This manual sets out to analyze and tackle the key problems posed by technical harpsichord. Since they often begin to study the piano, they spend a lot of time learning the piano and playing the 20th and 20th century music, they invariably come up against all sorts of technical problems. The technique used on the piano is simply not suitable for an instrument in which the strings are plucked. The harpsichord is in fact a totally different instrument, with its own characteristics and requiring a specific technique. A misguided technical approach can have fatal consequences for the quality of the sound produced by the aspiring harpsichordist. The sound can not be properly calibrated in the service of interpretation, and may well be marred by extraneous mechanical noises. In extreme cases, even when the performer is apt to be stylistically correct, the technical problems can be improved and one can easily find a result. Thus it is vitally important for teacher and student to dedicate time to rethinking and rebuilding the student's technique.
The principles outlined here can be applied with just a few modifications to the clavichord and the fortepiano. The student will find three types of musical excerpts: purely technical exercises, which isolate the specific movement to be mastered - short fragments - what François Couperin styled evolutions - in which the movement is in scope. The author has chosen to start from the elementary stage, since this is dealt with in other methods, but rather to go into some detail in the intermediate and advanced levels. Baiano has composed it in his own pocket. Except when it comes to scales, the author has deliberately avoided quoting from the recognised manuals. In the historical literature, the general literature is in the nature of a general nature, while Baiano's aim is to take over the hands of the youngster and help them gradually to acquire (or perfect) the fundamental mechanisms which are indispensable for successful harpsichord playing.
The author has also deliberately kept the section devoted to interpretation of this issue, which would require a massive volume all over the world. . Besides, the danger is always in the middle of a dogma, which can not be reduced to infinite variables that crop up in musical discourse. Music has to be made - it can only be explained up to a point. Thus Baiano has chosen to restrict himself to a few words of advice, just to start the performer off, knowing that whatever he says will have its limits in practice. He is convinced that he is immeasurably more fruitful.
Enrico Baiano is one of the most interesting artists on early music scene. He was born in Naples in 1960 and subsequently graduated in piano and composition at Naples' Conservatorio 'San Pietro a Majella' before specializing in harpsichord, clavichord and fortepiano with Emilia Fadini at Milan's Conservatorio 'Giuseppe Verdi'. Enrico Baiano has performed at the most renowned early music festivals. He is one of the co-founders of the Italian ensemble Cappella della Pietà dei Turchini, with whom he has played and recorded from 1986 to 2000. He often plays with the Neapolitan contemporary music ensemble Dissonanzen and with Piccolo Concerto Wien. His solo recordings for Symphonia have won several international prizes such as Deutsche Schallplattenpreis, Diapason d'Or, Shock of Music and Platte des Monats. He took part in the documentary film on Domenico Scarlatti A gioco ardito, directed by Francesco Leprino. He is professor of harpsichord, clavichord and fortepiano at the Conservatorio "Domenico Cimarosa" in Avellino.