Word: harpsichords
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Several individual performances in the Magnificat deserve especial mention. Daniel Pinkham's playing of the harpsichord continue was very line, while, despite a few precarious moments, Gerard Gouguen negotiated the high trumpet part quite successfully. The most satisfying section for me was the aria for alto, "Esurientes implevit bonis." Miss Albert's singing and the flute playing of Howard Brown and Norton Gettes were outstanding...
...meager score of existing guitar literature he had added more than 150 of his own transcriptions of works for harpsichord, lute, violin and piano by the world's great composers. Modern composers, hearing Segovia, began writing music especially for the guitar...
...stage of the Theéátre des Champs Elysées, heard Virtuoso Segovia at his nimble-fingered best. Starting his program with a Bach fugue, he played transcriptions of works by Frescobaldi, Scarlatti, Haydn and Mozart, making his six-stringed instrument sound as brilliant as a harpsichord or as plaintive as a lute. When he concluded his program with music by Spanish Composers Albéniz and Granados, and the Italian, CastelnuovoTedesco, he was greeted with cries of "merci, merci" and "gracias," was shouted back for 15 curtain calls...
Bach: Preludes and Fugues 1-8, The Well-Tempered Clavier (Wanda Landowska, harpsichord; Victor, 12 sides 45 r.p.m.). Bach composed this cornerstone of contemporary contrapuntal music "for the use and profit of young musicians anxious to learn, and as a pastime for others already expert in the art." Here the first eight (the rest are to come) are masterfully set forth by the foremost living expert. Recording: excellent...
...been playing Bach on the harpsichord in public for 46 years: the great Hungarian conductor, Arthur Nikisch (1855-1922) had long ago punningly tagged her "The Bachante." And she had performed all of Book I of the Well-Tempered Clavier last year in a series of Town Hall recitals to which her worshipful disciples-musicians, students and teachers alike-had flocked, music in hand. Some were occasionally surprised at her interpretations; Bach himself gave few hints of exactly how fast and how loud his music should be played. But few had failed to be impressed with her magnificent authority...