Publications / lectures / discography

The sections on this page are arranged in true chronological order (as opposed to the inverted blog style). Last updated October 28, 2020

Single-author publications

“Delrin, korp eller kondor.” Tidig Musik 4 (1995): 32–34. (On making harpsichord plectra. Swedish language.)

“Kieltjes.” Het Clavecimbel 3 (1998): 20–24. (Revision and translation of 1995 article into Dutch. See here for the 2008 English version)

“Keyboard Instruments of the Young Beethoven.” In Beethoven and His World, eds. Scott Burnham and Michael P. Steinberg. Princeton: Princeton University Press, 2000, 151–192.

“Beethovens Erardpiano.” Tidig Musik 4 (2001): 32–35. (Swedish language.)

“Beethoven’s Erard piano: its influence on his compositions and on Viennese fortepiano building.” Early Music 30 (2002): 522–538. (Substantially revised and extended version of 2001 article.)

“Att spela historiska tangentinstrument.” Tidig Musik 2 (2007): 12–15. (Introduction to playing historical keyboard instruments. Swedish language.)

Beethoven the Pianist: Biographical, Organological, and Performance-Practical Aspects of His Years As a Public Performer. Ph.D. Diss. Skrifter från Institutionen för musikvetenskap, Göteborgs universitet nr 84. Göteborg: Göteborg University 2007. [order at the Centrum för Kulturstudier, Institutionen för kultur, estetik & medier, Göteborgs universitet, Box 200
405 30 Göteborg]

“Speeltechniek op het klavecimbel volgens Couperin en Rameau deel I: François Couperin.” Het Clavecimbel 2 (2007): 21–24.

“Speeltechniek op het klavecimbel volgens Couperin en Rameau deel II: Jean-Philippe Rameau.” Het Clavecimbel 1 (2008): 14–16.

“Beethoven and the Orchestral Piano.” Musique – Images – Instruments: Revue française d’organologie et d’iconographie musicale 11 (2009): 181–189.

Beethoven the Pianist. Cambridge: Cambridge University Press, 2010.

“Beethoven and the Clavichord.” In Essays in Honor of Christopher Hogwood: The Maestro’s Direction, ed. Thomas Donahue. Lanham: Scarecrow Press, 2010, 197–208.

“A Brit in Vienna: Beethoven’s Broadwood Piano.” Keyboard Perspectives Vol. V/2012 (published 2013): 41–82.

“Andreas Streichers Briefe an Gottlieb [recte: Gottfried] Härtel 1801-1810.” In Unisonus: Musikinstrumente erforschen, bewahren, sammeln, ed. Beatrix Darmstädter and Ina Hoheisel. Vienna: Praesens, 2014, 386–405.

“Remembering Martin Skowroneck (1926-2014)” Keyboard Perspectives Vol. VII/2014: 147–164.

“Forte/Piano: A Festival Celebrating Pianos in History” Eighteenth-Century Music Vol. XII/1 (March 2016): 151–154. (Conference report).

“The Quest for “Support Personnel”: Viennese Fortepiano Maintenance for the Ladies, and by the Ladies.”Keyboard Perspectives Vol. IX/2016: 33–55.

“Andreas Streicher and Piano Building: Users, Distributors and Invention.” Early Keyboard Journal 30/2013 (published 2017): 55–77.

“Dorothea Krug’s Streicher piano.” In Clefs pour le pianoKeys to the piano, ed. Ziad Kreidy. Château-Gontier: Aedaem Musicae, collection « Musiques XX-XXIe siècles », 2018, 85–109.

“Aufführungspraxis: Beethoven im stilistischen und technischen Umbruch.” In Beethovens Welt, ed. Siegbert Rampe. Lilienthal: Laaber, 2019, 492–515.

“Historical Embellishments: A Trilling Tale [work title].” In [title pending], ed. Sezi Seskir et al. Rochester: Rochester University Press (Eastman Studies in Music) (forthcoming, 2020).  The publication of this textbook was canceled.

“The Letter.”  Vignette 1 in Tom Beghin, Beethoven’s French Piano: A Tale of Ambition and Frustration.  Chicago: The University of Chicago Press, forthcoming.

“Preparing for Paris: Beethoven and French musicianship,” Keyboard Perspectives Vol. XIII (forthcoming 2021).

“Beethoven and the split pedal,” series “Musikforschung der Hochschule der Künste Bern” Schliengen: Edition Argus, forthcoming.

Co-authored publications

“Grand and grander: Economic sidelights on piano design and piano salesmanship in early nineteenth-century Vienna.” Co-authored with Andrew Pinnock. In Interpreting Historical Keyboard Music: Sources, Contexts and Performance, eds. Andrew Woolley and John Kitchen. Aldershot: Ashgate, 2013, 221–232.

“Affective practices in mid-18th-century German music-making: reflections on C. P. E. Bach’s advice to performers,” Co-authored with Maria Bania. Early Music XLVIII/2 (May 2020): 193–203.

Reviews

“Pieter Dirksen, Heinrich Scheidemann’s Keyboard Music: Transmission, Style and Chronology.” Early Keyboard Journal 25/26 (2010): 225–29.

“Mozart: text and interaction” (reviewing John Irving, Understanding Mozart’s piano sonatas (Farnham: Ashgate, 2010)), Early Music 39 (2011): 616-18. Published online at http://em.oxfordjournals.org/ on Nov 9 2011. Early Music 2011; doi: 10.1093/em/car093

“To fix or not to fix; John Watson, Artifacts in Use: The Paradox of Restoration and the Conservation of Organs.” Keyboard Perspectives 4 (2011): 207–12.

“Peter Danhauser, Alexander Langer, Streicher: Drei Generationen Klavierbau in Wien.” Early Keyboard Journal 31-32/2014-2015 (published 2020): 206–11.

Translations

Skowroneck, Martin. “The Harpsichord of Nicholas Lefebvre 1755.” The Galpin Society Journal 55 (2002): 4–14. (Translated from German into English.)

Skowroneck, Martin. Cembalobau/Harpsichord Construction. Bergkirchen: Bochinsky, 2003. (Translated from German to English.)

Mayer, Andreas. The Science of Walking. Co-translated with Robin Blanton (German into English). Chicago: Chicago University Press, 2020.

Lectures and conference presentations

Lecture-demonstration on the tonal and constructional differences between English and Viennese fortepianos and the problems of assessing the musical quality of historical pianos. Demonstration of the sound qualities and damping properties of Viennese piano. Early Keyboard Instrument Days, School of Music, Göteborg, 1993/4

Opening recital (harpsichord); a second demo-recital of Italian harpsichords of the collection; opening lecture “The keyboard methods of Couperin and Rameau–a critical comparison.” Combined Meeting of three American Keyboard Societies Four Centuries of Great Keyboard Instruments: What They Tell Us, National Music Museum, University of South Dakota, May 16–19, 2003

“Stein or Walter: Beethoven’s fortepiano preferences before 1803.” Lecture given at the Spring Conference of the Göteborg Organ Art Center, Göteborg, 2004

“Beethoven and the orchestral piano.” Lecture given at the Göteborg International Organ Academy, Göteborg, 2004

“Beethoven: improvising and composing for pianos.” Lecture given at the Spring Conference of the Göteborg Organ Art Center, Göteborg, May 27–28, 2005

“Keyboard instruments of the young Beethoven.” Lecture given at the Göteborg International Organ Academy, Göteborg, August 2006

“Beethoven and the orchestral piano.” Lecture given at the Colloque pianoforte: Existe-t-il une école française de piano (1780-1820)? La Borie, Limoges, April 27–29, 2007

“Beethoven and the split damper pedal.” Lecture given at the Early Keyboard Symposium, Edinburgh, October 24–26, 2008

“The extension of the piano keyboard in Beethoven’s Vienna.” Lecture given at the University of Gothenburg and Southampton University, May 2011

“Andreas Streicher and piano building: users, distributors and invention”; “Grand and grander: Economic sidelights on piano design and piano salesmanship in early nineteenth century Vienna.” (Andrew Pinnock and Tilman Skowroneck). Both lectures given at the 1st International Conference on Historical Keyboard Music: Sources, Contexts and Performance, Edinburgh, July 1–3, 2011.

“18th-century piano professionals, amateurs, and the grumpy provincial tuner. An art world tale.” Lecture given at the Göteborg Organ Academy October 24, 2014.

“The Quest for “Support Personnel”: Viennese Fortepiano Maintenance for the Ladies, and by the Ladies.” Lecture given at the festival and conference Forte/Piano, Cornell University, August 8, 2015.

Participant in “Seven performances in honor of Alan Curtis” and the panel discussion “Alan Curtis legacy,” conference Cembalophilia, organised by the Westfield Center for Historical Keyboard studies and the 2016 Berkeley Festival and Exhibition, Berkeley City Club, June 6–8, 2016. 

“Performing passions: enacting a rhetorical technique.” Conference Musikforskning idag, Piteå, School of Music at Luleå University of Technology, June 12–14, 2017. Lecture-recital with Maria Bania, flute.

“To play with passion: a rhetorical strategy in musical performance.” Nordic Symposium on artistic Research, Helsinki (Kallio-Kuninkala), June 4–6, 2019. Lecture-recital with Maria Bania, flute.

Participant in the panel discussion “Collectors and collections.” Conference Bending Past and Present: Collections and Collectors, 40th Anniversary conference of the Westfield center for Historical Keyboard Studies, Oberlin Conservatory of Music, October 23–26, 2019.

“Beethoven and the split pedal.” Lecture given at the online conference Beethoven and the Piano: Philology, Context and Performance Practice, organised by the Bern University of the Arts (HKB) and the Conservatorio della Svizzera italiana, Lugano, November 4–7, 2020.

Discography

Three Harpsichords, Seven Composers. Larigot CD LAR 9321. 1993
Solo harpsichord and virginal.
 
Southwest Sweden–Its Musical Heritage I. Proprius PRCD 9081. 1994
Including J.C. Bach’s Harpsichord Concerto in E-flat major. With Helena Ek (soprano) and Corona Artis.
 
Gustavus Rex & Christina Regina. Musica Sveciae MSCD 305. 1994
Organ and virginal continuo in instrumental and vocal music. Conducted by Hans Davidsson.
 
Music at the Royal Palace, Three Crowns. Musica Sveciae MSCD 306-307. 1995
Organ and harpsichord continuo in instrumental and vocal music. Reconstruction of instrumental parts in Anders Düben’s Narvabaletten (1701, French style). Conducted by Hans Davidsson.
 
Gertrudenmusik Hamburg 1607. Intim Musik IMCD 071. 2000
Organ continuo. Conducted by Ulrike Heider.
 
J.Ph. Rameau, Harpsichord solo suites e-minor, d-minor and a-minor. Emergo EC 3921-2. 2001
Solo harpsichord.
 
Telemann Händel Fasch Quantz Bach – Arien und Konzerte. Lunaris CD 2008
Harpsichord continuo. With Maarten Engeltjes, alto, Hajo Wienroth, Simon Standage, Mark Baigent and the Baroque orchestra Le Chardon. Available at http://www.wienroth.net or at http://www.amazon.de
 
Bleibt, ihr Engel, bleibt bei mir – Johann Sebastian Bach Kantaten und Arien.  Lunaris CD  2008
Organ continuo. With Markus Brutscher, tenor, and the Baroque orchestra Le Chardon.
Available at http://www.wienroth.net or at http://www.amazon.de
 
Louis Couperin, J.J. Froberger and J.P. Rameau
Tyxart TXA15065. May 2018
Solo harpsichord. www.TYXart.de
 
J.S. Bach, 6th English Suite BWV 811; 3 pieces in E-flat major BWV 998; Partita g-minor (version Leonhardt) after Partita d-minor BWV 1004
Tyxart, TXA19133. Recorded October 2018, published May 2020.
Solo harpsichord. www.TYXart.de
 
François Couperin, harpsichord works (Three Préludes, Ordre 2 and 3 (selections), Ordre 8 in B-minor)
Tyxart, forthcoming. Recorded March 2020.


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