A virtually complete documentation and tonal analysis derived from the data, drawings, and photographs from the restoration of 1976
by Michael McNeil and David Sedlak
Editor’s note: Part 1 of this article was published in the August 2018 issue of The Diapason, pages 16–19. Part 2 was published in the September 2018 issue, pages 20–25. See the October 2018 issue, pages 26–28 for Part 3.
A century after the art of the pipe organ advanced to include all that electricity brought to organbuilding, it advances again to include solid-state controls—an additional wealth of gizmos allowing the organist to express the music ever more effectively
Examples of Enlivening a Figured Bass on the Harpsichord
Nothing is more dull in a performance of Baroque music than a
continuo harpsichordist who mechanically plays a chord for every bass note in
the score. Or who reverently plays a printed realization, which usually follows
the same practice. Only rarely one hears a realization exhibiting some element
of spark and imagination.
