The Cambridge Companion to the Harpsichord

doi:10.1017/9781316659359

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2019. Publications Received. Journal of the American Musicological Society, Vol. 72, Issue. 2, p. 602.

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Berry, Mark and Vazsonyi, Nicholas 2020. The Cambridge Companion to Wagner's Der Ring des Nibelungen.

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Russo, Matteo and Robles-Linares, Jose A. 2021. Advances in Italian Mechanism Science. Vol. 91, Issue. , p. 11.

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Ichim, Diana Szőcs , Botond and Drăgulin , Stela 2024. Fantasy and Innovation in Deux pièces pour clavecin, h. 244 by Bohuslav Martinů. Studia Universitatis Babeş-Bolyai Musica, Vol. 69, Issue. Sp.Issue 1, p. 171.

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Vilares, Ricardo 2025. Perspectives on Music, Sound and Musicology II. p. 61.

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Edited by Mark Kroll, Boston University

Publisher:: Cambridge University Press
Online publication date:: January 2019
Print publication year:: 2019
Online ISBN:: 9781316659359
DOI:: https://doi.org/10.1017/9781316659359

Subjects:: Music, Eighteenth-Century Music, Music: General Interest, Music Performance
Collection:: The Cambridge Companions to Music
Series:: Cambridge Companions to Music

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Contents

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Written by fourteen leading experts in the field, this Companion covers almost every aspect of the harpsichord - the history of the instrument, tuning systems, the role of the harpsichord in ensemble, its use in the twentieth and twenty-first centuries, and includes separate chapters devoted to Domenico Scarlatti, J. S. Bach and Handel. Chapters featuring almost every national style are written by authors with close connections to the countries about which they are writing, including England, The Netherlands, Germany, the Austro-Hungarian Empire, France, Italy, Portugal and Spain, as well as the less extensive harpsichord traditions of Russia, the Nordic and Baltic countries, and colonial Spanish and Portuguese America. With musical examples, illustrations, a timeline of the harpsichord, and an appendix of composers, reliable editions and original sources, this book is for all who love the harpsichord, or want to learn more about it.

‘This book is a valuable addition to the existing literature on this subject, to be commended to every harpsichord student or aficionado.’

Thérèse de Goede Source: Early Music

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