D. Ledbetter Bach's Well-tempered Clavier

p.353 note 6 line 1 < Parnassus was published by 1736 at the latest, but >
end the fn at < earlier. > delete ‘than their publication date’.
[should work out line‐wise with addition to line 1]
p.355 note 30 line 3 < fugues in 16 keys: L’ABC musical (Amsterdam c.1734);
ed. A.Milka (St Petersburg: Musikverlag ‘Kompositor’, 2004). >
p.356 note.5 line 11 < p.31) and Bernhard (c.1649); it chimes >
p.374 Fischer, line 4 < 1736 >
p.386 Franklin line 4 < (1989b) > b
Hermlink line 2 < Preußischer > r
p.395 Stinson line 7 < 1995b > + b
p.405 Fischer, J.C.F. second last line < (n.d.) > not 1738
In July 2003 I received a letter from the late Madame Denise Restout, who was
Wanda Landowska’s personal assistant and published a translation of
Landowska’s writings on music in 1965. She has put me right about some of
Landowska’s views: those of us not privileged to have known Madame
Landowska have to rely on written records, which can be misleading. You
could say the same of Bach.
‘One point in particular I would like to refute and rectify. In Chapter One
Clavier you wrote: “Wanda Landowska added (1907–1911) an element of her
own hysterical prejudice against the clavichord…” and later: “her dislike of
the clavichord was lifelong and passed on to generations of students”. This is
TOTALLY FALSE. Landowska loved the clavichord for what it was and what
it could do – she owned two beautiful ancient ones, and in 1942 Challis built a
new one for her (on which I still teach today!). She played many types of
clavichords…. What Landowska objected to was playing on that instrument
music that obviously was not meant for it. The clavichord’s tonal limitations
do not allow important contrasts of sonority, nor of timbre coloration, as does
the harpsichord, and which are needed for many of J.S.Bach’s works….
You also quote her as having said of Kirkpatrick’s recording of The Well‐
tempered Clavier on the clavichord: “it is a pity that he could not afford a