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Harpsichord attributed to Giacomo Ridolfi, Italy, ca. 1662-1682

NMM 4657.  Harpsichord attributed to Giacomo Ridolfi, Italy, ca. 1662-82.

NMM 4657. Harpsichord attributed to Giacomo Ridolfi, Italy, ca. 1662-1682. Inner/outer case. Single manual, C/E-c3 (4 octaves); 2 × 8'. Ex coll.: Allen Memorial Art Museum, Oberlin, Ohio. Purchase funds gift of Margaret Ann and Hubert H. Everist, Sioux City, Iowa, 1989.


Ridolfi harpsichord
Keyboard


Hear the Ridolfi Harpsichord: Audio Excerpts

Excerpts from the CD, In Stil Moderno: The Fantastic Style in Early Seventeenth-century Italy,
played by Ingrid Matthews, Baroque violin, and Byron Schenkman, harpsichord Excerpts from the CD, Canzoni da Sonar: Early Italian Violin Music on Vocal Models,
played by Ingrid Matthews, Baroque violin, and Byron Schenkman, harpsichord CD available from the Gift Shop


Lit.:  Donald H. Boalch, Makers of the Harpsichord and Clavichord 1440-1840. Third edition, edited by Charles Mould (Oxford: Clarendon Press, 1995), p. 541.

John Koster, "Museum Collections as Resources for Musical Instrument Makers," American Lutherie, Vol. 42 (Summer 1995), pp. 34-35.

André P. Larson, "Harpsichord by Giacomo Ridolfi," The South Dakota Musician (Fall 1995), cover and p. 28.

Ingrid Matthews and Byron Schenkman, In Stil Moderno: The Fantastic Style in Seventeenth-Century Italy (Berkeley, California: Wildboar, 1995). CD.

Ingrid Matthews and Byron Schenkman, Canzoni da Sonar (Baton Rouge, Louisiana: Centaur, 2002). CD.

John Koster, "Traditional Iberian Harpsichord Making in its European Context," Galpin Society Journal 61 (2008), pp. 65.

John Koster, "The Early Neapolitan School of Harpsichord Making," in Domenico Scarlatti en España / Domenico Scarlatti in Spain, Luisa Morales, ed. (Garrucha, Almería, Spain: Asociación Cultural LEAL, 2009), Table 7 (p. 70).

John Koster, "Domenico Scarlatti and the Transformation of Iberian Harpsichord Making," in Domenico Scarlatti en España / Domenico Scarlatti in Spain, Luisa Morales, ed. (Garrucha, Almería, Spain: Asociación Cultural LEAL, 2009), pp. 187-208 (especially fig. 5).

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