Wanda Landowska


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Synonyms for Wanda Landowska

United States harpsichordist (born in Poland) who helped to revive modern interest in the harpsichord (1879-1959)

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References in periodicals archive ?
The poems by Gene Scheer range from the humor of "Wanda Landowska" and "Pierre Bernac" through the sadness of "Raymonde Linossier" to the fear and final return of creativity of "Paul Eluard." In general, the music reflect aspects of Poulenc's compositional style, with some quotation, while providing the appropriate setting for each poem.
"Wanda Landowska" is a telephone conversation between Landowska, who is waiting impatiently for her new concerto, and Poulenc, who is in no hurry to finish it.
(8) Paris presented thus an ideal milieu for the ambitious young pianist and fledgling composer Wanda Landowska, who moved to the French capital in 1900 at the age of twenty-one to fulfill her "mad desire to be famous." (9)
(33) It is this Parisian context that shaped and enabled the career of Wanda Landowska.
Indeed, two months earlier a reviewer had already made the link explicitly by explaining to his readers that "Madame Wanda Landowska, who, if I am right, has only recently made her appearance in France, is a compatriot of Chopin, and she too [is] a pianist and composer." (40) As a Polish composer in the good company of the Romanian Georges Enesco and the Russian Vladimir Dyck, Landowska was celebrated as a prizewinner in Musica's 1903-4 composition "tournament," where she shared first prize for an unspecified piano composition and won second prize for a song.
In preparation for her "launch" in Paris, as Landowska's husband, Henri Lew, put it in January 1905, Musica--whose editor was now Astruc--published an article entitled "Wanda Landowska, or the Renaissance of the Harpsichord." (78) Lavishly illustrated with photographs that show Landowska at a modern Pleyel harpsichord, the two-page article served as a fascinating advertisement for "Wanda," Astruc's pet claveciniste.
(86) For Brussel, Landowska's body as much as her playing turned her into the "musical daughter of Johann Sebastian Bach," the "ideal interpreter of this music." (87) Indeed, he summed up her achievement by claiming that "Wanda Landowska is one of the rare women virtuosos who do not attempt to imitate the performance of men," thus fully embodying her gender in performance.
Other teachers included harpsichordist Wanda Landowska and organist E.
The interview offers not only Bowles's firsthand impressions of Wanda Landowska and Walt Disney's Fantasia, but also his insights on the advantages and disadvantages of being a composer-critic, and his recollection of such practical matters as the salary and schedule for reviewing assignments.
Thanks to the efforts of pioneers such as Wanda Landowska, Arnold Dolmetsch, Ralph Kirkpatrick, and others in the early decades of the twentieth century, however, the harpsichord began to be played and heard again.
Of particular importance historically is Wanda Landowska's performance of the first movement of the Italian Concerto, originally recorded on three cylinders in 1908.
Elste also points to the growing reliance on mechanization in the nineteenth century and its influence on early reconstructions of baroque instruments in the twentieth, such as the foot pedals and metal frame of Wanda Landowska's Pleyel harpsichord.
On the other hand, typical of the many excellent side boxes is the story of Wanda Landowska, the Polish harpsichordist who almost single-handedly brought the harpsichord back into acceptance by the musical public and who provided seminal interpretations and recordings of the music of Johann Sebastian Bach in the 1930s and later (p.
MacMillan's teen years in Edinburgh, where Wanda Landowska made him aware of Bach's music and where he studied with Alfred Hollins and Frederick Niecks, made him determined to improve conditions at home.
It provides an overview of the revival of the harpsichord as a viable concert instrument in the twentieth century, Palmer cites performers who commissioned, performed, and recorded harpsichord repertory earlier in this century, including such legendary women as Wanda Landowska, Sylvia Marlow, Antoinette Vischer of Switzerland, and the English virtuosa Violet Gordon Woodhouse.