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    Article - Wolff - Fisk Dowd Hubbard

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    Article - Wolff - Fisk Dowd Hubbard

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    Ramon Thiago
    24 views6 pages

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    24 views6 pages

    Article - Wolff - Fisk Dowd Hubbard

    Uploaded by

    Ramon Thiago

    Copyright:

    © All Rights Reserved
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    of 6
    ee eae meray ree typ dee yar Leg Reset 1s Orpnin and Insc in Masi, John Sullivan Deeg hi Fumes ned to find a slid music professor in der "2 sh, Fee wn fol me fede Fandios wil ily come fom musical practice in Canes ‘With a good teacher and presiding mind in ths Poy jit can but naturally follow thar sor < -_ tere lio ec eg ea hoof alee fe. And then the god oe nd ston dy we ma hope 6 med ea ‘tle ms bs sl rer ne Un Jo abl eure on the history and litera of Mee rindpes of tate, the philosophy and progres of he aa cee a, smal light hughou de na ee Hew came wee seal iit te pi im Si ce Hol in many so Pini yee an On Spain, th cae RO fh Deparment of Ma etal pe Mat aed 16-75 Foes AH he “Harvard My 373g Asotin” 126; ed in Forbes A Hin PA 36 +b, William Dowd, Frank Hubbard, Fis eo Harvard School of Instrument Makers CunisrorH WourF Harare Schoo of Ietrument Makers does ofcourse no ext—at Teer Oe Sha of Ensign pel Sees ces fen no uch program. Nevers in 1949 the Deparment itty produced a young graduate who evenly became one of the sc iningihed and inhentil maker of mechanical ston inst retin the history of organ building am aking about none oer than hares Brenton Fisk Chari a his fends and colleague aesomstely lle him. I el pileged ro ave been ove of them “There were two other and lightly oder former Harvard Coles scents who also ended up as ey tears of keyboard i ‘umene—sernged keyboard insures that Peak Tool 1 Sud (das of 1942) and Wiliam Richmond Dowd cas af 1940 Boh gh Icraureconcenrons Incdenaly we ake mot of be Be 3 terval he des ons degre in me nd it hr he HS Mase Deparment can't take any credicwhnnoe! fr Toe EERE: Sako te ume mle ome fy ms S a cn be Sn ch Mae Dp 97 c mech prob “atm ain Ge faking! was acvally one of the i ee at hm vie ere meee osoer grok ho ponte «peat 1965 by Harr ater Pres 20 250 19671 gone epi . ~~ tac ty Ce cts etn tate 7 of Cheops Wl “Ap ran of Hoghon Cie Me ears then when Bill Dowd “ I thar wme in place for nine Pa Oo in Ae aden is eyes and a sight ‘grumbling inflection in a a majestic instrument rom Chane yr bought one ofhis so much salle that I would very much fed And indeed, as chait ble to find 2 generous Dera aratd could Sally onder harpsichord fo Bill. ie pay dlighed that we oh ome of frst German-syle Hee Ph repin of an instrument by Micha) ‘Mieke—dhe maker Sf ihe harpsichord Johann Sebastian Bach Ps for the court of Coins in 1719. ‘Let me address some api the acquisition of such unas Srorpn andthe Dowd German double ong andthe Do aime Te sy of mas of he Tey dant ioral past ha long eco Peto the curcculurh ie acento eee tore war no balanced by peformance oxy what os islbeled historical informed pecormaee ‘well recall the two-piano accompaniment of Notre-Dame cere snaostrogh be 175teend FE “Then there is also the considerable EAP chat ‘berween organological examination and rec ide and epic |yinformed performance practices onthe oth tent in Germany of the 1920 of original Baroque instrumenss and on elewuo-pneumate a to provide an even eer xe ‘Dolmersch (1858-15 struments and thee GS background that helps FT instraments 3x che fst Fisk track harpsichord, which were bY 20 of the context and artistic culeure Taste culture will be treated, which ae of pei nee oe Tt é vis Been en collection actually houses two i heed i ee Hato USA MCI a er bed Cheng Kidperic Dolmetsch, Boston, 1907-08. Incidentally Rlp "31, 4 fine ars tod a intenatoaly aka ete eo of we st Let 1 remember thatthe ty on Kae ne a ane toe Ral ben "ste dons orpe ae remained sable for 2 be revere eae 2th dons oF te oil Acln Sine ee sed In 1932 1 fn msc and puted dh i tm 1982 «fd forthe puch of stolen Hees he Wan Li a Mena era Be ist Arc Daron, sequel pots BD ssf eur i from ie saeenth 0 he SEN Peep Kind of repertoire ideally suited for 3 Ova beoween the study of ery music esod ne pe x Harvard 800 ge wth flowing seuaon in de 19508 HOE ei dig die ofthe Sela Canora Ban firs ‘eer academy of early music ‘established in Basel, ‘Switzerland, by Paul Sa- exe anand in 1959 as Lamb Lecce. Pinca lis of he at pena and decor ofthe Scola, he approached and played ‘Reval da pmba more or les ikea cll. In retrospect the eres bre wasnt perceived as such chen. Two yates Ralph Ep played harpsichord recital a Sanders Theatre and che Ht va Cin review of November 8, 1955 revels ome interesting dest ‘epiding the istrament’s pereeption: ‘One hundted years ago the ar of the harpichord was ded Ci of the plans lower cos and wider ange of expresion. THe twentieth century, however, has seen the haspsichord revi 19 the ‘Gren of tracing compositions fom such moder cOMPOFST amd’ Walter Duron. Te inserument has ao found «PSE in popular music (*Come On 's My House") and is Of, be. ing taught at Yale. On Sunday afternoon Yale professor [RK] ‘honored Harvard with a concert that illustrated the reasons for the hharpsichord’s revival. May Ralph Kite gx harpsichord wih wo keyboards and sven ale {ee precedente som pseu mance of Ela , Holland, Geeman any of ese pie ee Tans Goemany, and Tal. Many of tes PRS ye ance forms, 1 Galindo anda Pavana by Enea ee eT heey “The Pavana was a slowly paced, simple rune ‘le pages and ills: rg sae and ce sven pial es Olt Ply ee a Topless ot Mena ed Be Dowd insroment the Bk - deen este wo Harvard radon meet nad et 0p HOP R ind French masters. He bad works by Walia a ree rude, and others in his i se rumen he mst have payed the PeTunes a ah rls hat would hardly ave Been ne a a eee ws nied i. ex im pay hres a preci tat has (a7 evolu spn lym ene om a aang and Sh ‘hve War Tl American outlook an oul diconaly shaped by rem ademic exposure to a European culeare of the sc Pe Dowd raring hme fom the European cet of 8 tnd experienced various things: fst, the enormous cise pre-e age second the smallness song contrasting national cultares—not just Brit Tala, and Spanish, but Dutch, Danish, Austrian, aera pe hc aden proent and the imagine is! far Ths ceed new paramees forthe making of «seine BA pany, which Holdanp Ciavesdsiag good instruments, yet with ‘and the Andover Can- syle harpsichord. It was not to approach from the experience of Piano dpc tee tats Gooded wh rm irre) eee ea dng wire marsh Oe bu eyo fLSded base eh eee ‘sign principles of seventeenth a recnth-cearury French, Flemish et stu wo the ace ey and sp scone Gan or lan cf ee sents In che 15th sp scion of xr sean fae hes 7 aan — ‘rank Hubbard's classic Three ries of Harpsichord My meee eign nds (1364) of the cas of 9 be wee cre es a cr eine Ca care party on nore Ae Set mien eae pen Neen he ‘Aad be lest oe ingrtas pe epe sy Bat Thine si ne (Chapel in B ‘important - iy the he in Boson and Meworal Grd. tise Sem cy ee ge <_ Chatie Fas sted phowphy af dea Soh pe capes Sa pe Rca Dagan arsk gt eo chondy eg erie strane fone sadist jdaebk ach “wlepeeas dpa tet eee a fan owed aoe SS eugene ann eee sconces ‘Senegal edond Dowd ie A eee dockage Bek jupltcd cy und nek ee ing by papng ates saree isa ba mi be was iced erece Geman Fre ses

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