This concise volume is not only a practical manual for the performer but also an authoritative history of the instrument. In covering the essentials of performance practice and musical style for the classical repertoire, the text provides important suggestions for mastering basic touch, fingering, articulation and phrasing, rhythm and tempo, ornaments, ensemble playing, more.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
A very useful and well-organized first book on harpsichord playing,
By Fernand Raynaud (California, USA) - See all my reviews
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This review is from: Playing the Harpsichord (Paperback)
This is one of several good books on harpsichord technique and interpretation. Troeger's is another. They both quote a lot of scores, and both approach what one needs to know to play well. Troeger is more conversational, broader, and not as pedagogically oriented. Schott has a knack for extracting and organizing, and his book is much shorter. But Schott's dates back to 1971, while Troeger wrote his around 1987. Schott discusses the instrument from a mid century British perpective, i.e. at the very beginning of the harpsichord renaissance. Hubbard and Dowd are briefly mentioned, and Skowronek is hailed a pioneer. Schott's premonitions turned out to be remarkably correct, he favored the historically-based instrument, so there's no Landowska dogma in this book, but I shudder nonetheless at the mention of leather plectra and pedals. Troeger built his first clavichord as a young boy, and is decidedly untainted by "revival" Pleyels and Neuperts. He admits he won't even consider those instruments in his discussion. The result is that we are dealing with almost two different generations. The interested reader can benefit from studying both books (and a few others). Schott is a bit academic and a little sure of his opinions as to interpretation, Troeger admits he's not, and is decidedly an explorer. Schott's book is now available as one of the marvelous inexpensive Dover editions. It sets the stage historically, discusses the instrument and the music, even ventures into maintenance issues, along with a very well-organized approach to interpretation and technique, and thus provides a better introductory book for beginners, suitable even for people who are informed listeners rather than players. Troeger includes both the clavichord and the harpsichord in all his discussions, and is altogether more in tune with the early 21st century mind-set of the full-blown florid baroque keyboard enthusiast. Since Schott's book costs no more than a gourmet hamburger, there is every reason to include it in your library.
6 of 8 people found the following review helpful:
5.0 out of 5 stars
A must have reference (especially for digital harpsichordists),
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This review is from: Playing the Harpsichord (Dover Books on Music) (Paperback)
Nearly a half century ago I was gifted a virginal by the harpsichord chair at a famous music school. I loved the instrument but hated its high maintenance needs. I gave it away. Several careers later I fell in love with and bought a new to the market digital harpsichord by Roland. The principle difference between then and now is the existence of this marvelous little book by Schott. It is particularly useful if you essay, as I have, to teach yourself to play the harpsichord. If you own an acoustic instrument it can serve as a valuable desk reference. If you own or plan to buy a digital then this book is a "must have" because it will show you how to begin filling the gaps in your knowledge. Easy to read, full of sound advice, and an abundance of information according the rear panel notes. All true and at a great price.
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