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Word: harpsichords (lookup in dictionary) (lookup stats)
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...versatility by performing with consummate skill on four diverse sizes of recorder as well as on an old wooden cross flute--all of which have utterly different playing techniques from the modern flute. The other musicians were Phyllis Olson, tenor and bass viola da gamba; and Daniel Heartz, harpsichord and lute...

Author: NO WRITER ATTRIBUTED | Title: Concerts of the Week | 8/2/1956 | See Source »

Authentic Renaissance and Baroque instruments will perform the works of these composers. Performers for the concert are Daniel Heartz, harpsichord and Renaissance lute; Phyllis Olson, tenor and bass viola da gamba; and Howard Brown '51, cross flute and recorders...

Author: NO WRITER ATTRIBUTED | Title: Chamber Music at Paine Hall Tuesday | 7/26/1956 | See Source »

...brought requests for a repeat telecast. Station WGBH-TV will televise these vocalists on July 30. An additional concert with full-chorus and accompanist has been planned for the Monday evening of August 13, in Sanders Theatre. Dr. Putney Aldrich will join the group in this concert with his harpsichord...

Author: NO WRITER ATTRIBUTED | Title: Chorus Plans T.V. Concert, Other Events | 7/12/1956 | See Source »

Paul DesMarais of the music faculty played his Theme and Changes for Harpsichord (1953). This original work, with its jagged theme and unusual, repetitive harmonies and textures, is in the form of a French ouverture. The varied coloristic potentialities of the harpsichord are well utilized. So rich are some of the sonorities produced that the instrument sounds lie an organ, and, in certain harmonically brilliant sections, there is a suggestion of the contemporary French organ school of composition. Although the repetitive element in the style is sometimes overdone, the work as a whole is balanced and dramatic...

Author: By Bertram Baldwin, | Title: Composer's Laboratory | 5/23/1956 | See Source »

This is the first record of a much publicized young man named Glenn Gould. He is a pianist with a fabulous technique, and his playing of Bach is truly virtuoso. Strangely enough, his one weak point is precisely where the piano should have the advantage over the harpsichord, in the ability to "sing" a melody. Gould never succeeds in achieving a cantabile style, but seems like a pianist imitating the sound of a harpsichord. While this record does not displace Ralph Kirkpatrick's superlative harpsichord performance, it is the best piano version of a masterpiece...

Author: By Stephen Addiss, | Title: Current Release | 3/29/1956 | See Source »

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