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[citation needed] Thus the Neupert firm still offers its mid-century "Bach" model for sale, defending it explicitly on the grounds of its suitability for 20th-century music. [3] The transition of harpsichord building toward historicist principles is covered in detail by Hubbard (1965), Zuckermann (1969), and Kottick (2003), cited below.
Pages in category "Pleyel et Cie" The following 12 pages are in this category, out of 12 total. This list may not reflect recent changes. ...
Pleyel et Cie. ("Pleyel and Company") is a French piano manufacturing firm founded by the composer Ignace Pleyel in 1807. [2] In 1815, Pleyel's son Camille joined him as a business partner. The firm provided pianos to Frédéric Chopin , [ 3 ] who considered Pleyel pianos to be "non plus ultra". [ 4 ]
Boalch-Mould Online A searchable database of 2000+ harpsichord and clavichord makers, 2500 instruments, and 4300 instrument photos. The first edition of Donald Boalch's catalog of harpsichord makers is accessible online at www.hathitrust.org.
At the University of Chicago, Williamson met Philip Manuel (1893–1959) and the two developed an interest in harpsichord as a concert instrument. At this time in the 1920s, there were fewer than 50 harpsichords in the United States, most located in museums. [ 1 ]
The piano firm Pleyel et Cie was founded by Ignace Pleyel and continued by Pleyel's son Camille (1788–1855), a piano virtuoso who became his father's business partner as of 1815. The firm provided pianos used by Frédéric Chopin , who considered Pleyel pianos to be non plus ultra . [ 21 ]
The Harpsichord Owner's Guide. Chapel Hill: University of North Carolina Press. Kottick, Edward (2003). A History of the Harpsichord. Indiana University Press. ISBN 0-253-34166-3. An extensive survey by a leading contemporary scholar. Russell, Raymond (1973). The Harpsichord and Clavichord: an introductory study (2nd ed.). London: Faber and Faber.
Wanda Aleksandra Landowska (5 July 1879 – 16 August 1959) [1] was a Polish harpsichordist and pianist whose performances, teaching, writings and especially her many recordings played a large role in reviving the popularity of the harpsichord in the early 20th century.