Music of harpsichord

The Clavecin was a very important instrument in Western Europe during nearly three centuries, of the 16th century at the 18th century.

It was usually used, in competition with other instruments (Luth, Viola da gamba), to carry out the Basse continues. He is also the recipient of vast and prestigious repertory for soloist: it was, with the Orgue (but in a register profane), the ideal instrument to carry out the counterpoint; during approximately one century (1650-1750), the continuation is the privileged instrumental form which is associated for him but it carries out also Toccata S, Fugue S, Fantaisie S, etc; during the 18th century, one also devoted Sonate S to him, Concerto S but it was then quickly erased with the profit of the Piano-forte.

Its rebirth at the end of the 19th century was greeted by the composition of some works. It especially contributed to make revive the old Musique as from the post-war period.

The 16th century

The first works which reached us go back to the 16th century. In the Latin world, the writing is close to that of the lute which it often replaces. In the German countries, the evolution of the repertory of the harpsichord remains indistinguishable of that of the Orgue, whose experts are the same ones. The Harpsichord S the such virginal, in France, or the Virginal , in England, was used at that time for the interpretation of profane and light parts, such as transcriptions of popular songs and parts to be danced which are sometimes lost. The first imagination for keyboard was made up during this time, by Antonio Valente. Of Spain, the compositions for keyboard consist especially of developments of preexistent parts, made up at the origin for voices; Master of this practice was Antonio de Cabezón.

The 17th century

The initial hearths of the development of the repertory are multiple: the Italy, the Netherlands, England, France, Germanic countries, just as the practiced musical forms. Those are organized mainly in three main categories whose each nation is done, more or less, a speciality:
  • movements of dance such as Pavane and Strong (France, England);
  • parts of free inspiration: Ricercar, Imagination, Toccata, canzone (Italy);
  • variations (England).
The Germanic type-setters visit Italy in order to draw there with the source and have a predilection for the Fugue, form resulting from the ricercar, which they will carry at the most point of development.

These hearths are thus not isolated the ones from the others and many are the artists who leave their area of origin to go to discovered from other horizons. These musicians are with the service of the princes and the aristocratic courses. They can accompany their silent partners during their voyages and their embassies, such Frescobaldi remaining in Flandres, Bernardo Pasquini in Paris. They can also flee an unfavourable political environment, like English Peter Philips and John Bull which finishes their career in Flanders after being flee of their country in prey with the fights between Anglicans and catholics. The talent and the reputation of professor of largest - Sweelinck with Amsterdam, or Frescobaldi with Rome - attract many pupils and disciples.

England

England is, as of the end of the 16th century, one of the principal hearths of the literature for this instrument. The first large Master is William Byrd; he precedes an impressive series virginalists (in particular Bull, Gilles Farnaby, Peter Philips, Orlando Gibbons) who, all or almost, disappear in the years 1620 - 1630; this music full with liveliness and imagination benefits the best from virginal and from its antiquated devices: short Octave and pretended broken. After this very fertile time, no English artist will raise really this so promising school. Henry Purcell only writes very little for the harpsichord, still acts it of short continuations without claim, probably with didactic goal. Thomas Tomkins wrote several parts for the virginal one and the organ, in a strictly polyphonic language which remains that of the Rebirth right in the middle of the 17th century. William Croft composes of many continuations, also of very simple structure, towards the end of the century.

Italy

The large Italian Master of the harpsichord at the 17th century is Girolamo Frescobaldi, also Organiste of Saint-Pierre of Rome. Disciple of Luzzasco Luzzaschi, his work falls under a long tradition, but exceeds all that had been done before in the peninsula. It is besides, for a good portion, destiny as well with the Clavecin as with the Orgue - the Italian organ is an instrument of enough small size, generally deprived of pedals. This artist whose fame is European is a creator of forms to imagination and overflowing imagination. Its genius is exerted mainly in the forms of the “pure” music: canzone , ricercari , toccate , partite , fantasy , etc the teaching of Frescobaldi diffuses in all Western Europe by its many disciples and admirors: this influence will arrive until Bach. After Frescobaldi, the main thing Italian Claveciniste of the 17th century is Bernardo Pasquini, which was in relation to the French musicians at the time of a voyage to Paris and which has, to him also, formed a big number of pupils, including German. It is still necessary to mention Giovanni Maria Trabaci, and Ascanio Maione, which at the beginning of the century composes two books of “Capricci per sonare”, whose style is often baroque rather than that of the sixteenth century.

France

Chambonnières is often regarded as the father of the French school of harpsichord. However, he probably inherited a long tradition. Its work is dedicated exclusively to the dances and it adapts to the harpsichord broken” or “luthé” style the “of the large French lutists of the time: this style of arpeggios agreements, the unequal notes, an ornamentation plentiful and scintillating and the almost exclusive use of the form “continuation” will remain one century lasting the trademark of all its successors in France. The French harpsichordists will be also accustomed to giving to their parts suggestive names which indicate dance tunes or “parts of character”. They also borrow from the repertory of the lute two kinds of specific parts which will fall in disuse towards the end the 17th century: the tomb and the Prelude not measured.

Chambonnières was the mentor of a genious harpsichordist, Louis Couperin, died in 35 years and which leaves a work of foreground whose the not measured preludes arise particularly and the Chaconne S, monumental and dramatic. One of its masterpieces is famous the Pavane in F # minor, tonality not very used at that time. The end of first half of the century is marked by the passage to Paris of German Johann Jakob Froberger, disciple of Frescobaldi which comes into contact with a circle of musicians to which belonged Louis Couperin: it has a decisive action in the “standardization” of the continuation and connects Italian tradition and French tradition. The other great names of this period are Jean-Henri d' Anglebert (disciple and successor of Chambonnières as harpsichordist of the king, friend of Lully of which it transcribes for harpsichord certain airs) and Nicolas Lebègue whose work circulates in all Europe (some of its continuations were wrongfully allotted to Buxtehude) and who, the first, uses the term of “continuation”. Jean-Nicolas Geoffroy leaves an important work, as well by its quality as by the number of parts which will not be exceeded, among French, who by François Couperin.

Germany

The Germans compose little for the harpsichord, devoting themselves rather to the organ. Sweelinck is the professor and the model of the Germans of north. Those of the south will be formed in Italy, such Froberger or Kerll. All also look at towards France. German art is thus a synthesis of the manners Italian and French influenced by an particular importance given to the counterpoint, milks that one will find with the more high degree at Bach.

About the middle of the century, Johann Jakob Froberger carries out the synthesis of these various traditions: originating in Wurtemberg, he works in Vienna, goes to Rome at Frescobaldi, traverses all Germany, visits Flandres, goes to England, makes a stay in Paris where all leaves think that he meets Louis Couperin because their friends are common and their reciprocal influence estt proclamation. He finishes his life near a rich person and noble patron not far from Montbeliard, with the confin of the French and Germanic worlds. It is Froberger which, the first, fixes the “traditional” structure of the continuation (German, Courante, Sarabande and Gigue) which does not bear this name yet. It also composes of the toccate , of the partite of Italian invoice. If he does not invent it, he practices the “Musique with program” but, curiously, composes neither prelude not measured, nor chaconne.

Organists above all, several German musicians also compose for the harpsichord, of the continuations to the Frenchwoman or the free pipe fittings to Italian: let us quote Matthias Weckmann, Dietrich Buxtehude, Johann Kaspar Kerll, Johann Pachelbel, the Savoyard one germanized Georg Muffat etc Actif in Vienna between 1661 and 1683, Alessandro Poglietti whose Italian origin is not certain, composes sonatas and continuations, its most known collection comprises a descriptive music ( the Nightingale ).

Towards the any end of the century Johann Caspar Ferdinand Fischer (continuations in the French tradition are distinguished) and Johann Kuhnau (whose Biblical Sonatas (1700) are asserted like Musique with program.

The 18th century

It is at the 18th century that the invoice of the harpsichord reaches its more high degree of perfection, in particular in Paris (the Blanchet, Jean-Henri Hemsch, Pascal-Joseph Taskin) but also in Hamburg (Hieronymus Hass), later in London (instruments of Shudi and Kirkman). It is precisely about the same time that the compositions of those appear which Norbert Dufourcq calls “the five”. According to this specialist, the work of these five European musicians indeed carries out an ideal and emblematic synthesis of the music for the harpsichord in its greater diversity: François Couperin, Jean-Philippe Branch, Georg Friedrich Haendel, Jean-Sebastien Bach and Domenico Scarlatti.

The first ten years of the 18th century constitute the apogee of what one called the first French school: in turn are published the collections of Louis Marchand, Charles Dieupart, Louis-Nicolas Clérambault, Gaspard the Russet-red, Jean-François Dandrieu, Jean-Philippe Rameau, Elisabeth Jacquet of the War, Nicolas Siret. All exploit the framework of the continuation, by sometimes allowing many exemptions from the regular structure. The Prélude not measured starts to fall in disuse, but is still illustrated in a masterly way in the initial part of Branch.

François Couperin (1668-1733)

It is during the second decade that François Couperin, already 45 years old, is decided to make publish its first “orders”. Its work, most important for the harpsichord in France, will include/understand 27 orders in four books (1713, 1716/1717, 1722 and 1728): the first are still attached, in a very free way, after traditional (but can comprise a significant number of parts: up to 22 for the second order). Any reference to the dance tunes disappears starting from the second collection and Couperin works out a style which is very personal for him, fact of a discrete Poésie, a serene, bucolic, sometimes tinted atmosphere melancholy or of irony, a technique which is never let dominate by virtuosity or the effects. Couperin uses a very reduced ambitus, and several of its compositions require the use of the large harpsichord with two keyboards, owing to the fact that the hands would be obstructed on only one; for as much, its counterpoint implements seldom more than two votes; the music of Couperin is extremely decorated and the type-setter indicated with much precision the way of carrying out the ornaments, insistent on the fact that any other interpretation would betray its thought. Its parts bear descriptive names, referring to characters small or large, with psychological characters, scenes of nature, sometimes also intrigants by their hidden significance ( Gondoles de Délos , the mysterious Barricades , collapse Them Jxcxbxnxs …). Couperin is the large poet of the harpsichord, and one could compare it, for that, with Robert Schumann. He is also the author of the Art of touching the harpsichord , didactic work which summarize its teaching and to which are annexed, as examples, eight preludes and allemande.

Jean-Philippe Branch (1683-1764)

Jean-Philippe Rameau is different the large French harpsichordist. Although 15 years young person than Couperin, it publishes its first book as of 1706; it appears there admiror of Louis Marchand. The initial prelude, very first work of Branch, poses its author like a Master of the kind. The two following books (1724 and 1728) supplement a very original work and of great quality, perhaps influenced by the Italian production, even if the spirit remains very French. Branch likes more than Couperin the effects of virtuosity ( the Three Hands , the Swirls , the Cyclops …). First theorist of the harmony (his Traité harmony appears in 1722), it has fun to compose a part of a not very common audacity ( Enharmonique ); he also excels writing descriptive musics ( the Recall of the birds , Denied Them of the Sologne , the Hen ) or saltatoires ( Tambourin , the Savages ) of which he will use later the topics in his lyric parts. After having begun, at 50 years, its career of type-setter of operas, he does not write any more for the harpsichord alone, separately an isolated part, Dauphine the (1747), but composes the five parts in concert of three instruments among which the harpsichord occupies the most eminent place (1741) and of which some can be played harpsichord alone.

Georg Friedrich Haendel (1685-1759)

The production of Georg Friedrich Haendel is extremely important in quantity. It is also of quality and the genius of the Master shows through there clearly like his strong vitality. It reigns there however an impressive disorder, because the type-setter, much more concerned of opera than of harpsichord, took time to supervise only the edition of eight of his continuations in 1720. Other parts were published in Amsterdam in a more or less clandestine way (such an amount of the name of Haendel was pledge of business success) and the greatest number is dispersed in manuscripts or collections which pose almost insoluble problems with the musicologists. In particular, their dates of composition are prone to multiple conjectures, even if one is certain that it has of it compound some during his stay with Hamburg. The Haendel series bear only the name from there because it inserts all kinds of other parts there, in particular of inspiration and heading Italian. It also appears there like a Master of the Variation (air varied known as “ the Harmonious Blacksmith” ). Its style exhales an innate direction of the melody, the majesty of the topics and a indéfectible spirit. It composed moreover a big number of isolated and rather easy parts (gavottes, minuets, etc) with didactic destination.

Johann Sebastian Bach (1685-1750)

Work for harpsichord of Jean-Sebastien Bach probably represents the top of the literature of this instrument. It is at the same time very important in volume, of a quality of inspiration and irreproachable technique, of a variety without equal and operates a single synthesis between the principal European styles: that of Italy (liveliness and melody flexibility, taste of virtuosity), that of France (balance of the forms, impregnation of the dance tunes), that of Germany, with its rigorous and omnipresent counterpoint.

The 7 Toccata S are early works. Like “chromatic Imagination and running away” with the aspect improvisatoire, they require a great virtuosity.

Bach composed a score of continuations (18 are gathered in three collections of unequal difficulty: French Suites, English Suites, Partitas (published as from 1726) finally, which is completed and most erudite. The Opening to the Frenchwoman is to be brought closer to this unit. This last work makes during in the Klavierübung with the Italian Concerto - concerto reduced for only one harpsichord in a very convincing way. The two collections of preludes and runnings away of the quite moderate keyboard, composed with more than twenty years of interval (1722, 1744) in all let us tons them major and minors of the chromatic range constitute a single contrapuntic sum which overflows of variety and which evokes research by the theorists, between 1690 and 1750, of the “good” temperament: they probably do not testify, as opposed to what one believed a long time, of the dilection of Bach for the equal Tempérament which however tends to spread at its time.

The 15 inventions and 15 sinfonies are grouped in a collection with didactic goal which prepare the pupil with the concrete approach of the counterpoint and the composition.

The Variations Goldberg are the only ones that Bach wrote for the harpsichord; they are often regarded as one of the tops of this musical genre and clarify the taste of the type-setter for the cycles at the systematic character.

The musical Offering and the Art of the running away justify the reputation of Bach like larger contrapuntist of all times; they offer an exceptional synthesis of this technique of composition in its most accomplished aspects (the Art of the running away, left musical will of Bach, is not specifically intended for the harpsichord): it is a music which is read as much as it is listened.

Lastly, Bach develops the concerto for one or more harpsichord (S) and orchestrates, in the tradition of the concerto of soloist of Vivaldi.

Domenico Scarlatti (1685-1757)

Italian of origin, wire of a famous musician - his father Alessandro is one of the Masters of the Neapolitan opera - Scarlatti then settled with Lisbon then with Madrid as a harpsichordist of the royal court of the Bourbon S of Spain. It was an incomparable virtuoso: at the time of a musical Tournament at the beginning of the century, it had been essential like better harpsichordist than his friend Haendel. Its work is almost exclusively dedicated to the harpsichord. This part was entirely made up in the Iberian peninsula whose musical influence - in particular by the popular music - is very sensitive but it has, in its turn, influenced all musical Europe by the diffusion of many copies. This work includes/understands the figure impressing of 555 Sonate S - the sonatas of Scarlatti are in only one movement of binary cut with recovery (like the dances of the form “continuation”). In this single form, Scarlatti finds the framework which is appropriate perfectly for its made musical genius of melody invention, rhythmic, harmonic, of always renewed lucky finds, virtuosity. Only 30 parts were published under the name of Essercizi (exercises).

France

In the decades 1710 and 1720, Nicolas Siret and Jean-François Dandrieu is the only ones to publish, beside Rameau and of Couperin; they are located clearly in the stylistic tradition of this last. Couperin and Rameau are the leaders of an imposing line of harpsichordists who will publish very many books of harpsichord between 1730 and 1770, also influenced by Italian, Scarlatti in particular. They are often indicated, in a condescending way, as of the “minor artists” whereas their production is often of extreme quality and offers an unexpected synthesis of the poetry of Couperin and exubérance of Scarlatti (for example at Louis-Claude Daquin). Works, which they are entitled continuation or order, make now an almost exclusive call to the parts of character, portraits, evocations of nature, descriptive scenes - sometimes grouped in true cycles: the characters of the war , Hunting … the sonata with Italian makes its appearance, practically, only in works or the harpsichord joint with the violin, the flute, or imported by the foreign artists such Johann Schobert which composes of it a great number… Among the members of this brilliant French school arises in particular the name of Jacques Duphly. This one is devoted exclusively to the harpsichord in 4 books (appeared in 1744,1748,1756 and 1768) with the wire of which one follows the evolution of the style baroque towards the rococco, even the traditional one. Duphly dies the day before the French revolution which carries to France the last blow to the harpsichord, already competed with by the pianoforte.

One can bring closer to the French school the harpsichordists of the Austrian Netherlands (current Belgium) such Joseph-Hector Fiocco, Jose Boutmy which also assimilate the influences of Italy and Germany.

Germany

During the 18th century, J.S. Bach has relatively few followers in Germany with regard to the music for harpsichord solo, if one compares with the expansion works published in France. One must however quote: Georg Böhm (eleven scattered continuations and some parts), Johann Mattheson (twelve continuations), J.K.F. Fischer already quoted (eight continuations Musikalisches Blumenbüschlein , 1696; nine continuations of the collection the musical Parnassus , 1738), Christoph Graupner (many continuations in the French taste, recently redécouvertes and of great quality), Georg Philipp Telemann as well as wire of Bach, Wilhelm Friedemann and Carl Philipp Emanuel Bach which contributes to the development of the sonata form and constitutes the bond with the traditional period: as from this moment, the sonata supplants the continuation irremediably, as the pianoforte replaces little by little the harpsichord.

The work of Telemann is without the most important question of number (it defies the census) as on the level of the variety of the forms: continuations, openings, runnings away, sonatas etc Although the elder one of Bach, Telemann is a “modern” musician more who experienced all the innovations of style and very quickly adopts the modes which are done and demolish himself; its music also much less erudite but - ransom of its speed of composition - sometimes is stereotyped.

England

William Croft - a score of continuations, Maurice Greene - openings (1745), continuations (1750) - and Thomas Augustine Arne - eight sonatas (1756) - are among the only notable type-setters for the harpsichord in England at the 18th century. Elisabetta de Gambarini composes two collections of injure for the harpsichord (1748) but dies very young person. Thomas Chilcot (1707-1766), composes six continuations in the style of Georg Friedrich Händel.

Italy

If one excludes Domenico Scarlatti of which the most fertile part of the career proceeds out of Italy, the harpsichord is certainly not the instrument soloist more snuffed at the 18th century, in spite of a considerable production. One can however quote the names of Domenico Zipoli (Jesuit which imports the European music on the South American continent or unrolls its career), Francesco Lasting, Domenico Cimarosa, Baldassare Galuppi, Giovanni Marco Rutini which publishes in very great number of the sonatas for this instrument. Other artists emigrate and diffuse abroad the sonata in the Italian style, such Pietro Domenico Paradisi (London) or Giovanni Platti (Würzburg). Azzolino della Ciaja is not very prolix, but one of most original, with parts of a great singularity, as well harmonic as rhythmic. The Padre Martini, mentor and friend of Mozart, writing of the sonatas to the rigorous counterpoint evoking Bach which are appropriate for the harpsichord or the organ (Italian organ uses little the pedals, moreover often absent) as Frescobaldi did it.

Iberian peninsula

Domenico Scarlatti côtoyé, during its stays with Lisbon then with Madrid, the two more famous harpsichordists of the Iberian peninsula: Portuguese Carlos de Seixas and the Catalan Antonio Soler, much younger than him. The work of these two artists clearly feels influence of the large Italian musician, of his taste for virtuosity, the effects of rate/rhythm, a daring harmony, the character of the Spanish popular music, when well even each one has its own style. Both wrote, following the example Scarlatti, tens and tens of Sonate S, of free form, with several movements or, very often, with only one movement.

The 20th century

During all the 19th century, the harpsichord was forsaken by the type-setters whose favor turned to the piano; it is also with the piano that works of the past were played when they had not been forgotten.

It is during the 20th century, century of the redécouverte of the harpsichord, which one started again to compose for him, under the impulse of Wanda Landowska main actor of this rebirth. Concertos were written by Francis Poulenc ( pastoral Concert , 1927-1928), Manuel of Falla ( Concerto for harpsichord, flîte, oboe, clarinet, violin and violoncello , 1923-1926), Frank Martin (Petite Symphonia concertante for toothing-stone, harpsichord, piano and two string orchestras 1944-1945), later by Krzysztof Penderecki ( Partita for harpsichord and orchestra , 1972), Viktor Kalabis ( Concerto for harpsichord and cords , COp 42,1975), Jiří Válek (two concerts for flute, oboe, violin, viola, violoncello and harpsichord, 1970 and 1979) Alfred Schnittke ( Concerto Grosso No 1 for harpsichord, Piano prepared and cords , 1977), Henryk Górecki ( Concerto for harpsichord and orchestrated COp 40,1980), Jacques Valmond ( Concerto for violin, cords and harpsichord COp 5,1985), Philip Glass ( Concerto for harpsichord and chamber orchestra , 2002), Roberto Carnevale.

Bohuslav Martinů composed for the harpsichord a concerto and a sonata; Elliott Casing a double concerto for harpsichord, piano and two chamber orchestras; Cyril Scott a concerto for harpsichord. Vladimír Godár composed a “Concerto grosso” for 12 cords and harpsichord (1985) and a “Partita” for 54 cords, harpsichord, drinking cups and bells tubular (1983), Vittorio Rieti a concerto for harpsichord (1955), Roberto Gerhard a concerto for harpsichord, orchestra of cords and percussions (1955-56), Jean Courtioux a “Small Continuation Magyar” for percussions and harpsichord, Jean Françaix a Concerto for harpsichord, flute and cords.

In the field of the chamber music, György Ligeti wrote some parts for harpsichord solo (of which Continuum ), Daniel Pinkham a partita for harpsichord (1964), Pēteris Vasks a cantata for harpsichord (1980), Henri Dutilleux a part for harpsichord, oboe, bassoon and percussions (1991), Goffredo Petrassi three parts of room with harpsichord, Alfred Felder a “ballade” for violoncello solo, harpsichord and cords and a Notturno for violoncello and harpsichord, Jacques Valmond “three escapades” for two violins and harpsichord, Oldřich František Korte Three Canonic Dances for oboe and harpsichord (1944-54), Alum Hoddinott a part (“Doubles”) for oboe, string orchestra At harpsichord (1982), Vittorio Rieti a partita for harpsichord, flute, oboe and quartet of cords (1945), Henry Cowell (“Introduction and Allegro”, for viola and harpsichord; “Prelude and Allegro” for violin and harpsichord: 1960)

Among the authors having written for the harpsichord solo it is necessary to mention Jiří Válek, Viktor Kalabis, Jiri Gemrot, Lubor Barta, Milan Slavicky, Jiri Teml, Petr Eben, Jean Françaix (“Insectarium”), Alain Louvier (several parts for harpsichord and virginal), Henry Cowell (“Set off Furnace”, 1955-56) Salvatore Sciarrino (“Of O of C”, 1970), Iannis Xenakis (“Khoai” 1976), Jukka Tiensuu (“Fantango” 1984), Kaija Saariaho (“secret Garden II” 1986-86).

Dmitri Chostakovitch ( Hamlet , 1964), Kalevi Aho (Symphony n° 9,1993-1994) and Alfred Schnittke (Symphony n° 8,1998) calls upon the harpsichord within the framework of their orchestration. More recently, the harpsichordist Hendrik Bouman composed 75 parts in the style of; among them, 37 are parts for harpsichord solo, 2 of the concertos, 2 illustrate the harpsichord like instrument of the continuo, 36 include the instrument for the low continuous one in chamber music or orchestral.

  • music for harpsichord at the XXe century

Some large type-setters for harpsichord

Italians

Germans and Austrians

English

French

See also: French School of harpsichord

Others

Reference mark discographics

England

Netherlands

Germany

France

Italy

Spain

Portugal

  • Carlos de Seixas Sonatas for harpsichord , Débora Halász, Christian Brembeck, Robert Woolley
  • Manual Rodrigues Coelho Flora of musica , Gabrielle Marcq

Others

Music of harpsichord played… harpsichord

During all the XIXe century, the practice of the harpsichord having been given up, the masterpieces of the last one - those which, at least, had remained or returned to the repertory - were interpreted with the piano. The return to the practice of the original instrument was the fruit of the work of some musicologists, factors and interpreters in the forefront of which it is advisable to quote Wanda Landowska. It is it which gave the decisive impulse for the resurrection of this almost disappeared instrument. The return was long and it is not really that aucours years 1970 qu ' it took an irreversible turning. In a note of his biography of Branch appeared in 1960 (page 21) Jean Malignon writes indeed
“It is not sure, on the other hand, that all the parts for harpsichord of Branch sound better on this instrument. In particular, for which hears, or the cheek, " one after the autre". Is any transposition a treason? Undoubtedly, but which will be able to listen to these masterpieces then? Scholars and them only. Even an in love enthusiast of Branch will not resist an experiment also unnecessarily archaeological. ”

Nowadays, and with the notable exception of J. - S. Bach, of D. Scarlatti, J. - pH. Branch, of G. - F. Haendel - whose genius probably transcends their time and the specific character of the instrument - the parts intended for the harpsichord by their type-setter are almost always played on this instrument. It is true that they were often exhumed after the handing-over with the honor of the harpsichord.

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