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Find out more about our use of this data. Show more Show less. Les Sauvages Suite in G major for harpsichord. Les Sauvages Suite in G major for harpsichord Composer. Concerto in D minor 3rd mvt: Carl Philipp Emanuel Bach. Sonata in D minor, BWV 3rd mvt.
La marche des gris-vêtus; Les baccanales; La pateline; Le réveil-matin. Ordre cinquième (A major). La logiviére, allemande; Premier. Grade 8 Syllabus. Associated Board of the Royal Schools of Music: Music for your Grade Exam, Every instrument, every grade. 12 Keyboard Pieces ( Keyboard Music Book 1) (Stainer & Bell). $ 8. La Marche des Scythes. Royer 1. Prélude: 1st movt from English Suite No. 2 in A minor, BWV J. S. Bach.
Radio 3 Lunchtime Concert. Adagio from Sonata in A flat, H. Les Trois Mains from Suite in A minor. Keyboard Sonatas in G minor K. Prelude, from 'Suite V in E minor'. Prelude, from 'Suite V in E minor' Composer. La Piemontoise, from 'Les Nations'. La Piemontoise, from 'Les Nations' Composer. Suite IV in B flat. Suite IV in B flat Composer. Rondeau, dressed casually, and appearing slightly uncomfortable with the journey from stage door to harpsichord, was totally in command the second he touched the instrument. We were treated to a selection of works from three French Baroque composers, Rameau, Couperin and the slightly lesser known Royer.
The closing Gavotte begin with a simple statement on the upper manual, before a sequence of increasingly virtuosic doubles, with running scales, hand-crossing and a flourish to finish. The first, a Sarabande, is sombre and indeed somewhat lugubrious, with its rich bass line topped by florid decoration, and the second, a Chaconne, is equally serious in tone, with its repeated falling line taken through increasingly complex variation.
Rondeau captured the change in style here from the Rameau, and brought out the fugal lines in the Chaconne with great precision. With improvisatory, cadenza-like passages and increasing virtuosic displays, the audience were fooled into premature applause, yet there was more hand-crossing and crazy rapid scales to come before a final emphatic flourish. A tall order in some ways for the Risser work that concluded the programme to follow this. Little is written down, and Risser used oral transmission and diagrammatic representation, as well as recordings of her own improvisations to communicate her intentions.
A lot to pack into just over five minutes, the piece began with tiny, metallic high notes, slowly increasing in frequency and intensity, moving down the keyboard. This gradually moved into more chordal textures, and complexity of rhythms, building to Rondeau almost hammering the extremes of the keyboard with flat palms. With a theatrical gesture, Rondeau then collapsed onto the keyboard with the whole of his forearm, then raised and gradually depressed it again onto the keyboard.
Keith Hill - Instrument Maker. I will be providing a link for that page as soon as it is available. There has never been a book written that covers the craft of enhancing sound until now. Indeed, most books written about sound are based on the physics of sound.
In the 46 years I have been making musical instruments, I have never found it either necessary or useful to know anything about the physics of sound. My reason for this total disregard for such knowledge is that ALL the greatest musical instrument makers from to including Stradivari, Guarneri del Jesu, Amati, Ruckers, de Zentis, Blanchet, Taskin, Cristofori, Stein, Hubert, Walther, Graf, Schnitger knew nothing about the physics of sound. What these makers knew was vastly more important and valuable, but unfortunately was secreted away only in their instruments.
My attitude when I began making musical instruments in was to restrict myself to only that knowledge available to those great musical instrument makers. That body of knowledge, which was acquired over a period of years, had as its foundations the teachings of Pythagoras. Based on his ideas of the musical ratios, makers of all kinds instruments developed the craft of enhancing the sounds of their materials to make their instruments sound as beautiful and as resonant as possible. Then, towards the end of the 18th century, with the development of modern scientific methods and attitudes, all that lovingly acquired ancient Pythagorean based knowledge was put aside and immediately forgotten.
Even Conrad Graf in the beginning of the 19th century had to relearn that body of knowledge to produce the sounds of his pianos.
But little of what Graf had learned was acquired by apprentices in his workshop. Recovering all that lost knowledge was my goal. This treatise is meant to preserve this knowledge of how the greatest instrument makers in history thought about sound and how to enhance it. I made the instrument in April of and finished the instrument in September. The photo below is of Prof.
Edwards preparing for the concert on that harpsichord when the instrument was in the conservatory building the afternoon of the concert.
This instrument is presently for sale. In all that time, I have received only half a handful of thoughtful well considered critiques about my instruments. That makes a review written to me recently by Jan Katzschke of Dreseden, Germany all the more interesting. As most of my readers already know, I base my work exclusively on aesthetic and musical principles that I submit myself to and apply as faithfully as possible.
The less of my self I interject into the business of making an instrument the better. This review, see below, is an affirmation that my decision to govern my instrument making behavior according to these principles was not made in vain. Last weekend I played the first three concerts on the Taskin and the result was absolutely amazing and in that degree unexpected for me.
First what I enjoyed already at home: The resonance, bloom, transparence, dynamic The touch is absolutely delightful, like moving my hands in warm water. The dynamic is absolutely amazing, if I want to emphasize a single tone or theme of a middle part of the score, only the intention is enough to make the instrument immediately react dynamically. I know this partially from other instruments, but this one is far beyond everything I know elsewhere. Every single tone is singing on a maximum degree. Before writing all this to you, I wanted to await the first concerts. For the first time in my life in making chamber music, I did not have the feeling that the fundamental of the harpsichord feels completely gone while playing as soon as other instruments join in.
In all of the 3 different concert rooms small village church, acoustically "dry" modern chamber music hall, bigger church with rich delay of the room the feeling while playing never changed.
Wilhelm Friedemann Bach - Concerto in E-flat major for 2 harpsichords. Before writing all this to you, I wanted to await the first concerts. Rockets launch in Vertigo. Sonata in D major Kk. The closing Gavotte begin with a simple statement on the upper manual, before a sequence of increasingly virtuosic doubles, with running scales, hand-crossing and a flourish to finish. Jean Rondeau , Harpsichord.
The sound stayed completely resonant all the time for me. The Bloom is incredible and the tone is incredibly focused as well. I never have experienced something of that degree before. Every single tone appears multi-dimensional, the fundamental develops absolutely rich as well as the overtones. The second concert modern chamber music hall was visited by the solo flutist of our Dresden Philharmonic Orchestra; she is a highly sensitive musician and immediately realized the quality of the harpsichord's sound.
She said that you get the feeling to be right in the middle of the instrument independently where you were sitting in the room, that you are completely surrounded and interpenetrated by the sound. The presence was always the same and highly intense. All listeners of the concerts who talked to me afterwards said that they never have heard a harpsichord like this before I even was a bit jealous, because usually people tell me that they did not expect such a good sounding harpsichord playing, but now no one was talking about my playing any more but only about your instrument He is very musically, but usually is a quite cynical man almost never expressing emotions.
After the concert he could not stop saying how deeply moved he was. That for me was the strongest and most unexpected reaction of the weekend. The reactions of the people in the third concert concerning the harpsichord were as excited as in the other concerts regarding the solo pieces. So, your Taskin has proved to be outstanding not only at home, and I simply want to thank you again that you made such a wonderful sounding instrument for me. I feel to be a blessed donee!!!! Hill Opus , after the Ahaus Ruckers, made in Most of these harpsichords, clavichords, violins, guitars, and fortepianos continue to serve music as I intended them so to do when I made them.
My chiefest aim has always been to build sounds that inspire a way of playing that deeply moves and excites listeners. This aim can be realized only by acoustical work of the highest quality. I define quality as anything that makes my instruments more like the antique instruments. H ere is a Sound Sample of one of my Taskin Harpsichord s.
It is that skill and understanding that I am able to bring to each and every instrument I make. It is this skill and understanding which makes my instruments unique in our time. That is what I have to offer. The following performance is of my brother, Robert Hill, playing the first concert on that instrument in Perth. The cardinal signs of a Hill instrument are: Why are these traits necessary? It is obvious that players and composers in the 18th century demanded instruments possessing these qualities to be made so that they would aesthetically support their musical conceptions and intentions.
How do we know this?