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Kottick, Edward (2003) A history of the harpsichord. Bloomington: Indiana University Press. The final chapters offer extensive coverage of the modern period of harpsichord construction, including the shift from piano-influenced to historically-influenced building. Zuckermann, Wolfgang (1969) The modern harpsichord. New York: October House.
Wolfgang Joachim Zuckermann (11 October 1922 – 30 October 2018) was a German-born American harpsichord maker and writer. He was known for inventing a highly popular kit for constructing new instruments and wrote an influential book, The Modern Harpsichord.
Even after harpsichords became self-encased objects, they often were supported by separate stands, and some modern harpsichords have separate legs for improved portability. Many harpsichords have a lid that can be raised, a cover for the keyboard, and a music stand for holding sheet music and scores.
Martin Skowroneck in 2013 Flemish harpsichord soundboard built by Skowroneck, 1961 (Franz Hermann) Martin Skowroneck (21 December 1926, in Berlin – 14 May 2014, in Bremen) [1] was a German harpsichord builder, one of the pioneers of the modern movement of harpsichord construction on historical principles.
The rapid development of the historic harpsichord in this decade was fuelled by the popularity of the harpsichord kit, produced by several companies including Zuckermann and the Boston-based Hubbard Harpsichords Inc. During the 1970s, Way gradually abandoned the more usual modern materials of plywood, hard steel wire and zither tuning pins.
The New Grove musical dictionary summarizes the earliest historical traces of the harpsichord: "The earliest known reference to a harpsichord dates from 1397, when a jurist in Padua wrote that a certain Hermann Poll claimed to have invented an instrument called the 'clavicembalum'; [1] and the earliest known representation of a harpsichord is a sculpture (see below) in an altarpiece of 1425 ...
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In 2004 he commissioned modern harpsichord music by English composer John Webb, whose Surge (2004) "is built up over an implacable rhythmic repeat-figure. Though neither is explicitly tonal, each skilfully avoids the merely percussive effect that the harpsichord's complex overtones can all too easily impart to more densely dissonant music."