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Academic literature on the topic 'Harpsichord Concertos'

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Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Harpsichord Concertos"

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BILIR EYÜPOĞLU, Emine. "IDENTIFYING THE DIFFERENCES THE HARPSICHORD AND THE PIANO INTERPRETATION OF J. S. BACH'S BWV 1056 CONCERTO IN F MINOR." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 100–114. http://dx.doi.org/10.31567/ssd.770.

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The Baroque period is a period in which the form and style of the renaissance period came to an end, religious and mythological subjects were dealt with in all branches of art, and the period between renaissance and classicism in art history and described as 'ornate art style'. In this article, the differences between the harpsichord interpretation of J.S.Bach's Bwv 1056 F Minor Concerto originally written and the modern instrument piano interpretation were determined. In the first parts of the study, the general features of the Baroque period, the baroque period in music, the most important composers of the baroque period, the instruments of the baroque period and the music forms of the baroque period are mentioned. Subsequently, the focus is on the journey from the past of the harpsichord to the modern piano, J.S.Bach's style and harpsichord concertos; In the last part, with the support of the Project* recordings the analysis of BWV 1056 F Minor Concerto’s piano and harpsichord interpretations were analyzed and evaluated. It is aimed that this article will be a pre-study tutorial and contribution to many musicians and commentators.
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Cantet, R. J. C. "Statistical methods in animal breeding and Bach’s harpsichord concertos." Journal of Animal Breeding and Genetics 127, no. 5 (September 10, 2010): 334–35. http://dx.doi.org/10.1111/j.1439-0388.2010.00896.x.

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Górny, Tomasz. "Estienne Roger and his agent Adam Christoph Sellius: new light on Italian and French music in Bach’s world." Early Music 47, no. 3 (July 24, 2019): 361–70. http://dx.doi.org/10.1093/em/caz041.

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Abstract The article opens with a discussion of the Italian and Italianate concertos that Johann Sebastian Bach transcribed for the organ and harpsichord (bwv592–96, bwv972–87). Hans-Joachim Schulze has suggested that Bach encountered these Italian instrumental works as a result of a trip by Prince Johann Ernst of Saxe-Weimar to the Netherlands. This article suggests an alternative route for Bach to have gained copies of Italian concertos, namely via the Halle and Leipzig bookseller Adam Christoph Sellius. He traded in sheet music published by Estienne Roger in Amsterdam and also in French printed music, probably imported through his contacts in the Netherlands.
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Rogers, Victoria. "Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall." Royal Musical Association Research Chronicle 49 (2018): 50–67. http://dx.doi.org/10.1080/14723808.2017.1341204.

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During the 1950s and 1960s in London, in the Royal Festival Hall, an unusual series of concerts took place. These concerts stood apart from the usual offerings in London's post-war musical life. What they offered was early music, principally J.S. Bach's concertos for two, three and four keyboards, played not on the piano, as had hitherto been the case, but on the harpsichord. This article documents, for the first time, the facts, and the implications, of the Royal Festival Hall concert series: how it came about; the repertoire; the performers; and the performances. The article concludes that the Royal Festival Hall concerts were notable in the evolution of the early music movement in the UK, deepening its reach to a broader audience and nurturing an awareness of an issue that was increasingly to gain traction in the later decades of the twentieth century: the idea of historical authenticity in the performance of early music.
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Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.

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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
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Okuneva, Ekaterina G. "The Instrumental Concerto in Bent Sørensen’s Musical Output." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 162–76. http://dx.doi.org/10.56620/2782-3598.2023.2.162-176.

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In the musical output of the modern Danish composer Bent Sørensen, the genre of the instrumental concerto occupies the leading position. The composer has written eight concertos, as well as a number of orchestral works in which particular solo instruments stand out. Based on their analysis, the article reveals the composer’s approach to this genre and the possibility of maintaining it. One of the characteristic features of Sørensen’s concerto works is the programmatic quality. The composer’s works are united by common themes of decay, disappearance, as well as reflection of musical culture, which leads to a saturation of the musical material by means of various stylistic allusions. The unified conceptual sphere gives rise to the phenomenon of connections between different musical works in the output of the Danish composer, while the stylistic juxtapositions, as well as the contrasts of the heterogeneous material in terms of timbre and texture embody the principle of dialogue, which is characteristic of the genre of the concerto. The programmatic quality determines the variety of compositional solutions of Sørensen’s concertos, in which connection, it is proposed to differentiate all of his compositions into two categories: one is represented by compositional models that preserve or revise the concerto form (for example, the Violin Concerto, the Clarinet Concerto, the Third Piano Concerto), and the other demonstrates models, each one focusing on an individual project (for example, the First Piano Concerto, the Accordion Concerto, the Harpsichord Concerto, etc.). In the latter case, elements of instrumental theater are often introduced into the concerto genre. One specific means of dramaturgy in Sørensen’s concerto opuses is the technique of transformation of the timbre and acoustics of the sound sphere, which involves changing the means of playing, the instruments or the sound sources (for example, a transition of the functioning of the orchestral musicians to singing and playing harmonicas in the Accordion Concerto, the transition from playing tremolo to creating sounds on sandpaper blocks in the composition Mignon — Papillons, the substitution of acoustic sound with tape recording in the Clarinet Concerto). The provided analysis allows us to arrive at the conclusion that the sphere of the instrumental concerto forms a single musical-semantic space in Sørensen’s musical output, which is endowed with its own personal characteristic features.
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Sheludiakova, Svitlana. "The genre of the piano concerto in John Adams’s work on the example of “Must the Devil Have All the Good Tunes?”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 161–84. http://dx.doi.org/10.34064/khnum1-70.09.

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Statement of the problem. The genre of the instrumental concerto is an important part of the famous American composer John Coolidge Adams’s oeuvre. This is evidenced by the popularity of his concertos among performers and the ongoing interest of researchers in them. However, the composer’s piano concertos, especially the Third Concerto titled “Must the Devil Have All the Good Tunes?”, remains largely unexplored, which prevents the elucidation of the principles of interpreting the genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre and stylistic interaction in J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”. For the first time the genre, stylistic, structural and dramaturgical features of this composition become the subject of analysis. The methods of structural and functional, genre and stylistic , and comparative analysis are used in the study. Research results and conclusion. The analysis of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?” indicates a combination of classical principles with features of minimalism and elements of jazz (ragtime, swing and other) and rock and roll. The classical principles are evident in the three-part structure of the cycle, the use of sonata form in the first movement and variation form in the second, and the orchestration that predominantly adheres to academic traditions. At the same time, there are the features of music poem genre, an openness of forms that appeal to the late-Romantic tradition, alongside with fragmentation inherited in contemporary compositional approaches. These aspects are counterbalanced by timbre dramaturgy, which embodies the idea of continuous development through the gradual addition of new instruments and registers, from the lowest to the highest. Minimalist features are evident in the repetitiveness, the significant role of ostinato rhythms, in the structure of the theme of the second movement, and the use of variation form with the addition of new episode. They also interact with baroque stylistics, as evidenced by the use of short trill-like motifs reminiscent of ornaments found in French harpsichord music. Jazz features are embodied on the genre basis of ragtime, funk, and swing as the extensive use of syncopated formulas, accents, polyrhythmic combination of parts, quasi-improvised elements and the walking bass in the piano part, as well as the ensemble techniques borrowed from jazz-bands. The inclusion in the orchestra the bass guitar and the piano sampler with “Honky Tonk” timbre refers to the rock music, to the ragtime tradition and the honky-tonk bars’ music-making. The programmatic aspect of the Concerto is realized through the stylistic interaction between the Classical embodying tradition, balance, and restraint, and the “diabolical” embodying fearlessness, freedom, and boldness associated in the Concerto with jazz, rock, and pop elements. Therefore, these aspects define the stylistic and dramaturgical uniqueness of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”.
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Kitchen, J. "Johann Sebastian Bach, Italian Concerto, French Overture; 4 Duetti, Chromatic Fantasy & Fugue Christophe Rousset (harpsichord), L'Oiseau-Lyre 433 054-2 (rec 1990); Italian Concerto, French Overture; 4 Duetti Kenneth Gilbert (harpsichord), Harmoma Mundi HMA 1901278 (rec 1988); Trio Sonatas, BWV525-30 John Butt (organ) Harmoma Mundi HMU 907055 (rec 1991); Antonio Vivaldi Concerto for 3 Violins; Johann Sebastian Bach; Concertos for 3 & 4 Harpsichords, Christopher Hirons, John Holloway, Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock (violins), Christopher Hogwood, Davitt Moroney, Christophe Rousset, Colin Tilney (harpsichords), The Academy of Ancient Music, directed by Christopher Hogwood L'Oiseau-Lyre 433 053-2 (rec 1980, 1989, 1990)." Early Music XXI, no. 1 (February 1, 1993): 155–57. http://dx.doi.org/10.1093/em/xxi.1.155.

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Zhukova, Olena. "HARPSICHORD IN THE SOUND PICTURE OF THE XX CENTURY MUSIC, EXEMPLIFIED BY F. POULENC’S СONCERT CHAMPETRE." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 128–35. http://dx.doi.org/10.23856/6217.

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At the beginning of the XX century harpsichord went through a major revival. The builders’, performers’, and composers’ approach to reconstruction of this instrument and its sound characteristics have created a whole new system of artistic allusions. That system was unexpected in the context of the instrument’s history, yet logical, considering the aesthetic of the time. Original harpsichord pieces of the early–20th-century composers commonly embody mechanical or automatic movements, imitate life of a big industrial city, show evil underworld forces and at the same time allude to baroque aesthetics, the interest to which triggered the revival of the instrument. Paradoxically, the harpsichord in the beginning of XX century is seen as something new and fresh, something able to replace piano, which had already passed its high point. Yet, the harpsichord revival started thanks to the new generation's interest to the music of XVII–XVIII century. Poulenc’s harpsichord concerto, known also as Concert champêtre, written for Wanda Landowska and her unique Pleyel harpsichord, is treated here as one of the brightest examples of the multiplicity of meanings of the harpsichord sound in early 20th century.
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Artola, Ines R. "“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)." Notes Muzyczny 1, no. 15 (June 21, 2021): 67–107. http://dx.doi.org/10.5604/01.3001.0014.9691.

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The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).
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Dissertations / Theses on the topic "Harpsichord Concertos"

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Hunt, Janet Evelyn. "The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278911/.

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The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard concerto following its origins in the early 1700s. The results of this investigation show that W. F. Bach took the early keyboard concerto of his father's generation and added many of the characteristics which became associated with the mid-eighteenth century concerto. Friedemann retained the polyphonic interplay between tutti and solo, harmonic language, and tonal plan of his father's compositions and added a wealth of rhythmic ideas and a more modern melodic style. He worked within an established four ritornello/three solo plan for the outer movements, but employed a variety of formal plans for the middle movements. Friedemann heightened the contrast between the solo and the orchestra and infused the solo part with formidable virtuosity. At the same time he ensured that the solo and tutti material was related so that the two forces would work together while maintaining distinct identities. This study shows the high merit of W. F. Bach's harpsichord concertos and adds to another chapter in the history of the pre-Classical keyboard concerto.
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Burns, Caryn L. "CONCERTO FOR HARPSICHORD, FLUTE, OBOE, CLARINET, VIOLIN, AND VIOLONCELLO BY MANUEL DE FALLA: AN (AUTO)BIOGRAPHICAL READING." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1144356651.

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Bishop, James Martin. "A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283781/.

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Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.
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Douglas, David James. "Inquiry into J.S. Bach’s method of reworking in his composition of the concerto for keyboard, flute and violin, BWV 1044, and its chronology." Thesis, 1997. http://hdl.handle.net/2429/6473.

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Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. This study will explore in some detail how Bach transforms these solo keyboard pieces into a three movement concerto for three concertino instruments and ripieno. As is the case with most of Bach's instrumental works, the question of where BWV 1044 fits within the chronology of Bach's works is unclear. This paper will attempt a reliable date of composition for this concerto by combining a variety of methods including source study and comparative formal analysis.
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Hsu, Kuei-fang, and 許溎芳. "J.S.Bach harpsichord concerto, BWV1052." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/15775310848525445636.

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碩士
國立中山大學
音樂學系研究所
93
In Baroque period, the concerto development mainly focus on solo concerto. Composers choosed violin as the primary solo instrument. At that time, harpsichord was treated as the basso continuo instruments in orchestra. No harpsichord concerto is found at the beginning of the development of solo concerto. Johann Sebastian Bach was the first composer who used harpsichord as solo instrument for concerto.His harpsichord concerto in Weimar period foreshadow harpsichord concerto in Leipzig period. The harpsichord concertos of J.S.Bach borrowed materials from other composers` or his own solo concertos. This paper uses harpsichord concerto BWV1052 as example to investigate the way Bach changed the role of harpsichord from basso continuo to solo instrument. This paper includes three parts. First, the development of the solo concerto in the Baroque period is explored. The second part focuses on harpsichord concertos of J.S.Bach. Thirdly, examines how Bach borrowed his own materials from Cantata BWV146 to BWV1052, and the relationship among C.P.E.Bach`s harpsichord concerto BWV1052a, Wilfried Fischer `s Violin concerto reconstruction BWV1052 and BWV1052. Finally, a conclusion will be made.
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Books on the topic "Harpsichord Concertos"

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Górecki, Henryk Mikołaj. Concerto for harpsichord (or piano) and string orchestra, opus 40. London: Boosey & Hawkes, 1990.

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Dorival, Jérôme. Le concerto pour clavier: Approches multiples, partition, histoire, art. Lyon: Aléas, 1990.

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Karl, Heller. Bearbeitungen fremder Werke: Kritischer Bericht. Kassel: Bärenreiter, 1997.

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Vivaldi, Antonio. Concerto in A major for harpsichord (keyboard) and strings. New York: Oxford University Press, 1987.

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Park, Maria Hester. Concerto for the piano forte or harpsichord in E-flat major. Pullman, WA: Vivace Press, 1993.

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Kilian, Dietrich. Konzerte für Violine, für zwei Violinen, für Cembalo, Flöte und Violine: Kritischer Bericht. Kassel: Bärenreiter, 1989.

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Bach, Johann Sebastian. Bach for relaxation. New York, NY: RCA Victor, 1998.

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Charpentier, Marc-Antoine. Suite for Harpsichord: Arranged by Richard Siegel from the Concert pour quatre parties de violes H.545. Edited by Richard Siegel. Paris France: Richard Siegel, 2020.

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Karl, Heller. Konzerte für zwei Cembali: Kritischer Bericht. Kassel: Bärenreiter, 1990.

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(Composer), Johann Sebastian Bach, and Rosalyn Tureck (Editor), eds. Concerto in the Italian Style (Urtext Edition): Harpsichord or Piano Solo. G. Schirmer, Inc., 1986.

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Book chapters on the topic "Harpsichord Concertos"

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Jones, Richard D. P. "The harpsichord concertos and other instrumental works." In The Creative Development of Johann Sebastian Bach, Volume II: 1717-1750, 248–70. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199696284.003.0008.

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Steinberg, Michael. "Martin." In The Concerto, 254–61. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0023.

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Abstract It is possible to imagine this Concerto as the outcome of a liaison of Stravinsky with Ravel. “I set out to display the musical qualities of the various soloists in the wind and brass groups as well as their virtuosity,” Martin wrote, “and so I made the music brilliant and technically difficult. But I also tried to make the most of the characters of sonority and expression of the seven instruments, which differ so greatly in the manner of producing sound and in their mechanism.” Both the virtuosic element and the conversational manner lead to an engagingly playful, sportive music. This work comes from a time when the writing of concertos particularly interested Martin: the Petite Symphonie concertante for harp, harpsichord, piano, and two string orchestras dates from 1945, the Violin Concerto from 1951, and the Harpsichord Concerto from 1952.
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Careri, Enrico. "The Sonatas." In Francesco Genminiani (1687–1762), 84–112. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0006.

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Abstract THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’. Op. I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute. The second set of violin sonatas, Op. IV (1739), of which a version for concerto grosso also exists, were transcribed almost in their entirety for harpsichord. The cello sonatas, Op. V (1746), were published simultaneously with their transcription for violin. The remaining sonatas, with few exceptions, are drawn from earlier compositions: the two sets of Pieces de Clavecin (1743, 1762) from Opp. I, II, IV, V, and VII, and the treatises for violin and cittem.
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Hutchings, Arthur. "The ancestry. Keyboard concertos before mozart." In A Companion to Mozart’s Piano Concertos, 26–35. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0003.

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Abstract In his fifth deal of ‘Brandenburg’ instruments, Bach raises the continuo player to chief performer. It is notable that the bass of the harpsichord part is figured only where the right hand stave is empty; it is therefore probable that the functions of Cembalo Concertato and Cembalo Continuo were invested in one keyboard; it is also possible, but not probable, that Mozart’s audiences remembered seeing a continuo player doing his duty even when a clavier soloist was to the forefront. Mozart’s clavier remembers its humble origin, though its memory fades until in the last three concertos it sometimes fails to provide its own bass. But in Mozart solo and orchestra are in mutual liaison. It is mistaken to declare that, in concerto, Beethoven set the orchestra free. He set the piano free--so free that players long for support while practising. The Mozartian performer, doubling orchestral bass as he should when not playing a concertante section, rattling away in memory of Domenico Alberti, or arpeggiating orchestral harmony, is not an accompanied soloist; he is sparring partner to the band. His part never anticipates that of the Grieg Concerto, which one can play at home quite happily without a pocket orchestra or a second piano.
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Steinberg, Michael. "Bach." In The Concerto, 11–20. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0002.

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Abstract Bach wrote these works about 1720, and presumably led and took part in their first performances at the court of Cothen soon after their composition. They were almost certainly introduced singly, not as a set. Bach played the harpsichord in the Concerto No. 5, and probably played violin in the first four concertos and viola in No. 6. The scoring is discussed in the notes on the individual works. When Bach assumed the post of Capellmeister to His Most Serene Highness Leopold, Prince of Anhalt-Cothen, in 1717, he made that move in the hope of spending the rest of his life there. The court was Calvinist and thus required no church music, and Bach enjoyed the change of not being primarily an organist and the challenge of providing great quantities of solo, chamber, and orchestral music. His new patron, just twenty-three, loved music and played the violin, the viola da gamba, and keyboards skillfully. But the idyll was spoiled when Bach’s wife died suddenly in the summer of 1720, and the next year the professional scene darkened when the prince married. His musical interests, Bach recalled later, became “somewhat lukewarm, the more so since the new Princess seemed to be alien to the muses.” In fact the Amusa, as Bach called her, soon died, and Leopold’s second wife was a sympathetic and sensitive patron, but by then Bach was restless and determined to leave.
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Cole, Michael. "The English Grand, 1778-1805." In The Pianoforte In The Classical Era, 129–43. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198166344.003.0008.

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Abstract AmericusBackers Unrivalledposmon in grand piano making meant that his early death in January 1778 left a void in London’s musical scene at the very moment when the pianoforte was finally and irrevocably accepted in concert life. Those who had bought instruments from Backers, or were contemplating such a purchase, then had to look for a successor. The man who took up the mantle of Backers was Robert Stodart. Stodart is believed to have been born in southern Scotland in the 1735-40 period. Arriving in London c.1765, he was employed for some years in Shudi’s workshop, where he learnt harpsichord making under the supervision of his compatriot, John Broadwood. After Shudi’s death in 1773, Stodart made plans to set up his own workshop, which he accomplished when he took the lease of a house in Wardour Street in 1775. Part of his plan was to exploit the potential of combining the harpsichord and pianoforte in one instrument. In November 1777 Stodart patented a type of combination grand piano and harpsichord which did not infringe Joseph Merlin’s patent of three years earlier. Merlin’s concept was of a down-striking set of hammers applied to what was in essence a harpsichord: Stodart’s, on the contrary, was a piano-forte with an up-striking action wherein two harpsichord jacks replaced the usual damper.
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7

Cole, Michael. "In Vienna." In The Pianoforte In The Classical Era, 212–36. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198166344.003.0013.

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Abstract On6 March1763 a relatively inconspicuous concert at the Burgtheatr in Vienna included a performance by an obscure musician called Johann Baptist Schmid on ‘a new instrument made like a harpsichord through which one may imitate the Pantalon’ . Despite all the attention that has been turned upon the origins of the Viennese piano, this remains the earliest known reference to such instruments in the imperial capital. The concert was mainly comprised of vocal items, and the diarist who noted this unusual instrument was unable to give it a precise name. Two months later, on 13 May, a similar evening’s entertainment saw the return of this performer, whose instrument is now said to be called Piano et Forte. No other information about the player or the instrument has come to light. This inaugural appearance (if that is what it was) and the form of the name when finally given exactly parallel the French experience, for, as we have previously noted, the piano first came before the public in Paris in the early 1760s as a harpsichord-like instrument given the name piano et forte. There is a very strong probability that Schmid’s instrument was of the Silbermann type, and we should not be surprised if other notices should come to light of similar debut concerts in other cities where court influence favoured French language and culture.
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8

Cole, Michael. "The Early Piano I." In The Pianoforte In The Classical Era, 1–22. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198166344.003.0001.

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Abstract It Would Hardly be overstating the case to say that before the advent of the early classical era, even as late as 1765, the pianoforte had barely any influence on musical composition or performance. For all practical purposes—in the performance of instrumental music, the accompaniment of songs, in the opera-house, the theatre, the home, and in any kind of quasipublic concert—the overwhelmingly popular choice of keyboard instrument was the harpsichord. Its limitations as an expressive instrument, in that its plucking action could not produce the subtle variations of dynamic level that were so essential in the performance of songs or violin music, were generally overlooked (or at least forgiven), since its virtues-clear articulation and a sonorous tone—were more than sufficient to compensate. In fact, in 1765 the great days of harpsichord making had arguably only just begun.
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9

Kahl, Willi. "Romantic Piano Music: 1830–1850." In Romanticism (1830–1890), 237–56. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193163096.003.0004.

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Abstract WHEN in February 1837 Ignaz Moscheles gave three piano recitals in London, his programmes included not only recent piano music but works by Domenico Scarlatti and his contemporaries, which he performed on a 1771 harpsichord from the Schudi workshops placed at his disposal especially for these concerts by the firm of Broadwood. This was probably the first time in the nineteenth century that the harpsichord was introduced into the concert hall in the role of ‘historical’ instrument. In the course of the preceding decades the Hammerflugel had undergone structural improvements which naturally influenced performing technique and composition. One of these was the repetition mechanism invented by Sebastien Erard and patented in London in 1808, followed in 1821 by his double escapement which permitted the same note to be struck several times in rapid succession. A most important step towards strengthening the structure of the Hammer.fiugel, and one which opened up many new possibilities in the field of dynamics, was the introduction, from America where it was patented in 1825, of the iron frame cast in a single piece which gradually superseded the older wooden frame, and the overstringing of the bass strings. Of far-reaching effect on the styles of piano music in these decades were the opposing influences on the one hand of the so-called Viennese school and on the other of English technical progress which played an increasingly incisive role in piano manufacture after 1800.
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10

Townsend, Peter. "Development of Fixed Frequency Keyboards." In The Evolution of Music through Culture and Science, 121–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0008.

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The role of science has been to structure a variety of ever more powerful keyboard instruments. The mechanics of their actions are sketched from clavichords to modern pianos. The benefits of more power become a problem when playing music written for quieter and softer sounding pianos, especially in trio or quartet music. This implies a definite market for electronic keyboards that have a variety of sounds from harpsichord or fortepiano to a powerful modern concert grand tone and power. Note that a modern grand can deliver roughly 1000 times more power than a fortepiano.
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