Reflections of an American Harpsichordist Unpublished Memoirs, Essays, and Lectures of Ralph Kirkpatrick

196 ❧ index
Haydn Society, 65
Heifetz, Benar, 103
Herkules-Saal (Munich, Germany),
66–67
Herman Chittison Trio, 103
Hindemith, Paul, 3, 76, 102–3; Hérodi-
ade, 78; Ludus Tonalis, 103; “Ode to a
Dying Frog,” 103
Hitler, Adolph, 12–13
Hofmannstahl, Hugo von, 161
Hogan, C. C., “Maiden’s Prayer,” 103
Holiday, Billie, 20–21
Holm, Hanya, 19
Horowitz, Vladimir, 139–40
hospitality and performers, 52–53
Hubbard, Frank, 5–6, 70–72, 101; Three
Centuries of Harpsichord Making,
90–91, 124, 132
Humphrey, Doris, 5, 19, 20
Institute of Byzantine Studies, 80
International Musicological Society
Congress (1961), 95
Italy, Kirkpatrick in, 2, 26, 29–31,
34–35, 45–46, 49
Jacobs, Paul, 97
jazz, 20–21, 103
Jerusalem Conservatory, 81
Jeunesses Musicales, 42
Johannesburg, Kirkpatrick in, 37, 38–39
Jones, Inigo, 55
Joyce, James, Ulysses, 144
Jung, Carl, 160
Kahn, Erich Itor, 103
Karajan, Herbert von, 4, 12
Kirkpatrick, Ralph: African tour, 35–40;
altercation with critic in Johannes-
burg, 38–39; as art connoisseur, 41,
160; audience with Pope, 31; as book
and print collector, 4; cataract sur-
gery, 35, 40, 97; as chamber music
player, 5, 58, 75–82; as clavichordist,
1, 2, 41, 49, 60, 69, 72–73, 74, 77,
102, 128–29; Connecticut property,
16, 32, 97; contemporary music per-
formed by, 1, 42, 79, 95–98; dissatis-
faction with harpsichords, 5, 89–92;
Dolmetsch-Chickering harpsichord
owned by, 17, 83, 86–87; on editing
Bach’s Goldberg Variations, 99–101;
essay on chamber music, 75–82;
essay on equipment and education
of a musician, 105–9; essay on harp-
sichords and their transport, 83–92;
essay on performing, 49–62; essay
on recording, 63–74; European
sojourn, 2, 11–15, 83, 109; eye dis-
ease and blindness of, 3, 44–45; film
for Carnegie Hall Corporation, 33;
financial independence, 15; foreign
holidays of, 44, 45; as fortepianist, 1;
Guggenheim Fellowship, 2, 13–16;
harpsichord studies, 61–62; Har-
vard studies, 1–2, 14, 100, 108–9;
heart surgery, 46; jazz and, 20–21,
103; languages spoken, 4; lecture-
demonstrations of, 3, 113–17,
121–41; letters of, 4; life and career
of, 1–4; life plan, 13–15; memoirs,
1933–77, 4–5, 11–46; modern dance
and, 19–20; on musical editing pro-
cedures, 151–58; musical memory,
3–4, 57–58; in New York, 15–16, 30;
papers bequeathed to Yale Music
Library, 4; on performance of “early
music,” 159–66; as pianist, 1, 43–44;
politics and, 29; post-war concerts
in Germany, 22–26; recitals and
performances, 2, 3–4, 30, 34–41,
56–59; recording of Carter Double
Concerto, 97–98; recordings of Bach,
3, 41, 62, 63–74, 128–29; recordings
of Scarlatti sonatas, 3, 62, 66, 74,
131, 132; recordings with Schneider,
64–65, 81–82; repertoire selection,
1, 56–57; scholarly work, 2–3, 5, 15,
26–34, 35, 44, 46, 79, 81, 99–101;
smoking habit, 30; on style in perfor-
mance, 142–50; as teacher, 2, 18–19;
traveling fellowship, 83; varying
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