The historical harpsichord
Author(s)
Bibliographic Information
The historical harpsichord
（A monograph series in honor of Frank Hubbard）
Pendragon Press, c1984-
- v. 1
- v. 3
- v. 4
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Note
V. 3: Transparencies inserted in pocket at end
Contents of Works
- v. 1. Frank Hubbard (1920-1976) / Howard Schott
- Reconstructing the harpsichord / Frank Hubbard
- The surviving instruments of the blanchet workshop / William Dowd
- In the direcrion of the beginning / Christopher Page
- v. 3. Bartolomeo Cristofori as harpsichord maker / Hubert Henkel
- The identification and authentication of Italian string keyboard instruments / Denzil Wraight
Description and Table of Contents
- Volume
-
v. 1 ISBN 9780918728296
Description
The contents of the first volume of the series include a posthumous publication of Frank Hubbard's, a detailed study of the surviving instruments from the famous Blanchet workshop in 18th-century Paris by his life-long friend andsometime partner, William Dowd (Cambridge, MA), and a pioneering investigation by Christopher Page (New College, Oxford), into the medieval origins of the harpsichord.
- Volume
-
v. 4 ISBN 9780945193753
Description
Volume IV of The Historical Harpsichord contains two monographs of major importance, Harpsichord Decoration: A Conspectus by Sheridan Germann, and A Fable Deconstructed: The 1770 Taskin at Yale by Richard Rephann. Sheridan Germann, an acclaimed scholar and practitioner in the field of harpsichord decoration, offers the first comprehensive illustrated conspectus of thesubject.
In Part I Ms. Germann tells us that the styles of the decoration of harpsichords (and spinets, virginals and clavichords) tended to follow contemporary furniture fashions, but usually lagged conservatively behind the prevailing fashions. Because, unlike most furniture, the instruments are often dated, theyprovide rare documentation of how long these styles remained in common use. This survey follows chronologically the five major regional traditions of keyboard instrument decoration-Italian, Flemish, French, German and English-butwith emphasis on the international changes in taste on which each region produced its own variations.
In Part II, Richard Rephann of the Yale Musical Instrument Collection describes his research into the uniquely experimentalconstruction of the 1770 Pascal Taskin harpsichord. This essay forms a pendant to William Dowd's in Vol. I that treats the surviving instruments of the Blanchet-Taskin workshop up to 1770. The romantic provenance of the 1770 Taskin, concocted by the antique trade to enhance the instrument's market value, is revealed as a fable.
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