Pianists Take Note

Musicologist and blogger Charles T. Downey of Ionarts acquires a new toy, and finds that,

Playing the harpsichord requires a special technique for a pianist or organist, as I knew before and truly appreciate now that I own one. As I played through some of the preludes and fugues from the Well-Tempered Clavier, it was clear that the notes on the page meant something rather different at this keyboard than at my modern piano.

Indeed. Would that all pianists attempting Bach's keyboard works be required to first learn them in depth on the instrument for which they were principally (but not exclusively*) written.

I somewhat sheepishly confess that the nostalgia Dr. Downey's new acquisition provoked in me provoked as well the green-ey'd monster which in ordinary circumstances would further provoke me to the rash act of undertaking the acquisition of a replica of the double-manual concert harpsichord of my youth which I had built for me in 1963 by William Dowd of Boston (later, of Paris, France). Luckily, the restrictive size of my present living accommodations and bank account (not to speak of my now semi-arthritic fingers) keep me from entering upon such a reckless enterprise.

We tender Dr. Downey a mazel tov on the acquisition of his new toy, and our best wishes for the many hours and years of soul-satisfying enjoyment we know it's capable of providing.

*The few keyboard works — such as the Goldberg Variations and Italian Concerto — written specifically for the double-manual harpsichord excepted.