A husband who earns no money at his clavichord practice feebly attempts to ward off the debt exerted upon his family by the purchase of the clavichord itself.
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One may be 47 percent bassoon and 53 percent clavichord.
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Suddenly, the instrument is somewhere else between a clavichord and a Hammond.
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In his "Woman at a Clavichord," Gerrit Dou especially exerts himself in the textiles.
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Rodney, the protagonist of "Early Music," purchases an antiquated clavichord that will financially ruin his family.
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The machine and its software aren't layering the sounds of a clavichord atop those of a Hammond.
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I can't help but feel like Bach the clavichord player did something similar to what we are doing.
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Jesse Engel is playing an instrument that's somewhere between a clavichord and a Hammond organ—18th-century classical crossed with 20th-century rhythm and blues.
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The Denis d'or was a keyboard-based instrument outfitted with 790 iron strings that were positioned to be struck like a clavichord rather than plucked like a guitar.
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In addition to her Bösendorfer piano, she also brought in a harmonium organ, a clavichord, and the harpsichord, which more than anything helped distinguish this album from the others.
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Using neural networks, he and his team are crossbreeding sounds from very different instruments — say, a bassoon and a clavichord — creating instruments capable of producing sounds no one has ever heard.
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GOTYE & THE ONDIOLINE ORCHESTRA This is obsession: In the synthesizer equivalent of the early-music movement, Gotye tracked down the Ondioline, an electronic instrument from France that was to modern synthesizers what the clavichord was to the piano: modest, subtly expressive, virtually obsolete.
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Before they're up, dawn, she walks to the lake, listening to Bach, the first clavichord exercise, which she plans to have played at her funeral someday, has had this plan since she first heard the music and, thinking of it, she weeps lightly.
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In his liner notes, Hogwood pointed out that these composers would typically have played the clavichord in the privacy of their homes. In England, the composer Herbert Howells (1892–1983) wrote two significant collections of pieces for clavichord (Lambert's Clavichord and Howells' Clavichord), and Stephen Dodgson (1924–2013) wrote two clavichord suites.
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EB 4317 ::XVIII. [Toccatas, Fantasia and Fugue in A minor, for clavichord] :::1) Drei Tokkaten u. Fugen [Three Toccatas and Fugues], for clavichord (BWV 914-916) (BV B 39); :::2) Fantasie und Fuge a moll [Fantasia and Fugue in A minor], for clavichord (BWV 904) (BV B 41) :::Ed. by Busoni; Copyright 1920 and 1918; cat. no.
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A clavichord Clavichord action Bebung (German: a trembling; ) is a type of vibrato executed on the clavichord. When a clavichord key is pressed, a small metal tangent strikes a string and remains in contact with it for as long as the key is held down. By applying a rocking pressure up and down the key with the finger, a performer can slightly alter the vibrating length of the string itself, producing the vibrato quality known as bebung. While the vibrato on fretless string instruments such as the violin typically oscillates in pitch both above and below the nominal note, clavichord bebung can only produce pitches above the note.
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There are two North German instruments, both made in Hamburg by Johann Adolph Hass: an unfretted clavichord dating from 1763, and a single-manual harpsichord made in 1764. There is also a small German triple-fretted clavichord from about 1700.
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Often, the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Almost every keyboard until the fifteenth century had seven naturals to each octave. The clavicymbalum, clavichord, and the harpsichord appeared during the fourteenth century—the clavichord probably being earlier. The harpsichord and clavichord were both common until the widespread adoption of the piano in the eighteenth century, after which their popularity decreased.
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The "Lépante" fretted clavichord,Catalogue entry for the Lépante clavichord, Cité de la Musique, Paris (in French) Musée de la Musique, Paris The clavichord was invented in the early fourteenth century. In 1404, the German poem "" mentions the terms clavicimbalum (a term used mainly for the harpsichord) and clavichordium, designating them as the best instruments to accompany melodies. One of the earliest references to the clavichord in England occurs in the privy-purse expenses of Elizabeth of York, queen of Henry VII, in an entry dated August 1502: > Item. The same day, Hugh Denys for money by him delivered to a stranger that > gave the queen a payre of clavycordes.
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He invented a clavichord with quarter tones and a clavicymbalum with a pedal keyboard. His numerous compositions were not published, but included an oratorio, cantatas, masses, psalms, canons, organ pieces, and clavichord music. His son, Georg Gebel the Younger, was also a noted musician and composer.
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J. Verscheure Reynvaan: engraving of an eighteenth-century pedal clavichord While clavichords were typically single manual instruments, they could be stacked, one clavichord on top of another, to provide multiple keyboards. With the addition of a pedal clavichord, which included a pedal keyboard for the lower notes, a clavichord could be used to practice organ repertoire. Most often, the addition of a pedal keyboard only involved connecting the keys of the pedalboard to the lower notes on the manual clavichord using string so the lower notes on the manual instrument could be operated by the feet. In the era of pipe organs, which used man-powered bellows that required several people to operate, and of churches only heated during church services if at all, organists used pedal harpsichords and pedal clavichords as practice instruments (see also: pedal piano).
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Keith Jarrett also recorded an album entitled Book of Ways (1986) in which he plays a series of clavichord improvisations. The Beatles' "For No One" (1966) features Paul McCartney playing the clavichord. Rick Wakeman plays the Clavinet in the track "The Battle" from the album Journey to the Centre of the Earth.
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Joan Benson (October 9, 1925 – January 1, 2020) was an American keyboard player who specialized in the clavichord and fortepiano.
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The clavichord has also gained attention in other genres of music, in the form of the Clavinet, which is essentially an electric clavichord that uses a magnetic pickup to produce a signal for amplification. Stevie Wonder uses a Clavinet in many of his songs, such as "Superstition" and "Higher Ground". A Clavinet played through an instrument amplifier with guitar effect pedals is often associated with funky, disco-infused 1970s rock. Guy Sigsworth has played clavichord in a modern setting with Björk, notably on the studio recording of "All Is Full of Love".
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The use of the pedal clavichord as a practice instrument is discussed by Friedrich Konrad Griepenkerl in the 1844 foreword to Volume I of the first edition of the complete organ works of J.S. Bach; see . There is speculation that some works written for organ may have been intended for pedal clavichord. An interesting case is made by that Bach's "Eight Little Preludes and Fugues", now thought spurious, may actually be authentic. The keyboard writing seems unsuited to organ, but Speerstra argues that they are idiomatic on the pedal clavichord.
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J. Verscheure Reynvaan: engraving of an eighteenth-century pedal clavichord and have noted that the compass of the keyboard parts of Bach's BWV 525–530 rarely go below the tenor C, so they could have been played on a single manual pedal clavichord, by moving the left hand down an octave, a customary practice in the 18th century.
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Ralph Kirkpatrick, "On Playing the Clavichord," Early Music, Vol. 9, No. 3, Wind Issue (Jul., 1981), pp. 293-305 (Oxford University Press).
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A modern reproduction of a Baroque-era clavichord The clavichord and some electronic keyboards also respond to the amount of force applied after initial impact—they are pressure-sensitive. This can be used by a skilled clavichord player to slightly correct the intonation of the notes when playing on a clavichord, and/or to play with a form of vibrato known as bebung. Unlike in a piano action, the tangent does not rebound from the string; rather, it stays in contact with the string as long as the key is held, acting as both the nut and as the initiator of sound. The volume of the note can be changed by striking harder or softer, and the pitch can also be affected by varying the force of the tangent against the string.
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Likewise, the French derivation from spinetta, épinette, is specifically what the virginals is called in French, although the word is also used for any other small quilled instrument, whether a small harpsichord or a clavichord. In German, Spinett and Querflügel are used. A dumb spinet is a manichord or "clavichord or clarichord", according to the 1913 edition of Webster's Dictionary.
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At the center of the museum one finds a clavichord, the favorite instrument of Bach. He was admired for his play on this instrument.
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38th Parallel Based on a poem of Antonis Zaharopoulos, for bass voice and tuba (1973), Radio France. "Metabole" for English horn, clavichord, and soprano (1985).
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Violet also made clavichord recordings, but she was not the first person to record the instrument, an honour that appears to belong to Arnold Dolmetsch.
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1770 harpsichord by Moshack. Moritz Georg Moshack (1730 – before 1772) was a builder of Danish clavichords. Three of his instruments are known to exist: a fret-free clavichord dating to 1768 at the Norsk Folkemuseum, Oslo, Norway; a single manual harpsichord dating to 1770 at the Falsters Minder Museum, Nykøbing, Falster, Denmark; and the fret-free Clavichord dating to 1770 at the Musikhistorisk Museum in Copenhagen, Denmark.
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Because of this intimate contact between the player's hand and the production of sound, the clavichord has been referred to as the most intimate of keyboard instruments. Despite its many (serious) limitations, including extremely low volume, it has considerable expressive power, the player being able to control attack, duration, volume, and even provide certain subtle effects of swelling of tone and a type of vibrato unique to the clavichord.
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As a performer and recording artist, he became best known for his harpsichord performances of the keyboard music of Bach and Scarlatti, but he also performed and recorded works by other composers, including Rameau, Couperin, Handel, Byrd, and Purcell. He recorded on the clavichord (e.g. Bach's two- and three-part inventions, as well as both volumes of The Well-Tempered Clavier). He recalled playing a clavichord at a house concert in Hamburg, Germany.
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The clavichord is a European stringed rectangular keyboard instrument that was used largely in the Late Middle Ages, through the Renaissance, Baroque and Classical eras. Historically, it was mostly used as a practice instrument and as an aid to composition, not being loud enough for larger performances. The clavichord produces sound by striking brass or iron strings with small metal blades called tangents. Vibrations are transmitted through the bridge(s) to the soundboard.
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Ralph Kirkpatrick, "On Playing the Clavichord," Early Music, Vol. 9, No. 3, Wind Issue (July, 1981), pp. 293-305 (Oxford University Press). Abstracts found at JSTOR and Oxford Journals websites.
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Jacopo also had Marietta instructed in singing and playing the harpsichord, clavichord, and lute. She died of unrecorded causes in 1590, and was buried in Santa Maria del’Orto in Venice.
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Haydn is known to have used a clavichord when he composed The Creation. gazing into the distance, testing out notes with one hand and putting pen to paper with the other.
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The center has several musical instruments on display: an original 1827 Viennese fortepiano, a reproduction of a 1795 Dulcken fortepiano, a clavichord, and a harpsichord. The Dulcken fortepiano, which has a range of 5 octaves over 66 keys, is a copy of an original held by the Smithsonian Institution.Replica of a Jean-Louis Dulcken Fortepiano from ca. 1795, The Ira F. Brilliant Center for Beethoven Studies Visitors are allowed to play the Dulcken fortepiano, clavichord and harpsichord.
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It was through Singh that Sigsworth met Björk, becoming keyboard player, and later music director, of her live band for two albums. Sigsworth brought his early music sensibility to Björk's live performances and recordings, adding harpsichord, clavichord, regal and positive organ accompaniments to her music. Sigsworth's harpsichord can be heard on the song "Cover Me" from Post; clavichord on the song "All Is Full of Love"; and organ on the song "Unravel" from Homogenic. "Unravel" was Sigsworth's first co-written song with Björk.
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It had fallen out of use by 1850. In the late 1890s, Arnold Dolmetsch revived clavichord construction and Violet Gordon-Woodhouse, among others, helped to popularize the instrument. Although most of the instruments built before the 1730s were small (four octaves, four feet long), the latest instruments were built up to seven feet long with a six octave range. Until electronic amplification in the twentieth century, it was impossible to use the quiet clavichord in anything but a small room.
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Finger vibrato is also a standard part of clavichord technique, known as Bebung. Until the first half of the 20th century, the clavichord was the only keyboard instrument on which finger vibrato was possible. In 1928, Maurice Martenot—inspired by his experience as a cellist—invented the Ondes Martenot, which featured a keyboard that the player could rock back and forth laterally. Other finger vibrato techniques may also be used on pressure-sensitive electronic keyboards with appropriate sounds and patches.
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Much of the musical repertoire written for harpsichord and organ from the period circa 1400–1800 can be played on the clavichord; however, it does not have enough (unamplified) volume to participate in chamber music, with the possible exception of providing accompaniment to a soft baroque flute, recorder, or single singer. J. S. Bach's son Carl Philipp Emanuel Bach was a great proponent of the instrument, and most of his German contemporaries regarded it as a central keyboard instrument, for performing, teaching, composing and practicing. The fretting of a clavichord provides new problems for some repertoire, but scholarship suggests that these problems are not insurmountable in Bach's Well-Tempered Clavier (). Among recent clavichord recordings, those by Christopher Hogwood (The Secret Bach, The Secret Handel, and The Secret Mozart), break new ground.
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Porgy and Bess is a 1976 album by pianist Oscar Peterson and guitarist Joe Pass featuring music from George Gershwin's opera Porgy and Bess. This is the only album on which Peterson plays the clavichord.
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Book of Ways, the feeling of strings, is a one-in-a-kind double album of improvised music performed by Keith Jarrett on clavichord recorded in July 1986 and released by ECM Records in 1987.
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Her compositions have won awards including the Wangford Festival Prize and a British Clavichord Society prize. Recordings of her work have been issued on CD/DVD, and she has conducted music therapy sessions for Nordoff-Robbins.
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Margaret F. Hood (New York, New York, November 19, 1937 - Platteville, Wisconsin, June 7, 2008) was an American fortepiano, clavichord, and harpsichord builder.Anne Beetem Acker, "Margaret F. Hood", The New Grove Dictionary of American Music, 2013.
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There are now numerous clavichord societies around the world, and some 400 recordings of the instrument have been made in the past 70 years. Leading modern exponents of the instrument have included Christopher Hogwood and Thurston Dart.
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Webersinke was particularly devoted to Bach's organ and piano works and also gave concerts on the clavichord. He recorded Max Reger's Piano Concerto. 1966, he assumed a professorship at the Hochschule für Musik Carl Maria von Weber Dresden.
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Accessed on 11-Feb 2009. He most often used the term Bearbeitung for transcriptions of music originally written for an instrument in which the tone is produced by plucking or striking a string, e.g., harpsichord, clavichord, or lute.Kindermann, p.
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36 (2015) The Story of Dove for flute solo, op. 39 (2016) Fantasia for clavichord (or piano), op. 43 (2018) Fantasia for viola and piano, op. 46 (2019–20) Vocal music Four Japanese Poems for soprano and piano, op.
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She pursued further studies in piano with Varela Cid and musical composition with Jorge Croner de Vasconcellos. She then specialized her education in music to the study of ancient music (paleography/transcribing, organology, clavichord and performance practice) with Macário Santiago Kastner.
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Subsequently, Hohner produced the Pianet/Clavinet Duo model which combined a Hohner Clavinet (essentially an electric clavichord) with the Pianet T in one instrument, with an integrated preamp that allowed the player to combine the two sounds. Production ceased around 1983.
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In the latter case the pedal-instruments allowed for a much greater compass than with pull-downs. However, with an organ chest to account for as well as the harpsichord or clavichord, may also be possible that the organ was operated from the pedal board, leaving the harpsichord/clavichord completely separate, although still allowing the two to be coupled together when desired. This would be similar to having one of the keyboards of a virginal claviorgan completely separate. This style of instrument is seen in a lid painting of a virginal from 1619, which depicts a claviorgan as part of an ensemble.
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During the Middle Ages, there were several attempts at creating stringed keyboard instruments with struck strings.Pollens (1995, Ch.1) By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well developed. In a clavichord, the strings are struck by tangents, while in a harpsichord, they are mechanically plucked by quills when the performer depresses the key. Centuries of work on the mechanism of the harpsichord in particular had shown instrument builders the most effective ways to construct the case, soundboard, bridge, and mechanical action for a keyboard intended to sound strings.
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Raymond Russell, a British harpsichordist and organologist, bought his first historic keyboard instrument in 1939. Over the next twenty years he assembled a considerable collection of seventeenth- and eighteenth-century clavichords and harpsichords. His collection included instruments from all the main harpsichord-building areas of Europe: a number of English spinets; early harpsichords and virginals from Italy; Flemish instruments by the Ruckers; a late French instrument by Pascal Taskin; and a clavichord and harpsichord from North Germany, both by Johann Adolph Hass. Russell described many of the instruments in detail in his book The Harpsichord and Clavichord: an Introductory Study, published in 1959.
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Square piano by Christian Gottlob Hubert, Ansbach, 1787 Christian Gottlob Hubert (1714–1793) was a famous builder of keyboard instruments. Today, he is best known as a clavichord maker. Some of his instruments have been preserved in the collection at Bad Krozingen.
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The Denis d'or was reported to have 14 registers, most of which were twofold, and its complex mechanism fitted in a symmetrical wooden cabinet equipped with a keyboard and a pedal. It was about long, wide, and high. Basically, it was a chordophone not unlike a clavichord—in other words, the strings were struck, not plucked. The suspension and the tautening of the allegedly 790 metal strings was described as more elaborate than a clavichord. The mechanism which had been worked out by Diviš was such that the Denis d’or could imitate the sounds of a variety of other instruments, including chordophones such as harpsichords, harps, lutes and wind instruments.
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He has appeared as a guest artist on numerous recordings, and in 1996 released his own album dedicated to the works of William Byrd. He has also played the clavichord, the forte-piano and the piano, in particular accompanying soprano Gerda Hartman in the repertoire of the German Lied.
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In crowns form his reward iiii > libres.Brinsmead, Edgar. History of the Pianoforte, London, 1879. pp. 90–91 The clavichord was very popular from the 16th century to the 18th century, but mainly flourished in German-speaking lands, Scandinavia, and the Iberian Peninsula in the latter part of this period.
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Composers such as François Couperin, Domenico Scarlatti, Girolamo Frescobaldi, and Johann Sebastian Bach wrote for the harpsichord, clavichord, and organ. Among the foremost modern players of the harpsichord are Robert Hill, Igor Kipnis, Ton Koopman, Wanda Landowska, Gustav Leonhardt, Trevor Pinnock, Skip Sempé, Andreas Staier, and Colin Tilney.
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By 1961 John Beckett was involved in a serious car accident in Ireland, in which he broke his two arms, a hip and an ankle. While recovering in hospital, he practised his music on a clavichord made by his friend, Cathal Gannon.Knowlson: Damned to Fame, p. 483; C. Gannon: Cathal Gannon, p. 377.
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Her widowed mother made every effort to give her daughters a good education. Anna then discovered an unusual musical talent, she was given a clavichord (a rare and expensive instrument), and a teacher was hired. The love for music remained in the princess throughout her life.Braun, Keller, Schnettger 2016, pp. 101–102.
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The only > acoustic instruments I would use would be those that sound good after > they've been downloaded, so the harp, the music box, celeste and clavichord. > They're plucky sounds. [...] And the strings [...] ended up being more > panoramic textures in the background. It's all about being in a little > house, on your own.
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Highlights from the museum's holdings include keyboard instruments from three centuries, featuring an organ by John Snetzler (London,1742), harpsichords by Ruckers (Antwerp, 1640), Blanchet (Paris, c. 1740), and Taskin (Paris, 1770), a clavichord by Hoffman (Ronneburg, 1784), and pianos by Könnicke (Vienna, c. 1795), Boesendorfer (Vienna, c. 1830), and Érard (Paris, 1883).
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Chamber musicians at each other, from "The Short-tempered Clavichord" by illustrator Robert Bonotto Many performers contend that the intimate nature of chamber music playing requires certain personality traits. David Waterman, cellist of the Endellion Quartet, writes that the chamber musician "needs to balance assertiveness and flexibility."Waterman, in . Good rapport is essential.
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Her later studies included mathematics, philosophy and theology. Elena came to be an expert musician, mastering the harpsichord, the clavichord, the harp and the violin. Her skills were shown by the music that she composed in her lifetime. In her late teens and early twenties she became interested in physics, astronomy and linguistics.
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After the arrival in Santiago de Cuba, in 1793, of numerous colonists that fled from the slave revolt in Saint Domingue, "someone named Karl Rischer and a Madame Clarais, that had brought with them a clavichord, founded an orchestra : flute, oboe, clarinet, trumpet, three horns, three violins, viola, two violoncellos and percussion…".
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The second part presents Bach's ideas on the art of figured bass and counterpoint, as well as performance suggestions and a brief section on extemporization, mainly focusing on the Fantasia. Bach used for his performances instruments (clavichord and fortepiano) made by Gottfried Silbermann, at that time a well- known builder of keyboard instruments.
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Yamaha P-120 The Yamaha P-120 is a portable electronic piano, released in 2002. The 88-key so-called "GH" keyboard is action-weighted, imitating the feel of a real piano. It includes several sample keyboard sounds, such as harpsichord, clavichord, vibraphone, guitar and more. Basic sequencing and editing are built-in.
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In the action of a tangent piano, the tangent is a small slip of wood similar in shape to a harpsichord jack or similar to an unleathered fortepiano hammer which strikes the string to produce sound. It is similar to the tangent of a clavichord only in the sense that they both are driven ultimately by the player's finger to strike the string to initiate sound. In the clavichord, the tangent remains in contact with the string to keep the note sounding, while in the tangent piano, the tangent immediately rebounds from the string so that the string is allowed to vibrate freely (that is, it has an escapement). The instrument can have numerous stops to soften and sweeten the sound: una corda, moderator, harp.
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Because of his choice of music, his father cast him out, and he and his mother set out on their own with little help from anyone. At that point he took on the name "Ivor," which means "man with bow" (from his cello-playing talents) and "Drareg" (the retrograde of "Gerard"), which he soon changed to "Darreg". In the forties, Ivor built an Amplified Cello, Amplified Clavichord, and Electric Organ, the Electric Keyboard Oboe and the Electric Keyboard Drum. The Amplified Clavichord and Electric Organ no longer exist, but the Electric Keyboard Oboe - like the organ, based on blocking oscillator circuits and capable of microtonality -, the Electric Keyboard Drum, which uses buzzer-like relays, and the Amplified Cello are still working.
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At seventeen, she attended Longy School of Music in Cambridge, Massachusetts, studying with Boris Godowsky and Melville Smith. It was here she first heard a clavichord, where Erwin Bodky, a faculty member, played several preludes and fugues by J.S. Bach. Educated at the University of Illinois (Bachelor of Music, Master of Music (1951) and Indiana University (1953), she received instruction in Europe from Edwin Fischer, Guido Agosti, Olivier Messiaen, Viola Thern, Fritz Neumeyer, Ruggero Gerlin, and Macario Santiago Kastner before returning to the United States in 1960 to pursue dual careers as a concert keyboardist and university professor. She debuted on the clavichord at the Carmel Bach Festival in 1963 and went on to perform at many concerts in the United States, Europe, and the Far East.
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The Pianet evolved from the earlier Cembalet, introduced in 1958. Both instruments were designed by Ernst Zacharias. Zacharias became interested in keyboard instruments such as the clavichord, harpsichord and organ as a teenager, and studied electrical engineering at the University of Kiel. He began working for Hohner in 1954 after meeting designer Siegfried Mager.
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There he was court organist at El Escorial, and maintained four organs that had been built by his compatriot Jean Brebos. He held this position until 1599, when he returned to Paris. Before he left Madrid, the Archduke Albert made him a present of a large clavichord to which he had made various improvements.
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As Speerstra and also note, the compass of the keyboard parts of Bach's six trio sonatas for organ (BWV 525–530) rarely go below the tenor C, so they could have been played on a single manual pedal clavichord, by moving the left hand down an octave, a customary practice in the 18th century.
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2 The Organ (2006); and Kipnis's vol.3 The Harpsichord and Clavichord (2007). Kipnis also wrote Instruments writing A Harpsichord Tutor for Oxford University Press, and, for Amadeus Press, preparing a biography of his father, the late Metropolitan Opera bass, Alexander Kipnis. He was also for a time responsible for the covers and background sleeve notes for Westminster Records.
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Kevin was found playing "Silent Night" on the piano at 18 months of age. He started learning the piano regularly at 4 and began writing music at 8. At 14, he put on performances with the music group he founded called "The Well-Tempered Clavichord". Despite his legal blindness since birth, he was still determined to be a pianist.
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However, during the clavichord's heyday, evenings of music-making in the home formed the largest part of people's musical experiences. In the home the clavichord was the ideal instrument for solo keyboard music and instrumental accompaniment. Today clavichords are played primarily by Renaissance, Baroque, and Classical music enthusiasts. They attract many interested buyers, and are manufactured worldwide.
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He kept playing concerts for historic keyboard instruments, such as a program for clavichord on 13 October 2001. Several of his private organ students became cantors, such as Axel Fischer and Alexander Kuhlo. Egidi composed works for use in the church, some were published by Carus-Verlag. Egidi died on 8 September 2014 at the age of 85.
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In 1927, he lent a clavichord which he had built to Herbert Howells; Howells used it to compose a 12-piece collection, which he named "Lambert's Clavichord".Herbert Howells Performed on Lautenwerck , by Edward Brinkley, from the South Central Music Bulletin (Volume IV, number 1 – Fall 2005); page 54; "named in honor of Herbert Lambert, who in 1927 let Howells borrow one of his hand-made clavichords"; retrieved 26 July 2005A Harpsichord Odyssey (I) by Edgar Hunt, at the British Harpsichord Society; posted online 27 November 2005; retrieved 26 July 2011 Howells also introduced Lambert to Gerald Finzi,Gerald Finzi: His Life and Music, by Diana McVeagh, page 63; 2010, Boydell & Brewer (via Google Books) whose 1936 Interlude for oboe & string quartet, Op. 21 was inspired by Lambert.
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While at UCC she trained at the Cork School of Music with Spanish pianist Angel Climent. Keville works as a musician and has recorded Irish traditional music. She has albums called Irish Music on the Clavichord, Irish Music on the Harpsichord and The Daisy Field. Keville teaches music in workshops and at the Willie Clancy Summer School in County Clare.
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The clavinet is an electrically amplified clavichord that was invented by Ernst Zacharias and manufactured by the Hohner company of Trossingen, West Germany from 1964 to the early 1980s. Hohner produced seven models over the years, designated I, II, L, C, D6, E7 and Duo. Its distinctive bright staccato sound has featured most prominently in funk, jazz-funk, reggae, rock, and soul songs.
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Violet Gordon Woodhouse who lived at Southover Grange circa 1900 Violet Gordon-Woodhouse (23 April 18729 January 1948) was a British keyboard player. She specialised in the harpsichord and clavichord, and was influential in bringing both instruments back into fashion. She was the first person to record the harpsichord, and the first to broadcast harpsichord music.Grove's Dictionary of Music and Musicians, 5th ed.
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Gavotte from French Suite No. 5 The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725.Bach. The French Suites: Embellished version. Bärenreiter Urtext Although Suites Nos. 1 to 4 are typically dated to 1722, it is possible that the first was written somewhat earlier.
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J.A. Hass Fretted clavichord, copy of an unsigned instrument conserved in Namur, Belgium. The way the same string pair is used for several notes is clearly visible in the full size image. Since the string vibrates from the bridge only as far as the tangent, multiple keys with multiple tangents can be assigned to the same string. This is called fretting.
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Cristofori's piano action was a model for the many approaches to piano actions that followed. Cristofori's early instruments were much louder and had more sustain than the clavichord. The harpsichord continued to be used in performances during the first 50 years of the piano's existence; however, after 1750, the harpsichord was gradually phased out of orchestras and small music groups.
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In 1708, the viceroy transferred his residence to Messina, and Facco followed him. In Messina, he composed The Fight between Mercy and Incredulity. In 1710, he presented in Messina Cathedral his work The Augury of Victories, dedicated to King Felipe V. In a report dated 22 January 1720, the Patriarch of the West Indies, Cardinal Carlos de Borja de Centelles and Ponce of León, Archbishop of Trebisonda, wrote that Facco had an excellent pay in the court of the king of Spain (having rejected an offer, of equal pay, by the Portuguese court, where Spinola served as Spanish ambassador). On 9 February, Facco was named clavichord master to the Prince of Asturias, Don Luis, the future King Luis I. Facco subsequently became clavichord master to the future king Fernando VI and, after 1 October 1731, to the future King Carlos III of Spain.
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He authored several books, including Bibliotheca madrigaliana: A bibliographical account of the musical and poetical works published in England during the sixteenth and seventeenth centuries, under the titles of Madrigals, Ballets, Ayres, Canzonets, etc., etc. (1847), The Pianoforte, its Origin, Process, and Construction; with some account of instruments of the same class which preceded it; viz. the clavichord, the virginal, the spinet, the harpsichord, etc.
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While the clavichord allows expressive control of volume and sustain, it is relatively quiet. The harpsichord produces a sufficiently loud sound, especially when a coupler joins each key to both manuals of a two-manual harpsichord, but it offers no dynamic or expressive control over each note. The piano offers the best of both instruments, combining the ability to play loudly and perform sharp accents.
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He has also composed many songs for solo voice and pieces for various choral ensembles. His modern works for historical instruments are notable. He has composed for better-known historical instruments such as recorder and harpsichord, as well as for less-familiar ones, such as the clavichord and baryton. In contrast to the use of these instruments, he has also added electronic sounds to some works.
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Gustav Leonhardt at the MAfestival Brugge Gustav Leonhardt (30 May 1928 – 16 January 2012) was a Dutch keyboard player, conductor, musicologist, teacher and editor. He was a leading figure in the movement to perform music on period instruments. Leonhardt professionally played many instruments, including the harpsichord, pipe organ, claviorganum (a combination of harpsichord and organ), clavichord, fortepiano and piano. He also conducted orchestras and choruses.
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At her court in Mechelen, Bredemers was chosen in 1507 as music teacher of Philip's children (Charles and his sisters Eleanor, Mary and Isabella) and organist of Charles' domestic chapel. He was also to instruct court entertainers and choirboys, as well as purchase and maintain instruments. Bredemers taught Charles and his sisters clavichord daily, as well as other instruments. Bredemers' influence was spread far by Philip's children.
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His first concert with the chorale Kantorei St. Johannis presented Bach's Missa in A and Mozart's . As a keyboard player, he performed works for harpsichord, such as Bach's Goldberg Variations, and for clavichord, for example a sonata by Friedrich Wilhelm Rust. He performed Bach's Clavierübung III with his wife Maria on two organs in 1986. Each autumn, the choir toured with an a cappella program.
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Rust's oeuvre comprises every genre of the time except symphony. He wrote several large choral works, 100 lieder, and pieces for clavichord, viola d'amore, harp, lute, and "nail violin". His cantatas, included Herr Gott, wir loben dich and Allgnädiger, in allen Höhen, and songs included Goethe's Wanderers Nachtlied. He composed a Schäferspiel, Korylas und Lalage, and technically demanding violin and piano works (including six sonatas).
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Paisiello at the clavichord, by Élisabeth Vigée Le Brun, 1791. The score is Nina, o sia La pazza per amore. Giovanni Paisiello (or Paesiello; 9 May 1740 – 5 June 1816) was an Italian composer of the Classical era, and was the most popular opera composer of the late 1700s. His operatic style influenced Mozart and Rossini and whose music was championed by Haydn and Beethoven.
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Oxford University Press has published numerous of his keyboard editions, including his anthology, A First Harpsichord Book. He was also noted for his record reviews and articles in such periodicals as The International Classic Record Collector, The International Piano Quarterly, Gramophone Early Music, Goldberg, Early Music America, the internet music magazines Music & Vision and Stereo Times, Stereophile, Audio, FI, Schwann/Opus, Stereo Review, The American Record Guide, Clavier, Opus, Chamber Music Magazine, Early Keyboard Studies Newsletter, and The Yale Review, as well as having written for The Washington Post, the New York Post, and the New York Herald Tribune. He was also involved in compiling A Harpsichord Resource Book for Greenwood Press, and editing the harpsichord and clavichord volume of a three-volume set – Encyclopedia of Keyboard Instruments, of which the harpsichord and clavichord volume was published in 2007, Routledge published the set – vol.1 The Piano (2003); vol.
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Neues Bachisches Collegium Musicum was founded in 1979 by Max Pommer and Walter Heinz Bernstein.Walter Heinz Bernstein (Harpsichord, Clavichord, Organ) (Bach Cantatas Website) All musicians are members of the Gewandhausorchester. The ensemble collaborates with the Bach Archive in applying historical research to performances with modern instruments. The name refers to the which Georg Philipp Telemann founded in 1701 at the Leipzig University, and which Bach directed from 1729.
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"Love Me Two Times" is a song by the American rock band the Doors. It first appeared on their second studio album Strange Days. It was edited to a 2:37 length and released as the second single (after "People Are Strange") from that album, and reached number 25 on the charts in the United States. Ray Manzarek played the final version of this song on a harpsichord, not a clavichord.
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The management was then taken over by the descendants Alfred (1900-1970), Hanns (1902-1980), Arnulf (1904-1982) and today Hanns' son Wolf Dieter (born 1937). In addition to pianos, the Neupert company was among the first to produce harpsichord, clavichord and fortepiano from the beginning of the 19th. Under Hanns's leadership, this orientation was quickly reinforced; the firm was renamed Manufaktur für historische Tasteninstrumente and acquired a worldwide reputation.
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These days such instruments are called "revival" style instruments, their features including 'inauthentic' metal frames and robust, heavy construction. These recordings show Kirkpatrick's formidable keyboard technique to full advantage, and, unusually for recordings of the time, he observes almost all of the repeats. His performances of The Well-Tempered Clavier were recorded on both the harpsichord and the clavichord. His later Bach recordings used a reproduction French harpsichord by Hubbard & Dowd.
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In 1440, Arnault de Zwolle described what is believed to be the first keyboard instrument which used a tangent action. It is speculated that this was a clavichord or harpsichord. Pantaleon Hebenstreit is credited with the creation in 1705 of the first tangent piano. Christoph Gottlieb Schroter claimed that he invented the new tangent piano by letting blank harpsichord jacks hit the strings, also incorporating dampers into the action.
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Almost all classical keyboard instruments are polyphonic. Examples include the piano, harpsichord, organ and clavichord. These instruments feature a complete sound-generating mechanism for each key in the keybed (e.g., a piano has a string and hammer for every key, and an organ has at least one pipe for each key.) When any key is pressed, the note corresponding to that key will be heard as the mechanism is activated.
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Cristofori invented the piano at some point before 1700. While the clavichord allowed expressive control of volume, with harder or louder key presses creating louder sound (and vice versa) and fairly sustained notes, it was too quiet for large performances. The harpsichord produced a sufficiently loud sound, but offered little expressive control over each note. Pressing a harpsichord key harder or softer had no effect on the instrument's loudness.
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"Rock Your Body" has a running duration of four minutes and twenty-seven seconds. The uptempo R&B;, disco groove, soul infused song contains influences from both Michael Jackson and Stevie Wonder. The song incorporates tinny, "keyboard-set-to-emulate-clavichord" synthesizers of The Neptunes' late 90s productions, overlaid with "keys and a propulsive drum vamp". Timberlake makes use of his falsetto range, and Vanessa Marquez sings the female section.
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The aeolian harp employs a very unusual method of sound production: the strings are excited by the movement of the air. Some instruments that have strings have an attached keyboard that the player presses keys on to trigger a mechanism that sounds the strings, instead of directly manipulating the strings. These include the piano, the clavichord, and the harpsichord. With these keyboard instruments, strings are occasionally plucked or bowed by hand.
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Sheena Blackhall (b. Sheena Booth Middleton) was born in 1947 in Aberdeen, daughter of the manager of Strachan's Deeside Omnibus Service, Charles Middleton, and his second cousin, farmer's daughter Winifred Booth. She was educated in Aberdeen, but summered in Ballater for many years. Her brother, Ian Middleton, was an accomplished organist and clavichord player, who was the manager of a merchant bank in São Paulo, Brazil, where he settled and died.
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Each edit produces a note in the pentatonic scale. The bell-like sounds of a celesta correspond to edits with a net addition of content to Wikipedia, and the strums of a clavichord correspond to net subtractions of content. The pitch is inversely proportional to the size of the edit (lower pitched notes are produced by larger edits). Newly registered Wikipedia users are welcomed by a violin chord.
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In addition to his professional activities, Winfried Schrammek was organist and choirmaster at the Catholic Church St. Bonifatius. Until 1990 he belonged to a Collegium musicum, the "Chorus Cantorum", which was exclusively dedicated to the research and faithful performance of the Gregorian chant. In concerts he was particularly prominent as an interpreter of medieval organ and clavichord music. A close collaboration existed with Hans Grüß and his Capella Fidicinia.
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This instrument had an aluminium bar frame, a spruce wood soundboard, bar magnetic pickups, and a Plexiglas (clear plastic) openable lid. The prototypes and design were sold to Baldwin who made some modifications, and then manufactured the instrument under their own name. Hohner's "Clavinet" is essentially an electric clavichord. A rubber pad under each key presses the string onto a metal anvil, causing the "fretted" portion of the string to vibrate.
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Since 1941, Eta Harich-Schneider has also translated literary works from several languages into German, especially English (Shakespeare's sonnets). Her harpsichord and clavichord students included Carla Henius, René Clemencic and Christiane Jaccottet. In her autobiography Charaktere und Katastrophen,Charaktere und Katastrophen on WordCat she reports on her efforts to resist the increasing influence of Nazi-oriented functionaries and musicians on the Berlin Hochschule für Musik by constitutional means until 1941.
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Intabolatura Nova di Balli, a representative collection of 25 pieces published in 1551, includes the preface "dances of various kinds, to be played on the arpicordo, harpsichord, spinet or clavichord, by divers and most excellent composers," but lacks attributions. The collection contains many of the popular dance forms of the day, including galliards, pavanes and passamezzi. The original print is held by the Civico Museo Bibliografico Musicale in Bologna.
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The music of "Knife-Edge" is based on the first movement of Leoš Janáček's Sinfonietta (1926) with an instrumental middle section that includes an extended quotation from the Allemande of Johann Sebastian Bach's first French Suite in D minor, BWV 812, but played on an organ rather than clavichord or piano. Greg Lake provided the song's lyrics, with assistance from Richard Fraser, a member of ELP's road crew.
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The chekker (or archiquier, eschequier, scaquer, scacarum, Schachtbret) is a European early musical instrument of the Middle Ages, first documented in 1360, whose exact details are a matter of academic debate. Some have suggested that the name is simply an alternate term for the clavichord, virginal, or similar early keyboard instrument, while others suggest that it refers to a distinctly different stringed keyboard instrument not otherwise well-attested.
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Her third solo album, Boys for Pele, was released in January 1996. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used the harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability.
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Many of his pieces are printed in Holland; they are full of taste and fire. He played on the Clavichord, with great delicacy and expression; his finger is brilliant, and fancy rich."Charles Burney, (1773) The Present State of Music in Germany, the Netherlands and United Provinces, London, T. Becket and Co., Robson and G. Robinson. Schubart was unappreciated in Ludwigsburg, according to Burney: "The common people think him mad, and the rest overlook him.
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Jarrett has also played harpsichord, clavichord, organ, soprano saxophone, and drums. He often played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup of that group have rarely featured these instruments. On the majority of his recordings in the last 20 years, he has played acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in particular.
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It was inspired by a clavichord lent to Howells by his friend Herbert Lambert, an instrument maker and photographer based in Bath. Several other major compositions written around this time, however, remained unperformed, notably an a capella Requiem to English words written in 1932,Until the publication of Palmer's researches, the Requiem was believed to have been composed in 1936. and a choral work, A Kent Yeoman's Wooing Song, written the following year.
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37 This alternation between opposites is observed again in a review of "Vermont Poems" and its harmonic reliance on "shifts between unisons and dissonants" Review of Vermont Poems, Susan Hurley, Chorus! Magazine The range of the instruments used by Hurley is broad, including ancient and subtle instruments such as the clavichord and older compositional vehicles such as the chamber opera. Hurley wrote one such opera based on the lives of Anaïs Nin and Rupert Pole.
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Details such as the clavichord and other musical instruments on the left relate to hearing, and a monkey is pulling the hair of a Cupid, a form of touch. The room and the hall visible in the right rear display pictures which are also related to the three senses: The Annunciation and Minerva's Visit to Parnassus (hearing), The Dentist (touch), and The Punishment of Rich Epulon and The Wedding at Cana (taste).
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Originally, Violet played the piano, but she rose to fame playing the harpsichord and clavichord. An important influence on her was Arnold Dolmetsch, a pioneer of the early music revival, who began making copies of old keyboard instruments in the 1890s. Dolmetsch supplied Violet with instruments and gave her instruction on how to play them. In 1899 Violet performed Bach's Concerto for Three Harpsichords in C at a public concert in London.
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In the 1920s, Martin worked closely with Émile Jaques-Dalcroze from whom he learned much about rhythm and musical theory. Between 1918 and 1926 Martin lived in Zurich, Rome and Paris. Compositions of this time show him searching for an authentic musical voice of his own. In 1926 he established the Chamber Music Society of Geneva which, for the next ten years he conducted, as well as contributing on the clavichord and piano.
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The other six in the set were the five sonatas numbered XVI/35 to XVI/39 in the Hoboken-Verzeichnis catalogue. Haydn considered the Hob. XVI/20 to be the most difficult of the set to perform. The American musicologist Howard Pollack argues that the sonata was composed for the clavichord but that it might have been "touched up" for publication in 1780 to suit the emerging fortepiano, which the Auenbrugger sisters played.
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A split sharp is a kind of key found in some early keyboard instruments, such as the harpsichord, clavichord, or organ. It is a musical key divided in two, with separately depressible front and back sections, each sounding its own pitch. The particular keys that were split were those that play the sharps and flats on the standard musical keyboard (the "black keys" on a modern piano). Split sharps served two distinct purposes.
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Now a museum, Mozart's birthplace introduces visitors to the early life of the composer, his first musical instruments, his friends, and his passionate interest in opera. The third floor exhibits Mozart's childhood violin as well as portraits, documents, and early editions of his music, and the second floor is devoted to Mozart's interest in opera and includes the clavichord on which he composed The Magic Flute. The structure is owned by the Mozart Foundation.
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In the same slightly one possibly the sonata finalis nr. 15 opus V for two violin choirs has to be considered as an excellent instrumental motet. Extremely surprisingly and ingenious is the alternating play between chorus I (violin 1 and 2, viola and viola di gamba) and chorus II (violin 1 and 2, viola, tenor-violin and dulciano/fagotto) having been supported by the continuo (organ, clavichord and double-bass).Ruud Huijbregts in CD Booklet p.
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Ground' as a separate piece. It is found under a flap on which has written no. 276, 'Pescodd Time' and it is assumed that Tregian either did not recognise the variation or thought it worthy of inclusion; as it happens, it is incomplete. As with many keyboard manuscripts of the time, the pieces were not written for a specific instrument, and most sound happily on all contemporary keyboard instruments, including virginals, harpsichord, clavichord and chamber organ.
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He studied with Nadia Boulanger and harpsichord revival pioneer Wanda Landowska in Paris, with Arnold Dolmetsch in Haslemere, Heinz Tiessen in Berlin, and Günther Ramin in Leipzig. In January 1933 he made his European debut in Berlin performing Johann Sebastian Bach's Goldberg Variations. In 1933 he also performed several concerts in Italy, including a clavichord recital at the villa of Bernard Berenson. In the summers of 1933 and 1934 he taught at the Mozarteum in Salzburg, Austria.
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The best known part is his treatise on the design and construction of musical instruments, containing, amongst others, the earliest illustration of a harpsichord. He gave a detailed description of the action and the operation of this keyboard plucked instrument with the complex linkages between the keyboard and the strings. He also described the lute, the clavichord, the dulce melos, and the organ. All instruments were to be played at the court and not in churches.
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The clavichord is an example of a period instrument. In the historically informed performance movement, musicians perform classical music using restored or replicated versions of the instruments for which it was originally written. Often performances by such musicians are said to be "on authentic instruments". This article consists of a list of such instruments in the European tradition, including both instruments that are now obsolete and early versions of instruments that continued to be used in later classical music.
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It was one of a number of experiments that Zacharias made converting non-standard musical instruments to modern ones.As well as the Pianet and the Cembalet, Zacharias also designed the Clavinet (derived from the clavichord), the Claviola (derived from the sheng) and the Harmonetta (possibly derived from the bandoneon). Only the Keyboard instrumnets continued. Guitarets that have survived have problems with the reed dampening system, which means that the instrument has come to be played with two hands.
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His memoir, The Last Fighting Tommy (published in 2007) records his Combe Down childhood in some detail. His funeral cortège passed through Combe Down village on its way to his burial in Monkton Combe churchyard. Herbert Lambert FRPS (1881–1936), society portrait photographer and harpsichord and clavichord maker. Frederic Weatherly (1848–1929), the composer of the song Danny Boy, lived at Grosvenor Lodge (now renamed St Christopher ) in Belmont Road during the second decade of the 20th century.
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Casanova's sexual passions caused him to be unfaithful, causing their three-year relationship to have numerous ups and downs. Yet she continued to share his home, found in Rue du Petit-Lion-St. Sauveur. Manon was at the time engaged to her clavichord teacher, but broke it off at Casanova's request, thus starting a new engagement with him. This did not keep him from having various sexual relations with other women, yet Manon remained faithful to him.
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By this time the Seminary had taken temporary residence in a house in Rua de Sao Bento, probably on the higher level where less damage had been caused by the "Terramoto". Further appeals asked for funding to cover more clothing, bedding, school supplies and sheet music, reflecting the fact that very little could have survived in the old premises. An inventory taken in August 1756 shows the Seminary as having only one harpsichord and one clavichord.
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Listening to a rehearsal of Alcina with the soprano Anna Maria Strada, Mrs Pendarves commented, "Whilst Mr Handel was playing his part, I could not help thinking him a necromancer in the midst of his enchantments." The Messiah was also rehearsed there; the lead violinist Abraham Wilson recounted to the musicologist Charles Burney "how civilly he had been attended by him [Handel] to the door, and how carefully cautioned, after being heated by a crowded room and hard labour, at the rehearsal in Brook-street, not to stir without a [Sedan] chair." The adjacent room at the rear of the house was Handel's composing room and probably contained Handel's clavichord, an instrument Handel used when composing, portable enough to be taken on journeys and which, according to an anecdote oft-repeated by his biographers, he secretly played as a child in the garret of his house, in defiance of his father. Handel's clavichord was built in 1726 by the Italian instrument maker Annibale Traeri from Modena; it is now in the Maidstone Museum & Art Gallery in Kent.
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He held this post until his death. He died in Madrid. He was the author of various musical works. These include “Reglas generales para acompañar órgano, clavicordio o arpa” (Madrid, 1702) [a work covering accompaniment techniques for organ, clavichord and harp] and a book of masses dedicated to Philip V of Spain. His work "Arte de canto llano" was published in 1705 and subsequently augmented was a “corrected and augmented” edition of the work by the same name of Francisco de Montanos.
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Only a handful of works by Charles Pachelbel survive; the most famous is an aria God of sleep, for whom I languish. His Magnificat for double choir is performed with some frequency. The young Peter Pelham studied with him since Newport and followed him to Charleston; some of Pachelbel's compositions survive in Pelham's partbooks. Included in the list of Pachelbel's possessions compiled after his death are a harpsichord, a clavichord and collections of sheet music, but none of these seem to have survived.
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Walter Braithwaite, A Book of Songs: Volume Two (Stourbridge: privately published, 1978), p.3 The house, on the corner of Corser Street and Farlands Road, can be seen on Google Street View. Instruments he owned here included two upright pianos (one of them hand- painted red and blue), a harmonium, and two square pianos, one of which he converted into a clavichord. He was an early member of The Christian Community church in Stourbridge, for which he wrote music and played piano.
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Cristofori's early instruments were much louder and had more sustain than the clavichord. Even though the piano was invented in 1700, the harpsichord and pipe organ continued to be widely used in orchestra and chamber music concerts until the end of the 1700s. It took time for the new piano to gain in popularity. By 1800, though, the piano generally was used in place of the harpsichord (although pipe organ continued to be used in church music such as Masses).
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Scheibe held Johann Sebastian Bach and Georg Frideric Handel as the finest composers of keyboard music, citing structure and ornamentation as of primary importance. He considered Bach to be the finest contemporary player of the organ, harpsichord and clavichord, incomparable to all except Handel. Bach's Italian Concerto (BWV 971), published in 1735, was for Scheibe a perfect example of a well- constructed concerto. Scheibe's often-quoted objections to the music of Bach derive from an anonymous letter from 1737 in the Critischer Musikus.
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Some 2000s-era stage pianos include Hammond organ and clavichord voices, in addition to piano and electric piano sounds. Stratocaster (Strat) : An electric guitar manufactured by Fender, which is widely used in rock and other popular music. Surf Ballroom : The venue in Clear Lake, Iowa, where Buddy Holly, J. P. Richardson ("The Big Bopper") and Ritchie Valens played their last performances on 2 February 1959. They lost their lives in a plane crash following the performance at the "Winter Dance Party".
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Sonnet 128 is comparable to the sonnet in Romeo and Juliet in which Romeo pleads for a first kiss. Like that pilgrim/saint tête-à-tête, this sonnet is set in a public musical celebration. Shakespeare watches his dark lady play the keyboard virginal (or Bassano built clavichord), captivated by her back swaying with the melody. Like Romeo, he longs for a kiss, but in this sonnet he envies the jacks (wooden keys) that the lady's playing fingers "tickle" while trilling the notes.
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Dodgson's musical output covers most genres, ranging from opera, large-scale orchestral music and wind-band works to chamber and instrumental music, along with choral works and song. He deployed an unusually wide variety of solo instruments. One of the few recent composers to write idiomatically for the harpsichord, clavichord and harp, he may be the first since the eighteenth century to have written for baryton trio. He wrote concertos for instruments ranging from the viola da gamba to the bass trombone.
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Russell was an able harpsichordist, and became an expert organologist. He catalogued the keyboard instrument collection of the Victoria and Albert Museum, and the collection of Benton Fletcher, now in Fenton House. In 1959 he published The Harpsichord and Clavichord: an Introductory Study, with accurate and detailed analysis and descriptions of the instruments. Russell was an early advocate of a historicallyinformed approach to instrument-building, based on study of surviving historical examples, and a return to traditional methods of both performance and construction.
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On the latter occasion Bredemers must have met Arnolt Schlick, court organist to the Electoral Palatinate.Keyl 1989, 120. Eleanor of Austria, one of Bredemers' pupils, was reported to be a particularly talented and passionate performer on the clavichord When Philip died in 1506 at Burgos, Spain, it was Bredemers who arranged for the transport of the chapel's liturgical and music books to Antwerp. Philip's eldest son, Charles, was too young to succeed his father, and so Margaret of Austria was appointed regent.
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In 1400, Anna visited the tomb of Dorothy of Montau in Marienwerder (modern Kwidzyn), and prayed in the churches of Saint Anne in Brandenburg and of Saint Barbara in Oldenburg. She was accompanied by her brother-in-law Sigismund Kęstutaitis and an escort of 400 men. Anna was greeted with expensive gifts and lavish receptions. Anna continued to maintain good relationship with the Teutonic Knights, who sent her expensive gifts, including a clavichord and portative organ in 1408 and rare wine in 1416.
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Two monochord instruments (marine trumpets) on display Parts of a monochord include a tuning peg, nut, string, moveable bridge, fixed bridge, calibration marks, belly or resonating box, and an end pin. Instruments derived from the monochord (or its moveable bridge) include the guqin, dan bau, koto, vina, hurdy-gurdy, and clavichord ("hence all keyboard instruments"). A monopipe is the wind instrument version of a monochord; a variable open pipe which can produce variable pitches, a sliding cylinder with the numbers of the monochord marked.Barbour, J. Murray (2013).
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Some types of organ can produce vibrato by altering the pressure of the air passing through the pipes, or by various mechanical devices (see the Hammond or Wurlitzer Organs for example). The clavichord, though technically a fixed- pitch keyboard instrument, is capable of producing a type of vibrato known as Bebung by varying the pressure on the key as the note sounds. Some digital keyboards can produce an electronic vibrato effect, either by pressure on the keys, or by using a joystick or other MIDI controller.
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Writing for The Skinny, Aiden Ryan noted that Clementine sounded wholly original. On I Tell a Fly, he offers stunning, stirring proof that his originality extends beyond his voice to his phrasing on every instrument he touches – piano, but also here, showcased to great effect, harpsichord and clavichord – as well as to arrangements and production. All of which conspires to pummel and purge every tired expectation that repetitive rap, rock, dance, pop, indie, and alternative music have wrought into us. Appropriately, the album opens with Farewell Sonata.
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This is all evidence that the tangent piano spread throughout Europe. By the earliest decade of the 19th century, Spath tangent pianos were sent all over the globe and given a wide 6 octave range, which enabled them to compete with the piano. At the same time, the fortepiano began to eclipse the harpsichord and clavichord as the keyboard instrument of choice. The creation of the tangent piano, and the fortepiano, were the results of attempts to remedy the lack of dynamics in harpsichord sound.
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In Gentle Giant, Shulman became known as a dynamic frontman in the live environment and recorded twelve albums with the band over ten years. While the band secured a loyal following of fairly devout fans, they never experienced wide commercial success and, with their popularity waning slightly in the late 1970s, they disbanded after the release of the 1980 album Civilian. Like his band members, Shulman was quite adept on several instruments, including saxophone, recorder, bass, clavichord and their own Shulberry, an electric 3-stringed ukulele.
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German builders extended the sound repertoire of the instrument by adding sixteen foot choirs, adding to the lower register and two-foot choirs, which added to the upper register. The piano was invented during the Baroque era by the expert harpsichord maker Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany. Cristofori invented the piano at some point before 1700. While the clavichord allowed expressive control of volume and sustain, it was too quiet for large performances.
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A museum since 1880, Mozart's birthplace introduces visitors to the early life of the composer, his first musical instruments, his friends and his passionate interest in opera. The third floor exhibits Mozart's childhood violin, harpsichord, as well as portraits, documents, family letters, and early editions of his music. There are also records of his life in Vienna and of his wife and family. The second floor is devoted to Mozart's interest in opera and includes the clavichord on which he composed The Magic Flute.
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Jaroslav Tůma (born 1956, in Prague, Czech republic) is a Czech organist. This organist, clavichord, harpsichordist and pianoforte player graduated from the Prague Conservatory and from the Faculty of Music of the Academy of Performing Arts in Prague (Milan Šlechta organ, and Zuzana Růžičková harpsichord). He won first prizes in organ improvisation competitions in Nuremberg in 1980 and in the Dutch city of Haarlem in 1986. He is also the laureate of a number of organ interpretation competitions, 1978 Linz, 1979 the Prague Spring competition and 1980 the Leipzig Bach competition.
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Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls was, as the title states, the first printed collection of music for keyboard in England. 'Virginals' was a generic word at the time that covered all plucked keyboard instruments – the harpsichord, muselaar and virginals, but most of the pieces are also suited for the clavichord and chamber organ. Though the date is uncertain, it was probably published around 1612. The 21 pieces included are ascribed to William Byrd, John Bull, and Orlando Gibbons, in three sections.
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He won 2nd Prize at the International Competition of Edinburgh (1982), 2nd Prize and Special Continuo Prize at the Paris International Competition (1983), and the Unanimous 1st Prize at the Pro Musicis International Award in New York (1983). Currently, Ilton Wjuniski is professor in the Municipal Conservatory, 17th arrondissement, of Paris. Since 1985, Wjuniski has performed worldwide, and regularly plays in a duo with flutist Michael Faust. He also plays clavichord (Middle Ages, Renaissance, Baroque, and Classical) and organ (Iberian and Italian music of the 16th, 17th, and 18th centuries).
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Frederica amused the king by her skillful clavichord playing, was reportedly joyful in the company of her small circle of friends, especially in the absence of the monarch, and devoted herself to the upbringing of her children. She kept in close correspondence with her family, and in 1801 welcomed her parents, who visited Sweden after having been in Russia to see her sister. During this visit she was reportedly reproached by her mother for her stiff and distant behavior in public and not being able to make herself popular.Charlottas, Hedvig Elisabeth (1936) [1800–1806].
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However it was well known in French and German musical circles of the early 18th century, and Hebenstreit gained fame and fortune playing it. Hebenstreit named the instrument after himself. Glowing reviews of its qualities appear in the writings of a number of prominent commentators of the day, such as Johann Kuhnau. The instrument died out with Hebenstreit's retirement, but the idea of allowing sympathetic resonance from undamped strings was adopted into mechanisms that would disengage the dampers in various ways on early keyboard instruments such as the clavichord, called "pantalon stops".
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He is especially noted for his entertaining concert-length presentation, The Light and Lively Harpsichord, which samples the full range of the harpsichord repertoire, from Bach to Brubeck, as well as for his informal mini-concerts whose format he has extensively pioneered at college student centers throughout the United States, and, additionally, for his performances and recordings on related early keyboard instruments, the fortepiano and clavichord, and for directing ensembles from the keyboard. In 1995, he formed a duo with New York pianist Karen Kushner, internationally performing works for (modern) piano, four hands.
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Nicholas was a virginal maker, at this time a generic word that included the entire family of plucked keyboard instruments: the harpsichord, virginal, muselar and doubtless the clavichord, and it is for these instruments that Farnaby's compositions are best known. Like his father however, Giles trained as a joiner or cabinet-maker, starting his apprenticeship in about 1583, and gave this trade as his occupation for most of his life. He married Katherine Roane on 28 May 1587, and first lived in the parish of St. Helen's Bishopsgate, in London.
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The piano offered the best of both, combining loudness with dynamic control. Cristofori's great success was solving, with no prior example, the fundamental mechanical problem of piano design: the hammer must strike the string, but not remain in contact with it (as a tangent remains in contact with a clavichord string) because this would damp the sound. Moreover, the hammer must return to its rest position without bouncing violently, and it must be possible to repeat the same note rapidly. Cristofori's piano action was a model for the many approaches to piano actions that followed.
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Dwarf Village was originally designed by Anton Pieck with later contributions by Ton van de Ven. In 1952, the village consisted of three large toadstools, through which children could walk, with miniature adornments, such as little chairs and dwarf laundry hanging from a wire. Later additions included a large inhabited dwarf house in 1972, and a hollow tree with a dwarf playing a clavichord in 1974. The village was completed by a toadstool with a writing dwarf and a house with a waterwheel belonging to a dwarf-couple in 1980.
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A manual is a musical keyboard designed to be played with the hands, on an instrument such as a pipe organ, harpsichord, clavichord, electronic organ, melodica, or synthesizer. The term "manual" is used with regard to any hand keyboard on these instruments to distinguish it from the pedalboard, which is a keyboard that the organist plays with their feet. It is proper to use "manual" rather than "keyboard", then, when referring to the hand keyboards on any instrument that has a pedalboard. An electronic organ with three manuals.
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When the key is released, the tangent loses contact with the string and the vibration of the string is silenced by strips of damping cloth. By applying a rocking pressure up and down the key with the finger, a performer can slightly alter the vibrating length of the string itself, producing a vibrato quality known as bebung. While the vibrato on fretless string instruments such as the violin typically oscillates in pitch both above and below the root note, clavichord bebung only produces pitches above the note. Sheet music does not often explicitly indicate bebung.
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Dyson was made a fellow of the Royal College of Music in 1980. She was elected vice-president of the Leith Hill Musical Festival following year. In 1982, she recorded two volumes of clavichord pieces of the her harmony professor Herbert Howells to celebrate his 90th birthday. Throughout the 1980s and 1990s, Dyson and the harpsichordist and singer Peter Medhurst made recordings, including a collection of Schubert songs at the Colt Collection and the 1988 recordings For Two to Play about every double-harpsichord works up to Wolfgang Amadeus Mozart's era.
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René Clemencic (born 27 February 1928) is an Austrian composer, recorder player, harpsichordist, conductor and clavichord player.International who's who in classical music Europa Publications Limited - 2007Conductors on record John L. Holmes - 1982 "Clemencic, Rene (b. 1928). Born in Vienna, Clemencic was educated at the Vienna University and studied further in France, Holland and Germany. He is director of the Capella Musica Antiqua and of the Drama Musicum in Vienna," In 1958 he founded Musica Antiqua (known after 1959 as Ensemble Musica Antiqua) to perform early music on period instruments.
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Björk also made extensive use of and even played the instrument herself on the song "My Juvenile" of her 2007 album Volta. Tori Amos uses the instrument on "Little Amsterdam" from the album Boys for Pele and on the song "Smokey Joe" from her 2007 album American Doll Posse. Amos also featured her use of the Clavinet on her 2004 recording "Not David Bowie", released as part of her 2006 box set, A Piano: The Collection. In 1976 Oscar Peterson played (with Joe Pass on acoustic guitar) songs from Porgy And Bess on the clavichord.
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Some clavichords have been built with a single pair of strings for each note. The first known reference to one was by Johann Speth in 1693 and the earliest such extant signed and dated clavichord was built in 1716 by Johann Michael Heinitz. Such instruments are referred to as unfretted whereas instruments using the same strings for several notes are called fretted. Among the advantages to unfretted instruments are flexibility in tuning (the temperament can be easily altered) and the ability to play any music exactly as written without concern for "bad" notes.
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Alströmer was a popular dilettante singer at private concerts and public charity concerts. In 1799, Alströmer participated in a concert in Stockholm playing the Clavichord to the singing of Christoffer Christian Karsten, Marianne Ehrenström and Christina Fredenheim. In 1795, she was inducted to the Royal Swedish Academy of Music, a first for her combined sex and status. Previously, only women professional artists had been elected, but in 1795, Alströmer was elected with Christina Fredenheim and Anna Brita Wendelius, followed in 1801 by Sophia and Emilie Brandel, Ulrica Bouck and Marie Antoinette Petersén, all dilettantes.
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It was Isabella who employed Cabezón into her service in 1526. His duties included playing the clavichord and the organ, and he also assumed the position of organist at the chapel Isabella organized soon after her wedding. The composer remained with the royal family for the rest of his life. Through the court, he met such important composers as vihuelist Luis de Narváez, known today for his advanced polyphonic fantasias, and Tomás de Santa María, theorist and composer whose important treatise on instrumental music, Arte de tañer fantasía, was examined and approved by Cabezón.
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He enlisted in the Royal Fusiliers, where he reached the rank of captain. He had already begun collecting keyboard instruments in 1939, before hostilities began. Over the next twenty years he assembled a considerable collection of seventeenth- and eighteenth-century clavichords and harpsichords. His collection included instruments from all the main harpsichord-building areas of Europe: a number of English spinets; early harpsichords and virginals from Italy; Flemish instruments by the Ruckers; a late French instrument by Pascal Taskin; and a clavichord and harpsichord from North Germany, both by Johann Adolph Hass.
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The harpsichord produced a sufficiently loud sound, but offered little expressive control over each note. The piano offered the best of both, combining loudness with dynamic control. Cristofori's great success was solving, with no prior example, the fundamental mechanical problem of piano design: the hammer must strike the string, but not remain in contact with it (as a tangent remains in contact with a clavichord string) because this would damp the sound. Moreover, the hammer must return to its rest position without bouncing violently, and it must be possible to repeat the same note rapidly.
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"Burnin' Up" is a song by American singer Faith Evans featuring rapper Loon. It was composed by Evans, Loon, Chad Hugo and Pharrell Williams for her third studio album Faithfully (2001), with production helmed by Hugo and Williams under their production moniker The Neptunes. A dance-inducing, beat-heavy uptempo song, "Burnin' Up" falls in line with the straightforward drums, guitar strumming, and clavichord worship of the duo's early years as producers. Lyrically, it has Evans pleading with a man she feels is destined to be her soulmate to recognize that they belong together.
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He was a prolific recording artist, with 106 albums to his credit, of which 93 were solo. Among the honors he received were 9 Grammy nominations, three "Record of the Year" awards from Stereo Review, the 1969 Deutsche Schallplatten Prize, and the 1988 Gold Star award from the Italian periodical, Musica. Keyboard, in that magazine's annual readers' poll, named him "Best Harpsichordist" in 1978, 1979, and 1980 and "Best Classical Keyboardist" in 1982 and 1986. Among his last record releases were The Virtuoso Scarlatti, fifteen sonatas played on five harpsichords after historical prototypes built by Hubbard of Boston and Vivaldi‘s The Four Seasons, in which he directed members of the Connecticut Early Music Festival from the keyboard (both on Chesky Records – produced and recorded by his son, Jeremy Kipnis), Sony CD reissues of The Spanish Harpsichord, the complete Bach Harpsichord Concertos with Neville Marriner conducting, Bach's Italian Concerto and Second English Suite (together with works for clavichord), Harpsichord – Greatest Hits, as well as the complete Fantasias of J. S. Bach for harpsichord and clavichord (on Arabesque), A Treasury of Harpsichord Favorites and Mozart on the 1793 Fortepiano (two anthologies on Music & Arts), and Igor Kipnis – The First Solo Harpsichord Recordings (on VAI).
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The term Übertragung was usually reserved for the transcription of music written for instruments which produce continuous tones, for example, the organ or violin. Pieces written for these instruments can require more alterations to preserve the original intent or spirit () of the music. The piano, when compared to the harpsichord, clavichord, or lute, presented technical changes (e.g., multiple steel strings for a given pitch, greater tension on the strings, larger sound board, more effective transfer of energy to the sound board) which allowed tones to be played more loudly and be sustained for a longer time.
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In 1933, whilst working on oil projects in Trinidad, Edgeworth-Johnstone – a keen musician who could play the guitar, mandolin and clavichord – developed a keyless flute. He intended this to be a link between the simple and cheap recorder and the more complicated and expensive Boehm-keyed flute. He made the body of his prototype out of aluminium brass tubing, a cheap material readily available in the oil refineries in which he worked. The innovative mouthpiece was made from a piece of wood (his preference was for West Indian Purpleheart) several inches long that protruded into the tube.
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Zuckermann's view in this case has lost out; all serious builders today use solid word; see John Koster, "Wood", in Igor Kipnis (2006, ed.) The Harpsichord and Clavichord: An Encyclopedia). Through accident of alphabetical order, the last harpsichord builder discussed in Zuckermann's book is his own company. He mentions the essential ways in which his kit harpsichords were historically "authentic" (i.e. in having thin soundboards with light barring that avoids overlap with the bridge) and he confronts with candor the ways the ways in which his instruments were most certainly not "authentic" (for these, see discussion above).
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Virginalist denotes a composer of the so-called virginalist school, and usually refers to the English keyboard composers of the late Tudor and early Jacobean periods. The term does not appear to have been applied earlier than the 19th century. Although the virginals was among the most popular keyboard instruments of this period, there is no evidence that the composers wrote exclusively for this instrument, and their music is equally suited to the harpsichord, the clavichord or the chamber organ. The term is sometimes also applied to other northern European composers of this period, such as Jan Pieterszoon Sweelinck and Samuel Scheidt.
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Mainwaring tells the story of Handel's secret attic spinet: Handel "found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep". Although both John Hawkins and Charles Burney credited this tale, Schoelcher found it nearly "incredible" and a feat of "poetic imagination" and Lang considers it one of the unproven "romantic stories" that surrounded Handel's childhood. But Handel had to have had some experience with the keyboard to have made the impression in Weissenfels that resulted in his receiving formal musical training.
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The instrument given to Philip III of Spain mentioned briefly above is one of very few surviving claviorgans known to have had pedals. Another earlier instrument from Linz, Austria is also described as having a pedalboard which couples to the keyboard. Little information is available as yet on either instrument, so this leads one to speculate how the pedals would have operated. With other harpsichord/clavichord type instruments, there are two normal ways of adding pedals; either with pedal pull-downs (usually only in the bass), or with a separate instrument, with a separate soundboard, below the main keyboard.
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Guttenbrunn's portrait of Haydn, seen below, exists in two versions. It is possible that the first dates from his encounter with Haydn at the Esterházy court in the early 1770s, and the second from their encounter in London in the early 1790s. The second version is more detailed than the first, and was the basis for an engraving (1792) by Luigi Schiavonetti.Harrison (1997,6) The portrait shows Haydn in the act of composing: he is seated at a keyboard,Harrison judges that the instrument is a square fortepiano; Zaslaw and Cowdery (1990, 304) opine that it is either a spinet harpsichord or a clavichord.
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Ars Magna contains music intended for organ or clavichord: ten toccatas (subtitled Musicalische Blumen-Felder), eight Magnificat settings, and three variation sets. The music has clearly traceable Italian influences, with direct borrowings: one of the variation sets is built on a theme by Bernardo Pasquini, there is also a passage from Bernardo Storace in the Spangioletta variation set, and a verset by Alessandro Poglietti (quinti toni no. 3). The influence of contemporary southern organists is also apparent, particularly that of Georg Muffat and Johann Caspar Ferdinand Fischer. The toccatas are unusually short for the genre; most consist of three (toccata-fugue-toccata) sections.
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Carole Terry received her musical training at Southern Methodist University in Dallas, Texas (organ with Robert T. Anderson, harpsichord with Larry Palmer), Eastman School of Music (organ with David Craighead), and Stanford University, where she obtained in 1977 a Doctor of Musical Arts degree in early music performance practice. Her teachers in Stanford were Herbert Nanney (organ), Margaret Fabrizio (harpsichord), and Joan Benson (fortepiano and clavichord). In 1979, she was appointed professor of organ and harpsichord at the University of Washington in Seattle. From 2000–2003, she was Resident Organist and curator of the C. B. Fisk organ at Benaroya Hall in Seattle.
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The Self- Portrait at the Clavichord with a Servant is considered to be her masterpiece. It was painted as a betrothal gift to the Zappi family as evidenced by Fontana describing herself as a virgin in the signature and stating that she painted while looking at herself in a mirror as a testament to the accuracy of the depiction. There are over 100 works that are documented, but only 32 signed and dated works are known today. There are 25 more that can be attributed to her, making hers the largest oeuvre for any female artist prior to 1700.
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Under the fingers of a sensitive performer, the keyboard may also be used to control dynamics, phrasing, shading, articulation, and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be firmly established. Particularly in the 18th century, the harpsichord, the clavichord, and the early piano were in competition, and the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is typically all- inclusive.
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The Renaissance saw a great increase in the number and quality of musical instruments: the harp, violin and flute were produced with many new variations, the seven-string guitar appeared, and the lute, which was based on the oud, an Arab instrument brought to the Iberian Peninsula during the Moorish invasions. The trumpet evolved to something similar to its present form. Powerful organs were built for Paris churches, as well as smaller portable organs and the clavichord, ancestor of the piano. The lute, most often used to accompany songs, became the instrument of choice for minstrels and musically-inclined aristocrats.
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The short octave was a method of assigning notes to keys in early keyboard instruments (harpsichord, clavichord, organ), for the purpose of giving the instrument an extended range in the bass range. The rationale behind this system was that the low notes F and G are seldom needed in early music. Deep bass notes typically form the root of the chord, and F and G chords were seldom used at this time. In contrast, low C and D, both roots of very common chords, are sorely missed if a harpsichord with lowest key E is tuned to match the keyboard layout.
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Dyson began playing the clavichord and harpiscord at the home of the musicologist Susi Jeans, and brought a Robert Goble-made harpsichord. Dyson was mainly drawn to the English Baroque, particularly John Blow and others such as Thomas Arne, Thomas Chilcot, and Henry Purcell. She made her debut on the piano at Wigmore Hall with the London Women's String Orchestra on 15 November 1941. During the Second World War, Dyson did auxiliary nursing at Dorking General Hospital for the Red Cross, taught music to evacuated children at Dorking's War Evacuation Day Nursery, and toured in factories, hospitals and military camps.
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Travelling musicians arranged concerts in the manors and castles of the Lithuanian nobleman, local cappellas were founded. It is known, that Anna, Grand Duchess of Lithuania, wife of Vytautas the Great which had diplomatic relationships with the Teutonic Knights, who sent her expensive gifts, including clavichord and portative organ in 1408. Daughter of Grand Duke of Lithuania Gediminas, Aldona, when married to Casimir III of Poland, 1325 took her palace orchestra to Cracow. It had musicians which played lute, zither and lyre. The first opera (Dramma per musica) in Lithuania was staged in the Palace of the Grand Dukes of Lithuania in 1636.
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The period interiors of the Ringve Manor House provide the setting for themed rooms of working – mainly keyboard – instruments. In this section, open by guided tour only, the guides (often graduate music students) play an appropriate piece of music (or extract) as the tour proceeds. The first room is called the Mozart room and contains a spinet, clavichord and a domestic or house organ, from the 18th century. A Murano glass chandelier hangs from the ceiling. The next room is called the ‘Beethoven’ and contains a harp piano of 1870 by Dietz, and a piano of type favoured by Beethoven.
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Stegemann was a particularly close friend, and made portraits of Artin, his wife Natascha, and their two Hamburg-born children. Music continued to play a central role in his life; he acquired a Neupert double manual harpsichord, and a clavichord made by the Hamburg builder Walter Ebeloe, as well as a silver flute made in Hamburg by G. Urban. Chamber music gatherings became a regular event at the Artin apartment as they had been at the Courants in Göttingen. On August 15, 1929, Artin married Natalia Naumovna Jasny (Natascha), a young Russian émigré who had been a student in several of his classes.
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Keyboard instruments can be found as far back as the hydraulis (a water organ) in the 3rd century BCE, which developed into the pipe organ, and small portable instruments such as the portative and positive organ. Additional keyboard instruments, the clavichord (tangent- struck strings) and harpsichord (quill-plucked strings), were developed in the 14th century CE. As technology improved, more sophisticated keyboards were developed, including the 12-tone keyboard still in use today. Initially, the keyboard of an instrument such as a pipe organ or harpsichord could only produce sounds of one particular volume. In the 18th century, the pianoforte was invented.
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Paisiello at the clavichord, by Marie Louise Élisabeth Vigée-Lebrun, 1791. Paisiello was a native of Apulia The Petruzzelli Operatic and Symphonic Foundation of Bari is the organization around which much of the cultural life of the city revolves. It is named for the famous Teatro Petruzzelli, the center of music life in the city and province, but which fell victim to a disastrous fire in 1991 and reopened just in 2009. Taking up that slack, however, are other venues: the Basilica of San Nicola, the premises of the Piccinni Conservatory, and the Teatro Piccinni (now closed).
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A sketch of Mary during her brief period as queen of France She was known in her youth as one of the most beautiful princesses in Europe; Erasmus said of her that "Nature never formed anything more beautiful."Sadlack, Erin A. The French Queen's Letters: Mary Tudor Brandon and the Politics of Marriage in Sixteenth-Century Europe Palgrave Macmillan, 2011, p. 44. In 1506, during a visit from Philip I of Castile, Mary was called to entertain the guests, dancing and playing the lute and clavichord. In September 1506, Philip died, and on 21 December 1507, Mary was betrothed to his son Charles, later Holy Roman Emperor.
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Among these youths were young men who would later become famous in their own right, Nicolás de Ovando y Cáceres, the future governor of the Indies, and Gonzalo Fernández de Oviedo y Valdés the future historian of the Indies. John's education also insisted that he and his companions learned to ride and joust, to hawk and hunt, to play chess and cards, and to sing and recite poetry. John was also naturally gifted in music and was able to play the flute, violin, and the clavichord with ease and great skill. He also developed a fine tenor voice and often sang with his siblings and companions at court.
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His Rolls-Royce automobile contained a small clavichord keyboard which could be stored beneath the front seat. Near his house he had a 100-foot viewing tower, Faringdon Folly, constructed as a birthday present in 1935 for Heber-Percy, a notice at the entrance reading: "Members of the Public committing suicide from this tower do so at their own risk". Berners also drove around his estate wearing a pig's-head mask to frighten the locals. He was also subject throughout his life to periods of depression which became more pronounced during the Second World War, and following the production of his last ballet Les Sirènes he lost his eyesight.
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The first complete recording of the Well-Tempered Clavier was made on the piano by Edwin Fischer for EMI between 1933 and 1936.Gramophone, "Bach's Well-Tempered Clavier" The second was made by Wanda Landowska on harpsichord for RCA Victor in 1949 (Book 1) and 1952 (Book 2).Bach Cantatas Website, "Well-Tempered Clavier Book I, BWV 846–869 Recordings – Part 1" Helmut Walcha, better known as an organist, recorded both books between 1959 and 1961 on a harpsichord.Helmut Walcha: Johann Sebastian Bach – The Well- Tempered Clavier Books 1 & 2 at Daniel Chorzempa made the first recording using multiple instruments (harpsichord, clavichord, organ, and fortepiano) for Philips in 1982.
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"For No One" was inspired by McCartney's relationship with English actress Jane Asher. Along with "Good Day Sunshine", which similarly dispensed with guitar parts for Harrison and Lennon, Rodriguez cites the track as an example of McCartney eschewing the group dynamic when recording his songs, a trend that would prove unpopular with his bandmates in later years. The recording features McCartney playing piano, bass and clavichord, accompanied by Starr on drums and percussion. The French horn solo was added by Alan Civil, the principal horn player for the Philharmonia Orchestra, who recalled having to "busk" his part, with little guidance from McCartney or Martin at the overdubbing session.
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Regarding the fourth song, Russell Bailie of The New Zealand Herald wrote that although the album "manages to skirt teen-pop sugariness for the most part, though it does offer quality mush on numbers such as 'Take It From Here'." "Cry Me a River" is a funk and R&B; song with an instrumentation that features beatboxing, synthesizers, Arabian-inspired riffs and Gregorian chants. Lyrically, the song is about a brokenhearted man who moves on from his past. The sixth track, "Rock Your Body", incorporates tinny, "keyboard-set-to-emulate-clavichord" synthesizers of The Neptunes' late 90s productions, overlaid with "keys and a propulsive drum vamp".
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By the age of 17, she could read and write French and Italian fluently, played the harp and clavichord, and was acknowledged by her contemporaries for her operatic and dramatic abilities. In a career that spanned almost two decades, Praskovia performed in over a dozen operas, including Monsigny's Le déserteur and Aline, reine de Golconde, Paisiello's L'infante de Zamora, Jean-Jacques Rousseau's Le Devin du village, and Piccinni's La buona figliuola maritata. Her most important role was Eliane in Grétry's opera Les Mariages samnites. Assuming the part for the first time in 1785, Praskovia sang Eliane for 12 years -- a first in the history of serf theatre.
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Upon Frederick's accession in 1740, Bach became a member of the royal orchestra. He was by this time one of the foremost clavier players in Europe, and his compositions, which date from 1731, include about thirty sonatas and concert pieces for harpsichord and clavichord. During his time there, Berlin was a rich artistic environment, where Bach mixed with many accomplished musicians, including several notable former students of his father, and important literary figures, such as Gotthold Ephraim Lessing, with whom the composer would become close friends. In Berlin, Bach continued to write numerous pieces for solo keyboard, including a series of character pieces, the so-called "Berlin Portraits", including "La Caroline".
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Peter Watchorn plays a pedal harpsichord by Hubbard & Broekman, Boston, 1990 Pedal keyboards were developed for the clavichord and harpsichords during the Baroque era so that organists could practise the pedal parts of their organ repertoire when they had no-one available to work the bellows for a church organ or, in the wintertime, to avoid having to practice on a church organ in an unheated church. Johann Sebastian Bach owned a pedal harpsichord and his organ trio sonatas BWV 525–530, Passacaglia and Fugue in C minor BWV 582, Toccata and Fugue in D minor BWV 565, and other works sound well when played on the instrument.
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Born in Nordhausen, Germany to John Wolfgang Horn and Sophia Dorothea Shenaman, Charles Frederick Horn was the third of their four children. According to the memoirs of Charles Frederick's son, Charles Edward Horn, John Wolfgang wished for his son to become a surveyor. Horn would often furtively practice music instead; when his father found out, he destroyed the family's clavichord in the hopes of preventing his son from becoming distracted from his studies. This, though, did not dissuade Horn from taking music lessons from Nordhausen organist Christoph Gottlieb Schröter.Horn, 1. On Schröter's death in 1782, Horn decided to move to Paris to try a living as a musician.
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Autograph manuscript of Böhm's organ chorale partita Treüer Gott, ich muß dir klagen Böhm is mainly known for his compositions for organ and harpsichord (primarily preludes, fugues, and partitas). Many of his works were designed with flexibility of instrument in mind: a particular piece could be played on the organ, the harpsichord, or the clavichord, depending on the situation in which the performer found himself. Böhm's music is notable for its use of the stylus phantasticus, a style of playing based on improvisation. Böhm's most important contribution to North German keyboard music is the chorale partita, a large-scale composition consisting of several variations on a particular chorale melody.
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A further view is that the name derives from the Virgin Mary as it was used by nuns to accompany hymns in honour of the Virgin. In England, during the Elizabethan and Jacobean eras, any stringed keyboard instrument was often described as a virginals, and could equally apply to a harpsichord or possibly even a clavichord or spinet. Thus, the masterworks of William Byrd and his contemporaries were often played on full- size, Italian or Flemish harpsichords, and not only on the virginals as we call it today. Contemporary nomenclature often referred to a pair of virginals, which implied a single instrument, possibly a harpsichord with two registers, or a double virginals (see below).
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After a 45-year career, Mercier-Ythier's harpsichords had appeared in over 9000 concerts and 700 recordings. The historic instruments that he had restored were used in concert and for recordings, such as a 2-manual harpsichord by Jean-Henri Hemsch built in Paris in 1755/56, played for Bach's The Well-Tempered Clavier, Book II, by Helmut Walcha in 1974. He prepared the instrument for Bach's complete keyboard works played by Zuzana Růžičková. In 1990, he published a book about harpsichord making history and technique, Les Clavecins, which is cited in other books about the topic such as The Historical Harpsichord and The Harpsichord and Clavichord: An Encyclopedia edited by Igor Kipnis.
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This translation is also used in Welter, p. 167. The instruments mentioned are referenced on the frontispiece: two cherubs are pictured, one playing a pipe organ (possibly with a pedalboard), the other a single-manual harpsichord or clavichord. Pachelbel wrote a short preface (dated November 20, 1699), in which he dedicated the collection to Dieterich Buxtehude and Ferdinand Tobias Richter and expresses a hope that his eldest son Wilhelm Hieronymus might study with one of them (it is unknown whether this hope was realized). Pachelbel also confesses that "something weightier and more unusual" than this work should have been written for the occasion,Cited from the translation by Kerala Snyder, in Snyder, p. 128–129.
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Although Hogwood was best known for the baroque and early classical repertoire, he also performed nineteenth-century and contemporary music, with a particular affinity for the neo-baroque and neoclassical schools including many works by Stravinsky, Martinů and Hindemith. He made many solo recordings of harpsichord works (including Louis Couperin, J. S. Bach, Thomas Arne, William Byrd's My Lady Nevells Booke), and did much to promote the clavichord in the Secret Bach/Handel/Mozart series of recordings, which puts in historical context the most common domestic instrument of that epoch. He owned a collection of historical keyboard instruments. In July 2010, he was appointed Professor of Music at Gresham College, London, a position originally held by John Bull.
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Seixas' keyboard works were written for a variety of instruments, including the organ, harpsichord, and the clavichord. Stylistically speaking, however, his sonatas showcase a range of musical styles: some are exemplary of a Baroque toccata; some are firmly in the galant style; some are clearly influenced by the German Empfindsamer Stil (literally 'sensitive style'). Despite rarely, if ever, traveling outside of Lisbon, his work also includes various geographical styles, such as the German Mannheim school, the French minuet, and the Italian style as composed by Scarlatti, his colleague and contemporary. Santiago Kastner, Seixas' biographer and editor of his pieces, describes Seixas' works as "unoccupied" with a particular form, and given over to frequent improvisation.
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Harpsichord by Pascal Taskin, Paris (1780) (Museum für Kunst und Gewerbe Hamburg) A variety of once obsolete keyboard instruments such as the clavichord and the harpsichord have been revived, as they have particular importance in the performance of Early music. Before the evolution of the symphony orchestra led by a conductor, Renaissance and Baroque orchestras were commonly directed from the harpsichord; the director would lead by playing continuo, which would provide a steady, harmonic structure upon which the other instrumentalists would embellish their parts. Many religious works of the era made similar use of the pipe organ, often in combination with a harpsichord. Historically informed performances frequently make use of keyboard-led ensemble playing.
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Development of the Seminary's syllabus was governed by the fact that the training of singers for the Royal Chapel was its primary purpose. As in Naples, studying the harpsichord with its associated instruments, the clavichord, and the organ, and developing skills in the use of solfège (Portuguese: solfejo or solfa) were all compulsory, and every student received instruction in composition. However, the Lisbon syllabus took on some characteristics of it own, especially by the time of the 1764 Statutes where it was stated that Seminarians should become "sejao peritos na Muzica, Gramatica, Ler, e escrever, e Orgao" (experts in Music, Grammar, Reading, Writing, and Organ)Estatutos do Real Seminario, ch. 2, no.
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In 1933 he ended his association with Jascha Heifetz and on November 10, 1933 he appeared at Carnegie Hall as solo pianist. His program encompassed three Bach transcriptions: that of the chaconne by Busoni, the prelude and fugue in A minor by Liszt and the overture from Cantata No. 28 by Saint-Saëns, Haydn's andante with variations, a Chopin group and a concluding section by Borodin, Scriabin and Liszt. In 1936 he appeared in recital at the Town Hall, New York. His program included Bach-Liszt's Prelude and Fugue in A minor, two preludes and fugues from Bach's "Well-Tempered Clavichord" Beethoven's Sonata, Op. 2, No. 1; a nocturne, two mazurkas and a ballade by Chopin, and a concluding group by Shostakovich, Debussy, Ravel and Liszt.
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Björk wanted to make an album with an intimate, domestic sound, deviating from the sonority of her previous studio album Homogenic (1997). With the rising popularity of Napster and music downloads, she decided to use instruments whose sounds would not be compromised when downloaded and played on a computer, including the harp, the celesta, clavichord, strings, and custom music boxes. Assisted by the duo Matmos, Björk created "microbeats" from various household sounds, such as that of shuffling cards and ice being cracked. Lyrically, the album revolves around sex and love – sometimes explicitly – inspired by her at the time new relationship with Matthew Barney; other lyrical sources include a poem by E. E. Cummings, Sarah Kane's play Crave, and dialogues written by Harmony Korine.
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Title page of Das Wohltemperierte Clavier, Book I (autograph) The Well- Tempered Clavier, BWV 846–893, is a collection of two sets of preludes and fugues in all 24 major and minor keys, composed for solo keyboard by Johann Sebastian Bach. In Bach's time Clavier (keyboard) was a generic name indicating a variety of keyboard instruments, most typically a harpsichord or clavichord – but not excluding an organ. The modern German spelling for the collection is ''''' (WTK; ). Bach gave the title ''''' to a book of preludes and fugues in all 24 major and minor keys, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study".
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Almost all his works after 1723, amongst them many of his best-known operas, oratorios and ceremonial music, were composed and partially rehearsed in the house, which contained a variety of keyboard instruments, including harpsichords, a clavichord and a small chamber organ. The museum was opened in 2001 by the Handel House Trust as the result of an initiative of the musicologist and Handelian Stanley Sadie in 1959. It comprises a carefully restored set of period rooms on the first and second floors of 25 Brook Street together with exhibition rooms in number 23, the adjacent house on the terrace. In 2016 the museum expanded to incorporate the upper floors of 23 Brook Street, home of Jimi Hendrix in the late 1960s.
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In 2003 the Leenaards Foundation awarded him a cultural scholarship. Concurrently with his studies and teaching the harpsichord and the clavichord, Patrick Montan has appeared in several European countries (France, Germany, Austria, Holland, Britain, Switzerland etc.) mostly as a soloist, but also as a continuo player of chamber music. He recorded on the original harpsichord by Ioannes Ruckers (Antwerp, 1624) in the Unterlinden Museum in Colmar works by Jan Pieterszoon Sweelinck, Johann Jakob Froberger, François Couperin and Johann Sebastian Bach. On the musicology side, Patrick Montan has written a monograph entitled "L’Art de toucher le clavecin de François Couperin. Autour du doigté", in which he succeeded in reconstituting Couperin’s original fingering for the harpsichord pieces from Couperin's book of the same name.
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She was described as well educated and good at conversation, not beautiful but very dignified and well suited to her role as queen. A Swedish diplomat stationed in Denmark described her as follows: :"She has good sense and is easy with words, friendly in tone, knows how to converse on many subjects and can speak several languages; while giving court, she seldom leaves anyone without saying something nice; she very much enjoys dance and dances well, she has a good temper and is known for her piety and excellent qualities. She finds pleasure in reading and music, she plays the clavichord well and teaches her daughters to sing." Queen Louise unsuccessfully opposed the dynastic marriage between her daughter Sophia Magdalena and Crown Prince of Sweden in 1751.
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Though the dictionary containing his invention was ultimately lost, Cattaneo's tonal system was used in one of the earliest Romanisation systems, that of Nicolas Trigault, in 1626, and adopted in 1656 by Martino Martini in his, the earliest surviving, Western grammar of Chinese. It appeared again in Michal Boym's 1667 translation of Kircher's China Illustrata and it was Cattaneo's work that formed the basis for Étienne Fourmont's 1737 work, Linguae Sinarum mandarinicae hieroglyphicae grammatical duplex patine et cum characteribus Sinensium. Cattaneo was a capable musician and taught Diego de Pantoja clavichord in Nanjing. Pantoja, on orders of Emperor Wanli, subsequently passed on this skill to four eunuchs who were the first members of the imperial court to learn Western music.
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As a debutante, her name was by custom not in the program, but the success prompted the press to acquire for her name and ask to see her again. In 1789, she also debuted as a pianist: while performing as an actress in the role of Countess Clainville in Det oförmodade vadet ('Unexpected bet') by Sedaine, she additionally surprised the audience by playing a clavichord sonata accompanied by a violinist from the orchestra. This made her recognized as a competent musician as well as an actress, and her musical performance was repeated on demand for the rest of the season. In 1794, finally, she made her debut as a singer at a concert at concert at Riddarhuset: also as a singer, she achieved acclaim by the audience.
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Organ chorale preludes and free works by Johann Christoph Bach (Johann Sebastian's first cousin once removed), Johann Adam Reincken, Johann Pachelbel and Johann Sebastian Bach have been based on "An Wasserflüssen Babylon". The 17th-century musical style of the stylus phantasticus covers the freely composed organ and harpsichord/clavichord works, including dance suites. They lie within two traditions: those from northern Germany, primarily for organ using the whole range of manual and pedal techniques, with passages of virtuoso exuberance; and those from central Germany, primarily for string keyboards, which have a more subdued style. Buxtehude and Reincken are important exponents of the northern school and Pachelbel those from the centre. Johann Christoph Bach was born in Arnstadt in 1642 and was appointed organist at St George's, the principal church of Eisenach, from 1665.
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She was considered a very good soprano, but her lack of professional training caused her to make some noted mistakes in her performances. Her social position made it considered to be unsuitable for her to perform professionally; as other dilettante artists from the upper classes, she performed in public only at charity concerts and such, otherwise only in private. In 1799, for example, she performed in a concert in Stockholm in a duett with Marianne Ehrenström accompanied by Christoffer Christian Karsten and with Margareta Alströmer playing Clavichord, and in 1801, she sang the parts of Eve and the angel Gabriel in the performance of creation by Haydn. In 1795, she was elected as a member in to the Swedish Royal Academy of Music, together with Margareta Alströmer, Ulrica Bouck, and Anna Brita Wendelius.
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Boys for Pele is the third studio album by American singer and songwriter Tori Amos. Preceded by the first single, "Caught a Lite Sneeze", by three weeks, the album was released on January 22, 1996, in the United Kingdom, on January 23 in the United States, and on January 29 in Australia. Despite the album being Amos's least accessible radio material to date, Boys for Pele debuted at number two on both the US Billboard 200 and the UK Albums Chart, making it her biggest simultaneous transatlantic debut, her first Billboard top 10 debut, and the highest-charting US debut of her career to date. Boys for Pele was recorded in rural Ireland and Louisiana and features 18 songs that incorporate harpsichord, clavichord, harmonium, gospel choirs, brass bands and full orchestras.
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He was exiled from court, and following involvement in a Frondiste association with Protestants and with the affairs of Parlement, Conti settled into stylish retirement as Grand Prior of the Knights of the Order of Malta, resident at the Palais du Temple in Le Marais. Conti went on to accumulate a vast and celebrated art collection, housed in a special gallery at the Temple, mostly collected during the last twenty years of his life. This was dispersed by auction between April and June 1777, a sale which retained an impact on the Parisian art market through the following decade. His collection included Michel Barthélemy Ollivier's English Tea Served in the Salon des Glaces at the Palais du Temple, dated 1764, showing the infant Mozart at the clavichord (now in the Palace of Versailles).
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This means that after striking the string, the hammer must be lifted or raised off the strings. Moreover, the hammer must return to its rest position without bouncing violently, and it must return to a position in which it is ready to play almost immediately after its key is depressed so the player can repeat the same note rapidly. Cristofori's piano action was a model for the many approaches to piano actions that followed in the next century. Cristofori's early instruments were made with thin strings, and were much quieter than the modern piano, but they were much louder and with more sustain in comparison to the clavichord—the only previous keyboard instrument capable of dynamic nuance via the weight or force with which the keyboard is played.
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Upon graduation, he was presented with the Elizabeth Wyckoff Durham Award for Excellence in Keyboard Studies. After winning a Fulbright Scholarship and Swiss Arts Government Grant, Valjarevic studied at the Geneva Conservatory in Switzerland under the tutelage of Pascal Devoyon. While in Geneva, he received chamber music instruction from Jean Jacques Balet and clavichord lessons from Nicole Hostettler at the Centre de Musique Ancienne. He has participated in Master Classes with Naum Shtarkman, Gaby Casadesus, Gyorgy Sandor, Jerome Lowenthal, Lilian Kallir, Eteri Andjaparidze, and Lydia Kouteva, and in festivals such as IMS Prussia Cove in England, the American Conservatory in Fontainebleau, France, the Apeldoorn Festival in The Netherlands, the International Festival-Institute at Round Top in Texas, The International Keyboard Institute and the Beethoven Institute in New York, Kneisel Hall in Maine (as a recipient of Artur Balsam Scholarship).
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Often classified with Gryphon were Gentle Giant whose multi-instrumental members added clavichord, harpsichord, violin and recorder to the mix from their second album Acquiring the Taste (1971), but this was all combined with classical and jazz elements and can be already considered as progressive rock.W. Martin, Listening to the Future: The Time of Progressive Rock, 1968-1978 (Open Court Publishing, 1998), p. 220. In 1971, the year that Gryphon and Gentle Giant were founded, medieval music was one of the prevailing fashions in rock music, as evidenced by probably the most successful band of the moment Led Zeppelin in their amalgamation of blues- based rock with recorders and mandolins together with medieval themes on Led Zeppelin IV, most notably on ‘Stairway to Heaven’.R. Yorke, Led Zeppelin, From Early Days to Page and Plant (Virgin, London, 1974, 2nd edn.
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In their search for new sounds, the band incorporated musical instruments such as the Indian tambura and tabla, and clavichord, vibraphone and tack piano into their work for the first time. The guitar sound on the album was more robust than before, through the use of new Fender amplifiers; the choice of guitars, which included Harrison using a Gibson SG as his preferred instrument; and the introduction of Fairchild 660 limiters for recording. With no expectations of being able to re-create their new music within the confines of their live shows, the Beatles increasingly used outside contributors while making the album. This included the band's first use of a horn section, on "Got to Get You into My Life", and the first time they incorporated sound effects extensively, during a party-style overdubbing session for "Yellow Submarine".
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Layout of a musical keyboard (three octaves shown) 88-key piano illustration Steinway concert grand piano A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Keyboards typically contain keys for playing the twelve notes of the Western musical scale, with a combination of larger, longer keys and smaller, shorter keys that repeats at the interval of an octave. Depressing a key on the keyboard makes the instrument produce sounds—either by mechanically striking a string or tine (acoustic and electric piano, clavichord), plucking a string (harpsichord), causing air to flow through a pipe organ, striking a bell (carillon), or, on electric and electronic keyboards, completing a circuit (Hammond organ, digital piano, synthesizer). Since the most commonly encountered keyboard instrument is the piano, the keyboard layout is often referred to as the piano keyboard.
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Unlike in a piano action, the tangent does not rebound from the string; rather, it stays in contact with the string as long as the key is held, acting as both the nut and as the initiator of sound. The volume of the note can be changed by striking harder or softer, and the pitch can also be affected by varying the force of the tangent against the string (known as Bebung). When the key is released, the tangent loses contact with the string and the vibration of the string is silenced by strips of damping cloth. The action of the clavichord is unique among all keyboard instruments in that one part of the action simultaneously initiates the sound vibration while at the same time defining the endpoint of the vibrating string, and thus its pitch.
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He was probably born in Bourges, and received his early training there, becoming a choirboy at the Ste Chapelle of the Bourges royal palace in October 1458, along with his brother Pierron. Between October 1458 and 31 March 1459 the brothers were assigned to the care of Jehan Gaudier, and in 1462 the composer Guillaume Faugues became briefly magister puerorum (master of the choirboys); he may have been a formative influence on the young Philippe. The boy's musical gifts were sufficiently distinguished that he had a clavichord purchased for him in 1462, an extremely rare occurrence for a choirboy of 12 or 13 years old. Ockeghem also visited Bourges that year, but if the boy made his acquaintance then is not known; however the influence, and possibly friendship, of the older composer was to become clear later.
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The post at the RCM, which from 1925 he combined with the position of Director of Music at St Paul's Girls' School, and frequent work as a competition adjudicator, was to reduce the amount of time he could devote to composition; but he continued to write orchestral and chamber music, including the string quartet In Gloucestershire (originally written 1916, but rewritten in whole or in part several times and not reaching its final form until the 1930s), the overture Merry Eye (1920) and the second Piano Concerto (1925). The first performance of the last named work occasioned a demonstration in the concert hall from a hostile critic. Howells, always over-sensitive to criticism, withdrew the work and produced few significant compositions for several years. One exception was Lambert's Clavichord (1928), a rare example of a composition by a 20th-century composer for that instrument.
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In 1971, Leonhardt and Harnoncourt undertook the project of recording the complete Bach cantatas; the two conductors divided up the cantatas and recorded their assigned cantatas with their own ensembles. The project, the first cycle on period instruments, ended up taking nineteen years, from 1971 to 1990. In addition, Leonhardt recorded Bach's St Matthew Passion, Mass in B minor, Magnificat, and the complete secular cantatas, as well as the harpsichord concertos, Brandenburg concertos, and most of his chamber and keyboard music; he recorded Bach's Goldberg Variations (three times), Partitas (twice), The Art of Fugue (twice), The Well-Tempered Clavier, French Suites, English Suites (twice), Inventions and Sinfonias, and many other individual works for the harpsichord, clavichord, or organ. To the surprise of some of his associates,Rudolf Rausch, "Gustav Leonhardt" Ad Parnassum: A Journal of Eighteenth and Nineteenth Century Instrumental Music 10(19) April 2012, p.
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He won the 2000 Gramophone Early Music award for his recording of the complete keyboard music of William Byrd (see also: My Ladye Nevells Booke and The Fitzwilliam Virginal Book), published on Hyperion Records, which he performed on harpsichord, chamber organ, church organ, clavichord, and muselar. He has published critical editions of the work of various baroque composers, including a keyboard edition (and his own recording) of Johann Sebastian Bach's The Art of Fugue that contains his own completion of the final unfinished fugue. He has also rediscovered the 40 and 60 part mass Missa sopra Ecco sì beato giorno by Alessandro Striggio, lost since the 17th century, of which he conducted what he believed to be the first performance since the 16th century on 17 July 2007 at the BBC Proms in London. Until 2001, he was also director of Éditions de l'Oiseau-Lyre, the French- Australian music publishing company which sold its LP business to Decca Classics in 1970.
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The founder of the family, violinist Leonardo González Abreu (1706), was born in the Canary Islands, Spain, and was married to a local harpist named Bernarda Rodríguez Rojas, along which he raised an entire family dedicated to the music activity for several generations. On February 8, 1764, Esteban Salas y Castro, the new Chapel Master, arrived at the Santiago de Cuba Cathedral. To fulfill his musical duties, Salas counted with a small vocal-instrumental group that included two violins. After the arrival in Santiago de Cuba, in 1793, of numerous colonists who fled from the slave revolt in Saint Domingue, Karl Rischer and Madame Clarais, having brought with them a clavichord, founded an orchestra with flute, oboe, clarinet, trumpet, three horns, three violins, viola, two violoncellos and percussion. Also during the second half of the 18th century, violinist Ramón Menéndez earned great reputation and the respect of the new generations of musicians; for that reason he was called “The Master” (El Maestro).
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Set in Concord, Massachusetts, during and after the American Civil War, the film is a series of vignettes focusing on the struggles and adventures of the four March sisters and their mother, affectionately known as Marmee (Spring Byington), while they await the return of their father (Samuel S. Hinds), who serves as a colonel and a chaplain in the Union Army. Spirited tomboy Jo (Katharine Hepburn), who caters to the whims of their well-to-do Aunt March (Edna May Oliver), dreams of becoming a famous author, and she writes plays for her sisters to perform for the local children. Amy (Joan Bennett) is pretty but selfish, Meg (Frances Dee) works as a governess, and sensitive Beth (Jean Parker) practices on her clavichord, an aging instrument sorely in need of tuning. The girls meet Laurie (Douglass Montgomery), who has come to live with his grandfather, Mr. Laurence (Henry Stephenson), the Marches' wealthy next- door neighbor.
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In most musical instruments, the tone-generating component (a string or resonant column of air) vibrates at many frequencies simultaneously: a fundamental frequency that is usually perceived as the pitch of the note, and harmonics or overtones that are multiples of the fundamental frequency and whose wavelengths therefore divide the tone-generating region into simple fractional segments (1/2, 1/3, 1/4, etc.). (See harmonic series.) The fundamental note and its harmonics sound together, and the amplitude relationships among them strongly affect the perceived tone or timbre of the instrument. In the acoustic piano, harpsichord, and clavichord, the vibrating element is a metal wire or string; in many non-digital electric pianos, it is a tapered metal tine (Rhodes piano) or reed (Wurlitzer electric piano) with one end clamped and the other free to vibrate. Each note on the keyboard has its own separate vibrating element whose tension and/or length and weight determines its fundamental frequency or pitch.
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Although only two of Froberger's works were published during his lifetime, his music was widely spread in Europe in hand-written copies, and he was one of the most famous composers of the era (although he studied in Italy and obviously had friends and former mentors there, no Italian sources of his music were found). Because of his travels and his ability to absorb various national styles and incorporate them into his music, Froberger, along with other cosmopolitan composers such as Johann Kaspar Kerll and Georg Muffat, contributed greatly to the exchange of musical traditions in Europe. Finally, he was among the first major keyboard composers in history and the first to focus equally on both harpsichord/clavichord and organ. Froberger's compositions were known to and studied by, among many others, Johann Pachelbel, Dieterich Buxtehude, Georg Muffat and his son Gottlieb Muffat, Johann Caspar Kerll, Matthias Weckmann, Louis Couperin, Johann Kirnberger, Johann Nikolaus Forkel, Georg Böhm, George Handel and Johann Sebastian Bach.
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Book of Ways (1986) is a studio recording of clavichord solos. The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that made him one of the best-selling jazz artists in history. Albums released from these concerts were Solo Concerts: Bremen/Lausanne (1973), to which Time magazine gave its 'Jazz Album of the Year' award; The Köln Concert (1975), which became the best-selling piano recording in history;Keith Jarrett Biography , All About Jazz. Retrieved April 6, 2010. and Sun Bear Concerts (1976) – a 10-LP (and later 6-CD) box set. Another of Jarrett's solo concerts, Dark Intervals (1987, Tokyo), had less of a free-form improvisation feel to it because of the brevity of the pieces. Sounding more like a set of short compositions, these pieces are nonetheless entirely improvised. After a hiatus, Jarrett returned to the extended solo improvised concert format with Paris Concert (1990), Vienna Concert (1991), and La Scala (1995).
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Graduates of the RIAM's full-time programmes have been accepted for further study at the most prestigious music institutions around the world from the Juilliard School in New York to the Royal Academy of Music in London. In recent years students of the Academy have been finalists and winners of some of the world's most prestigious international competitions including the Clara Haskil International Piano Competition, the Cardiff Singer of the World Competition, the China International Vocal Competition, the Cologne International Piano Competition, the Dublin International Piano Competition and the BBC Musician of the Year. On the international stage, former students are currently members of such leading orchestras as the London Symphony Orchestra, the Philharmonia Orchestra, Hong Kong Philharmonic Orchestra, as well as opera houses from the Royal Opera House at Covent Garden to La Scala, Milan. The Cathal Gannon Early Music Room was opened in May 2003; it contains a harpsichord and clavichord made by Cathal Gannon, a Broadwood grand piano restored by him, a square piano and information about Mr Gannon in addition to other historically significant keyboard instruments.
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Cuttings on the Collection from various local Newspapers and magazines Tours for University students were sometimes conducted, and the SABC periodically aired early composers' works which he would perform there, (often together with touring overseas performers) on authentic Harpsichord(s) or a Clavichord or Hammerklavier.Archives of newsclippings of public performances on Pleyel harpsichord, the antique hammerklavier, and Neupert clavichordTranscripts of a few SABC harpsichord duets Most of the musicians and groups touring Southern Africa through his invitation, between 1954 and 1978 short introduction to 127 musicians and musical groups touring Southern Africa were invited to browse in the Library and or try out the instruments. A number discovered interesting or little- known works. (See note 7 in: examples of unusual works referenced.)Hans Adler Classical Musicians Autograph CollectionUniversity of the Witwatersrand's Hans Adler showcase of Rare and Noteworthy Collection Exhibits The Fine Arts Departments of South African Universities were very interested in the Museum (which was considered by some musicologists to be one of the more outstanding museums of this nature in private hands), and it was eventually willed to the University of the Witwatersrand in Johannesburg, who opened a "Hans Adler Memorial Museum" in their Arts Building in 1980.
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Police and workmen removed approximately 120 tons of debris and junk from the Collyer brownstone. Items were removed from the house such as baby carriages, a doll carriage, rusted bicycles, old food, potato peelers, a collection of guns, glass chandeliers, bowling balls, camera equipment, the folding top of a horse-drawn carriage, a sawhorse, three body forms, painted portraits, photos of pin-up girls from the early 1900s, plaster busts, Mrs. Collyer's hope chests, rusty bed springs, the kerosene stove, a child's chair (the brothers were lifelong bachelors and childless), more than 25,000 books (including thousands about medicine and engineering and more than 2,500 on law), human organs pickled in jars, eight live cats, the chassis of the old Model T with which Langley had been tinkering, tapestries, hundreds of yards of unused silks and other fabrics, clocks, fourteen pianos (both grand and upright), a clavichord, two organs, banjos, violins, bugles, accordions, a gramophone and records, and countless bundles of newspapers and magazines, some of them decades old, and thousands of bottles and tin cans and a great deal of garbage. Near the spot where Homer had died, police also found 34 bank account passbooks, with a total of $3,007 (about $ as of ).Silverman 2001 p.
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