Ralph Kirkpatrick: A Bibliography and Discography

By Meredith Kirkpatrick

Boston University

PREFACE

I thought it would be a useful project to gather in one place the publications and recordings by Ralph Kirkpatrick as well as the publications about him. I uncovered some publications by and about him that might not be generally known. I decided not to include reviews of his concerts because he played hundreds of concerts throughout the world in his fifty-year career and these were one-time events. I did, however, decide to include reviews of his books, music editions, and recordings because the books, particularly the Scarlatti biography, were so influential and because two of the books are still in print and widely used. The music editions are also still used and although most of the recordings are out of print, they are probably still being collected. Most of the publications included are in English although I have included foreign language publications when possible. I have consulted numerous databases and library catalogues for information and have looked at many of the publications listed here. For the recordings, I have had to rely, for the most part, on the information provided in databases and catalogues. I thank Richard Warren and Suzanne Eggleston Lovejoy for information they provided about the Kirkpatrick collection at the Yale Music Library. I do not claim to have compiled a comprehensive bibliography but I hope that the information provided here will be of use to those interested in the career of Ralph Kirkpatrick.

Introduction

Ralph Kirkpatrick, an eminent harpsichordist and scholar, was one of the most influential figures in the revival of the harpsichord in the twentieth century. He was also an important figure in the re-evaluation of baroque performance practices that began in the 1930′s and 40′s. He not only performed on the harpsichord but on the clavichord and fortepiano as well. He played the modern piano for pleasure and occasionally in performance. He was known especially for his performances of Bach and Scarlatti but he also performed and recorded music by, among others, Mozart, Rameau, Couperin, Byrd, and Purcell. He was very interested in contemporary music and played music by composers such as Henry Cowell, Walter Piston, Quincy Porter, Elliott Carter, Igor Stravinsky, and Darius Milhaud. A number of works were written specifically for him, including Carter’s Double Concerto for Harpsichord and Piano with Two Chamber Orchestras.

Kirkpatrick began his career at Harvard where he was studying fine arts. The university acquired a harpsichord in 1929 and he was given the opportunity to learn how to play the instrument. In May 1930, he gave his first public harpsichord recital in Paine Hall at Harvard. After graduating in 1931, he traveled to Europe on a John Knowles Paine Fellowship. He studied with Nadia Boulanger and Wanda Landowska in Paris, with Arnold Dolmetsch in England, and with Gunther Ramin and Heinz Tiessen in Germany. In January 1933, he made his European concert debut in Berlin performing Bach’s Goldberg Variations. He also performed several concerts in Italy, including a clavichord recital in 1933 at the Florence villa of Bernard Berenson. He was a member of the faculty at the Mozarteum in Salzburg during the summers of 1933 and 1934. In April 1934, he performed Bach on the clavichord at the New Music School in New York City. This may have been  the first public clavichord recital ever heard in New York City.

In 1936, he was awarded a Guggenheim Fellowship to study seventeenth and eighteenth-century chamber and keyboard music in Europe. In 1938, he inaugurated a festival of baroque music at the Governor’s Palace in Williamsburg, Virginia and, for a number of years, he continued to be the adviser and principal performer in annual festivals there. In 1940, he was appointed to the music faculty at Yale University and he remained at Yale until his retirement in 1976. His pupils included distinguished harpsichordists such as William Christie, Albert Fuller, Mark Kroll, Martin Pearlman, and Fernando Valenti. In the 1940′s, he gave numerous recitals throughout the United States and Europe and he was one of the first artists invited to perform in Germany in 1948 through the sponsorship of the U.S. government’s Visiting Artist Program. He played a number of concerts in Berlin, including one with the Berlin Philharmonic, as well as a concert in Leipzig with the Gewandhaus Orchestra.

While in Europe during the 1940′s, he continued his research into the life and works of Domenico Scarlatti which he had begun in the late 1930′s. He discovered descendants of Domenico Scarlatti living in Madrid and they provided him with valuable sources of information. Twelve years of research culminated in Kirkpatrick’s acclaimed biography of Scarlatti, published in 1953. In this book, he also catalogued Scarlatti’s keyboard sonatas and this catalogue has become the standard source for identification of the sonatas. In 1953, Kirkpatrick’s edition of 60 Scarlatti sonatas was published and he also recorded these sonatas for Columbia.

In 1956, Deutsche Grammophon Gesellschaft, the German recording company, selected Kirkpatrick to record all of the keyboard works of Johann Sebastian Bach, with the exception of the works for organ, for its Archiv label. He recorded most of the works on the harpsichord but recorded the entire Well-Tempered Clavier on both the harpsichord and the clavichord. He finished the project in the late 1960′s and a number of the recordings were received with great acclaim, particularly the recordings of the Well-Tempered Clavier.

Kirkpatrick continued to perform concerts throughout the world, playing at many of the major European festivals and performing with a number of orchestras in the United States and Europe. He was selected to perform at Alice Tully Hall at Lincoln Center shortly after its opening in 1969. He also gave a number of concerts at Lincoln Center ‘s Philharmonic Hall (now Avery Fisher Hall), including a Mozart program in which he played the harpsichord as well as the eighteenth-century and modern pianos. He became totally blind in the mid-1970′s which caused him to cut back on performances and travel, but he did continue to give concerts and learn new music. He played a recital at the first Boston Early Music Festival in 1981 that commemorated the 51st anniversary of his first public concert.

In addition to being an extraordinarily accomplished musician, Kirkpatrick was fluent in French, German, and Italian and read widely in these languages. He used his knowledge of Spanish and Portuguese to translate documents for his biography of Scarlatti. He was also a collector of books and prints and his house was filled with works by artists such as Durer and Rembrandt. After Kirkpatrick died in 1984 at the age of 72, his art collection was given to the Yale University Art Gallery. The Gallery mounted a special exhibition of these works in 1985. Kirkpatrick’s papers were bequeathed to the Music Library at Yale University. According to the library, they include over one hundred 20th-century works for harpsichord, many either dedicated to or commissioned by Kirkpatrick. They also include source materials, notes, and correspondence related to the various editions and translations of his biography of Domenico Scarlatti.

Books by Ralph Kirkpatrick

  • Domenico Scarlatti. Princeton: Princeton University Press, 1983, 1953. Crowell, 1968.
  • Domenico Scarlatti (German translation). Munchen: Ellermann, 1972.
  • Domenico Scarlatti (Japanese translation). Tokyo: Zenongakufu, 1975.
  • Domenico Scarlatti (French translation). Paris: Lattes, 1982.
  • Domenico Scarlatti (Italian translation). Torino: ERI, 1984.
  • Domenico Scarlatti (Spanish translation). Madrid: Alianza Editorial, 1985.
  • Early Years. N.Y.: Lang, 1985.
  • Interpreting Bach’s Well-tempered clavier: A performer’s discourse of method. New Haven: Yale University Press, 1984.
  • Le clavier bien tempere de Johann Sebastian Bach (French translation). France: J.C. Lattes, 1985.
  • L’interpretazione del Clavicembalo ben temperato (Italian translation). Padova: Franco Muzzio, 1987.
  • Foreword to Three centuries of harpsichord making, by Frank Hubbard. Cambridge, Ma: Harvard University, 1965.
  • Foreword to Essai sur la vraie maniere de jouer des instruments a clavier: explique avec des exemples, et dix-huit lecons en six sonates : edition augmentee avec des supplements et six nouvelles pieces pour clavier, by Carl Philipp Emanuel Bach. Translated by Dennis Collins. Paris: J.C. Lattes, 1979.

Music Editions by Ralph Kirkpatrick

  • Bach, Johann Sebastian. Clavier-Buchlein vor Wilhelm Friedemann Bach. N.Y.: Da Capo Press, 1979, 1959.
  • Bach, Johann Sebastian. The Goldberg Variations. N.Y.: G. Schirmer, 1993, 1938.
  • Foreward to Inventionen und Sinfonien: Faksimile nach der Urschrift, by Johann Sebastian Bach. Frankfurt : C.F. Peters, c1948.
  • Introduction to Brandenburgische Konzerte: Faksimile nach dem im Besitz der Staatsbibliothek in Berlin befindlichen Autograph, by Johann Sebastian Bach. Leipzig : C.F. Peters, c1950.
  • Porter, Quincy. Duo for viola and harp or harpsichord. Harpsichord part edited by Ralph Kirkpatrick. N.Y.: Associated Music Publishers, 1960.
  • Porter, Walter. Madrigals and airs for voices and a figured bass with instrumental introductions for two violins, or two viols, bass viol, harpsichord, lute, theorbo, 1652. Figured bass realized by Ralph Kirkpatrick and Sydney Beck. N.Y.: New York Public Library, 1934.
  • Scarlatti, Domenico. Complete keyboard works in facsimile from the manuscript and printed sources. N.Y.: Johnson Reprint Corp., 1972.
  • Scarlatti, Domenico. Sixty Sonatas. N.Y.: G. Schirmer, 1953.
  • Scarlatti, Domenico. Sixty Sonatas. Tokyo: Zen-On Music Co., Ltd., 1977. (Japanese translation).

Articles by Ralph Kirkpatrick

  • C.P.E. Bach’s Versuch reconsidered.” Early Music 4.4 (Oct. 1976): 384-92.
  • “Challenge of the Harpsichord.” Modern Music 23.4 (Oct. 1946): 273-76.
  • “Deutsch’s Mozart.” (Letter to the Editor) New York Review of Books (Sept. 16, 1965). online
  • “Domenico Scarlatti.” Encyclopaedia Britannica, 15 th ed., 1974.
  • “Domenico Scarlatti’s Choral Music.” (p.243-246) In: Essays on Music in Honor of Archibald Thompson Davison . Cambridge , MA . Department of Music, Harvard University, 1957.
  • “Domenico Scarlatti’s Early Keyboard Works.” Musical Quarterly 37 (Apr. 1951): 145-160.
  • “Domenico Scarlatti’s Harmony (1).” Score 5 (Aug. 1951): 33-52.
  • “Domenico Scarlatti’s Harmony (2).” Score 6 (May 1952): 44-51.
  • “Dual Aspects of Bach’s Dynamics.” New Friends of Music Orchestra Program Book 11.1 (1946-47): 23-27.
  • “Eighteenth-Century Metronomic Indications.” Papers of the American Musicological Society 3 (1938): 31-50.
  • “Fifty years of harpsichord playing.” Early Music 11.1 (Jan. 1983): 31-41.
  • “From the Diary of a Spring Tour, 1968.” Prose 1 (1970): 93-110.
  • “On playing the clavichord.” Early Music 9.3 (Jul. 1981): 293-305.
  • “On re-reading Couperin’s L’Art de toucher le clavecin.” Early Music 4.1 (Jan. 1976): 3-11.
  • “The Philosophy of Teaching.” Musical Courier 149 (Feb. 1, 1954): 6-8.
  • “Recollections of Robert Casadesus.” The Piano Quarterly 119 (Fall 1982): 36.
  • “Recollections of Two Composers.” (Hindemith and Stravinsky). The Yale Review 71.4 (July 1982): 627-640.
  • “Scarlatti revisited in Parma and Venice.” Notes 28.1 (Sept. 1971): 5-15.
  • “Thoughts on the Bach Inventions.” New York Herald Tribune (Dec. 6, 1942): Sec. 6, p. 7.
  • “Who wrote the Scarlatti sonatas?” Notes 29.3 (Mar. 1973): 426-31.

Reviews by Ralph Kirkpatrick

  • Rev. of Essay on the True Art of Playing Keyboard Instruments, by Carl Philipp Emanuel Bach. Translated and edited by William J. Mitchell. Notes 2nd Ser., 6.2 (Mar. 1949) 301-302.
  • Rev. of Keyboard music, I, by William Byrd. Ed. Alan Brown. Notes 28.1 ( Sept. 1971): 102-03.
  • Rev. of Music, a Science and an Art, by John Redfield. The Hound and Horn 2.1 ( Sept. 1928): 86-87.
  • Rev. of Pieces de clavecin, second livre, by Francois Couperin. Ed. Kenneth Gilbert. Notes 26.4 (Jun. 1970): 834-35.
  • Rev. of Pieces de clavecin (Fascimile of the 1689 Paris ed.), by Jean-Henri d’Anglebert. Notes 24.1 ( Sept. 1967): 141-142.
  • Rev. of Pieces de clavecin (Facsimile of the 1714 London ed.), by Johann Mattheson. Notes 24.5 (Sept. 1967): 141-42.
  • Rev. of Sonates VIII, IX, by Domenico Scarlatti. Ed. Kenneth Gilbert. Notes 29.4 (June, 1973): 796-97.

Music Recordings by Ralph Kirkpatrick

  • Bach, Johann Christian. Harpsichord Concerto in E Flat Major, Op. 7, no.5. Musicraft, c1940.
  • Bach, Johann Sebastian. Aria variata alla maniera italiana in A minor, BWV 989; Capriccio sopra la lontananza del suo fratello dilettissimo in B flat major, BWV 992; Toccata in D minor, BWV 913; and Toccata in E minor, BWV 914. Archiv Production, 1961.
  • Bach, Johann Sebastian. Clavier Ubung. Includes the Goldberg Variations, Italian Concerto, Six Partitas, and Ouverture in the French Manner. Haydn Society, 1952.
  • Bach, Johann Sebastian. Clavier Ubung Parts I, II, IV. Music & Arts, 1997, 1952.
  • Bach, Johann Sebastian. Concerto for harpsichord, strings and continuo, no. 1 in D minor, BWV 1052; Concerto for harpsichord, strings, and continuo, no. 2, in E major, BWV 1053. Archiv Production, 1959.
  • Bach, Johann Sebastian. Concerto for transverse flute, violin, harpsichord, strings and continuo in A minor, BWV 1044; Concerto for harpsichord, strings, and continuo, no. 4, in A major, BWV 1055; Concerto for harpsichord, strings, and continuo, no. 5, in F minor, BWV 1056. Archiv Production, 1961.
  • Bach, Johann Sebastian. Fifteen two part inventions (Clavichord). Concert Hall Society, c1940.
  • Bach, Johann Sebastian. Goldberg Variations, Italian Concerto. Deutsche Grammophon, 1994, 1959.
  • Bach, Johann Sebastian. 4 Toccatas BWV 915, BWV 912, BWV 910, BWV 911. Archiv Production, 1962.
  • Bach, Johann Sebastian. Toccata in G major, BWV 916; Fantasia and fugue in A minor, BWV 904; Fantasia in C minor BWV 906; Chromatic fantasia and fugue in D minor, BWV 903; 4 duets, BWV 802-805. Archiv Production, 1960.
  • Bach, Johann Sebastian. Inventionen und Sinfonien, BWV 772-801. Archiv Production, 1961.
  • Bach, Johann Sebastian. Italian Concerto and Ricercar a 3 voci from the Musical Offering. Musicraft, 1937.
  • Bach, Johann Sebastian. Italian concerto in F major, BWV 971; Overture in the French Style, BWV 831. Archiv Production, 1963.
  • Bach, Johann Sebastian. Partita No. 5 in G Major. Musicraft, 1937.
  • Bach, Johann Sebastian. Ralph Kirkpatrick: the complete 1950s Bach recordings on Archiv. Deutsche Grammophon, 2004.
  • Bach, Johann Sebastian. St. Matthew Passion, part 1. Bruno Walter (conductor), Ralph Kirkpatrick (harpsichord continuo). Berkeley, Bruno Walter Society, 1970, 1938.
  • Bach, Johann Sebastian. 6 English suites. Archiv Production, 1957.
  • Bach, Johann Sebastian. 6 French suites. Archiv Production, 1958.
  • Bach, Johann Sebastian. 6 Partitas. Archiv Production, 1959.
  • Bach, Johann Sebastian. Six Partitas. Boston Skyline Records, 1995, 1959.
  • Bach, Johann Sebastian. Sonatas for harpsichord and violin, BWV 1014-1019. Alexander Schneider and Ralph Kirkpatrick. Columbia, 1947.
  • Bach, Johann Sebastian. Suite in A minor, BWV 818a; Suite in E flat major, BWV 819; 12 Little Preludes; 6 Little preludes; Applicatio in C major; and 3 Minuets. Archiv Production, 1960.
  • Bach, Johann Sebastian. Toccata in G major, BWV 916; Fantasia and fugue in A minor, BWV 904; Fantasia in C minor, BWV 906; Chromatic fantasia and fugue in D minor, BWV 903; and 4 duets, BWV 802-805. Archiv Production, 1960.
  • Bach, Johann Sebastian. Vierter Theil der Clavier-Uebung: Aria mit 30 Veranderungen: Goldberg-Variationen . Archiv Production, 1959.
  • Bach, Johann Sebastian. The Well-Tempered Clavier, Book I . (Clavichord). Archiv Production, 2000, 1963.
  • Bach, Johann Sebastian. The Well-Tempered Clavier, Book I (Harpsichord). Archiv Production, 1965.
  • Bach, Johann Sebastian. The Well-Tempered Clavier, Book II (Harpsichord). Archiv Production, 1967.
  • Bach, Johann Sebastian. The Well-Tempered Clavier, Book II (Clavichord). Archiv Production, 2001, 1969.
  • Carter, Elliott. Double Concerto for harpsichord and piano with two chamber orchestras. Charles Rosen, Ralph Kirkpatrick, Gustav Meier. Epic, 1962.
  • Falla, Manuel de. Harpsichord Concerto. Mercury, c1950.
  • Handel, George Frederic. Sonatas for violin and figured bass. Alexander Schneider, Ralph Kirkpatrick, Frank Miller. Columbia, c1950.
  • Harpsichord recital. Program: Gibbons, Morley, Purcell, Couperin, Rameau, J.S. Bach, Scarlatti. Musicraft, 1939.
  • Harpsichord recital. Program: Byrd, Sweelinck, Froberger, Pachelbel, J.S. Bach, Couperin, Rameau, Cabezon, Frescobaldi, Scarlatti. His Master’s Voice. ALP 1518, c1956.
  • Haydn, Joseph. Arianna a Naxos , English Songs. Jennie Tourel, Ralph Kirkpatrick. Haydn Society, 1952.
  • Kirkpatrick plays Bach. Princeton, N.J. : Films for the Humanities & Sciences, 1993. Videorecording.
  • Library of Congress Music Division concert, 1944-10-28. Alexander Schneider and Ralph Kirkpatrick. Program:Wolfgang Amadeus Mozart, Johann Sebastian Bach, Francois Couperin. Library of Congress, 1944. Sound tape.
  • Library of Congress Music Division concert, 1953-12-06. Paul Callaway, Alexander Schneider, Ralph Kirkpatrick et al. Program: Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Johannes Brahms. Library of Congress, 1953. Sound tape.
  • Library of Congress Music Division concert, 1954-12-03. Program. Johann Sebastian Bach, Domenico Scarlatti. Library of Congress, 1954. Sound tape.
  • Library of Congress Music Division concert, 1957-12-13. Pierre Fournier, Ralph Kirkpatrick. Program: Johann Sebastian Bach. Library of Congress, 1957. Sound tape.
  • Mozart, Wolfgang Amadeus. Piano concerto no. 11, K413; Piano concerto no. 24, K491. Geraint Jones, cond. His Master’s Voice. ALP 1454. (Played on the modern piano). 1957.
  • Mozart, Wolfgang Amadeus. Piano concerto no. 17, K453. Ralph Kirkpatrick. Dumbarton Oaks Chamber Orchestra. Alexander Schneider, conductor. Haydn Society, 1951.
  • Mozart, Wolfgang Amadeus. Sonata, K570; Suite, K.399; Fantasia and fugue, K394. Played on an 18th-century piano reconstructed by John Challis. Bartok Records, 1953.
  • Mozart, Wolfgang Amadeus. Sonatas for Violin and Harpsichord. Alexander Schneider and Ralph Kirkpatrick. Sonata in A major, K.305; Sonata in F major, K376; Sonata in A major, K.526. Columbia, c1950.
  • Mozart, Wolfgang Amadeus. Sonatas for Violin and Harpsichord. Alexander Schneider and Ralph Kirkpatrick. Sonata in C major, K.296; Sonata in E flat major, K. 302; Sonata in B flat major, K. 378; Sonata in G major, K. 379; Sonata in D major, K. 306. Columbia, 1949.
  • Piston, Walter. Sonatina for violin and harpsichord. Columbia, 1953.
  • Ralph Kirkpatrick, Cembalo. Pieces by Purcell, Couperin, Rameau, Handel, Scarlatti, Bach. Deutsche Grammophon, 1966.
  • Ralph Kirkpatrick: The Musicraft Solo Recordings. Pearl, 1996, 1939.
  • Ralph Kirkpatrick recital at the Brussels World’s Fair, April, 8, 1958. Voice of America Music Library Collection, Library of Congress. 2004. Sound tape.
  • Les Rarissimes de Ralph Kirkpatrick. Reissue of Harpsichord Recital listed above (HMV- ALP 1518). Also includes Mozart Piano Concertos 11, K.413 and 24, K.491 (reissue of HMV- ALP 1454) (Played on modern piano). EMI, 2006.
  • A Recital of 20th-century harpsichord music. Composers: Henry Cowell, Lou Harrison, Frederick Delius, Ernst Levy, Peter Mieg, Halsey Stevens, Vincent Persichetti, Douglas Allanbrook, Mel Powell, David Kraehenbuehl. Music & Arts, 1997, 1961. Available Online
  • Saidenberg Little Symphony, Nov. 13, 1955. Voice of America Music Library Collection, Library of Congress. Johann Sebastian Bach, Harpsichord concerto in D minor; Wolfgang Amadeus Mozart, Piano Concerto in G major, K. 453. 1974. Sound tape.
  • Scarlatti, Domenico. Sixty Sonatas. Columbia, 1955.
  • Scarlatti, Domenico. Sixty Sonatas. Odyssey, 1967-68, 1955.
  • Scarlatti Domenico. Sonatas for harpsichord. Concert Hall Society, c1940.
  • Scarlatti, Domenico. Sonatas for harpsichord. Concert Hall Society, c1950.
  • Scarlatti, Domenico. Sonatas for harpsichord. Archiv Production, 2004, 1966.
  • Scarlatti, Domenico. Ralph Kirkpatrick plays Domenico Scarlatti. Urania, 2004, 1954.
  • Scarlatti, Domenico. Sonaten fur Cembalo. Deutsche Grammophon, 1994, 1971.
  • 16th-century harpsichord music. Concert Hall Society, c1950.
  • Stravinsky, Igor. Chamber Works, 1911-1954 . Kirkpatrick plays piano in the Septet (1953). Columbia, 1956.
  • Stravinsky, Igor. The Rake’s Progress. Metropolitan Opera, Igor Stravinsky cond. Kirkpatrick plays harpsichord in a portion of the recording. Columbia, 1953.
  • Town Hall recital, January 22, 1952. Voice of America Music Library Collection (Library of Congress). Program: Johann Sebastian Bach, Domenico Scarlatti, Wolfgang Amadeus Mozart. 1974. Sound tape.
  • Vivaldi, Antonio. Concerto grosso in D minor, op.3 . Alexander Schneider, conductor, Dumbarton Oaks Chamber Orchestra. Eddie Bachmann, (violin),Bernard Greenhouse (cello), Ralph Kirkpatrick (harpsichord). Mercury, 1947.
  • Yaddo Festival concert, Sept. 4, 1938. Yaddo Music Group, ( New York Public Library). 1938. Sound tape.
  • Yaddo Festival concert, Sept. 10, 1938. Yaddo Music Group, ( New York Public Library). 1938. Sound tape.
  • Yaddo Festival concert, Sept. 11, 1938. Yaddo Music Group, ( New York Public Library). 1938. Sound tape.

Publications about Ralph Kirkpatrick

  • Bender, William. “A harpsichord in every home. ” New York Herald Tribune (Oct. 27, 1963): 34.
  • Black, Gavin. “On Teaching.” The Diapason (June, 2011): 13-14.
  • Buckley, William F. “Queen of all Instruments.” New York Times (2 Jan. 1983): SM18+. Proquest Historical Papers The New York Times. Online. 25 Jul. 2006.
  • Downes, Edward. “Hammers and Quills.” New York Times (2 Dec. 1962): 189. Proquest Historical Papers The New York Times. Online. 25 Jul. 2006.
  • Dyer, Richard. “A Master Returns to the Stage.” Boston Globe (May 24, 1981): A1, 12.
  • Evarts, John. “Visiting American Artists.” Information Bulletin ( Magazine of the U.S Military Government in Germany). 142 (August 24, 1948): 12-14, 20.
  • Evett, R. “Scarlatti redivivus.” New Republic , 129 (Dec. 28, 1953): 20-1.
  • Fabian Dorottya. “Bach performance practice in the twentieth century: recordings, reviews and reception.” pp. 179-189. In Bach Studies from Dublin. Selected papers presented at the ninth biennial conference on Baroque music, held at Trinity College Dublin from 12th to 16th July 2000. Irish Musical Studies 8. Edited by Anne Leahy & Yo Tomita. Dublin , Four Courts Press, 2004.
  • Field, Richard S. and Lora S. Urbanelli. Ralph Kirkpatrick In Memoriam: A Musician’s Collection of Prints and Drawings. Yale University Art Gallery, New Haven,Conn.: The Gallery, 1985. Online listing of RK bequests to Yale Art Gallery
  • Fisk, Eliot. “Ralphination: A Short Tribute to Ralph Kirkpatrick.” view
  • “Harpsichordists Out of Tune.” Time , 49 (Feb. 3, 1947): 46.
  • Helm, E. “Life and Times of Ralph Kirkpatrick.” Musical America 83 (Jan. 1963): 34+.
  • Heylbut, R. “The Harpsichord Today.” Etude 72 (Aug. 1954): 9+.
  • Ingram, John. “Collecting Colonial Music Material.” A.B. Bookman’s Weekly 76.24 (Dec. 9, 1985): 4315-19.
  • Kipnis, Igor. “Kirkpatrick’s Other Instrument.” The Music Magazine and Musical Courier 164 (May 1962): 16-17.
  • Lo, Chau-Yee. Endangered Species. The Harpsichord and its New Repertoire since 1960 . Dissertation. University of Leeds, July 2004.
  • Mcmullen R. “Notes from our Correspondents. Paris.” High Fidelity Magazine 15 (Sept. 1965): 20.
  • Mehegan, David. “Hub of the Harpsichord Industry. Reinventing a classic in Boston.” Boston Globe Magazine (Nov. 28, 1982): 8+.
  • Morrow, Edward A. “Kirkpatrick Music Wins Soviet Praise.” New York Times , 26 Jul. 1948: 15. Papers The Proquest Historical New York Times. Online. 25 Jul. 2006.
  • “On Concert Halls: Conversations with Ralph Kirkpatrick.” Perspecta 17 (1983): 92-9.
  • Palmer, Larry. Harpsichord in America : A twentieth-century revival. Bloomington, IN: Indiana University Press, 1989.
  • Palmer, Larry. “Harpsichord Playing in America “After” Landowska.” The Diapason 102 (June 2011): 19-21.
  • “Ralph Kirkpatrick: European Journal.” Musical America (Nov. 1985): 33-37.
  • Rosenfeld, P. “Introduction to Bach.” New Republic 79 (June 20, 1934): 155-6.
  • Ruff, Willie. “A Musician’s Legacy: Ralph Kirkpatrick Remembered.” Yale Alumni Review (April, 1985): 20-23.
  • Saal, H. “K at the Keyboard.” Newsweek 74 (Nov. 24, 1969): 133.
  • Sacks, Peter. “Kirkpatrick Playing Bach.” (Poem). New Yorker (Feb. 4, 1980): 40.
  • Salemi, R. “Ricordo di Ralph Kirkpatrick.” Rassegna Musicale Curci 39.2 (1986): 15-16.
  • “Scarlatti the Unknown.” Newsweek 42 ( Dec. 31, 1953): 84.
  • Sherman, Robert. “A Harpsichordist Comes Home to Yale.” New York Times 25 Sept. 1977: 554. Proquest Historical Papers The New York Times. Online. 25 Jul. 2006.
  • Stella, Frank. “Stella Sounds: The Scarlatti K. Series.” Artwork by abstract artist Frank Stella. view
  • Thomson, John M. “Crumhorns away! Some aspects of the early music revival.” Canzona: The official yearbook of the Composers Association of New Zealand 3.9 (Oct. 1981): 13-15.
  • Turner, John William. Schenkerian Analysis and the Performance of Large-Scale Structure. Dissertation. University of North Carolina, Greensboro.  2003.
  • Varga, Balint Andras. Muzsikusportrek. Budapest : Zenemu, 1979.
  • Varga, Balint Andras. From Boulanger to Stockhausen: Interviews and a Memoir. Rochester, NY: University of Rochester Press, 2013.
  • Watson, John R. Changing Keys: Keyboard Instruments for America 1700-1830. Lanham; Scarecrow, 2013.

Selected Publications – Domenico Scarlatti Scholarship and Kirkpatrick

  • Boyd, Malcolm. Domenico Scarlatti, Master of Music. NY: Schirmer Books, 1987.
  • Boyd, Malcolm. “Nova Scarlattiana.”Musical Times 76 (Oct, 1985): 589-93.
  • Clark, Jane. “Domenico Scarlatti and Spanish Folk Music: A Performer’s Re-Appraisal.” Early Music 4.1 (Jan. 1976): 19-21.
  • Domenico Scarlatti: 13 Recherches. Nice:Societe de Musique Ancienne de Nice, 1985.
  • Goldberg, Laurette. Domenico Scarlatti Thematic Index According to Ralph Kirkpatrick and Emilia Fadini. Berkeley, CA: MusicSources, 1999.
  • Koster, John. “A Spanish Harpsichord from Domenico Scarlatti’s Environs.” Early Music 39:2 (2011): 245-252.
  • Koster, John. “Towards an Optimal Instrument: Domenico Scarlatti and the New Wave of Iberian Harpsichord Making.” Early Music 35.4 (2007): 575-604.
  • Pagano, Roberto. Alessandro and Domenico Scarlatti: Two Lives in One. Hillsdale, N.Y. : Pendragon, 2006.
  • Sheveloff, Joel. “Domenico Scarlatti: Tercentenary frustrations, Part I.” The Musical Quarterly 71.4 (1985): 399-436.
  • Sheveloff, Joel. “Domenico Scarlatti: Tercentenary Frustrations, Part II.” The Musical Quarterly 72.1 (1986): 90-118.
  • Sheveloff, Joel Leonard. The keyboard music of Domenico Scarlatti: a re-evaluation of the present state of knowledge in the light of the sources. Dissertation. Brandeis University, 1970.
  • Sheveloff, Joel. “Uncertainties in Domenico Scarlatti’s musical language.” Chigiana 40:20 (1985): 143-71.
  • Sutcliffe, W. Dean. The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style. N.Y.: Cambridge University Press, 2003.
  • Sutherland, David. “Domenico Scarlatti and the Florentine Piano.” Early Music 23.2 (May, 1995): 243-246, 249-256.
  • Vidali, Carole Franklin. Alessandro and Domenico Scarlatti: a Guide to Research. N.Y.: Garland, 1993.
  • Williams, Peter. ed. Bach, Handel, Scarlatti: Tercentenary Essays. Cambridge : Cambridge University Press, 1985.

Reviews of books

Domenico Scarlatti

  • Apel, Wili. Notes 11 (Dec. 1953): 99.
  • Cassidy, Claudia. “On the Aisle. Scarlatti of Spain, in the Courts of Aranjuez and the Escorial.” Chicago Daily Tribune (Jan. 31, 1954): F9.
  • Cooper, Martin. Spectator (June 4, 1954): 693.
  • Dahlhaus, Carl. Neue Zeitschrift fur Musik 135.10 (1974): 656-57.
  • Dart, Thurston. Music & Letters 35 (1954): 144.
  • Downes, Olin. “‘Form’ in Scarlatti.”New York Times (Dec. 20, 1953): X9. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Downes, Olin. “Italian Genius.” New York Times (Nov. 29, 1953): X9. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Frankenstein, Alfred. N.Y Herald Tribune Book Review (Feb. 14, 1954): 8.
  • Hoffmann-Erbrecht, Lothar. Die Musikforschung 29.4 (1976): 483-84.
  • Hume, Paul. Washington Post (Dec. 6, 1953): L1.
  • Jones, Charles. Journal of Aesthetics and Art Criticism 12 (1954): 530.
  • Krellmann, Hanspeter. Musicai 27.2 (1973): 172-3.
  • Lang, Paul Henry. Saturday Review 36 (Oct. 31, 1953): 36.
  • Luper, A.T. Musical Quarterly 40 (1954): 84.
  • Miller, C.K. Library Journal 78 (Nov. 15, 1953): 2036.
  • New Yorker 29 ( Dec. 5, 1953): 235-36.
  • Pincherle, Marc. Revue de musicologie 36e (July, 1954): 79-81.
  • Sitwell, Sacheverell. Tempo, New Series, No. 31. (Spring, 1954):36-37.
  • Tangeman, R.S. Christian Century 71 (Jan. 6, 1954): 18.
  • Taylor, Eric. Music Review 15.1 (1954): 74-5.
  • Times Literary Supplement (Jan. 22, 1954): 59.
  • United States Quarterly Book Review 10.1 (March 1954): 41.

Early Years

  • Anderson, Robert. The Musical Times 127.1720 (July 1986): 389.
  • Campbell, Frank C. Notes 43 ( Mar. 1987): 560-61.
  • Johnston, Gregory S. Music Review 47.1 (Feb. 1986/1987): 63-4.
  • Publishers Weekly 228 ( Nov. 29, 1985): 43.

Interpreting Bach’s Well-tempered clavier: A performer’s discourse of method

  • Ambrose, J.P. Choice 22.9 (May 1985): 1343.
  • American Music Teacher 35 (April 1986): 47.
  • Arnold, Denis. London Review of Books 7 (Sept. 19, 1985): 10.
  • Clavier 24.8 ( Oct. 1985): 40-41.
  • Doerschuk, Bob. Keyboard Magazine 11 (May 1985): 74.
  • Dyer, Richard. Boston Globe (Dec. 9, 1984). NewsBank Inc. America’s Newspapers. Online. 17 Nov. 2006.
  • Fortino, Sally. Early Keyboard Journal 5 (1986-87): 70-76.
  • Johnson, Gregory S. Music Review 46.1 ( Feb. 1985): 56-58.
  • Lawrence, Arthur. American Organist 19 (Mar. 1985): 16.
  • Mushkatkol , Victoria. Council for Research in Music Education Bulletin 94 (Fall 1987): 92.
  • Schuhmacher, Gerhard. Neue Zeitschrift fur Musik 146:6 (June 1985): 54-55.
  • Williams, Peter F. Music & Letters 66.4 (Oct. 1985): 406-407.

Music Edition Reviews

  • Boyden, David D. Rev. of Scarlatti: Sixty Sonatas. Edited in Chronological order from the Manuscript and Earliest Printed Sources, with a preface by Ralph Kirkpatrick. The Musical Quarterly 40.2 (Apr., 1954): 260-266.
  • Clavier-Buchlein vor Wilhelm Friedemann Bach, by Johann Sebastian Bach: Ralph Kirkpatrick. Music & Letters 41:1 (January 1960): 97-98.
  • Downes, Olin. “‘Goldberg’ Variations Edition.” New York Times (May 22 1938): 155.
  • Ferand, Ernest T. Rev. of Clavier-Buchlein vor Wilhelm Friedemann Bach by Johann Sebastian Bach. Ed. Ralph Kirkpatrick. Journal of the American Musicological Society 14.3 (Autumn, 1961): 409-413.
  • Friskin, James.  Rev. of Clavier-Buchlein vor Wilhelm Friedemann Bach by Johann Sebastian Bach. Ed. Ralph Kirkpatrick. The Juilliard Review 6:3 (Fall 1959): 10,19.
  • Fuller, David. Rev. of Domenico Scarlatti, Complete keyboard works in facsimile from the manuscript and printed sources. Ed. Ralph Kirkpatrick. Notes 30.1 (Sept. 1973): 145-6.
  • Harich-Schneider, Eta. Rev. of Scarlatti, Domenico. Sixty Sonatas in Two Volumes. Edited in chronological order from the manuscript and earliest printed sources, with a preface by Ralph Kirkpatrick. Notes, 2nd Ser., 12.1 (Dec. 1954): 140-141.
  • Higbee, Dale. Rev. of Clavier-Buchlein vor Wilhelm Friedemann Bach, by Johann Sebastian Bach. Ed. Ralph Kirkpatrick. American Recorder 21.2 (Aug. 1980): 89.
  • Hill, Richard S. Rev. of Clavier-Buchlein vor Wilhelm Friedemann Bach, by Johann Sebastian Bach. Ed. Ralph Kirkpatrick. Notes 2nd Series 16.3 (Jun. 1959): 459-60.
  • “Kirkpatrick Edition of Scarlatti Sonatas.” Musical America 74 (Mar. 30, 1954): 22.
  • Lang, Paul Henry. Rev. of Domenico Scarlatti, Complete keyboard Works in facsimile from the manuscript and printed sources . Ed. Ralph Kirkpatrick. The Musical Quarterly 58.4 (Oct. 1972): 675-7.

Record Reviews

  • Downes, Edward. “Records: Bach.” New York Times (Jun. 16, 1957): X18. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Downes, Edward. “Bach and Handel.” New York Times (Jan. 3, 1960): X11. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Dyer, Richard. “Music/Classical Notes; Kirkpatrick Fans Can Relive the Glory Days.” Boston Globe (Jun. 22, 2001): D16.
  • Ericson, Raymond. “Records: Bach” New York Times (Dec. 9, 1962): 68. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Haskins, Robert. “Bach: Partitas. Boston Skyline, 1995.” American Record Guide 58.6 (Nov.-Dec. 1995): 74.
  • Haskins, Robert. “Bach: Partitas, Italian Concerto, Duets, French Overture, Goldberg Variations, English Suite No. 6. Music & Arts. 1997.” American Record Guide 60.5 ( Sept-Oct 1997): 90.
  • Haskins, Robert. “Collections.” Review of 20th Century Harpsichord. American Record Guide 60.5 (Sept/Oct. 1997): 252.
  • Haskins, Robert. “From the Archives.” American Record Guide 60.1 (Jan/Feb. 1997): 241.
  • Hoffele, J-C. “Tabula rasa: Ralph Kirkpatrick par Pierre Hantai.” Diapason (France) 518 (Oct. 2004): 136.
  • Hughes, Allen. “Bach Disks, Lively and Solemn.” New York Times (Mar. 25, 1962): 131. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Klein, Howard. “Three Play Bach.” New York Times (Dec. 1, 1963): 205. Proquest Historical Newspapers The New York Times. Online. 11 Oct. 2006.
  • Lang, Paul Henry. “World of Polyphony. J.S. Bach: Clavier Ubung.” Saturday Review (Jan. 31, 1953 ): 42.
  • Morgan, Nick. “Bach from the Fifties.” BBC Music Magazine (Oct. 2004): 81.
  • Naulleau, G. “Ralph Kirkpatrick – Claveciniste, 1911-1983.” Diapason (France) 518 (Oct. 2004): 136.
  • Naulleau, G. “Reedition: Le Clavier bien tempere, livres I et II (Archiv, 2 CDs).” Diapason (France) 480 (Apr. 2001): 76.
  • Pakenham, Compton. “Recent Recordings.” New York Times (Feb. 7, 1937): 168. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Pfunke, Peter C. “Bach: Italian Concerto, Chromatic Fantasia and Fugue in D Minor, Partita No. 1 Deutsche Grammophon, 1981.” American Record Guide 45 (Nov. 1981): 14.
  • Sabin, Robert. “From Deutsche Grammophon. The Well-Tempered Clavichord.” American Record Guide (Mar. 1964): 574-575.
  • “Scarlatti Sonatas.” New York Times (Aug. 19, 1956): 105. Proquest Historical Newspapers The New York Times. Online. 30 Aug., 2006.
  • Schonberg, Harold C. “Keyboard Bach.” New York Times (Jan. 11, 1953): X9. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Schott, H. “Kirkpatrick’s 48 on clavichord.” Early Music 29 (Nov. 2001): 659-660.
  • Schott, Howard. “Recordings. Ralph Kirkpatrick. The Musicraft recordings.” Early Music 25.3 (Aug. 1997): 513.
  • Sherman, B.D. “A way to hear Bach intimately, if barely.” New York Times , 150:II, 26, Aug. 19, 2001.
  • Taubman, Howard. “Records: Full Chopin and Bach Sets.” New York Times (Jan. 25, 1948): X9. Proquest Historical Newspapers The New York Times. Online. 26 Oct. 2006.
  • Taubman, Howard. “Records: Scores by Bartok and Falla.” New York Times (Mar. 27, 1949): X6. Proquest Historical Newspapers The New York Times. Online. 11 Oct. 2006.
  • Valenti, F. “Kirkpatrick’s Scarlatti.” Saturday Review 38 (June 25, 1955): 34-5.
  • “The Well-Tempered Clavier, Book I.” Atlantic Monthly 213.5 (May, 1964):130.

Biographical Sources

  • American National Biography. v.12, 1999.
  • Baker’s Biographical Dictionary of Musicians. Ninth ed. 2001. Also entries in earlier editions.
  • Baker’s Biographical Dictionary of Twentieth-Century Classical Musicians. 1997.
  • The Blue Book. Leaders of the English-speaking World. 1976 ed.
  • Britannica Book of Music. 1980.
  • Contemporary Authors. v. 49, 1975.
  • Current Biography. Sept. 1971.
  • Directory of American Scholars. Eighth ed., Volume 1: History. 1982. Also entries in earlier editions.
  • International Who’s Who. 1965/66-1984/85 eds.
  • International Who’s Who in Music and Musicians’ Directory. 1969-1984 eds.
  • Musicians since 1900. Performers in Concert and Opera . 1978.
  • The New American Dictionary of Music. 1991.
  • The New Grove Dictionary of American Music. 1986.
  • The New Grove Dictionary of Music and Musicians. 2001, 1980.
  • The New York Times Biographical Service. Vol. 15, numbers 1-12. 1984.
  • Who Was Who in America. Vol. 8, 1982-1985. 1985.
  • Who’s Who in America. 1958/59-1982/83 eds.
  • Who’s Who in American Music: Classical. 1983.
  • Who’s Who in the World. 1971/72-1974-75 eds.

Obituaries

  • AMS Newsletter 15.2 (Aug 1985): 5.
  • American Organist 18 (July 1984): 30.
  • The Annual Obituary-1984. Chicago: St. James Press, 1985.
  • Bach 15.4 (1984): 2.
  • Contemporary Authors 112 (1985): 282.
  • Current Biography 45 (Aug. 1984): 45.
  • Diapason 75 (Jul. 1984): 6-7.
  • Early Music 12.4 (1984): 585.
  • High Fi/Musical America 34 (Aug. 1984): MA22.
  • Macleans 97 (April 30, 1984): 4.
  • Mens en Melodie 39 (Jun 1984): 306.
  • Musica 38.3 (1984): 297.
  • Musikhandel 35.4 (1984): 174.
  • Musik und Bildung 16 (Jun 1984): 474.
  • Neue Zeitschrift fur Musik 145: 5 (May 1984): 52.
  • New York Times, 16 April 1984, B10. Proquest Historical Newpapers The New York Times. Online. 10 Oct. 2006.
  • Nuova Rivista Musicale Italiana 18.4 (Oct-Dec. 1984): 549-53.
  • Orchester 32 (Jun. 1984): 568.
  • Variety 314 (April 25, 1984): 110.