Landowska


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Landowska

Wanda . 1877--1959, US harpsichordist, born in Poland
References in periodicals archive ?
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.
from Galli-Curci, Hofmann, Stokowski, Sembrich, Auer and Landowska (to name a few faculty members from the early years) to several generations of many of the most gifted artist-students.
In both cases you will search in vain for more than a token recording or two by Isaac Stern, Wanda Landowska, Herbert von Karajan, or Elisabeth Schwartzkopf.
Several months later, I played the Fantasy in a master class in which the pianist asked if I was familiar with the highly respected Landowska recording.
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.
L Labitzky, August: L Lablache, Luigi: D (2), L (2) La Borde, Jean-Benjamin de: L Labouchere, Henry: L (2) Laccetti, Guido: L Lacerda, Francisco de: MS Lachner, Franz Paul: L (2) Lachner, Ignaz: L Lachner, Vinzenz: L (2) Lacombe, Louis: L Lacy, Charlotte Louisa: L (7) Lacy, Thomas Hailes: L (3) Lacy, Walter: L Lacy, William: L (10) Lafont, Charles Philippe: L La Grange, Anna Caroline de: L Lalo, Edouard: L (2) Lambert, Alexander: L (2) Lambert, Constant: L (12) Lamond, Frederic: L Lamoureux, Charles: L (8) Land, Edward: L Landowska, Wanda: L Lane, Sam: L Lang, Andrew: L (2) Lange, Hans: L (3), MS Langert, Johann August Adolf: L Lannoy, Eduard: L Laparra, Raoul: L, MS Lara, Adelina de: L (2) Lassalle, Jean-Louis: L Lassen, Eduard: L, MS Latey, John, Jr.
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.
The letters from conductors (Leonard Bernstein, Adrian Boult, Ernest Ansermet, Leopold Stokowski), performers (Wanda Landowska, Pablo Casals, Alfred Cortot), and writers on music (Bernard Gavoty, Edward Dent, Henry Prunieres), as well as the innumerable reports from Boulanger's students about the progress of their careers and the musical life around them make this collection a fascinating source for many aspects of musical culture in the twentieth century.
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.