Playing the Harpsichord Expressively - by Mark Kroll (Paperback)

About the Book

This book gives a practical method for playing the harpsichord in a way that was lost when the instrument was marginalized by the piano in the 19th century. Since a thorough knowledge of historical performance practice is such an important aspect of playing this repertoire, ex...

Book Synopsis

The art of expressive harpsichord playing was lost when the instrument was replaced by the piano in the nineteenth century. Despite the great strides in harpsichord performance and building made during the last 100 years, the full expressive potential of the instrument has not yet been realized, or sometimes even acknowledged by professionals or amateurs. This book reveals the depth of expression that is possible on the harpsichord, and teaches the performer how to achieve it.

Previous books devoted to playing the instrument have either been written for amateurs and beginners with little or no experience on the harpsichord, or they take a scholarly approach. This resource is written with a different goal in mind: teaching the art of expressive harpsichord playing to those who have had experience on the instrument, and also to pianists and organists who love the repertoire, and want to play it on the keyboard instrument for which it was composed.

Presented together with quotes from the most important primary sources on the instrument, the book contains more than 100 musical examples in an easily-accessible format and one of the most comprehensive bibliographies available.

Review Quotes

"Kroll...presents a precise, user-friendly manual both for those with experience on the harpsichord and for pianists and organists who love the repertoire and want to play it on the instrument for which it was composed. He includes quotes from primary sources, about 100 musical examples, and a comprehensive bibliography." --Reference and Research Book News

"An experienced teacher and an impressive harpsichordist, anything Mark Kroll undertakes demands respect. His book certainly does that....The book is eminently practical and easy to understand....All in all an impressive achievement." --Early Music Review

"The title of this volume is particularly important; some harpsichord tutors for experienced musicians take a scholarly approach, providing hundreds of pages of background information. Kroll's purpose is to address one of the main frustration of the transitional player - flummoxed by the harpsichord's uniformity of sound, they don't know how to make the instrument sing....Kroll wants to make clear that there is more to expression that manipulating rhythm and registration and the use of 'supposedly authentic performance practice.'...Kroll has plenty of teaching and performance experience as well as a tangy, no-nonsense writing style. As a non-harpsichordist, I really enjoyed his take on what to tell present-day performers who want to venture into the past." --Early Music America

"...a useful contribution to the literature on harpsichord pedagogy....this book offers valuable insights for achieving expression at the harpsichord....Teachers and performers alike will welcome this book....In elucidating the most important facets of playing the harpsichord with expression, Mark Kroll succeeds admirably." --Early Keyboard Journal

"In a little over 100 pages Mark Kroll distils the essence of a long and distinguished career as a performer and teacher of the harpsichord....If you play the harpsichord, this book will be an invaluable companion by the keyboard; if you prefer to play early music on the modern piano, it will improve and inform your performances immeasurably." --Early Music Today

...a useful contribution to the literature on harpsichord pedagogy....this book offers valuable insights for achieving expression at the harpsichord....Teachers and performers alike will welcome this book....In elucidating the most important facets of playing the harpsichord with expression, Mark Kroll succeeds admirably.

An experienced teacher and an impressive harpsichordist, anything Mark Kroll undertakes demands respect. His book certainly does that....The book is eminently practical and easy to understand....All in all an impressive achievement.

In a little over 100 pages Mark Kroll distils the essence of a long and distinguished career as a performer and teacher of the harpsichord....If you play the harpsichord, this book will be an invaluable companion by the keyboard; if you prefer to play early music on the modern piano, it will improve and inform your performances immeasurably.

Kroll...presents a precise, user-friendly manual both for those with experience on the harpsichord and for pianists and organists who love the repertoire and want to play it on the instrument for which it was composed. He includes quotes from primary sources, about 100 musical examples, and a comprehensive bibliography.

The title of this volume is particularly important; some harpsichord tutors for experienced musicians take a scholarly approach, providing hundreds of pages of background information. Kroll's purpose is to address one of the main frustration of the transitional player - flummoxed by the harpsichord's uniformity of sound, they don't know how to make the instrument sing....Kroll wants to make clear that there is more to expression that manipulating rhythm and registration and the use of 'supposedly authentic performance practice.'...Kroll has plenty of teaching and performance experience as well as a tangy, no-nonsense writing style. As a non-harpsichordist, I really enjoyed his take on what to tell present-day performers who want to venture into the past.

About the Author

Mark Kroll, recognized as one of the world's leading harpsichordists and fortepianists, has won critical acclaim for his virtuosity and expressive playing during a career that has spanned more than three decades. A noted authority on period instruments and performance practice, he has written on a wide range of subjects, given master classes and courses throughout the country and Europe, and served for 25 years as Professor of Harpsichord and Fortepiano and Chairman of the Department of Historical Performance at Boston University.