Harpsichord Sounds of Celebration, Baroque, Renaissance & Folk Music
Irma Rogell Pleyel harpsichord built for Irma in Paris in 1958
The arrangements for harpsichord were made by Irma Rogell.
Released 1977 by Protone Records Stereo-147
Producer: Jane Courtland Welton
Recording Engineer: Stephen Fassett
Mastering: Bernie Grundman
Album design & photography: James Shade
Doll collection courtesy of Quinn Cummings
Library of Congress Catalog Card No. 77-751053

Side I : 16th 17th, 18th century (19’56)
00:00 Noel Suisse – Louis Claude Daquin 3’54
03:58 Tu solus sanctus – François Couperin
05:18 Puer natus in Bethlehem – Gisbert van Steenwick
06:19 Heiligh, saligh Bethlehem – Gisbert van Steenwick
08:31 Noël – Louis Claude Daquin 3’25 (sorry for the click at 11’50)
MUSIC OF THE POLISH RENAISSANCE 7’56
12:02 1. Galliard Jacob Polak
13:42 2. A Good Polish Dance Anon
14:56 3. Coranto Jacob Polak
16:55 4. Dance Mikolaj of Crakow
17:57 5. Volta Polanica Anon
18:46 6. Wyrwany (Snatching Dance) Anon
19:28 7. Martin Again Anon

Side II Folk Music (19’45)
20:03 AMERICAN NEGRO SPIRITUAL Oh What a Morning 1’12
NORWEGIAN 3’55
21:17 1. Hailing (Woodcutter’s Dance)
21:53 2. Hailing
22:23 3. A Little Boy From Tistedal’n
23:30 4. Spring Dance
24:10 5. Wedding Dance
25:12 IRISH The Fair Young Child
27:51 SWEDISH Christmas Polka
29:07 ENGLISH What Child Is This (Ed. Greensleeves?)
30:16 SCOTTISH New Year’s Song From The Hebrides
ISRAELI 2’10
31:01 1. Noomi, Noomi Nim (Go to Sleep)
32:14 2. In Ba’Arazim (The Cedars)
BRAZILIAN SONGS OF CHILDHOOD Heitor Villa-Lobos 4’25
33:15 1. A Mao Direita Tem Uma Reseira (In My Right Hand There Is a Rose)
34:31 2. A Moda Da Carranquinha (The Carousel)
36:21 3. Zangou Se 0 Crauo Com A Rosa? (Is the Carnation Angry with the Rose?)
37:42 MEXICAN La Jesucita
38:29 SPANISH Pomona

I R M A _ R O G E L L , a graduate of Radcliffe College, was one of the last pupils of Wanda Landowska. She has given concerts throughout Europe, South America and the United States, including major orchestra appearances. Miss Rogell was harpsichordist with the “Camerata of the Boston Museum of Fine Arts” where she inaugurated a concert series entitled “The Art of the Harpsichord.” She has presented master classes and lecture recitals at leading colleges and universities and has served as lecturer and soloist at the Aegina Arts Centre, Greece.

“She knew how to honor each composer on his own
terms, a rare insight in a performer.” -New York Times

“Once in a while a musician comes along who draws
from the harpsichord passion, drama and fire, and
who does so with the highest degree of technique.
Irma Rogell is such a harpsichordist. ”
-Robert Gustafson, Boston Critic

“Harpsichord art, the like of which we have not
experienced since the time of the unforgettable
Wanda Landowska. “-Neue Zurcher Zeitung, Zurich

“An acute sense of musical language, noble authority,
poetic tenderness; a touch both supple and
brilliant which wrought wonders. She scored a
triumphant success.” -La Derniere Heure, Brussels

T H E _ I N S T R U M E N T
The harpsichord used in this recording is a Pleyel built for
the artist in Paris in 1958. This instrument was constructed
according to the specifications set forth by Wanda Landowska
in 1907, based on her studies of harpsichords in European
Museums. Although this Pleyel is modelled after the Bach
instrument in Leipzig, it is not an exact replica but a synthesis
of the best of existing harpsichords. It is a large two manual
concert grand consisting of two eight-foot stops, one four-foot,
one sixteen foot, a nasale and a lute stop.

#PleyelHarpsichord #IrmaRogell