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Volume 29, No. 2
Spring 2025
Full digital texts for volumes from the most recent 3 years are available to subscribers only. Click to subscribe.
[Top]
An unknown Zachow parody by George Frideric Handel in the
Musaeum Pantaleonianum manuscript (pp. 11–18)
Carsten Wollin
Restoring, maintaining and sustaining the craft of historical keyboard making (pp. 19–24)
Keith Howard
Composer Anniversaries in 2025 (pp. 25–29)
Composing for the harpsichord (pp. 30–33)
Interview with Anna Maria McElwain (pp. 34–35)
Francis Knights
Colin Tilney (1933-2024) — an appreciation (pp. 36–37)
Paul Simmonds
Reviews (pp. 38–43)
Francis Knights, Bradley Lehman, Douglas Hollick, Pamela Hickman, Pamela Nash
Volume 29, No. 1
Autumn 2024
Full digital texts for volumes from the most recent 3 years are available to subscribers only. Click to subscribe.
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On five German keyboard arrangements of Ciconia's Con lag reme (pp. 4–7)
Glen Wilson
Creative borrowing: Lodovico Giustini and Jacob Wilhelm Lustig (pp. 8–13)
Kathryn Cok
The clavichord's paradox, and finger technique in the J. S. Bach circle (pp. 14–20)
Christophe d'Alessandro
Did they always play on the lower manual with full harpsichord? (pp. 21–26)
Claudio Di Veroli
The Kirckman problem (pp. 27–31)
Huw Saunders
Interview with Francesco Cera (pp. 32–33)
Francis Knights
Reviews (pp. 34–41)
Terence Charlston, Penelope Cave, Pierre Riley, Francis Knights, Pamela Nash, Pamela Hickman
Conference Report (pp. 41)
Michael Delfin
Volume 28, No. 2
Spring 2024
Full digital texts for volumes from the most recent 3 years are available to subscribers only. Click to subscribe.
[Top]
Van Blankenburg's Elenienta Musica (1739) (pp. 4–7)
Hendrik Bouman
Forkel, Bach and anonymous clavichords (pp. 8–9)
Claudio Di Veroli
Henry Tull, an unsung hero of the harpsichord and clavichord revival (pp. 10–13)
Peter Bavington
Music education at Finchcocks (pp. 29–30)
Katrina Burnett
Interview with John Kitchen (pp.31–33)
Pamela Hickman
Reviews (pp. 34–35)
Francis Knights, Penelope Cave, Pablo Padilla
Volume 28, No. 1
Autumn 2023
Full digital texts for volumes from the most recent 3 years are available to subscribers only. Click to subscribe.
[Top]
50 years of Harpsichord & Fortepiano (pp. 4–7)
Francis Knights
Bach at the keyboard: The organist at home (pp. 8–14)
Colin Booth
Restoring the ‘golden’ harpsichord (pp.15–18)
John R. Bell
Modern vs historical harpsichord plucking (pp.19–21)
Paul Y. Irvin
In the Beginning was the Harpsichord (pp.22–25)
John Koster
A perspective on historical keyboard playing in the UK (pp. 26–27)
Terence Charlston
Music and criticism: Revisiting George Malcolm’s thoughts on authenticity (pp. 28–30)
Richard Lester
Clavichord gatherings (pp. 31–34)
Richard Troeger
Swimming upstream:
Reflections of an American harpsichordist from across “The Pond” (pp. 35–38)
Mark Kroll
The venerable “Boalch” - ready for its next 70 years (pp.39–41)
John Watson
Interview with harpsichord maker Milan Misina (pp. 45–47)
Pamela Nash
Volume 27, No. 2
Spring 2023
Full digital texts for volumes from the most recent 3 years are available to subscribers only. Click to subscribe.
[Top]
Michael Thomas (1922–2022): a centenary tribute (pp. 4–11)
Thomas McGeary
Forkel’s Bach revisited (pp. 12–19)
Claudio Di Veroli
Clavichords at Vassar College (pp. 20–25)
Laurence Libin
An unusual square piano “ravalement” (pp. 26–30)
Paul Simmonds
Composer Anniversaries in 2023 (pp. 31–33)
John Collins
Remembering Malcolm Rose (1948-2022) (pp. 34–35)
Paul Simmonds
Reviews (pp. 36–40)
Francis Knights, John Collins, Thomas Allery, Pablo Padilla, Pierre Riley
Listings (pp. 41–43)
Claudio Merulo: Two biographical notes (pp. 4–10)
Glen Wilson
The Orgelbüchlein as pedal clavichord music (pp. 11–15)
Terence Charlston
Identifying clavichord repertoire (pp. 16–22)
Paul Simmonds
Ivory Sales in the United Kingdom and European Community (pp. 23–24)
David Hackett
Interview with Andreas Kilström (pp. 25–28)
Hila Katz
Reviews (pp. 29–37)
Francis Knights, John Collins, Terence Charlston, Michael Maxwell Steer, Pablo Padilla, Paula Woods, Pamela Hickman
Reports (pp. 38–40)
Kathryn Cok, Dylan L. Sanzenbacher
News and Events (pp. 40–43)
Harpsichords in Bach’s Germany: an overview (pp. 10–20)
Leonard Schick
1741: three masterworks of diversity (pp. 21–26)
Claudio Di Veroli
William Babell’s recently discovered toccatas (pp. 27–30)
Andrew Woolley
Composer anniversaries in 2022 (pp. 31–34)
John Collins
Interview with Richard Lester (pp. 35–38)
Paula Woods
Reviews (pp. 39–47)
Francis Knights, John Collins, Christopher Kent, John Irving, Luke Mitchell, Jon Baxendale
News and Events (p. 47)
Portuguese keyboard music from the second half of the 18th century (pp. 4–8)
Mafalda Nejmeddine
Flamenco sketches (revisited) (pp. 9–15)
Richard Lester
Keyboard instruments – some collective thoughts (pp. 21–28)
Paul Simmonds
“An Eagle over Falcons”:
recording harpsichord music by John Worgan (1724-1790) (pp. 29–30)
Julian Perkins
Early keyboard technology instruction in the US (pp. 21–32)
Allan Winkler
Reviews (pp. 33–38)
Penelope Cave, Francis Knights, Pablo Padilla, Christopher Kent, John Kitchen, David Griffel
News and Events (p. 39)
“Queen Elizabeth’s Virginals”: from Venice to the Victoria & Albert Museum (pp. 4–13)
Catherine Lorigan
The keyboard music of Charles Burney (pp. 13–23)
Francis Knights
Muzio Clementi’s contribution to the history of music (pp. 24–27)
Marina Rodríguez Brià
Composer Anniversaries 2021 (pp. 28–31)
John Collins
Remembering Kenneth Gilbert (pp. 32–34)
Andrew Appel
A commemoration of Elizabeth de la Porte (pp. 35–36)
Pamela Nash
Interview with Carole Cerasi (pp. 37–40)
Pamela Hickman
Reviews (pp. 41–49)
Margaret Debenham, Michael Graham, Penelope Cave, Francis Knights, David Griffel, Jon Baxendale, John Kitchen, Kathryn Cok, Pamela Hickman
Correspondence (p. 50)
Paul Simmonds
News and Events (p. 51)
Bach on the harpsichord – some personal reflections (pp. 4–10)
Colin Booth
The Clavecin Roïal and the first copy in modern times (pp. 11–14)
Kerstin Schwarz
The challenges of a modern recording on a Pleyel harpsichord (pp. 15–20)
Christopher D. Lewis
Remembering Joan Benson (pp. 21–27)
Peter Brownlee
Interview with Richard Taylor (pp. 27–30)
Paula Woods
Reviews (pp. 31–38)
Penelope Cave, Francis Knights, John Collins, John Kitchen, Pamela Hickman
Reports (pp. 38–39)
Anne Beetem Acker, Liselotte Sels
News and Events (pp. 40–43)
The harpsichord in 19th-century England (pp. 4–14)
Peter Holman
Performing François Couperin’s Les Baricades Mistérieuses (pp. 15–19)
Claudio di Veroli
Recording the Fitzwilliam Virginal Book (pp. 20–23)
Pieter-Jan Belder
Composer anniversaries in 2020 (pp. 24–27)
John Collins
Interview: Christoph Hammer (pp. 28–31)
Pamela Hickman
The musician’s bookshelf: J. S. Bach (p. 32)
Francis Knights
Reviews (pp. 33–41)
Douglas Hollick, David Ponsford, Paula Woods, John Collins, Francis Knights, Pablo Padilla, Pamela Hickman, Ivan Moody
News and Obituraies (pp. 42–43)
Correspondence (p. 43)
Paul Simmonds
David Schulenberg
The Current State of Claviorgan Research (pp. 8–11)
Eleanor Smith
Varied Dispositions (pp. 12–17)
Richard Troeger
Couperin’s Misterieuse Fourth Harpsichord Book (pp. 18–23)
Pieter Dirksen
Interview: Orhan Memed (pp. 24–26)
Francis Knights
Reviews (pp. 27–33)
Francis Knights, John Collins, Meg Cotner, Charlene Brendler, Pamela Hickman
Reports (pp. 34–35)
Francis Knights, David Pinnegar, Anna Maria McElwain
News and Events (pp. 36–39)
A Note from the Editor (p. 4)
Micaela Schmitz
Couperin Conference Report (pp. 6–7)
About our contributors (p. 8)
Who’s Making/Restoring What? (p. 9)
Interview with Robert Levin (pp. 10–12)
Pamela Nash
David Evans 1963 [recte 1936]-2018: An Appreciation (pp. 13–18)
Terence Charlston
Baroque Keyboard Fingering and Present-Day Practice (pp. 27–34)
Claudio Di Veroli
Reviews (pp. 35–38)
John Collins, Pamela Hickman, Meg Cotner
A Note from the Editor (p. 4)
Micaela Schmitz
News (pp. 4–6)
New WAAPA Collection (pp. 7–8)
Who’s Making/Restoring What? (p. 9)
Heather Slade-Lipkin (1947-2017): Harpsichord Pioneer (pp. 10–15)
Pamela Nash
Accurate meantone tuning based on Fogliano (pp. 16–20)
Claudio Di Veroli
Learning ‘The 48’ (pp. 21–31)
Francis Knights
Reviews (pp. 32–37)
John Collins, Micaela Schmitz, Kathryn Cok, Pamela Hickman
About our contributors (p. 38)
A Note from the Editor (p. 4)
Micaela Schmitz
News (pp. 4–6)
Obituary: Kenneth Mobbs 1925-2017 (pp. 7–9)
Who’s Making/Restoring What? (p. 10)
Interview with Jory Vinikour (pp. 12–19)
Pamela Hickman
Fortepiano-harpsichord duos in two eighteenth-century salons (pp. 20–25)
Rebecca Cypess
Interview Jane Clark Dodgson in her 90th year (pp. 26–31)
Pamela Nash
Reviews (pp. 32–40)
Kathryn Cok, Charlene Brendler, Pamela Hickman, John Collins, Micaela Schmitz
About the contributors (pp. 42)
A Note from the Editor (p. 4)
Micaela Schmitz
Who’s Making/Restoring What? (p. 11)
Interview with Kristian Bezuidenhout (pp. 12–19)
Pamela Hickman
A triple–strung 17th–century Italian harpsichord (pp. 20–27)
Huw Saunders
Chambonnières versus Louis Couperin: attributing the F major Chaconne (pp. 28–32)
Francis Knights, Pablo Padilla and Dan Tidhar
Reviews (pp. 33–41)
Micaela Schmitz, John Collins, Charlene Brendler, Pamela Hickman, Micaela Schmitz, Kathryn Cok, Pamela Hickman
About the contributors (p. 42)
A Note from the Editor (p. 4)
Micaela Schmitz
Who’s Making/Restoring What? (p. 7)
Interview with Michael Tsalka (pp. 9–16)
Pamela Hickman
A measured approach to J.S. Bach’s Stylus Phantasticus (pp. 17–26)
Claudio Di Veroli
About the contributors (p. 27)
Revisiting keyboard technique (pp. 28–31)
Micaela Schmitz
Reviews (pp. 32–42)
Richard Troeger, John Collins, Charlene Brendler
A Note from the Editor (p. 4)
Micaela Schmitz
News (pp. 4–6)
Who’s Making/Restoring What? (p. 7)
Interview with Terence Charlston (pp. 9–14)
Pamela Hickman
Registration matters: analyzing Italian Renaissance registration (pp. 15–21)
Richard Lester
Unanswered questions: Bach, Forkel, schellen, and keyboard touch (pp. 22–32)
Richard Troeger
Reviews (pp. 33–42)
Richard Troeger, Charlene Brendler, Pamela Nash, Pamela Hickman
About the contributors (pp. 43)
A Note from the Editor (p. 4)
Micaela Schmitz
Who’s Making/Restoring What? (p. 7)
Interview with Paul Irvin (pp. 9–15)
Richard Troeger
An interview with Maggie Cole (pp. 16–21)
Pamela Hickman
The mid-nineteenth century Pleyel pianos: an appreciation, Part II (pp. 22–32)
Richard Troeger
Reviews (pp. 33–42)
John Collins, Charlene Brendler, Richard Troeger, Pamela Hickman, Kasia Tomczak-Feltrin, Micaela Schmitz, David Law
About the contributors (p. 43)
A Note from the Editor (p. 4)
Micaela Schmitz
Letters, News & Views (pp. 4–5)
Arthur Haas
Who’s Making/Restoring What? (p. 6)
Obituary: Ronald Haas (p. 7)
Richard Troeger
Trills and frills, a variety of inventions:
the North Italian art of Diminutione and Tremoli (pp. 11–26)
Richard Lester
The mid-nineteenth century Pleyel pianos: an appreciation (pp.27–38)
Richard Troeger
Reviews (pp. 39–42)
Charlene Brendler, Meg Cotner, Richard Troeger, John Collins
About the contributors (p. 43)
A Note from the Editor (p. 4)
Micaela Schmitz
Letters, News & Views (pp. 4–7, 41)
Angélica Minero Escobar, Paul Simmonds, Christopher Stembridge
About the contributors (p. 9)
Christopher Hogwood: The Momument (pp.10–13)
Fingers Crossed: Girolamo Diruta’s Il Transilvano (1593): A Re-evaluatio (pp. 15–26)
Richard Lester
Interview with Mahan Esfahani (pp. 27–30)
Pamela Hickman
Dominic Eckersley
A Note from the Editor (p. 4)
Micaela Schmitz
Letters, News & Views (pp. 4–5)
Copying a 17th-Century French Harpsichord (p. 6)
David Evans
Landowska and the Clavichord (pp. 7–8)
Richard Troeger
Who’s Making/Restoring What? (p. 9)
A Tribute to Martin Skowroneck (pp. 10–16)
[Tilman Skowroneck, Richard Ireland, Douglas Amrine, Colin Booth, John Phillips, Alan Curtis]
C.P.E. Bach at 300 (pp. 17–21)
Interview with the Editor (pp. 22–24)
Richard Troeger
Frans Brüggen Remembered (pp. 25–29)
[Nicola Wemyss]
Reviews (pp. 30–42)
Charlene Brendler, John Collins, Richard Troeger, Pamela Hickman, Jan-Piet Knijff, Bruce Reader
About the contributors (p. 43)
A Note from the Editor (p. 4)
Micaela Schmitz
Letters, News, & Views (pp. 4–7)
Mark Windisch, Paula Woods
Who’s Making/Restoring What? (p. 9)
Interview with Richard Troeger (pp. 10–17)
Interview with Douglas Hollick (pp. 18–21)
Graham Sadler
Landowska and the Pleyel pianos:
a Foot(pedalled) note to the Harpsichord Revival (pp. 22–33)
Richard Troeger with Elaine Fuller
Reviews (pp. 35–42)
Pamela Hickman, John Erskine, Adrian Lenthall, Charlene Brendler, John Collins, Richard Lester, Paul Koronka, John Khouri
About the contributors (p. 43)
A Note from the Editor (p. 4)
Micaela Schmitz
Letters, News, & Views (pp. 5–7)
Douglas Hollick, Rob Brooke
Interview with Marina Minkin (pp. 8–10)
Pamela Hickman
A Brief Chat with Henk Klop (p. 11)
Micaela Schmitz
Who’s Making/Restoring What? (p. 12)
Interview with Michael Johnson (pp. 13–16)
Paula Woods
Tailoring the Sound of your Keyboard Instrument Part IV: Musical Pins (pp. 17–23)
Paul Y. Irvin
A Practical Guide to Quilling (pp. 24–31)
John Phillips
Reviews (pp. 32–41)
John O’Donnell, Brian Robins, Adrian Lenthall, Sergei Istomin, John Collins, Owen Daly, Bruce Reader
About the contributors (p. 42)
Interview with Tilman Skowroneck (pp. 5–11)
Pamela Hickman
Who’s Making/Restoring What? (p. 12)
Using Appropriate Pitches and Stringing Schedules (pp. 13–23)
Paul Y. Irvin
The Oriental Miscellany and the Hindustani Air:
“Wild but Pleasing when Understood" (pp. 24–30)
Jane Chapman
Ten Top Historic Organs (pp. 31–34)
Daniel Moult
Reviews (pp. 35–43)
Charlene Brendler, Douglas Hollick, Paul Simmonds
About the contributors (p. 41)
A Note from the Editor (p. 2)
Micaela Schmitz
News (pp. 2–9)
Who’s Making/Restoring What? (p. 10)
Rediscovering Clementi’s Gradus ad Parnassum: A New perspective from the Early English Piano (pp. 11–14)
John Khouri
Leonhardt the Enigma (pp. 15–21)
Micaela Schmitz
To Quill or Not to Quill? (pp. 22–26)
[M. R. Levoi and R. P. Williams, Denzil Wraight, Tilman Skowroneck]
Reviews (pp. 27–40)
Brian Robins, Pamela Hickman, John Collins, John O’Donnell, Steven Devine, Richard Troeger, Charlene Brendler
About the contributors (p. 41)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 2–3)
Jane Austen and the Square Piano (pp. 4–6)
Penelope Cave
Who’s Making/Restoring What? (p. 7)
Optimising Harpsichord Staggering (pp. 8–13)
Claudio Di Veroli
Keyboards in Vermillion: with John Koster (pp. 14–19)
Tailoring the Sound of your Keyboard Instrument, Part II (pp. 20–26)
Paul Y. Irvin
Texture and Playing Style in Classic Keyboard Music (pp. 27–32)
Richard Troeger
Reviews (pp. 33–38)
Pamela Hickman, Pamela Nash, Douglas Hollick, John Collins, John O’Donnell
About the contributors (p. 40)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 2–4)
Richard Troeger, Damien Mahiet
Making a Boisselot (pp. 5–6)
Paul McNulty
Who’s Making/Restoring What? (p. 7)
Women of Note (pp. 8–11)
Diana Ambache
Elisabeth-Claude Jacquet De La Guerre (pp. 12–14)
Pamela Hickman
A Glimpse of the Tagliavini Collection of Musical Instruments (pp. 15–20)
María Virginia Rolfo
Tailoring the Sound of your Keyboard Instrument, Part 1 (pp. 27–32)
Paul Y. Irvin
Reviews (pp. 33–39)
John Collins, Frederic La Croix, Carol lei Breckenridge, Jan-Piet Knijff, Grant Colburn
About the contributors (p. 40)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 2–3)
Pamela Nash, Claudio Di Veroli, David Law
Reports (pp. 7–8)
Mario S. Tonda, Thomas Bregenzer
Who’s Making/Restoring What? (p. 9)
Interview with Bexley Workshops: Maintenance and Tuning Courses (pp. 10–11)
[Andrew Wooderson, Edmund Handy]
Interview: Maintaining Original Instruments and Allowing Access (pp. 12–15)
Andrew Lamb
The Fluid Piano (pp. 16–18)
Christopher Barlow
Clavichords, Fretted & Unfretted (pp. 19–26)
Richard Troeger
Rudolf Straube (pp. 27–28)
Kah-Ming Ng
Interview: Gideon Meir (pp. 29–33)
Pamela Hickman
Reviews (pp. 34–40)
Jan-Piet Knijff, Calimerio Soares, John Collins, Micaela Schmitz, Pamela Nash
About the contributors (p. 41)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 2–3)
Colin Booth, Karen Hite Jacob, Barbara King
Interview of Myrna Herzog, New Square Piano Owner (pp. 4–5)
Pamela Hickman [with David Shemer
Introduction to the Making of a Pleyel (Part II) (p. 6)
Paul McNulty
Who’s Making/Restoring What? (p. 8)
Valotti as the Ideal German Good Temperament (pp. 9–14)
Claudio Di Veroli
A Renaissance Piano? (pp. 15–16)
Christopher Barlow
An Overview of the Keyboard Music of Bernardo Pasquini (1637-1710) (pp. 17–24)
John Collins
Reviews (pp. 31–36)
James McCarty, Micaela Schmitz, Richard Lester, Stefania Neonato, Marcel Zidani
About the contributors (p. 37)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 2–3)
Peter Watchorn, Emiliano Giannetti
Makers’ Reports: The Birth of a Harpsichord: Richard Kingston’s Opus #333 (pp. 4–5)
Caperton Andersson with Richard Kingston
Obituary: Owen H. Jorgensen (pp. 5)
Introduction to the Making of a Pleyel (pp. 6–7)
Paul McNulty
Who’s Making/Restoring What? (p. 8)
“Ziegler Variations”: On the Goldberg Polonaises:
In Search of the AuthorArticleTitle (pp. 9–15)
Maxim Serebrennikov
Some thoughts on Playing the Goldberg Variations, BWV 988 (pp. 16–19)
Richard Leigh Harris
Everything New is Old Again – Part II (pp. 20–29)
Grant Colburn, Fernando De Luca, Micaela Schmitz
Modifying Modern Harpsichord Dampers (pp. 30–34)
Paul Y. Irvin
Reviews (pp. 35–43)
Grant Colburn, David Pickett, Jacqui Robertson-Wade, Paula Woods, John Collins, Micaela Schmitz, James McCarty, Daniel Goren
About the contributors (p. 44)
The Atlantis Trio & Ensemble (pp. 4–6)
Peter Watchorn
Who’s Making/Restoring What? (p. 7)
The Bentside Spinets of Stephen Keene and his School (pp. 8–17)
Peter Mole
Everything New is Old Again – Part I (pp. 18–23)
Grant Colburn with Micaela Schmitz
A Late Florentine Harpsichord Uncovered (pp. 24–29)
Peter Thresh
Reviews (pp. 30–41)
John Collins, David Breitman, Garry Broughton, Brian Robins
About the contributors (p. 42)
A Note from the Editor (p. 2–4)
Micaela Schmitz
Letters, News, & Views (pp. 5)
Gregory Crowell
Who’s Making/Restoring What? (p. 9)
Frescobaldi Unmasked:
Unravelling Complexities of Interpretation within the Toccatas (pp. 10–19)
Richard Lester
Thomas Morley’s Keyboard Music (pp. 20–23)
Gwilym Beechey
Harpsichord Regulation, Part II (pp. 24–27)
D. J. Law
Keyboard Temperament in the Nineteenth Century:
The Well Tempered Romantic (pp. 28–32)
Daniel Grimwood
Reviews (pp. 33–40)
Douglas Hollick, Micaela Schmitz, Gregory Crowell, Gerald Gifford, Grant Colburn, Pamela Nash, Kenneth Mobbs
About the contributors (p. 41)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 3–5)
Carmelo Bellia, Peter Watchorn, Mimi Waitzman
The Once and Future Harpsichord: The Aliénor Competition for Composition (pp. 6–7)
Barbara Norton
Who’s Making/Restoring What? (p. 8)
A Path towards Lid Decoration (pp. 9)
Elisabetta Lanzoni
Painting Harpsichord Soundboards – my memories (pp. 10–16)
Mary Mobbs
Harpsichord Regulation (pp. 17–20)
D. J. Law
An Approach to Recreating Historical Sound: Part II (pp. 21–27)
Paul Y. Irvin
Reviews (pp. 28–39)
Richard Troeger, Micaela Schmitz, John Collins, Gregory Crowell, Steven Devine, David Breitman, Kasia Tomczak-Feltrin, Carol lei Breckenridge, Pamela Hickman
About the contributors (p. 40)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 3–8)
Jane Clark, Elaine Funaro
Who’s Making/Restoring What? (p. 9)
In Search of Rosenberger [Interviews with Stephen Coles,
David Winston and Gary Cooper] (pp. 10–14)
Micaela Schmitz
Composing Toccata de Roça for Solo Harpsichord (pp. 15–26)
Calimerio Soares
Scarlatti Sonatas, Step by Step (pp. 27–29)
Penelope Cave
Le Clavecin en France (pp. 30–32)
Kasia Tomczak-Feltrin
An Approach to Recreating Historical Sound: Part 1 (pp. 33–38)
Paul Y. Irvin
Reviews (pp. 39–43)
John Collins, Bridget Cunningham, Gregory Crowell, Richard Lester, Carol lei Breckenridge
About the contributors (p. 44)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 3–4)
Michael Faulkner, Jane Clark
Conference Report (pp. 5–12)
Anne Beetem Acker, Karen Hite Jacob, Gregory Crowell, Grant Colburn, Gavin Black, John Edwards
Who’s Making/Restoring What? (p. 13)
Interview with Derek Adlam (pp. 14–18)
Paula Woods
Interview with Alan Curtis and Bruce Kennedy (pp. 19–21)
Giulia Nuti
New Music Focus (pp. 22–29)
Penelope Cave, Bridget Cunningham, Elaine Comparone, and Pamela Nash
Mozart and the Clavier – a Supplement (pp. 30–34)
Neil Coleman
Reviews (pp. 35–42)
Richard Troeger, Micaela Schmitz, John Collins, James R. McCarty, Pamela Nash, Douglas Hollick
About the contributors (p. 43)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 3–7)
Michael Faulkner, Jane Clark, Anders Henry, David Breitman,
Conference Report (pp. 8–11)
Gary Carpenter, Judith Conrad
Flamenco Sketches: Part 2 [Scarlatti] (pp. 12–16)
Richard Lester
The harpsichord in Brazil (pp. 17–19)
Calimerio Soares
Mozart and the Clavier (pp. 20–30)
Neil Coleman
Buxtehude’s Works for Stringed Keyboard Instruments (pp. 31–40)
John Collins
An Overview of Pedal Harpsichord Recordings (pp. 41–44)
Mark Ganullin
Reviews (pp. 45–53)
Jenny Nex, Rob Haskins, Fabian Mohr, Masumi Yamamoto, Peter Medhurst, Beth Garfinkel, Robin Bigwood, John Weretka
About the contributors (p. 54)
A Note from the Editor (p. 2)
Micaela Schmitz
Letters, News, & Views (pp. 3–5)
Susan A. Butt, Davitt Moroney, Paul Thwaites, Hugh Garnett, Jane Clark, Andrew Mayes
Conference Report (pp. 6–9)
Anne Beetem Acker
Who’s Making/Restoring What? (p. 10)
Interview with Ton Koopman (pp. 11–13)
Kathryn Cok
An Introduction to Restoration Keyboard Music II: Bryne, Roberts and Moss (pp. 14–27)
Terrence Charlston
Flamenco Sketches: Part 1 [Scarlatti] (pp. 28–33)
Richard Lester
Interpretation on Multiple Keyboards: From the Performer’s Perspective (pp. 34–37)
Richard Troeger
The Pantalon Clavichord: Resonance from the Eighteenth Century (pp. 38–43)
Paul Simmonds
Reviews (pp. 51–63)
David Pickett, Gregory Crowell, Robert Haskins, Beth Garfinkel, Meg Cotner, Patrick Frye III, James McCarty, Callmerio Soares, Penelope Cave, Charlene Brendler, Micaela Schmitz, and Madeline Goold
About the contributors (p. 64)
A Note from the Editor (p. 2–3)
Micaela Schmitz
Letters (pp. 3)
Claire Randall
News, & Views (pp. 3–4)
York Gate Collections: Keyboards (pp. 5–7)
Aaron Shorr, Roy Howat
Couperin at the Handel House (pp. 8–10)
Garry Broughton
Who’s Making/Restoring What? (p. 11)
Interview with Dr. Stephen Coles (pp. 12–13)
Kathryn Cok
Maintenance: String Replacement (pp. 14–18)
D. J. Law
Keyboard Instruments & Quotation: Using a Quotation from C.P.E. Bach (pp. 19–20)
Penelope Cave
The Architecture of the Ordres [Couperin] (pp. 21–25)
Jane Clark
An Introduction to Restoration Keyboard Music (pp. 26–36)
Terrence Charlston
The Clavisimbalum of Henri Arnaut de Zwolle c 1440 (pp. 41–44)
Chris Barlow
Why is the “Great In Nomine” great? [John Bull] (pp. 45–51)
Micaela Schmitz
Reviews (pp. 52–60)
Micaela Schmitz, Neil Coleman, Penelope Cave, Gerald Gifford, Bridget Cunningham, Giulia Nuti
A Note from the Editors (pp. 2)
Jeremy and Ruth Burbidge
An Interview with Stephen Dodgson (pp. 3–11)
Pamela Nash
Thomas Morley’s Keyboard Music (pp. 12–15)
Gwilyn Beechey
Eighteenth Century English Publications of Keyboard Music
in the Library of Burghley House, Stamford (pp. 16–21)
Gerald Gifford
Tuning the témpérament ordinare (pp. 22–29)
Claudio Di Veroli
Reviews (pp. 30–44)
Michael Cole, Penelope Cave, Pamela Nash, Richard Maunder, Richard Leigh Harris, Gwilym Beechey, Peter Watchorn
A Note from the Editors (pp. 2)
Alison and Peter Holloway
The Broadwood Trust: Grand Finale (pp. 3–7)
Katrina Burnett
Jan Ladislav Dussek and his music for the extended keyboard compass (pp. 8–15)
Mora Carroll
Some rare sources of Georgian harpsichord music
in the Library of Arnold Dolmetsch (1858-1940) (pp. 20–25)
Gerald Gifford
Reviews (pp. 26–44)
Michael Cole, Peter Holloway, Richard Maunder, Penelope Cave, Richard Maunder, Peter Holloway, Richard Leigh Harris, Gwilyn Beechey, Tristram Pugin
A Note from the Editors (pp. 2)
Alison and Peter Holloway
The 1531 Trasuntino Harpsichord in a Universal European Pitch System (pp. 7–13)
Nicholas Mitchell
Losing their heads? (pp. 14–15)
Andrew Stewart
Windebank’s Virginall: A Lost Ruckers Harpsichord (pp. 16–23)
Paula Woods
The Authority of the Bevin table in the interpretation of ornament signs
in Elizabethan virginal music (pp. 24–30)
Asako Hirabayashi
Reviews (pp. 31–40)
Penelope Cave and Peter Holloway
A Note from the Editors (pp. 2–3)
Alison and Peter Holloway
Pick up your fingers, prick up your ears (pp. 6–18)
Gary Blaise
Bach Transcribed: Part Three (pp. 19–23)
Pamela Nash
John Field (1782-1837) and his Piano Music (pp. 24–27)
Gwilym Beechey
Inégalité and Rameau’s Concerts: a case of “Ille dixit”? (pp. 28–34)
Claudio Di Veroli
Reviews (pp. 35–43)
Gwilym Beechey, Richard Maunder, Peter Holloway, Alison Holloway, Pamela Nash
A Note from the Editors (pp. 2)
Alison and Peter Holloway
Dussek, Broadwood and the Additional Keys (pp. 3–10)
Mora Carroll
Igor Kipnis talks to Elaine Hoffman Baruch (pp. 11–22)
Bach Transcribed: Part Two (pp. 23–26)
Pamela Nash
Reviews and Festival Reviews (pp. 27–39)
Richard Maunder, Richard Leigh Harris, Pamela Nash, Gwilym Beechey, Tristram Pugin, Penelope Cave, Peter Holloway, Peter Watchorn
A Note from the Editors (pp. 2)
The Naked Truth: Composing for the Harpsichord (pp. 5–9)
Kevin Malone
Behind the Mask: Continuo in Monteverdi’s L’Orfeo’ (pp. 10–16)
Philip Pickett
Techniques of Baroque Accompaniment (pp. 28–34)
Robert Webb
pian’e fortino: The Neumeyer Collection and its curator (pp. 35–38)
Alison Holloway
Bach Transcribed: A Study in Two Parts (pp. 39–43)
Pamela Nash
Reviews (pp. 44–60)
Gwilym Beechey, Peter Holloway, Alison Holloway, Penelope Cave, Richard Leigh Harris, Martin Perkins, Peter Watchorn, Kevin Malone
Geraint Jones 1917-1998 (pp. 60)
Gwilym Beechey
A Note from the Editors (p. 2)
Alison and Peter Holloway
Keyboard Instruments in Haydn’s Vienna (pp. 5–10)
Richard Maunder
An interview with Ronald Brautigam (pp. 11–13)
Alison Holloway
Isolde Ahlgrimm: discography, performers, publications and instruments (pp. 14–22)
Peter Watchorn
A Performance Practice for the 21st Century:
interview with Jane Chapman, Part Two (pp. 23–28)
Pamela Nash
Christoph Benjamin Schmidtchen and his Small Keyboard Tutor (pp. 29–34)
Gwilym Beechey
Underground Movement [Harley Foundation] (pp. 35–38)
Alison Holloway
Reviews (pp. 39–48)
Richard Leigh Harris, Gwilym Beechey, Penelope Cave, Alison and Peter Holloway
A Note from the Editors (p. 2)
Alison and Peter Holloway
A Performance Practice for the 21st Century:
interview with Jane Chapman, Part One (pp. 6–10)
Pamela Nash
Isolde Ahlgrimm and Vienna’s Historic Keyboard Revival (pp. 10–17)
Peter Watrchorn
An interview with Sharona Joshua (pp. 18–19)
Alison Holloway
Early keyboards in Argentina (pp. 20–21)
Claudio Di Veroli
The Brandenburg Concertos: A New Interpretation (pp. 22–32)
Philip Pickett
An interview with Olga Tverskaya (pp. 33–34)
Alison Holloway
Handel’s Temperament – A Revised View (pp. 35)
Carl Sloane
Obituary: Ruth Dyson (pp. 36)
Penelope Cave
Festival Reports and Reviews (pp. 37–48)
Carey Beebe, Réjean Poirier, Martin Perkins, Peter Holloway, Richard Leigh Harris, Penelope Cave, Gwilym Beechey
A Note from the Editors (p. 2)
Alison and Peter Holloway
Dance to the Music of Time [Delius, Dance for Harpsichord] (pp. 7–9)
Penelope Cave
Egarr, to please [interview with Richard Egarr] (pp. 10–12)
Alison Holloway
Fortepiano kapsels old and new (pp. 13–16)
Martha Goodway
An American in Paris [interview with Kenneth Weiss] (pp. 17–19)
Alison Holloway
Did Couperin ever play a trill before the beat? (pp. 20–22)
Claudio Di Veroli
Handel’s eight great suites for harpsichord (pp. 24–26)
Gwilym Beechey
The vital rôle of humidity (pp. 27)
Martin Robertson
Reviews (pp. 28–36)
Peter Holloway, Richard Leigh Harris
A Note from the Editor (p. 2)
David Bray
A Question of Cultural Identity (pp. 7–10)
Motoko Nabeshima
PitchMan: Budget-priced electronic tuner for historical temperaments (pp. 11–14)
Dave Gayman
The Cent System: with an easy method of calculation (pp. 15–16)
Carl Sloane
Mean as they come:
Clues in the elucidation of Handel’s harpsichord temperament (pp. 17–19)
Carl Sloane
“A music of surprise and delight”: An interview with James Nicolson (pp. 20–23)
Dave Gayman
Philibuster: New music for the fortepiano (pp. 23–29)
Marc Reichow and Richard Sims
Letters to the Editor (p. 30)
Herbert Anton Kellner, Stephen Daw, Peter Katin
Soundboard painting: The Traditional Touch (pp. 31–32)
Mary Mobbs
Reviews (pp. 33–36)
Amy Foster, John Henry, Sebastien Dédis, Pamela Nash, Declan Deuchar, James Morris
Care of…: Regular maintenance of your keyboard (pp. 38–39)
Mimi Waitzman
Tail Ends: You are what you wear (p. 40)
Jackson Amers
A Note from the Editor (p. 2)
David Bray
Stars, the Chorus and a Pantomine Horse [auction report] (pp. 7–10)
Peter Bavington
Back to Bach: Das Wohltemperirte Clavier revisited (pp. 11–15)
Stephen Daw
Letters to the Editor (p. 16)
Edgar Hunt, Carl Sloane, Ray Hands
“Catching the rhythm”: An interview with Andreas Staier (pp. 17–19)
David Bray
“Take Six Eggs…”: Making and using egg tempera on harpsichord soundboards (pp. 20–22)
Jenny Haylett
Do we know how to read Urtext editions? or the case of the Missing Dot (pp. 23–30)
Malcolm Bilson
Friends of the Fortepiano: The Accademia Bartolomeo Cristofori (pp. 31–32)
Stefano Fiuzzi
Ligurian harpsichord investigated (pp. 33–34)
Maurizio Tarrini
Reviews (pp. 35–39)
Andrew McCrea, Lee Ridgway, Sebastien Dédis, Amy Foster, Howard A. Fenton, Stephen Patrick, John Henry, Howard A. Fenton, Declan Deuchar
Care of…: Regular maintenance of your keyboard (pp. 40–41)
Mimi Waitzman
Tail Ends: The text and nothing but the text (p. 44)
Jackson Amers
A Note from the Editor (p. 2)
David Bray
The Challenge of New Music (pp. 7–13)
Jane Chapman
The Hudiksvall Mietke (pp. 15–18)
Andreas Kilström
Interpretation with respect: An interview with Christophe Rousset (pp. 19–21)
David Bray
Monteverdi on the road (pp. 22–25)
Simon Neal
Conservation conversation (p. 26)
Mimi Waitzman
A Bone of Contention:
Should we stop restoring and playing original instruments? (pp. 27–28)
Göran Grahn
…Or should good restoration still be carried out? (pp. 29)
David Winston
Reviews (pp. 33–40)
Paul Irvin, Igor Kipnis, Kah-Ming Ng, Sophie Yates, Stephen Patrick, John Henry, Howard A. Fenton, David Bray, Sebastien Dédis
Care of…: Regular maintenance of your keyboard (pp. 41–42)
Mimi Waitzman
Tail Ends: Pitching it right (pp. 43)
Jackson Amers