Contemporary harpsichord

However the harpsichord never completely disappeared from the public eye as it was used through the mid-19th century for basso continuo because despite its low volume, it had considerable power to "cut through" the orchestra.

The earliest revival efforts began in the mid-19th century due to its increasingly infrequent usage and there was concern that the instrument could become a forgotten relic of the past.

In the earlier stages, 20th-century harpsichords were heavily influenced by the technology of the modern piano, and usually included metal framing (which was entirely absent in historical instruments).

[citation needed] Thus the Neupert firm still offers its mid-century "Bach" model for sale, defending it explicitly on the grounds of its suitability for 20th-century music.

[5][6][7] Harpsichord concertos were written by Francis Poulenc (the Concert champêtre, 1927–28), Manuel de Falla, Walter Leigh, Bertold Hummel,[8] Henryk Mikołaj Górecki, Michael Nyman, Philip Glass and Viktor Kalabis.

The Swiss composer Frank Martin also wrote a harpsichord concerto for chamber ensemble (1951), and the instrument featured in one of his most famous works, Petite symphonie concertante (1946).

György Ligeti wrote a small number of solo works for the instrument (including Continuum), and Henri Dutilleux's Les Citations (1991) is scored for harpsichord, oboe, double bass and percussions.

[11] Belarusian-American composer Nina Siniakova[12] wrote "Gelidi riflessi" ("Frozen Reflections", 2018), a cycle for violin and harpsichord in three movements, inspired by black-and-white photographs of Venice in Winter.

In the 1960s and 1970s, the harpsichord was used by groups including the Beatles, the Beach Boys, the Rolling Stones, the Doors, the Jimi Hendrix Experience, the Kinks, the Monkees, the Partridge Family, the Mamas & the Papas, and Simon & Garfunkel.

A great number of other artists since then have used harpsichord in their work such as Björk, Joanna Newsom, Jacco Gardner, Jerry Lee Lewis, Elton John, Vampire Weekend, and Jens Johansson from Stratovarius.

[18] Boys for Pele, the third album of American singer-songwriter Tori Amos, is notable for featuring the harpsichord as the main instrument on several songs, including the lead single "Caught a Lite Sneeze."

The harpsichordist Wanda Landowska was a key figure in the 20th-century revival of the harpsichord. Her instrument of choice was a (then) modern design, the Pleyel "Grand Modèle de Concert".
A heavy-framed mid-century harpsichord by the Sperrhake firm. Such instruments were harshly criticized during the 1960s by Zuckermann , who described their sound as feeble and their appearance as tubby, a betrayal of the tradition of beauty seen in historical instruments.
Harpsichords played today tend to follow closely the building practices established in the historical period. This modern instrument was built by Jean-Paul Rouaud based on a historical instrument made in 1707 by Nicolas Dumont.
Wanda Landowska in 1937. Her highly successful career helped launch the harpsichord back into the musical mainstream
Gustav Leonhardt was an influential proponent of historically-informed instruments and performance practice