Reflections of an American Harpsichordist Unpublished Memoirs, Essays, and Lectures of Ralph Kirkpatrick
134 ❧ chapter thirteen faces and gave me to understand that none of this carried beyond the edge of the stage and that it simply ...
in search of scarlatti’s harpsichord ❧ 135 is actually a diffusing and weakening effect in terms of the total language of expres ...
136 ❧ chapter thirteen would have made less allowance for the use of pedals for backing off certain registers away from the stri ...
in search of scarlatti’s harpsichord ❧ 137 harpsichords didn’t expect their stops to be drawn on and off. Is it possible that th ...
138 ❧ chapter thirteen effect. If you listen to any ensemble of human voices, you will fi nd, for exam- ple, that the sound of l ...
in search of scarlatti’s harpsichord ❧ 139 few headings; I’m going to talk about small passages as illustrations, and then draw ...
140 ❧ chapter thirteen say, vastly stimulating. One of the pieces that he played for me was the E-major Sonata [K. 380]. It was, ...
in search of scarlatti’s harpsichord ❧ 141 . . . the kind of passage that begins with an outburst and ends up with a con- ciliat ...
Chapter Fourteen Style in Performance The connotations that can arise in connection with the word style appear to be virtually i ...
style in performance ❧ 143 sense. Much has been written about purity of architectural styles, especially in respect to classical ...
144 ❧ chapter fourteen More on the individualistic side are mannerisms, which no individual can avoid having. They are as person ...
style in performance ❧ 145 beginning to end of their careers. But a perfectly clear and classic example of evolution of style, o ...
146 ❧ chapter fourteen two hundred years ago. I have lived long enough to fi nd that all of the seem- ingly unassimilated borrow ...
style in performance ❧ 147 almost automatically guarantees certain consistency in treatment, no mat- ter what the subject matter ...
148 ❧ chapter fourteen needlepoint. As I looked around the room, I realized that everything in it was authentic and priceless. Y ...
style in performance ❧ 149 in cultivating the ability to reconstruct the allemande from inside out. Yet one cannot give a course ...
150 ❧ chapter fourteen be regarded as the consistent product of a series of choices and selections. We have remarked that tastel ...
Chapter Fifteen The Performer’s Pilgrimage to the Sources In speaking of the performer’s pilgrimage to the sources, by source I ...
152 ❧ chapter fifteen ultimately into his own sources of inspiration. For this we often have to cross numerous and formidable ba ...
the performer’s pilgrimage to the sources ❧ 153 the keyboard works of William Byrd in the Musica Britannica series^3 is a very s ...
«
3
4
5
6
7
8
9
10
11
12
»
Free download pdf