[90] This method is still commonly practised. Chopin, Liszt, and others, supply innumerable examples, particularly of the passing of 4 over 5.
[91] That is, “for the lute or clavier.”
[92] It is necessary once more to remind the reader of the essential difference in “action,” power of expression, and strength of tone, between these two instruments; and of the unfortunate ambiguity which exists in the use of the name “clavichord.” Vide supra, pp. [21] and [89, note].
[93] Kiel = quill, flügel = wing, i.e. a keyed instrument with a plucking “action” of quill plectrums, with a case made in the shape of a bird’s wing. Grand pianofortes are still made in this shape, and therefore are still called “flügel” in Germany. Kiel-flügel is synonymous with clavicymbal (hence “cembalo”), and means “harpsichord.”
[94] Agricola was a pupil of John Sebastian Bach, and in 1754 helped Bach’s son Emanuel to write a biography of his father.
[95] Suggested by corresponding paragraphs.
Philip Emanuel Bach, as he was in his Hamburg period.