Suite in D major 'Rossignolo' (Poglietti, Alessandro)





MP3 file (audio)
Lekro (2014/11/8)

Performer Pages Sylvia Kind (harpsichord)
Publisher Info. Pandora Records/Al Goldstein Archive
Misc. Notes Source and alternative formats:
From an album featuring a Revival harpsichord on Pandora Records. Ogg Vorbis files can be found here.

(Directly from readme page found in Source section)
The harpsichord, the dominant keyboard instrument for over 200 years, became virtually extinct in the 1800's, its role being assumed by the piano. In 1912 the French piano maker Pleyel constructed a harpsichord for Wanda Landowska. Wanda Landowska single handedly made a "revival" of the harpsichord using Pleyel's instrument.

Acoustically the instrument was similar to a piano. The soundboard and bridge was much heavier than any of classical harpsichords and consequently, to get more volume from the instrument, the strings were longer and heavier. This increased the tension imposed on the frame, which was reinforced with iron. The plectra were leather, rather than quill. This attenuated the sound output further. The resulting amplitude of sound is much less than classical harpsichords, For example the Flemish harpsichord presented on this site is a loud harpsichord. Most classical harpsichords are however also too quiet for large filled halls and noise-damaged ears. On the other hand the heavier construction of the "Revival" lengthened the sustain, since less sound energy was absorbed from the string by the vibrating soundboard. This resulted in a more organ-like sound. The weakness of sound is of no consequence to its recorded sound, which can be made thunderous by advancing the volume control. Thus for concert use these instruments should have electronic assistance. Under such circumstances they present a very interesting instrument and a legitimate practical member of the harpsichord family. They should not be "dusted off" because the French classical harpsichord is now in fashion.

The Neupert harpsichord is a member of the "Revival" family started by Pleyel. The one used was built in the "thirties." It has 4 sets of strings disposed as 16x8x8x4.
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Sheet Music


PDF scanned by A-Wn
Fynnjamin (2019/12/16)

Publisher. Info. Autograph manuscript, 1677.
Misc. Notes A-Wn Mus.Hs.19248
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PDF scanned by UME
Homerdundas (2013/3/31)

Editor Hugo Botstiber (1875–1941)
Publisher. Info. Wiener Klavier- und Orgelwerke aus der Zweiten Hälfte des 17. Jahrhunderts
Denkmäler der Tonkunst in Österreich, Bd.27
Vienna: Österreichischer Bundesverlag, (1906). Plate Oest.XIII. 2.
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General Information

Work Title Suite in D major 'Rossignolo'
Alternative. Title Rossignolo. Giach in qto tempo et grata Staggione Comincia a Cantar il Rossignolo, qui si vederà l'imitatione per imitar lo al Cembalo
Composer Poglietti, Alessandro
I-Catalogue NumberI-Cat. No. IAP 13
Key D major
Movements/SectionsMov'ts/Sec's see below
I. Toccata
II. Canzona
III. Allemande
IV. Double 1
V. Double 2
VI. Courante
VII. Double
VIII. Sarabande
IX. Double
X. Gigue
XI. Double
XII. Aria Allemagna con alcuni Variazioni sopra l'Età della Maestrà Vostra
Parte 2da.
Parte 3da.
Parte 4ta. Soggetto Rivoltato
Parte 5a. Lyra
Parte 6ta.
Parte 7a.
Parte 8va. Böhmisch: Dudlsackh
Parte 9na. Holländisch: Flagolett
Parte 10ma.
Parte 11a. Bayrische Schalmay
Parte 12a.
Parte 13a. Alter Weiber Conduct
Parte 14a. Hanacken Ehrentantz
Parte 15a. Französische Baiselemens [baiser le mains]
Parte 16a. Gaugler Seiltantz
Parte 17a. Polnischer Sablschertz
Parte 18a. Soldaten Schwebelpfeif
Parte 19a. Ungarische Geigen
Parte 20a. Steyermarkher Horn
XIII. Ricercar per lo Rossignolo
XIV. Syncopatione del Ricercar
XV. Capriccio per lo Rossignolo sopra il Ricercar
XVI. Aria bizarra del Rossignolo
XVII. Imitatione del med[esi]mo Uccello
Year/Date of CompositionY/D of Comp. 1677
Dedication Eleonore Magdalene Therese von Pfalz-Neuburg (1655-1720)
Composer Time PeriodComp. Period Baroque
Piece Style Baroque
Instrumentation keyboard (harpsichord)