders such as Gough, Hubbard, and Dowd, through the introduction of electronic instruments and the popularity of harpsichord kits.

A short postscript ("Into the Future") brings the 470 pages of text to a thoughtful conclusion. The remainder of the volume consists of a glossary, nearly fifty pages of end notes, an extensive bibliography, and the index.

Each chapter ends with a helpful "summing up" of the author's main points. The book is illustrated copiously with black and white pictures on nearly half its pages. There are 23 color plates, each one of a beautifully-decorated historic harpsichord, save for a single 17th-century painting: Andrea Sacchi's Apollo Crowning the Singer Pasqualini. Boxed "sidebars" present detailed information about many topics of interest, allowing the reader to sample various short snippets of engaging history, such as "The Guild of St. Luke," "Goosen Karest the Apprentice," "Italian Roses," "A Digression on Nonaligned Keyboards," "Raymundo Truchado's Geigenwerk," "J. S. Bach and Equal Temperament," "Kirkman's Marriage," or "The Delrin Story."

As if all this rich variety were not enough, the book comes with a companion compact disc comprising nineteen aural examples of plucked keyboard sounds from the Flemish Spinett Virginal by Marten van der Biest [1580] heard in Giles Farnaby's Why Ask You? to Landowska's iconographic performance at her Pleyel harpsichord of the first movement from Bach's Italian Concerto, and Kathryn Roberts playing Louis Couperin on a 1987 John Phillips instrument based on a 1707 harpsichord by Nicholas Dumont. All of these choices are apt; all, except for a poorly-recorded (but extremely interesting) example of a 17th-century German harpsichord transferred from a scratchy Hungaroton disc, demonstrate recorded sound ranging from good to superior. Most of the performances are winners, too, such as the arrangement and playing by Kenneth Mobbs of the 25-second Introduction to Handel's Zadok the Priest, demonstrating the Venetian swell of a 1785 Longman and Broderip harpsichord made by Thomas Culliford.

For anyone wishing to know the particulars of the two Scarlatti sonatas played by Ralph Kirkpatrick (listed only as Sonatas 35 and 36), they are K 366 (L 119)--an Allegro in F, and K 367 (L 172)--a Presto, also in F Major.

I did not find many errors in this extensive volume, but I was surprised to read Kottick's assertion that Sylvia Marlowe had used a blue William Dowd harpsichord for her engagements at the Rainbow Room Night Club in New York (note 51, page 522). This is a minor aberration, for the instrument employed was not a Dowd, but Marlowe's white Pleyel (purchased with funds borrowed from composer/critic Virgil Thomson). These well-received appearances were the real life inspiration for the fictional accounts in Francis Steegmuller's mystery novel Blue Harpsichord, published in 1949--the very year in which Frank Hubbard and William Dowd set up their first shop in Boston. Dowd did not build harpsichords under his own name until 1959.  Late in her career Marlowe did play a Dowd instrument, following many years of performing on her Pleyel and subsequent harpsichords built for her by John Challis.

A History of the Harpsichord [ISBN 0-253-34166-3] is printed on alkaline (non-acidic) paper that meets the minimum standards of permanence for printed library materials. Would that these pages could have been offered on thicker stock, for there is a fair amount of unwanted print bleed-through, especially from the illustrations. This book is priced at $75. It offers a compendium of interesting and detailed information, engagingly presented, and eminently readable. Kottick has produced a winner with this one.

Mimi S. Waitzman: Early Keyboard Instruments: The Benton Fletcher Collection at Fenton House.

Major George Henry Benton Fletcher (1866-1944) assembled a small but significant collection of early keyboard instruments in the early years of the 20th century. From the very beginning he held the view that his instruments should be restored, that they should be available to professional musicians and students, and that they should be housed in a suitable setting.

From 1934 until the building's destruction during World War II the instruments were displayed at Old Devonshire House, Boswell Street, in London. Since the collection had been turned over to England's National Trust, Fletcher's death did not result in the dispersal of his instruments. Five did not survive the war, but all the rest of them had been moved to rural England shortly before the bombing of Devonshire House. After the war Fletcher's instruments were reinstalled in a Queen Anne terraced house at 3 Cheyne Walk. From there, in 1952, the Trust moved them (together with an additional instrument --a 1612 Ruckers harpsichord belonging to Her Majesty the Queen) to Fenton House, a stately Georgian building in Hampstead. At present there are nineteen instruments dating from 1540 (the Italian virginals of Marcus Siculus) to 1925 (a clavichord built in Haselmere by Arnold Dolmetsch). Thirteen are by English builders.

Mimi Waitzman, curator of the Benton Fletcher Collection since 1984, is the author of a new, elegantly produced hardbound volume listing all the instruments, comprising virginals, spinets, harpsichords, clavichords, grand and square pianos. Beginning with a short history of the collection, the Introduction continues with descriptions of the various action types utilized in the instruments, illustrated by line drawings. Each of the instruments is given a full description, followed by listings of case materials and dimensions, compass, disposition, and details of stringing and scaling.

A companion compact disc contains appropriate musical examples played by Terence Charleston on fourteen of the instruments; these tracks are listed within the chapter for each instrument. Lavish color illustrations and high-quality duotone photographs add to the value of this publication, and the whole makes for a satisfactory "self-guided tour" or a private study in early keyboard instruments.

Published by The National Trust [ISBN 0-7078-0353-5], 112 pages, £24.99.