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Roberto Pagano, Capricious desire of a queen, Early Music, Volume 36, Issue 2, May 2008, Page 350, https://doi.org/10.1093/em/can042
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NO one protested when in Early Music (xxxiv/1 (2006), pp.101–2) Michael Latcham recognized in the harpsichord conceived by Farinelli and constructed by Diego Fernández, the precursor of the instruments connected with the triumphal career of Wanda Landowska, because anyone could read the connection anticipated in my entry ‘(Giuseppe) Domenico Scarlatti’ in New Grove II. Now John Koster inappropriately cites my contribution in an otherwise well-documented article (Early Music, xxxv/4 (2007), pp.575–603) that notably enriches our knowledge of Iberian keyboard instruments, mostly constructed after the death of Domenico Scarlatti but certainly suited to the performance of his sonatas. Latcham had been much less generic than I in giving weight to the possibility of ‘changing the stops while playing’ offered to the capricious sovereign by the magic ‘buttons’ of Fernández, but his name is not mentioned when the Farinellian ‘Correggio’ enters the scene, and instead the executioner's axe falls on my head.