Bibliography

Aldrich, Momo. “Reminiscences of St. Leu,” The Diapason, July 1979, pp.3, 8.

Aldrich, Putnam. “Classics of Music Literature: Wanda Landowska’s Musique Ancienne,” Music Library Notes 27:3 (March 1971):461-68.

Aldrich, Richard. Concert Life in New York 1902-1923. New York: G. P. Putnam’s Sons, c. 1941.

Allen, Una L. “A Dolmetsch of the Middle West,” The Musician, November 1932, pp.5-6.

Ardoin, John. “Namara: A Remembrance,” The Opera Quarterly 1:4 (Winter 1983):74-81.

Asbell, Bernard, “After Hours: the Harpsichord with the Forward Look,” Harper’s 216 (June 1958):80.

Ayars, C. M. Contributions to the Art of Music in America. New York: H. W. Wilson, 1937.

Beaumont, Anthony. Busoni the Composer. Bloomington: Indiana University Press, 1985.

Bedford, Frances, and Robert Conant. Twentieth-Century Harpsichord Music: A Classified Catalog. Hackensack: Joseph Boonin, 1974.

“The Belle Skinner Collection of Old Musical Instruments, Holyoke, Massachusetts. A Descriptive Catalogue compiled under the direction of William Skinner.” Mt. Holyoke, 1933.

Biggs, E. Power. “John Challis,” The Diapason, January 1975, p. 14.

———. Notes to E. Power Biggs plays Scott Joplin on the Pedal Harpsichord. Columbia Records M 32495, 1973. Volume two, Columbia Records M 33205, 1974.

———. Notes to Holiday for Harpsichord, Fun-Filled Favorites from E. Power Biggs and his Pedal Harpsichord. Columbia Records ML 6278, 1966.

Bloom, Julius, ed. The Year in American Music 1946-1947. New York: Allen, Towne, and Heath, 1947.

Boalch, Donald H. Makers of the Harpsichord and Clavichord 1440-1840. 2d ed. Oxford: Oxford University Press, 1974.

Boston Public Library. Scrapbook of Arnold Dolmetsch’s American Years. Brown Collection, BPL, 1946.

Brower, Harriette. Modern Masters of the Keyboard. New York: Frederick A. Stokes, 1926.

Brussel, Robert. “Madame Wanda Landowska.” Translated from the French by Edward Burlingame Hill. The Etude 23 (November 1905):444.

Buckley, William F. Jr. “Queen of All Instruments: An Amateur Player Recounts His Long Love Affair With the Harpsichord,” New York Times Magazine, 2 January 1983, pp. 18-19, 33-35.

Busoni, Ferruccio. Letters to his Wife. Translated by Rosamond Ley. London: E. Arnold, 1938.

Caffrey, John. “John Challis and Julius Wahl: Harpsichords for Americans,” Musical America, February 1950, pp.131, 224, 248.

Campbell, Margaret. Arnold Dolmetsch: the Man and his Work. London: Hamish Hamilton, 1975.

———. “Dolmetsch’s American Years,” Bulletin of the Dolmetsch Foundation XIX (August 1972):4.

Cantor, Harold. “High Priestess of Happiness,” The American Mercury, July 1955, pp. 82-83.

Casella, Alfredo. Music in My Time. Translated and edited by Spencer Norton. Norman: University of Oklahoma Press, 1955.

Catalogue of Keyboard Musical Instruments in the Crosby Brown Collection. New York: Metropolitan Museum of Art, 1903.

Challis, John. “The Harpsichord’s Revival,” The American Organist 18 (October 1935):382.

Chasins, Abram. “Bach’s Will, Landowska’s Testament,” Saturday Review, 27 November 1954, pp.56-57.

Cohen, Joel, and Herb Snitzer. Reprise: The Extraordinary Revival of Early Music. Boston: Little, Brown and Company, 1985.

Colby, Edward, and Elizabeth Hayes. Putnam Aldrich Bibliography. Stanford University Library MSS, n.d.

“Come On-A Stan’s House,” DownBeat 18 (16 November 1951):3.

Cooper, Kenneth. “Sylvia Marlowe: Wit, Warmth and Wisdom,” High Fidelity, June 1982, pp. 55-57.

Cossart, Michael de. The Food of Love. Princesse Edmond de Polignac (1865-1943) and her Salon. London: Hamish Hamilton, 1978.

Crichton, Ronald. Manuel de Falla: Descriptive Catalogue of his Works. London: Chester Music, 1976.

Dahl, Bjarne. “The Ehlers Pleyel,” The Harpsichord VI:2 (1973):3.

Dodge, Roger Pryor. “Harpsichords and Jazz Trumpets,” Hound and Horn, July 1934, pp.587-608.

Dolmetsch and His Instruments. Brochure from Arnold Dolmetsch, Ltd, Haslemere, Surrey, 1929.

Dolmetsch, Mabel. Personal Recollections of Arnold Dolmetsch. London: Routledge and Kegan Paul, 1957.

Dower, Catherine. Yella Pessl: A Life of Fire and Conviction. Westfield: Westfield State College, 1986.

Dyer, Richard. “A Master Returns to the Stage,” The Boston Globe, 24 May 1981, pp. Al, A12.

Elson, Arthur. “Arnold Dolmetsch and his Instruments,” The Musician XIII:4 (April 1908): 157-159.

Emerson, Paul. “Stanford’s Aldrich to Retire,” Palo Alto Times, 30 May 1969, p. 14.

Evett, Robert. “The Romantic Bach,” New Republic, 28 July 1952, pp.22-23.

Ewen, David. Living Musicians. New York: H. W. Wilson, 1940.

Gavoty, Bernard. Great Concert Artists: Wanda Landowska. Translated from the French by F. E. Richardson, with portraits by Roger Hauert. Geneva: Rene Kister, 1957.

Goldsmith, Owen. “Fernando Valenti, Grand Master of the Keyboard,” Contemporary Keyboard, April 1980, pp.24-32.

Goodkind, Howard. “The Return of the Harpsichord,” American Mercury, March 1949, pp.345-350.

Grainger, Percy. “Arnold Dolmetsch: Musical Confucius,” Musical Quarterly 19 (1933): 187-198.

Haney, Hal. “Conversation with Builder-Harpsichordist Claude Jean Chiasson,” The Harpsichord V:3 (1972):5-9, 12, 20.

———. “Conversation with Harpsichordist Mme. Alice Ehlers,” The Harpsichord VI: 1 (1973):4-9,17.

———. “Conversation with Harpsichordist Denise Restout,” The Harpsichord VII: 1 (1974):6-11,14-23.

———. “Interview with Sylvia Marlowe,” The Harpsichord IV:3 (1971):6-11, 18-20.

———. “Interview with Fernando Valenti,” The Harpsichord II: 1 (1969):4-6.

———. “Portrait of a Builder: John Challis,” The Harpsichord 11:3 (1969): 14-23.

———. “Portrait of a Builder: William Dowd,” The Harpsichord IV:1 (1971):8-19.

———. “Portrait of a Builder: Frank Hubbard,” The Harpsichord V:1 (1972):5-9, 14-17.

Harding, James. Massenet. New York: St. Martin’s Press, 1970.

Harich-Schneider, Eta. Charaktere und Katastrophen. Berlin: Ullstein, 1978.

———. Die Kunst des Cembalospiels. 3d ed. Kassel: Bärenreiter, 1970.

“A Harpsichord Romance,” Musical Courier 19:25 (18 December 1889):520.

Henahan, Donal. “Harpsichordists Turn the Tables,” New York Times, 14 January 1972.

Hess, Albert G. “The Transition from Harpsichord to Piano,” Galpin Society Journal VI (1953):75-94.

Heylbut, Rose. “The Harpsichord Today: An Interview with Ralph Kirkpatrick,” The Etude 72 (August 1954):9, 51.

Hill, Edward Burlingame. “An Apostle of Old Music,” The New Music Review 6 (1906-1907):625-629.

Hipkins, Alfred J. A Description and History of the Pianoforte and of the Older Keyboard Stringed Instruments. 3d ed. London, 1929. Republished with an introduction by Edwin M. Ripin, Detroit: Detroit Reprints in Music, 1975.

———. “A Lecture on Spinets, Harpsichords, and Clavichords,” Musical Times 26 (November 1885):646-649.

Hoover, Cynthia. “Music at the Smithsonian,” The Smithsonian Journal of History II:1 (Spring 1967):55-66.

Hubbard, Frank. “Reconstructing the Harpsichord.” In The Historical Harpsichord, I, edited by Howard Schott. New York. Pendragon Press, 1984.

———. Three Centuries of Harpsichord Making. Cambridge: Harvard University Press, 1965.

Hyams, Ben. “Wanda Landowska Called Her Momo,” Honolulu Magazine, September 1980, p. 107.

International Who Is Who in Music. 5th ed. Chicago, 1951.

Johnson, William Lyman. “Musical Life in Boston,” Library of the Harvard Musical Association, Bulletin No. 14 (April 1946), n. p.

———. “Return to the Harpsichord,” Christian Science Monitor, 23 June 1937, p.6.

Kilvert, Rev. Francis. Selections from the Diary. Edited by William Plomer. London: J. Cape, 1938-1940.

Kinkle, Roger D. The Complete Encyclopedia of Popular Music and Jazz 1900-1950. New Rochelle, NY: Arlington House, 1974.

Kirkpatrick, Ralph. Early Years. New York: Peter Lang, 1985.

———. “European Journal,” Musical America, November 1985, pp.33-37.

———. “Fifty Years of Harpsichord Playing,” Early Music, January 1983, pp.31-41.

———. Interpreting Bach’s Well-Tempered Clavier, A Performer’s Discourse of Method. New Haven: Yale University Press, 1984.

———. “On Playing the Clavichord,” Early Music IX:3 (July 1981):293-305.

———, ed. Bach’s Goldberg Variations. New York: G. Schirmer, 1938.

Lincoln, Stoddard. “The Harpsichord on the Contemporary Scene: Roots for a Tradition,” Bulletin of the American Composers’ Alliance 7:2 (1958): 18-22.

Lindorff, Joyce Zankel. “Contemporary Harpsichord Music: Issues for Composers and Performers.” D.M.A. diss., The Juilliard School, 1982.

Loesser, Arthur. “Return of the Harpsichord,” House Beautiful, January 1956, p.82.

Lownsberry, Eloise. “Nelly Custis’ Harpsichord,” The Etude 59 (February 1941):92.

Lyons, Sister Stephen Marie. “Reawakening Interest in the Harpsichord.” M. A. thesis, St. Joseph College, 1966.

Mason, Daniel Gregory. Music in My Time and Other Reminiscences. 1938. Reprint, Freeport, New York: Books for Libraries Press, 1970.

Mendel, Arthur, and Hans T. David. The Bach Reader. Rev. ed. New York: Norton, 1966.

Michotte, Edmond. Richard Wagner’s Visit to Rossini: Paris, 1860. Translated by Herbert Weinstock. Chicago: University of Chicago Press, 1968.

Moscheles, Charlotte. Life of Moscheles with Selections from his Diaries and Correspondence. Translated by A. D. Coleridge. London: Hurst and Blackett, 1873. Published as Recent Music and Musicians, New York: 1874.

Moses, Julian Morton. Collectors’ Guide to American Recording 1895-1925. 1949. Reprint, New York: Dover, 1977.

Nurmi, Ruth. A Plain and Easy Introduction to the Harpsichord. Albuquerque: University of New Mexico Press, 1974.

O’Meara, Eva J. “Historic Instruments in the Steinert Collection,” Yale Alumni Weekly, 29 March 1929, pp.795-796.

Orenstein, Arbie. Ravel, Man and Musician. New York; Columbia University Press, 1975.

Overmyer, Grace. “Harpsichord,” American Mercury 10 (April 1927):442-445.

Palmer, Larry. “The Concertos of Falla and Poulenc,” The Diapason, July 1979, pp. 9-11.

———. “Harpsichord Repertoire in the 20th Century: the Busoni Sonatina,” The Diapason, September 1973, pp. 10-11.

———. “In Search of Scarlatti,” The Diapason, December 1985, p. 13.

———. “Ralph Kirkpatrick and Bach’s Goldberg Variations,” The Diapason, May 1973, p.7.

———. “Some Literary References to the Harpsichord and Clavichord: 1855-1923,” The Diapason, September 1983, pp. 18-19.

———. “Vincent Persichetti: A Love for the Harpsichord—Some Words to Mark his Seventieth Birthday,” The Diapason, June 1985, p.8.

Philipp, Isidor. “Charles-Marie Widor: A Portrait,” Musical Quarterly 30:2 (April 1944): 125-132.

Poulenc, Francis. Poulenc: My Friends and Myself. Conversations assembled by Stephane Audel, translated by James Harding. London: Dennis Dobson, 1978.

“President Roosevelt Greatly Interested in Clavichord,” Music Trades, 26 December 1908, p.9; signed “D.L.L.”

Restout, Denise. “Mamusia: Vignettes of Wanda Landowska,” High Fidelity Magazine, October 1960, pp.42-47, 136-138.

———. Program booklet to Landowska recordings of Mozart, Piano Concertos 13 and 22, and Sonata in F, K.332; and Poulenc, Concert Champetre. International Piano Library Limited Editions, IPL 106 and 107, 1969.

———. “Wanda Landowska’s Centenary,” The Diapason, July 1979, pp.1, 12-15.

Restout, Denise, and Robert Hawkins, eds. Landowska on Music. New York: Stein and Day, 1964.

Richard, J. A. “The Pleyel Harpsichord,” The English Harpsichord Magazine 11:5 (October 1979): 110-113.

Robertson, Josephine. “Harpsichord Popularity Is Seen Growing,” Cleveland Plain Dealer, 15 December 1960.

Roche, Elizabeth, “George Moore’s Evelyn Innes: a Victorian ‘early music’ novel,” Early Music XI: 1 (January 1983):71-73.

Rodzinski, Halina. Our Two Lives. New York: Scribner’s, 1976.

Rorem, Ned. The Paris Diary. New York: George Braziller, 1966.

Rosenfeld, Paul. Discoveries of a Music Critic. New York: Harcourt, Brace & Co., c. 1936. Reprint 1972.

“Rossini’s Harpsichord,” The Music Trade Review 38:17 (1904):26.

Ruff, Willie. “A Musician’s Legacy: Ralph Kirkpatrick Remembered,” Yale Alumni Magazine, April 1985, pp.20-23.

Russcol, Herbert. “Boom Goes the Harpsichord,” House and Garden, October 1968, pp.74-78.

Russell, Raymond. The Harpsichord and Clavichord: An Introductory Study. 2d ed., revised by Howard Schott. New York: Norton, 1973.

———. “The Harpsichord Since 1800,” Proceedings of the Royal Musical Association 82 (1955/56):61-74. Reprints, Nendeln/Liechtenstein: Kraus Reprint Ltd, 1968.

Sabin, Robert. “Harpsichord Seen as ‘Timeless’ by Sylvia Marlowe,” Musical America, 15 December 1954, p. 16

———. “Poulenc: ‘The Essence is Simplicity,’ ” Musical America, 15 November 1949, p. 27.

Sachs, Harvey. Virtuoso: The Life and Art of Paganini, Liszt, Anton Rubinstein, Paderewski, Kreisler, Casals, Wanda Landowska, Horowitz, Gould. London: Thames and Hudson, 1982.

Sanborn, Pitts. “Landowska’s Contribution,” The Nation 121 (5 August 1925):175.

———. “The 1925-26 Season,” Modern Music III:4 (May-June 1926):3-9.

———. “Wanda Landowska,” The Nation 118 (9 April 1924):404-405.

Schonberg, Harold C. “American in Orient,” New York Times, 22 April 1956.

———. The Great Pianists. New York: Simon and Schuster, 1963.

Schott, Howard. Playing the Harpsichord. New York: St. Martin’s Press, 1971.

———. “The Harpsichord Revival,” Early Music 11:2 (April 1974):85-96.

———, ed. The Historical Harpsichord, vol. I. New York: Pendragon Press, 1984.

Schulze, Richard Allen. How to Build a Baroque Concert Harpsichord. New York: Pageant Press, 1954.

Shattuck, Arthur. The Memoirs of Arthur Shattuck. Edited by S. F. Shattuck, with an account of his career by Willard Luedtke. Neenah, Wisconsin: privately printed, 1961.

Shaw, George Bernard. The Great Composers. Reviews and Bombardments by Bernard Shaw. Edited with an introduction by Louis Crompton. Berkeley: University of California Press, 1978.

———. Music in London 1890-1894. London: Constable, 1932.

Simosko, Vladimir. “Artie Shaw and his Gramercy Fives,” Journal of Jazz Studies 1:1 (1973):34.

Slom, Stanley H. “A Sort of Mild Mania for Doing it Yourself Hits the Music World,” Wall Street Journal, 25 January 1974, pp.1, 17.

Slonimsky, Nicolas. Baker’s Biographical Dictionary of Music. 5th ed. New York: G. Schirmer, 1958. 6th ed., New York: G. Schirmer, 1978.

———. Perfect Pitch: A Life Story. Oxford and New York: Oxford University Press, 1988.

Smith, Fanny Morris. “The Revival of the Harpsichord,” The Etude 17 (August 1899):254.

Spaeth, Sigmund. “Musical Uplift for the Collegian,” Opera Magazine I (April 1914):31-32.

Staatliches Institut für Musikforschung, Preussischer Kulturbesitz, Das Musikinstrumenten-Museum Berlin—Eine Einfiihrung in Wort und Bild (Berlin, 1968).

Stanley, Albert A. Catalogue of the Stearns Collection of Musical Instruments. Ann Arbor: University of Michigan, 1921.

Steinert, Morris. Reminiscences. Compiled by Jane Marlin. New York: Putnam’s, 1900.

Stevens, David, “A Harpsichordist Who Dares to Buck the Tide,” New York Times, 6 October 1985, p.H23.

Stoddard, Hope. “The Harpsichord—Past and Present,” International Musician, December 1951, pp.24-25.

Stone, Else, and Kurt Stone. The Writings of Elliott Carter. Bloomington: Indiana University Press, 1977.

Straus, Noel. “Sylvia Marlowe in Classic Works,” New York Times, 17 January 1946, p.21.

Sween, P. “The Nineteenth-Century View of the Old Harpsichord,” The English Harpsichord Magazine II:7 (April 1979):92-95.

Symons, Arthur. “A Reflection at a Dolmetsch Concert,” in Plays, Acting and Music. New York: Dutton, 1909.

Taubman, Howard. “Priestess of the Harpsichord,” New York Times Magazine, 11 Feburary 1951, p.16.

Thomson, Virgil. The Art of Judging Music. New York: Knopf, 1948.

———. The Musical Scene. New York: Knopf, 1947.

Thorp, Keith Andrew. “The 20th-Century Harpsichord: Approaches to Composition and Performance Practice as Evidenced by the Contemporary Repertoire.” D.M.A. diss., University of Illinois at Urbana-Champaign, 1981.

Toth, Gwendolyn Joyce. “Twentieth-Century Solo Harpsichord Music in the Kirkpatrick Collection of the Library of the Yale School of Music.” M.M.A. thesis, Yale University, 1981.

Troxler, Ule. Antoinette Vischer: Dokumente zu einem Leben fur das Cembalo. Edited by Markus Kutter. Basel: Birkhäuser, 1976.

Valdes, Lesley. “The Legacy of This Harpsichord Pioneer Lives On,” New York Times, 19 June 1983, pp.H27, 30.

Valenti, Fernando. The Harpsichord: A Dialogue for Beginners. Hackensack: Jerona Music, 1982.

———. “Scarlatti Forever!” High Fidelity, November 1954, pp.37, 108, 110, 112.

Watkins, R. Bedford. “New Life for the Harpsichord,” Clavier, February 1970, pp.39, 42-45.

Whiting, Arthur. The Lesson of the Clavichord. Brochure in the Library of Congress [c. 1910].

Who’s Who in American Music, Classical. 1st ed. Edited by Jaques Cattell Press. New York: R. R. Bowker, 1983.

Williams, Richard. “The Syncopated Harpsichord,” House Beautiful 95 (January 1953): 10.

Williamson, Narcissa. “Musical Instruments—To Be Seen or Heard?” Museum News, January 1967, pp. 34-36.

Winternitz, Emanuel. Keyboard Instruments in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1961.

Yale Collection of Musical Instruments: Checklist. New Haven: Yale University, 1968.

Zuckermann, Wolfgang Joachim. The Modern Harpsichord. 20th Century Instruments and Their Makers. New York: October House, 1969.