Wanda Landowska and Joaquín Nin were, in the context of the Parisian Schola Cantorum during the first decade of the twentieth century, two of the leading artists performing the harpsichord repertoire. This established them as pioneers of its concert practice, but their irreconcilable attitudes to performance – Landowska’s supposedly historical/reconstructive (employing the harpsichord) and Nin’s updated (employing the modern piano) – embroiled them in a fierce controversy conducted in French and Spanish journals between November 1911 and October 1912. This article examines a large quantity of unedited correspondence together with the relevant press articles in the context of the two performers’ agendas. The results suggest that this controversy was an unprecedented marketing strategy orchestrated by Nin against, but reliant upon, Landowska’s success at the time when he was about to make his début in Spain. However, the unforeseen and long-lasting consequences of this controversy brought priceless publicity for Landowska’s cause: the revival of the harpsichord.

Wanda Landowska 和 Joaquín Nin 在 20 世纪头十年的巴黎歌剧院背景下，是演奏大键琴曲目的两位主要艺术家。这使他们成为了音乐会实践的先驱，但他们对表演的不可调和的态度——Landowska 的所谓历史/重建（使用大键琴）和 Nin 的更新（使用现代钢琴）——使他们卷入了在法语和西班牙语期刊之间进行的激烈争论1911 年 11 月和 1912 年 10 月。本文在两位表演者议程的背景下审查了大量未经编辑的通信以及相关的新闻文章。结果表明，这场争论是 Nin 精心策划的一种前所未有的营销策略，反对但依赖于，Landowska 在他即将在西班牙首次亮相时的成功。然而，这场争论的不可预见和持久的后果为兰多夫斯卡的事业带来了无价的宣传：大键琴的复兴。