A harpsichordist is a person who plays the harpsichord. Harpsichordists may play as soloists, as accompanists, as chamber musicians, or as members of an orchestra, or some combination of these roles. Solo harpsichordists may play unaccompanied sonatas for harpsichord or concertos accompanied by orchestra. Accompanist harpsichordists might accompany singers or instrumentalists (e.g., a violinist or Baroque flute player), either playing works written for a voice (or an instrument) and harpsichord or an orchestral reduction of the orchestra parts. Chamber musician harpsichordists could play in small groups of instrumentalists, such as a quartet or quintet. Baroque-style orchestras and opera pit orchestras typically have a harpsichordist to play the chords in the basso continuo part. History Many baroque composers played the harpsichord, including Johann Sebastian Bach, Domenico Scarlatti, George Frideric Handel, François Couperin and Jean-Philippe Rameau. At this time, it was common for such musicians also to play the organ, and all keyboard instruments, and to direct orchestral music while playing continuo on the instrument. Modern harpsichord playing can be roughly divided into three eras, beginning with the career of the influential reviver of the instrument, Wanda Landowska. At this stage of the 'harpsichord revival', players generally used harpsichords of a heavy, piano-influenced type made by makers such as Pleyel; the revival of the instrument also led some composers to write specifically for the instrument, often on the request of Landowska. An influential later group of English players using post-Pleyel instruments by Thomas Goff and the Goble family included George Malcolm and Thurston Dart. Beginning in the 1920s, Gavin Williamson and Philip Manuel also helped popularize the harpsichord through concert tours, and were the world's only full-time harpsichord duo, known as Manuel and Williamson, performing throughout North American and Europe. They had studied for many years with Wanda Landowska both in France and in New York. In the 1930s Manual and Williamson made the first recordings of the Bach multiple-keyboard concerti with members of the Chicago Symphony Orchestra, and the duo also gave the American premiere performance of Bach's Concerto in C major for two harpsichords. In addition, they gave American premieres of many works of Couperin and Rameau, among other composers. The next generation of harpsichordists were pioneers of modern performance on instruments built according to the authentic practices of the earlier period, following the research of such scholar-builders as Frank Hubbard and William Dowd. This generation of performers included such