We’re pleased to publish here, as an alternative approach, Dr Stephen Farr’s account of his lockdown project, which was to learn the Goldbergs on a (two-manual) harpsichord. He has played this in public a number of times now and here provides some fascinating insight not least into the question of tempi and the inter- relation between movements.
The concert organist Dr Eleni Keventsidou offers a stimulating account of the musical and personal legacy of the great Italian virtuoso Fernando Germani (1906- 98), while organist and musicologist Dr Katharine Pardee considers the fascinating question of Bach’s legacy and reputation in nineteenth-century England. A significant figure in this, of course, is Felix Mendelssohn Bartholdy (1809-47), who is also the major figure in Martin Holmes’s account of the organ music collections in Oxford’s Bodleian Library.
We’re pleased to publish here, as an alternative approach, Dr Stephen Farr’s account of his lockdown project, which was to learn the Goldbergs on a (two-manual) harpsichord. He has played this in public a number of times now and here provides some fascinating insight not least into the question of tempi and the inter- relation between movements.
The concert organist Dr Eleni Keventsidou offers a stimulating account of the musical and personal legacy of the great Italian virtuoso Fernando Germani (1906- 98), while organist and musicologist Dr Katharine Pardee considers the fascinating question of Bach’s legacy and reputation in nineteenth-century England. A significant figure in this, of course, is Felix Mendelssohn Bartholdy (1809-47), who is also the major figure in Martin Holmes’s account of the organ music collections in Oxford’s Bodleian Library.
