Historical Harpsichord Technique

Yonit Kosovske performs on both modern and historical keyboard instruments as a soloist and chamber artist. She has produced several solo CDs, the most recent of which include La Gracieuse, French chaconnes, passacailles, & preludes (La Douceur, 2010) and Keyboard Music of Girolamo Frescobaldi (Focus, 2010). Kosovske lives in Ireland, where she performs as a freelance artist and teaches at the Irish World Academy of Music and Dance at the University of Limerick.

• AcknowledgmentsIntroduction: La douceur du toucher1. Preparing to PlayBeginning LessonsSelecting an InstrumentPosition at the KeyboardPostureRelaxationArms and ElbowsWristsCurvature of the Hands and Fingers2. Touching the InstrumentWarm-up ExercisesTouching the KeysGravityStroking the KeysMotion of the Hands and WristsDynamicsPlaying Different Keyboard Instruments3. ArticulationWhat Is Articulation?"Ordinary Manner"LegatoSlursArpeggiosStaggered PlayingGrace Notes and TrillsCantabileDetached PlayingSilencesAgogic AccentsTiming4. FingeringComfort and ContextStrong and Weak NotesUse of the ThumbContraction of the HandArtistic FreedomConclusionAppendix: Brief Biographical Notes on People Mentioned in the TextNotesBibliographyIndex

"The basic approach to playing the harpsichord with sensitivity which Kosovske encourages is absolutely right, and this will be a valuable reference book for those setting out to play the harpsichord seriously. Because so much of the material presented here is relevant to any early keyboard instrument, it will be of value to other performers as well, particularly those playing the fortepiano."—The Consort"Well-conceived and well-written, Historical Harpsichord Technique offers valuable information for all who have an interest in developing good harpsichord touch."—William Wiggins, Oberlin College and Conservatory"Kosovske's book is an important addition to the literature on harpsichord playing. The focus on touch, and sound production in particular, gives it its own weight and importance. . . . [I]t will certainly remain an important reference work for many years to come."—Early Music Performer"Period performance has established such strong norms by now that students too often simply follow notable current performers, not bothering with historical performance sources. Excellent and necessary as it is to follow a good model, returning to the sources is the best way of then developing one's own individuality and creativity. Those starting out on the journey need a reliable guide, and that is what Kosovske provides."—Early Music"[This] book is methodical and well-written, and it is a strong contender for inclusion in any harpsichordist's library."—Early Music America