LIST   OF   CONTENTS

 

PREFACE

WHAT'S NEW?

REVIEWS

MY AIMS

RENOVATING  YOUR  HILL  HARPSICHORD

LIST  OF  YOUTUBE  VIDEOS  FEATURING  HILL INSTRUMENTS

PAGE REFERRALS

 

PREFACE

 

Since I began building instruments in 1971- 1972, I have made more than 467 instruments for professional musicians and serious amateurs alike. In all that time, I have received only half a handful of thoughtful well considered critiques about my instruments.  That makes a review written to me recently by Jan Katzschke of Dreseden, Germany all the more interesting.  As most of my readers already know, I base my work exclusively on aesthetic and musical principles that I submit myself to and apply as faithfully as possible.  The less of my self I interject into the business of making an instrument the better.  This review, see below, is an affirmation that my decision to govern my instrument making behavior according to these principles was not made in vain.

 

Dear Keith,

 

It's time to sing your harpsichords praise...

Last weekend I played the first three concerts on the Taskin and the result was absolutely amazing and in that degree unexpected for me.

First (what I enjoyed already at home): The resonance, bloom, transparence, dynamic ... of the instrument is uniquely rich. The touch is absolutely delightful, like moving my hands in warm water. The dynamic is absolutely amazing, if I want to emphasize a single tone or theme of a middle part of the score, only the intention is enough to make the instrument immediately react dynamically. I know this partially from other instruments, but this one is far beyond everything I know elsewhere. Every single tone is singing on a maximum degree.

Before writing all this to you, I wanted to await the first concerts. As I told you, I played a French programme together with a violinist, consisiting of 50% chamber music an 50% solo music for harpsichord.

For the first time in my life in making chamber music, I did not have the feeling that the fundamental of the harpsichord feels completely gone while playing as soon as other instruments join in. In all of the 3 different concert rooms (small village church, acoustically "dry" modern chamber music hall, bigger church with rich delay of the room) the feeling while playing never changed. The sound stayed completely resonant all the time for me.

The Bloom is incredible and the tone is incredibly focused as well. I never have experienced something of that degree before. Every single tone appears multi-dimensional, the fundamental develops absolutely rich as well as the overtones. The second concert (modern chamber music hall) was visited by the solo flutist of our Dresden Philharmonic Orchestra; she is a highly sensitive musician and immediately realized the quality of the harpsichord's sound. She said that you get the feeling to be right in the middle of the instrument independently where you were sitting in the room, that you are completely surrounded and interpenetrated by the sound. The presence was always the same and highly intense. All listeners of the concerts who talked to me afterwards said that they never have heard a harpsichord like this before (I even was a bit jealous, because usually people tell me that they did not expect such a good sounding harpsichord playing, but now no one was talking about my playing any more but only about your instrument ... ;)

The first concert was visited by a singer of my church choir. He is very musically, but usually is a quite cynical man almost never expressing emotions. After the concert he could not stop saying how deeply moved he was. That for me was the strongest and most unexpected reaction of the weekend.

The reactions of the people in the third concert concerning the harpsichord were as excited as in the other concerts regarding the solo pieces.

So, your Taskin has proved to be outstanding not only at home, and I simply want to thank you again that you made such a wonderful sounding instrument for me. I feel to be a blessed donee!!!!

Regards,

Jan

Jean-Philippe Rameau - Nouvelles Suites de Pièces de clavecin , Sarabande (1727) played by Jean Rondeau – harpsichord by K. Hill Opus 194, after the Ahaus Ruckers, made in 1984

Harpsichord   after   Blanchet  opus   398     belonging    to     elizabeth    Farr .   This   is   one   of   my   most   favorite   decorations   both   to   do   and   to   look    at   -   It   is   based   on   the  couchet   double   in   the   metropolitan   Museum    of   art   in   New   york   city.    The recording below was made on this instrument.

Harpsichord   after   Blanchet  opus   398     belonging    to     elizabeth    Farr .   This   is   one   of   my   most   favorite   decorations   both   to   do   and   to   look    at   -   It   is   based   on   the  couchet   double   in   the   metropolitan   Museum    of   art   in   New   york   city.    The recording below was made on this instrument.

Now you are able to view my "Opus List" by scrolling to the last entry on the ABOUT KEITH HILL page.    Most of these harpsichords, clavichords, violins, guitars, and fortepianos continue to serve music as I intended them so to do when I made them. My chiefest aim has always been to build sounds that inspire a way of playing that deeply moves and excites listeners. This aim can be realized only by acoustical work of the highest quality. I define quality as anything that makes my instruments more like the antique instruments.

Here is a Sound Sample of one of my Taskin Harpsichords

 

MY AIMS

 

Now that I have achieved my personal goal of a reliable mastery over sound, I am able to produce the kind of sound I could only dream of 40 years ago. It is that skill and understanding that I am able to bring to each and every instrument I make. It is this skill and understanding which makes my instruments unique in our time. That is what I have to offer.

The  photograph below is of a 1769 Taskin model harpsichord I built and decorated for myself in 2000, which recently sold to the University of Western Australia in Perth. The following performance is of my brother, Robert Hill, playing the first concert on that instrument in Perth.

My  chinoiserie  on this  harpsichord  was  inspired  by seeing  actual  antique  chinese  decorated  furniture . . . the  result was  both  stunning  and to   my  surprise  made   purposely   dirty and   mottled.   I  loved  the effect  because   it  makes   the  outcome   so   much   more   interesting.   On  the   antique  chinese   furniture   all  what  looked  like   real   gold  was   actually  a  product  made   to   imitate   the   appearance   of  gold   by   fusing   mars   yellow  (iron oxide)  on  mica  flakes.    This harpsichord is now at the University of Western Australia in perth, australia.

My  chinoiserie  on this  harpsichord  was  inspired  by seeing  actual  antique  chinese  decorated  furniture . . . the  result was  both  stunning  and to   my  surprise  made   purposely   dirty and   mottled.   I  loved  the effect  because   it  makes   the  outcome   so   much   more   interesting.   On  the   antique  chinese   furniture   all  what  looked  like   real   gold  was   actually  a  product  made   to   imitate   the   appearance   of  gold   by   fusing   mars   yellow  (iron oxide)  on  mica  flakes.    This harpsichord is now at the University of Western Australia in perth, australia.

Here is a Sound Sample Bach's Sarabande in d minor from Robert Hill’s transcription from the solo violin Partita.

The cardinal signs of a Hill instrument are: powerful tone, gorgeously vocal trebles, solid and resonant basses, beauty of tone color, intensely musical behavior of sound, flexibility of touch and color, and a singing and affectively "loaded" tone.

Here is a Sound Sample of Bach's Fugue from his solo concerto in a minor played by Elizabeth Farr on my most recent 16' Harpsichord.

The next Sound Sample is from CPE Bach's concerto for piano and harpsichord played on one of my Cristofori Pianos and one of my Taskin Harpsichords.

Why are these traits necessary? It is obvious that players and composers in the 18th century demanded instruments possessing these qualities to be made so that they would aesthetically support their musical conceptions and intentions. How do we know this? CPE Bach states explicitly in his Versuch to "Play from the Soul, not like a trained bird...endeavor to avoid everything mechanical and slavish". J.J.Quantz in his treatise, On Playing the Flute, explains to musicians that "musical execution may be compared with the delivery of an orator..." and that musicians and orators should aim "to make themselves masters of the hearts of their listeners, to arouse or still their passions, and to transport them now to this sentiment, now to that".

Pictured below are photos of the 1658 de Zentis harpsichord, which I restored in 2004 and which now resides at the Piccola Academy in Montisi, Italy, and of my most recent Italian Harpsichord- a copy of the de Zentis of 1658.  Below the photos are sound samples, of the harpsichords pictured, played by Pamela Ruiter Feenstra, Martha Folts, and Elizabeth Farr, and Leonardo Garcia-Alarcon.

                                                                                             

                                                                                             

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Italian Harpsichord after the G. de Zentis of 1658 made by Keith Hill Opus 407 in 2008

 I understand that they meant these things literally, rather than hopefully. Therefore, I build my instruments with the sole aim of creating sounds which enhance and support (meaning: to make reasonable, logical, and beautiful) a highly expressive, highly flexible, highly affective, highly inflected, powerfully communicative, yet balanced style of playing. Playing that is, in a word, soulful.

Until I built this  6 Octave Cristofori Fortepiano, no one had ever attempted to take Cristofori's design to its maximum limits.  It is double strung in Brass.  The two pedals work the Dampers and the Una chord keyboard shift.  This piano is my Opus 363 made in 2003 and finally completed and sold in 2007 to the Technical University in Trondheim, Norway.  The recordings below were made by Marianne Ploger on this piano just before it was shipped to Norway.

 My goal now is to do everything in my power to encourage a return again to a sane, meaningful, highly expressive, masterful way of playing great music and creating great art. It is to this end that my instrument making is dedicated.

I have posted an article I wrote some years ago titled "The Art of Listening" in which I explain my understanding of the nature of what it means to listen...not merely hear.  You can read this article by clicking on the ARTICLES button under the main heading of this page and selecting the specific page. I wrote "The Art of Listening" as a chapter in my "Treatise on the True Art of Musical Instrument Making" but was told that my view on the business of listening had no place in my Treatise, so I removed it even though I disagreed with the few readers who thought it best not to reveal how I listen.  I hope you enjoy reading it and that it reveals something that will help you improve your own skill of listening.  

 

ADVICE  AND  INFORMATION  ABOUT

RECONDITIONING  YOUR  HILL  HARPSICHORD

 

by Keith Hill ©2016 in Nashville

 

I have been in the business of making musical instruments for 44 years. If you own an antique or vintage HILL harpsichord and have not had the instrument renovated somewhat recently, that instrument is in sore need of being renovated with new strings, new quills, and new dampers.  This sort of work needs to be done regularly about every 15 years depending on time and use.

 I purposely assigned opus numbers to my instruments applying the label on the pinblock in the treble on most harpsichords and on the pinblock in the bass if there was no room in the treble.  The reason first was to keep track of where my instruments were located and second to have a clear record of my development as an artist for my own use.  In other words, if someone wrote to me and said they owned opus 34 and proceeded to describe something other that what my records indicated, I would tell them if their instrument was or was not genuine, as happened occasionally over the years.  Third, and most importantly, was to demonstrate to those, who tend to attribute anything of high quality to one’s talent, just how wrong that is.  I have had to work extremely hard to figure out all that I have come to understand about making a high quality sound, one that I personally consider worth listening to.  Anyone who would think otherwise is wrong.  And central to all that hard work is being attentive to intelligent criticism and figuring out how to use it.  By this I mean not succumbing to the usual reaction to hearing criticism, which is, being offended.  I consider the inability to hear, accept, and use criticism as the principle reason why most musical instrument makers make instruments that are not worth listening to.  As one very fine violinist and critic of my violins recently told me, “You are one of the only violin makers I know who can actually accept and make use of criticism.” I responded by saying that I learned that lesson after having built my second harpsichord, that is, one can wallow in feeling offended or one can pay close attention to what is being said by the critic in order to improve the work.  It is just a choice, nothing more.

 To begin, here are some useful definitions of words used in this article to describe age or date of the instrument and especially the kind of work needed.

 

 DEFINITIONS

 

ANTIQUE means older than 25 years.  Any Hill harpsichord built before 1991 is an antique.  If you own an antique Hill instrument and you have not had any significant work done on it since it was made, then your instrument is in serious need of being reconditioned.

VINTAGE means a particular period during which your Hill instrument was made. I delineate those periods according the degree of acoustical development and/or place or year in which your Hill instrument was made. 

1972 – 1978    I began making harpsichords in Grand Rapids, Michigan. The instruments made between 1972 and 1978 are grouped in that ‘first’ period, a period during which I developed my acoustical thinking based of direct observations made of the acoustical behavior of my materials. The instruments made during this time are labeled: Opus 1 – 57

1979 – 1984    My second period includes, not only harpsichords, but also violins, clavichords and fortepianos.  My instruments made during this time are labeled: Opus 58 – 194

1985 – 1995    My third period involved a move, in 1988, to Manchester, Michigan, and was when my acoustical thinking had developed enough for me to write up my results in a treatise that I titled: The True Art of Making Musical Instruments-the Forgotten Craft of Enhancing Sound.  My instruments made during this time are labeled: Opus 195 – 306

1996 – 2003   My fourth period.  This period was spent learning to use different ideas, further observations, and new information to increase my understanding of how the science of acoustic enhancement works.  Instruments made during this time are labeled: Opus 307 – 374

2004 - the present.  This period involved another move, in 2010, to Nashville, Tennessee.  Opus 484 is my most recent instrument…a violin. 

Those harpsichords from Opus 350 and before, depending on the conditions in which your Hill instrument has been kept, will likely be needing to be restrung, requilled and redampered, in a word…renovated, unless that has already been done earlier, that is, sometime within the previous 15 years.

RENOVATING - Means restringing because over time iron strings rust and brass strings corrode.  Rust and corrosion act as an abrasive, which eats away at the tips of the quills causing the sound to become coarse and dull.  This means the strings and the quills need to be replaced.  Replacing all the quills with new quills often needs to be redone more regularly because over time many quills will have broken and were replaced by technicians who may or may not understand how to get the best sound from the instrument.  Redampering is necessary if the damper cloth has been ‘eaten’ away by the strings.

RECONDITIONING - Whereas renovating involves only those aspects of set up that degrade through time and use, a reconditioning includes renovating and can but not necessarily involve any or all of the following, things which I recommend, i.e.: replacing plastic jacks with wooden jacks (which produces an improvement in tone of about 5-10%), changing all the cloths and felts in the instrument with a special material called woven-felt (which produces an improvement in tone of about 15%), acoustically adjusting/tuning the keyboards (which produces an improvement in tone of about 15%), acoustically adjusting/tuning the jacks (which produces an improvement in tone of about 5%), and when the strings are off the instrument, unpinning the bridges and tuning as well as acoustically adjusting the bridges (which produces an improvement in tone of about 5%).

REBUILDING - Usually involves replacing the soundboard, as well as everything done in a reconditioning.  Since the soundboard has been removed, it also can involve acoustically adjusting the inside of the case and a re-engineering of the bracing system, should that prove acoustically beneficial.

 

UNDERSTANDING   HOW   TO  ASSESS  COST/BENEFIT   RATIOS

 

To assess the quality of an instrument I rate every possible enhancement on a scale of one to 100.  1% assumes that the instrument is a competent piece of woodworking.  100% means that the maker has divined every possible means of enhancing the sound of an instrument and has applied all possible enhancements. I always use the finest, best sounding great antique instruments from the 17th or 18th centuries as my acoustical standard and call them “100%” instruments.  Why? Because the ancient makers did everything in their power to enhance the sound of each instrument they made.  The Colmar 1624 Ruckers is an 85% instrument only because the maker who converted the instrument from its original condition in order to upgrade the compass and specifications was not particularly astute about all possible enhancements of the things that got changed.  The de Zentis that I restored in 2004, now in Montisi, Italy was a 100% instrument until the original 17th century Ivory key tops had to be removed due to customs requirements in order to ship it to Italy.  The Grimaldi in Nüremberg, Germany is a 100% instrument.  The Jan Couchet in Brussels, Belgium is also a 100% instrument.  The Ahaus Ruckers used to be a 100% instrument before it was degraded in restoration to a 65% instrument as the soundboard was removed to flatten it.  The 1769 Taskin was a 100% harpsichord when I first played it 45 years ago. Indeed, most well restored working antique harpsichords average between being a 55% - 85% instrument, because not all makers from the Baroque period had a complete knowledge of how to enhance every part of the instrument. 

 

The old “serien” plucking piano type harpsichords commonly made in the 1930’s-70’s in Germany were only able to yield a 1-5% result.  If the maker does everything any respectable furniture maker would do, by selecting the design and materials intelligently, the maximum result would be a 5-15% instrument. The best possible result most makers today can achieve, doing nothing to otherwise enhance the sound of the instrument beyond makinga jot and tittle copy of a piece of furniture, yields about a 15-25% instrument. 

 

For myself, I have always aimed to make 100% instruments, having figured that it is better to fall short of the mark than to not aim at all, yet also always assumed, no matter how good the sound might have been, its never good enough. So should you own an earlier Hill instrument and discover that my opinion of it may not be as high as yours, that is my artist’s prerogative.  I see it as my job to have a skeptical ear, especially of my own instruments.  Today, because I have done a few, a full rebuild of one of my earlier period instruments can yield a 65% - 80% result.  A particularly good sounding example of my previous work can yield a 70% – 90% instrument.

 

COSTS

 

Each stage of reworking an instrument brings with it costs both for time and materials, and knowledge of how to create the best possible sound.  The cost for renovating a double manual harpsichord is between $2100 - $4000, depending on the extent of the work and who does the work.  A reconditioningof the same instrument costs between $5000 - $8,000.  A complete rebuild costs between $15,000 - $22,000, depending on who does the work.  This assumes no repair work needs to be done.

Anyone wishing to have their Hill harpsichord renovated, reconditioned or rebuilt in my shop should contact me through my email address:  pictagoras48@gmail.com       or call me on my cellphone after 2:30pm at 734-395-8708

 

   LIST  OF  YOUTUBE  VIDEOS        WITH HILL  INSTRUMENTS

 

Here are 130 videos that can be found of YouTube in which my instruments are featured.  I am sure that there are more.  That they do not appear is probably because I have yet to either know about them of must accidentally discover them while browsing...not one of my favorite activities.

Jean-Philippe Rameau - Nouvelles Suites de Pièces de clavecin , La Sauvages (1727) played by Jean Rondeau – harpsichord by K. Hill Opus 194 after Ahaus Ruckers made in 1984

 

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Jean-Philippe Rameau - Nouvelles Suites de Pièces de clavecin , Sarabande (1727) played by Jean Rondeau – harpsichord by K. Hill Opus 194 after Ahaus Ruckers made in 1984

 

<iframe width="560" height="315" src="https://www.youtube.com/embed/vCaiJr-_rAo" frameborder="0" allowfullscreen></iframe>

 

J C F Fischer: Suite in D Minor 'Uranie', complete. Robert Hill, harpsichord by K. Hill 1988 after M. Mietke - strung completely in brass.

 

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J. S. Bach 6-part Ricercar BWV 1079 Robert Hill, harpsichord

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J S Bach: Capriccio BWV 992: Arioso Robert Hill, harpsichord

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J S Bach: Partita in E Minor BWV 830: Toccata. Robert Hill, harpsichord

<iframe width="853" height="480" src="//www.youtube.com/embed/mB3epDVXMT4" frameborder="0" allowfullscreen></iframe>

J S Bach: Partita in E Minor BWV 830: Sarabande. Robert Hill, harpsichord

 

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J S Bach: Partita in C Minor BWV 826: Sarabande, Robert Hill, harpsichord

 

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J S Bach: Partita in C Minor BWV 826: Sinfonia Robert Hill, harpsichord

 

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J S Bach: Partita in E Minor BWV 830: Toccata, Robert Hill harpsichord

 

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J S Bach: Partita in E Minor BWV 830 Sarabande & Tempo di Gavotta, Mark Edwards, harpsichord

 

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J S Bach Partita in B-flat Major BWV 825 Allemande Robert Hill harpsichord

 

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J. S. Bach: Chromatische Fantasie und Fuge, BWV 903 - Fantasie

 

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J. S. Bach: Chromatische Fantasie und Fuge, BWV 903 - Fuge

 

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 J.S.Bach - Brandenburg Concerto No.5 in D BWV1050 - Croatian Baroque Ensemble

 

<iframe width="853" height="480" src="//www.youtube.com/embed/BnjqGhAlFzs" frameborder="0" allowfullscreen></iframe>

 

Robert Hill - J.S. Bach - Toccata & Fugue in B minor BWV 923

 

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J. S. Bach Fugue in A Major BWV 888 WTC II Robert Hill, harpisichord

 

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Chambonnieres Pavan "L'Entretien des Dieux" Robert Hill, harpsichord

 

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J.S. Bach - Sonata in e minor (1st mvt) with Cobus du Toit and Elizabeth Farr

 

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J.S. Bach - Sonata in e minor (2nd mvt) with Cobus du Toit and Elizabeth Farr

 

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allowfullscreen></iframe>

 

J.S. Bach - Sonata in e minor (3rd mvt) with Cobus du Toit and Elizabeth Farr

 

 

<iframe width="640" height="480" src="//www.youtube.com/embed/M_EEGc86z6o" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - Sonata in e minor (4th mvt) with Cobus du Toit and Elizabeth Farr

 

<iframe width="640" height="480" src="//www.youtube.com/embed/bu7KZJbfRb0" frameborder="0" allowfullscreen></iframe>

 

Chambonnieres Pavan "L'Entretien des Dieux" Robert Hill, harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/9zOd7XMIa50" frameborder="0" allowfullscreen></iframe>

 

Johann Sebastian Bach: Concerto for Keyboard Solo in G minor, (After Vivaldi RV 316), (BWV 975)

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Johann Sebastian Bach: Concerto for Keyboard Solo in C major, (BWV 984)

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Johann Sebastian Bach: Concerto for Keyboard Solo in C major, (BWV 977)

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Johann Sebastian Bach: Concerto for Keyboard Solo in B flat major, (BWV 982)

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Johann Sebastian Bach: Concerto for Keyboard Solo in B minor, (BWV 979)

 

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Johann Sebastian Bach: Concerto for Keyboard Solo in C major, (After Vivaldi RV 265), (BWV 976)

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Johann Sebastian Bach: Concerto for Keyboard Solo in G major, (After Vivaldi RV 381), (BWV 980)

<iframe width="853" height="480" src="//www.youtube.com/embed/j04rw6wiHUI" frameborder="0" allowfullscreen></iframe>

Jacquet de La Guerre, Suite for Harpsichord III in A minor (1687) - I. Prelude

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Claude Balbastre (1724-1799) 2 Sonatas in F major

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Jacquet de la Guerre: Gigue and Rondeau from the 6th suite.

<iframe width="640" height="480" src="//www.youtube.com/embed/mUr30koVwCE" frameborder="0" allowfullscreen></iframe>

Johann Sebastian Bach: Concerto for Keyboard Solo in D minor, (BWV 987)

<iframe width="853" height="480" src="//www.youtube.com/embed/zy7M3f2QJlE" frameborder="0" allowfullscreen></iframe>

Johann Sebastian Bach: Concerto for Keyboard Solo in G major, (After Vivaldi RV 299), (BWV 973)

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Toccata in A Minor by Johann Kaspar Kerll- Edward Parmentier Harpsichord

 

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Chaconne L'Inconnue (13/14) "Livre de Suittes pour le clavecin" (attr. Louis Marchand)

<iframe width="640" height="480" src="//www.youtube.com/embed/1vY6VM-C9uY" frameborder="0" allowfullscreen></iframe>

Allemande fait(e) pour Mme Deville (2/14) "Livre de Suiites pour le clavecin" (attr. Louis Marchand)

<iframe width="640" height="480" src="//www.youtube.com/embed/u9Mxigc_Pkk" frameborder="0" allowfullscreen></iframe>

Prélude par Renard (1/14) - "Livre des Suittes pour le clavecin" (attr. Louis Marchand)

<iframe width="640" height="480" src="//www.youtube.com/embed/aeSZOGmSumY" frameborder="0" allowfullscreen></iframe>

Badinage La Marinelle (10/14) "Livre de Suittes pour le clavecin" (attr. Louis Marchand

<iframe width="640" height="480" src="//www.youtube.com/embed/K3BH1Ap_oDc" frameborder="0" allowfullscreen></iframe>

Louis-Claude Daquin (1694-1772) La Louisette "Recueil des Airs pour le clavecin"

<iframe width="640" height="480" src="//www.youtube.com/embed/ynB8nGfVvy8" frameborder="0" allowfullscreen></iframe>

William Byrd's Pavana Lachrymae Italian harpsichord after the 1693 Anon. in the Smithsonian

<iframe width="640" height="480" src="//www.youtube.com/embed/uIW00hNwkgo" frameborder="0" allowfullscreen></iframe>

Antonio Bertali - Chiacona Italian harpsichord after the 1693 Anon. in the Smithsonian

<iframe width="640" height="480" src="//www.youtube.com/embed/e9DbCbWORtE" frameborder="0" allowfullscreen></iframe>

 

Matthias Weckmann Toccata in D - Edward Parmentier Harpsichord After Johannes Ruckers 1640

<iframe width="853" height="480" src="//www.youtube.com/embed/01snWjH6SrM" frameborder="0" allowfullscreen></iframe>

Rameau - Les Triolets - Mark Edwards, harpsichord

<iframe width="853" height="480" src="//www.youtube.com/embed/0OJ4ZpzxIzM" frameborder="0" allowfullscreen></iframe>

W.A. Mozart (1756-1791) Allegro in F major KV 33B

 

<iframe width="640" height="480" src="//www.youtube.com/embed/QKqbmIm4hhg" frameborder="0" allowfullscreen></iframe>

 

Les Sirenes (anon.) "Recueil des Airs pour le clavecin"

<iframe width="640" height="480" src="//www.youtube.com/embed/Qfy7pFB0aDs" frameborder="0" allowfullscreen></iframe>

William Byrd: Piper's Galliard (Rebecca Pechefsky)

<iframe width="853" height="480" src="//www.youtube.com/embed/zsNekljxthA" frameborder="0" allowfullscreen></iframe>

W.A. Mozart (1756-1791) Variations on a Minuet by Fischer in C major KV 179

<iframe width="640" height="480" src="//www.youtube.com/embed/M-nq-xXKF2w" frameborder="0" allowfullscreen></iframe>

W.A. Mozart (1756-1791) Variations on "Dieu d'Amour" by Grétry in F major KV 352 / 374c Mario Martinoli

<iframe width="853" height="480" src="//www.youtube.com/embed/Ls6uBw5QT-c" frameborder="0" allowfullscreen></iframe>

Tombeau pour Monsieur de la Forestiere (anon.) "Recueil des airs pour le clavecin" Mario Martinoli

<iframe width="853" height="480" src="//www.youtube.com/embed/WxpT3pywhTA?list=UUvCy5-g0ZMi_OnYBryZ7LbA" frameborder="0" allowfullscreen></iframe>

 

Gigue d'orgue La Saint-Honoré (7/14) "Livre de Suittes pour le clavecin" (attr. Louis Marchand) Mario Martinoli

<iframe width="853" height="480" src="//www.youtube.com/embed/eSRRHgHWy94?list=UUvCy5-g0ZMi_OnYBryZ7LbA" frameborder="0" allowfullscreen></iframe>

Prélude par Renard (1/14) - "Livre des Suittes pour le clavecin" (attr. Louis Marchand)

<iframe width="640" height="480" src="//www.youtube.com/embed/ciAa89ggBk4" frameborder="0" allowfullscreen></iframe>

Jean-Baptiste Forqueray (1699-1782) Allemande en mi mineur

<iframe width="640" height="480" src="//www.youtube.com/embed/M-LYVPtw00I" frameborder="0" allowfullscreen></iframe>

Jean-Adam Guilain (attr.) (c. 1680 - c. 1740) La Ferrand "Recueil des Airs pour le clavecin" Mario martinoli

<iframe width="853" height="480" src="//www.youtube.com/embed/aeSZOGmSumY?list=UUvCy5-g0ZMi_OnYBryZ7LbA" frameborder="0" allowfullscreen></iframe>

Matinées baroques - Récital de violoncelle - Les Idées heureuses

<iframe width="853" height="480" src="//www.youtube.com/embed/PZDV2pBItag" frameborder="0" allowfullscreen></iframe>

W.F. Bach: Concerto pour clavier, cordes & basse continue en mi mineur, Fk. 43 Michael Behringer Cristofori pianoforte

<iframe width="853" height="480" src="//www.youtube.com/embed/YUJzMxomoZo" frameborder="0" allowfullscreen></iframe>

Bach: Adagio Bb, Allemande A, Sarabande Em - Bradley Lehman Harpsichord and pedal harpsichord.

<iframe width="640" height="480" src="//www.youtube.com/embed/oEaeCje9K_A" frameborder="0" allowfullscreen></iframe>

Domenico Scarlatti Sonata C Major K460 P. Masic

<iframe width="640" height="480"src=" //www.youtube.com/embed/bRycZeEnAaQ" frameborder="0" allowfullscreen></iframe>

DuPhly Rondeau D Major Robert Hill, harpsichord

 

<iframe width="640" height="480" src="//www.youtube.com/embed/kQf3Z2FfzYw" frameborder="0" allowfullscreen></iframe>

 

Johann Sebastian Bach, Goldberg-Variationen, 2. Variation - Gerhard Oppelt spielt am Cembalo nach Ruckers, gebaut 1999 von Keith Hill.

 

<iframe width="640" height="480" src="//www.youtube.com/embed/3GqIMdnTwxk" frameborder="0" allowfullscreen></iframe>

 

J. S. Bach Well-Tempered Clavier Book Two, Prelude and Fugue in C Minor

<iframe width="640" height="480" src="//www.youtube.com/embed/myGffB4WcF8" frameborder="0" allowfullscreen></iframe>

J S Bach: Partita in E Minor BWV 830, Corrente. Robert Hill, harpsichord

<iframe width="853" height="480" src="//www.youtube.com/embed/TBGYnG09U0Y" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 1 Mitzi Meyerson Harpsichord Clavecin

<iframe width="640" height="480" src="//www.youtube.com/embed/uzzFwqMI7g0" frameborder="0" allowfullscreen></iframe>

Georg Bohm Suite N 11 Meyerson Harpsichord

 

<iframe width="640" height="480" src="//www.youtube.com/embed/5GSnaa4l9t8" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite n 4 Meyerson Harpsichord

 

<iframe width="640" height="480" src="//www.youtube.com/embed/VLi1fOI8WeA" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite n 10 Meyerson Harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/vBzpbCFpEPw?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 8 Meyerson Harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/OuKH0EFz56Q?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 7 Meyerson Harpsichord.wmv

 

<iframe width="853" height="480" src="//www.youtube.com/embed/w-m3QxHnWBk?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 5 Meyerson Harpsichord.wmv

 

<iframe width="853" height="480" src="//www.youtube.com/embed/JfSSiEMUqs0?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 9 Meyerson Harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/9ccCeEI0-94?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 3 Meyerson Harpsichord.wmv

 

<iframe width="853" height="480" src="//www.youtube.com/embed/mn9UoLn-420?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 2 Meyerson Harpsichord.wmv

 

<iframe width="853" height="480" src="//www.youtube.com/embed/vgrIlMMsa0E?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

Georg Bohm Suite N 2 Meyerson Harpsichord Part 2.wmv

<iframe width="853" height="480" src="//www.youtube.com/embed/BXcRSlhkDzI?list=PL3C2908E27AFE988B" frameborder="0" allowfullscreen></iframe>

 

J. S. Bach - Toccata BWV 912 in D major- 2°JERMAINE SPROSSE - harpsichord.

 

<iframe width="640" height="480" src="//www.youtube.com/embed/g0YQoNhg9No" frameborder="0" allowfullscreen></iframe>

 

Domenico Scarlatti Sonata A Major K208 P. Masic

 

<iframe width="640" height="480" src="//www.youtube.com/embed/qSkXnsY_AMg" frameborder="0" allowfullscreen></iframe>

 

Domenico Scarlatti Sonata D Major K492 P. Masic

 

<iframe width="640" height="480" src="//www.youtube.com/embed/FVrR_J4-VEo" frameborder="0" allowfullscreen></iframe>

 

D. Scarlatti: Sonata B Minor, K.87 P. Masic

 

<iframe width="640" height="480" src="//www.youtube.com/embed/GbHYtTMhUdU" frameborder="0" allowfullscreen></iframe>

 

J A Reincken Allemande C Major, Robert Hill clavichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/0Ef8rJcQUIk" frameborder="0" allowfullscreen></iframe>

 

W. F. Bach Fantasia A Minor, Robert Hill fortepiano

 

<iframe width="853" height="480" src="//www.youtube.com/embed/hV4vnTtCjMQ" frameborder="0" allowfullscreen></iframe>

 

J S Bach Adagio in C Minor BWV 1001 Robert Hill, harpsichord

<iframe width="640" height="480" src="//www.youtube.com/embed/3WO660_XPHc" frameborder="0" allowfullscreen></iframe>

DuPhly Rondeau D Major Robert Hill, harpsichord

 

<iframe width="640" height="480" src="//www.youtube.com/embed/kQf3Z2FfzYw" frameborder="0" allowfullscreen></iframe>

 

D. Scarlatti Sonata Pastorale Allegro K415, Robert Hill, harpsichord

<iframe width="640" height="480" src="//www.youtube.com/embed/z6yCXequhUw" frameborder="0" allowfullscreen></iframe>

G. F. Händel Suite in B-flat major:Prelude

 

<iframe width="640" height="480" src="//www.youtube.com/embed/MbXqQ5EG60c" frameborder="0" allowfullscreen></iframe>

 

J S Bach: Capriccio BWV 992: Arioso Robert Hill, harpsichord

<iframe width="640" height="480" src="//www.youtube.com/embed/ML62IE4pOjM" frameborder="0" allowfullscreen></iframe>

W.A. Mozart (1756-1791) Variations on "Ah, vous dirai-je, Maman!" in C major KV 265 Mario Martinoli

<iframe width="640" height="480" src="//www.youtube.com/embed/g4_Z-fROT5I" frameborder="0" allowfullscreen></iframe>

J.S.Bach Prelude for clavesin in h minor BWV923 (Robert HILL).wmv

<iframe width="640" height="480" src="//www.youtube.com/embed/Vhhdpc2hmbY" frameborder="0" allowfullscreen></iframe>

Beethoven "Moonlight" Sonata Op. 27 No 1: Adagio sostenuto. Robert Hill, fortepiano

 

<iframe width="853" height="480" src="//www.youtube.com/embed/6gpmZsqOzZs" frameborder="0" allowfullscreen></iframe>

Wilhelm Friedemann Bach - Concerto in E-flat major for 2 harpsichords

<iframe width="853" height="480" src="//www.youtube.com/embed/hN6WQpu5xMU" frameborder="0" allowfullscreen></iframe>

W.F. Bach - Concerto for 2 Harpsichords in E Flat - Mov. 1/3

<iframe width="640" height="480" src="//www.youtube.com/embed/uLihwmYSdI4" frameborder="0" allowfullscreen></iframe>

C.P.E. Bach - Concerto for 2 Harpsichords in F - Mov. 1/3

 

<iframe width="640" height="480" src="//www.youtube.com/embed/WtFhr361EaE" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 912a - Toccata D-dur / D major

<iframe width="640" height="480" src="//www.youtube.com/embed/nud6VNGIzaE" frameborder="0" allowfullscreen></iframe>

Bach - Brandenburg Concerto No. 5 in D major BWV 1050 - 3. Allegro Michael Behringer

<iframe width="640" height="480" src="//www.youtube.com/embed/CLwGBy4srRs" frameborder="0" allowfullscreen></iframe>

Bach - Brandenburg Concerto No. 5 in D major BWV 1050 - 1. Allegro Michael Behringer

http://www.youtube.com/watch?v=iticJubl-og&list=RDCLwGBy4srRs&feature=share&index=1

Johann Sebastian Bach - Brandenburg Concertos, BWV 1046, 1047, 1048, 1049, 1050 and 1051 (complete) Michael Behringer on the 5th using his Hill/Ruckers.

 

<iframe width="640" height="480" src="//www.youtube.com/embed/_jXKIy_2p5U" frameborder="0" allowfullscreen></iframe>

J.S. Bach - BWV 1080 - Contrapunctus 1composed by J.S. Bach (1685-1750)performed by Robert Hill, harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/rXkN0TKZotA?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 2

 

<iframe width="853" height="480" src="//www.youtube.com/embed/OMdOGOCkuYw?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 3

 

<iframe width="853" height="480" src="//www.youtube.com/embed/dOVkTw1oaNI?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

J.S. Bach - BWV 1080 - Contrapunctus 4

 

<iframe width="853" height="480" src="//www.youtube.com/embed/NqT_yKqIcPs?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 5

 

<iframe width="853" height="480" src="//www.youtube.com/embed/OhB3vjywW10?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 6 (in stilo francese)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/1QtKPMhhPoM?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 7 (per augmentationem et diminutionem)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/QteYYZN1NF8?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

J.S. Bach - BWV 1080 - Contrapunctus 8

 

<iframe width="853" height="480" src="//www.youtube.com/embed/nzIm8bj1aAM?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 9 (alla duodecima)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/GJwCfn9BpI8?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 10 (alla decima)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/J825uj8DWZc?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 11

 

<iframe width="853" height="480" src="//www.youtube.com/embed/pI5Y_AVULf0?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 12,1 (in forma recta)

<iframe width="853" height="480" src="//www.youtube.com/embed/r7IZh18vZO4?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

J.S. Bach - BWV 1080 - Contrapunctus 12,2 (in forma inversa)

<iframe width="853" height="480" src="//www.youtube.com/embed/f7AD6PeWj0A?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

J.S. Bach - BWV 1080 - Contrapunctus 13,1 (in forma recta)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/mDeiHrAwubs?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - Contrapunctus 13,2 (in forma inversa)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/grhWeSua-7k?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - (14) Canon alla ottava

 

<iframe width="853" height="480" src="//www.youtube.com/embed/dwXXP24Sv_k?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - (15) Canon alla decima

 

<iframe width="853" height="480" src="//www.youtube.com/embed/-4xmzBL4L_Q?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - (16) Canon alla duodecima

<iframe width="853" height="480" src="//www.youtube.com/embed/Uqse-EyxH6w?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

J.S. Bach - BWV 1080 - (17) Canon per augmentationem

 

<iframe width="853" height="480" src="//www.youtube.com/embed/DnoUo2hNbzU?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - (18) Fuga a 3 soggetti "B-A-C-H motif"

 

<iframe width="853" height="480" src="//www.youtube.com/embed/u-K6YB_nBXk?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - (19) Fuga a 2 claviere performed by Robert Hill, harpsichord and by Michael Behringer, harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/4bCVQ1KAAeQ?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

J.S. Bach - BWV 1080 - (20) Alio modo: Fuga a 2 claviere

 

<iframe width="853" height="480" src="//www.youtube.com/embed/YZPywDn84Ys?list=PL5694284B8F0127AA" frameborder="0" allowfullscreen></iframe>

 

Bach Ricercar3.wmv

 

<iframe width="853" height="480" src="//www.youtube.com/embed/XSgktbWXcFM" frameborder="0" allowfullscreen></iframe>

Johann Christian Bach Sonate A Major Opus 17 Nr.5 Robert Hill, fortepiano

 

<iframe width="640" height="480" src="//www.youtube.com/embed/Lusv-Og61x4" frameborder="0" allowfullscreen></iframe>

 

Johannes Brahms Hungarian Dance in E Minor Stephanie Gurga & Robert Hill, piano

 

<iframe width="853" height="480" src="//www.youtube.com/embed/KiVxfmKxA2I" frameborder="0" allowfullscreen></iframe>

 

Brahms Intermezzo Op 117 No. 2 in B-flat Minor, Robert Hill, pianoforte

 

<iframe width="640" height="480" src="//www.youtube.com/embed/U_rlk4H-DQ0" frameborder="0" allowfullscreen></iframe>

 

F. W. Zachow Suite in B Minor, Robert Hill, lute-harpsichord

 

<iframe width="853" height="480" src="//www.youtube.com/embed/mkZZGf4mfck" frameborder="0" allowfullscreen></iframe>

 

Bach Aria Variata BWV 989 lautenwerk basel 96.wmv

 

<iframe width="853" height="480" src="//www.youtube.com/embed/vLfZxyUBPN0" frameborder="0" allowfullscreen></iframe>

 

J S Bach Sinfonia E-flat Major BWV 791, Robert Hill clavichord

 

<iframe width="640" height="480" src="//www.youtube.com/embed/81fOeRek0I0" frameborder="0" allowfullscreen></iframe>

 

Bach chaconne clavichord 0610 1

 

<iframe width="853" height="480" src="//www.youtube.com/embed/U82gPH5ia78" frameborder="0" allowfullscreen></iframe>

 

Bach BWV 1005 1

 

 

Gottlieb Muffat Harpsichord Works,Mitzi Meyerson (complete)

 

<iframe width="853" height="480" src="//www.youtube.com/embed/9Lj90nep5D8" frameborder="0" allowfullscreen></iframe>

 

Matthias Weckman Works for Cembalo and Lute-Harpsichord,

Jan Katzschke - Hein German single harpsichord and Hill Lute-harpsichord.

 

<iframe width="853" height="480" src="//www.youtube.com/embed/IFVNDKcBPCY" frameborder="0" allowfullscreen></iframe>

 

D. Scarlatti: Sonata in B Minor, K 87 - Pavao Masic, harpsichord

http://youtu.be/6hHcvb8b_mA

<iframe width="853" height="480" src="//www.youtube.com/embed/6hHcvb8b_mA" frameborder="0" allowfullscreen></iframe>

J C F Fischer: Suite in D Minor 'Uranie', complete. Robert Hill, harpsichord

by Keith Hill after M. Mietke

<iframe width="853" height="480" src="https://www.youtube.com/embed/ZJwN8FQdNwE" frameborder="0" allowfullscreen></iframe>

Peter Philips: Amarilli di Julio Romano FVB I, 82. Robert Hill, harpsichord

<iframe width="853" height="480" src="https://www.youtube.com/embed/zNLWawydEuo" frameborder="0" allowfullscreen></iframe>

 

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