Sylvia Marlowe (harpsichord) with the Concert Arts Players
The harpsichord is not mentioned in the documentation but it is a Pleyel.
Released as mono recording (most likely 1956) by Capitol Records P-8309

Thanks to Robert Tifft the webmaster of the European Revival Harpsichordists
( for providing all the documentation and already cleaned up acoustic material to make this publication possible.

Side A
Manuel de Falla (1876-1946) – Concerto for Harpsichord and Flute, Oboe, Clarinet, Violin and Cello (1923-26)
00:00 I. Allegro, Manuel de Falla – Concerto for harpsichord
03:13 II Lento, Manuel de Falla – Concerto for harpsichord
10:13 III Vivace, Manuel de Falla – Concerto for harpsichord

Carlos Surinach (1915-1997) Tientos for harp or harpsichord (or piano), English Horn and Timpani (1953)
14:25 1. Tiento de Queja – Plaintive Evocation – Carlos Surinach
16:58 2. Tiento de Pena – Sorrowful Evocation – Carlos Surinach
19:13 3. Tiento de Alegria (Tempo di Bolero) – Joyful Evocation – Carlos Surinach

Side B
Vittorio Rieti (1898-1994) Partita for harpsichord, flute, oboe, 2 violins, viola and cello (1945)
21:01 I. Introduzione e Pastorale variata – Vittorio Rieti – Partita
27:06 II. Scherzino; Vivace – Vittorio Rieti – Partita
30:07 III. Aria: Andante mesto – Vittorio Rieti – Partita
34:10 IV. Fuga cromatica: Allegro moderato – Vittorio Rieti – Partita
37:18 V. Giga: Allegro – Vittorio Rieti – Partita

The harpsichord belongs typically to the Baroque era,
though its origins go much further back into history.
From the beginnings of the seventeenth century until
the end of the eighteenth, when it was superseded by the
piano, it was the principal, all-purpose instrument for both
accompaniment and solo performance. Its revival in our
time has two aspects: first, it has been a part of the twentieth
century’s renewed interest in older music; second,
it has been found to be very congenial with modern music.
Sylvia Marlowe, a distinguished practitioner of the old
and new alike, has commissioned many works for her
instrument, two of which are the Rieti and Surinach
pieces recorded here.
The Saturday Review has said of her: “Sylvia Marlowe
has made a special place for herself in the music world,
not only for her artistry as a performer, but also for her
energies and success in urging composers with thoroughly
up-to-date outlooks to write for an instrument identified
with the distant past … ”
At eighteen years of age, while studying under Nadia
Boulanger at the Ecole Normale de Musique in Paris,
New York City-born Sylvia Marlowe heard a harpsichord
recital by the renowned Wanda Landowska. Already an
accomplished pianist and a devotee of seventeenth and
eighteenth century music, she was persuaded to undertake
the study of the harpsichord.
Since brilliantly mastering the instrument, she has
performed to constant international acclaim on the concert
stage, on more than 1,500 radio concerts (many of
them her own network shows), and on a distinguished
NBC television series.

#PleyelHarpsichord #SylviaMarlowe