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Test-drive Tuesday
Chamber Concerto No. 8, Op. 38 'Sinfonia Concertante' (1945)
Danish National Chamber Orchestra
Hannu Koivula

General Classical Music Discussion / Re: What are you listening to now?
« Last post by Christo on Today at 12:09:06 AM »
Please do, Johan! I'd think it would be right up your alley.  :)
Tasted my first slice of Pizzetti, soon to be followed by more.  ;)
Great Recordings and Reviews / Re: J.S. Bach on the Organ
« Last post by (: premont :) on Today at 12:01:30 AM »
Also: Finally got Chapuis, which is so well liked here, but as the set starts with the Trio Sonatas (perhaps my fav. organ works), I was in for a let-down. Chapuis has a tendency to rush slightly -- and to introduce an unrest into the beat that )

I have never been a great fan of Chapuis' Bach, and I have commented his style several times in this forum.
Composer Discussion / Re: Haydn's Haus
« Last post by Florestan on July 16, 2018, 11:26:03 PM »
Yes, but what then do you make of Haӱdn?  While I would wish to mark it down as ignorance, which it would have been in MY case, I will assume that Elßler knew exactly what he was doing. What was he doing??  :)


I suspect that "y" could have been pronounced actually as "ü" and the dots over it marked the pronunciation as "i". I haven't seen any other instance of such spelling, though.
Trump outdoes Orwell in role as Moscow's Agent Orange

"The man pretending to be the American president spent most of his time posing in what purported to be a press conference. He pouted and thrust his chin out in the style made famous by Benito Mussolini. He pensively nodded like Pablo Escobar in Narcos on Netflix.

It was hard to see Putin’s facial expression because his skin has been stretched so tight across his skull. Besides, underneath all that plastic surgery, there’s the face of “an intelligence officer”, as he reminded us all.

This rank-and-file Russian officer did what Moscow’s finest have done for so long. He made sure his best asset was staying on track (a remarkably easy feat; this one is almost too enthusiastic), and he continued to wage war against the real enemy: the Magnitsky Act.

Sergei Magnitsky was murdered in a Russian jail, leading to the most unfortunate regime of sanctions against the regular business types who make up Putin’s cartel. If you think the sanctions are a sideshow, you should know that the Russian lawyer in the infamous Trump Tower meeting in June of the election year wanted to trade dirt on Hillary Clinton in exchange for lifting them.

And somehow the name of the man behind those sanctions, US-born British hedge fund manager Bill Browder, emerged from Putin’s lips on Monday, at the heart of a scandal that is so epic, and so unreported, that it surely deserves its own special counsel investigation.

Putin claimed that Browder’s associates had earned $1.5bn in Russia and donated $400m to Hillary, in what must count as the largest single donation to an American politician in recorded history.

At this point, Trump’s startlingly white eyes squinted, he puckered his lips to sour candy status, and his nodded approval plumbed new depths of unbridled admiration.

The reference to Browder – who said after the press conference that he had not donated a penny to the Clinton campaign – was part of a marvelous compromise, according to the Russian sleeper agent living in the White House, who called it “an interesting idea” for resolving this whole investigation nonsense.

As Putin explained, Robert Mueller was totally free to question the 12 Russian intelligence officers indicted on Friday for hacking into Democratic emails – or rather, be present at their questioning. As long as Mueller interrogated Browder and company, in the presence of some novichok-wielding Russians. “We can meet you halfway,” said Putin, sounding as reasonable as Molotov and Ribbentrop surely did.

As the sick laughter died down at the CIA and FBI headquarters back home, Trump continued to swoon in a state known to counterintelligence as “No Puppet, No Puppet, You’re the Puppet.”
Great Recordings and Reviews / Re: J.S. Bach on the Organ
« Last post by SurprisedByBeauty on July 16, 2018, 11:02:25 PM »

Alain 1 (!) looks to be issued on CD, at long last.

(May not show up on Amazon.COM yet, but up on the European ones certainly.)

Also: Finally got Chapuis, which is so well liked here, but as the set starts with the Trio Sonatas (perhaps my fav. organ works), I was in for a let-down. Chapuis has a tendency to rush slightly -- and to introduce an unrest into the beat that I don't like. A hint -- only a small one, but still -- of Jean Guillou... very different from Alain, for example. Then I hit upon some of the Toccatas, though, and those were very good. (wrote down which ones, but can't find the bit of paper just now.)

General Classical Music Discussion / Re: What are you listening to now?
« Last post by SurprisedByBeauty on July 16, 2018, 10:15:59 PM »
Hello there. Biking about the countryside over; back in front of a computer. Cheers & all!
(Oh, and GMG is working for the first time in weeks (to the extent I have been able to try.)

#morninglistening to #SPECTER - #Antheil w/@Duo_Odeon

“Gebauer” #ViolinSonata No.4, #ViolinConcerto (reduction) & #SpecterOfTheRose #Waltzes

General Classical Music Discussion / Re: What are you listening to now?
« Last post by vandermolen on July 16, 2018, 09:42:26 PM »
Strong Sibelian overtones (never a bad thing!). Seems well performed and is very well recorded.

Great work! The CD conducted by Stig Westerberg is my favourite version although I don't know this one.
Composer Discussion / Re: Nikolay Miaskovsky (1881-1950)
« Last post by vandermolen on July 16, 2018, 09:39:37 PM »
Ditto. While Myaskovsky was able to produce masterpieces in a more conservative vein, it's unfortunate that he (in Boris Schwarz' words) "retreated into safe conventionality" - a sizeable loss, but at least he didn't suffer the same fate as Mosolov or Popov.

I don't know so much about Mosolov apart from the famous 'Iron Foundry' but Popov is a very tragic figure who drank himself to death. His phantasmagoric First Symphony is IMHO one of the only works which can stand alongside Shostakovich's 4th Symphony (Weinberg's 5th Symphony is the other one I have in mind). His Symphony 2 'Motherland' although more conventional is very moving in its wartime context and the last one No.6 is genuinely tragic with its references to Boris Godunov at the end.
Great Recordings and Reviews / Re: The Art of Gustav Leonhardt
« Last post by Mandryka on July 16, 2018, 09:37:47 PM »
Here’s a Leonhardt bibliography

Quote from: Jacob van Dijk here


J. S. Bach's ternäre Notation. Teilstudie von Bach's rhythmischer Notation (unpublished thesis; typescript, Basel 1950).

The Art of Fugue. Bach's Last Harpsichord Work. An Argument (The Hague, Martinus Nijhoff, 1952).
   French translation, abridged *): L'Art de la Fugue, dernière œuvre de Bach pour le clavecin. Argumentation. Traduit par Jacques Drillon (Paris, Editions Van de Velde, 1985).
   *) "À la demande expresse de Gustav Leonhardt, la version française a été amputée des deux dernières parties, plus historiques et esthétiques, et ne comporte donc que la section purement «argumentative»." (Jacques Drillon, Sur Leonhardt [Paris, Gallimard, 2009], 103 n. 1)

Francesco Turini: 6 Sonate per 2 violini, violoncello e continuo. Herausgegeben von Gustav Leonhardt. – Reihe Continuo, Sammlung alter Spielmusik. U.E. 12749/12750 (Wien, Universal Edition, 1957).

Sleeve notes for Telefunken LT-6609: Johann Sebastian Bach, Sonate in d kl. t. (BWV 964), Capriccio sopra la lontananza del suo fratello dilettissimo (BWV 992), Fantasie en fuga in a kl. t. (BWV 904) [1958].
    — Brief notes (in Dutch) on the music and on the 1766 Jacobus Kirkman harpsichord in Amerongen Castle.

Johann Heinrich Schmelzer: Zwei Sonaten für Violine, 2 Altgamben (2 Bratschen), Tenorgambe (Cello) und Orgel (Cembalo). Herausgegeben von Gustav Leonhardt. – Reihe Continuo, Sammlung alter Spielmusik. U.E. 12757/12758 (Wien, Universal Edition, 1959).

Girolamo Frescobaldi: 6 Canzoni (1628) für 3 und 4 Spieler. Herausgegeben von Gustav Leonhardt. – Reihe Continuo, Sammlung alter Spielmusik. U.E. 12771/12772 (Wien, Universal Edition, 1959).

Carolus Hacquart: Sonata (1686) für 2 Violinen, Altgambe (Bratsche), Tenorgambe (Bassgambe oder Cello) und Orgel (Cembalo). Herausgegeben von Gustav Leonhardt. – Reihe Continuo, Sammlung alter Spielmusik. U.E. 13064/13065 (Wien, Universal Edition, 1959).


"Ten geleide", in: J.F. Obermayr et al. (ed.), Nederlandse orgelpracht. [Uitgegeven] onder auspiciën van de Commissie Internationaal Orgelconcours te Haarlem (Haarlem, H.D. Tjeenk Willink & Zoon N.V., 1961), ix–x.


William Young: 19 Tanzsätze für 2 Violinen, Gamba (Cello) und Basso Continuo. Mit Vorwort und Continuo-Aussetzung herausgegeben von Gustav Leonhardt. U.E. 13097/13098 (Wien, Universal Edition, 1962).


Sleeve notes for Disco-Nederland Documenta DN 650708: Gustav Leonhardt bespeelt het orgel van de Waalse Kerk in Amsterdam [1965].
    — Notes (in Dutch) on the Christiaan Müller organ in the Eglise Wallonne in Amsterdam.

"Der Dreifaltigkeits-Orgel von Karl Joseph Riepp". Sleeve notes (on insert) for Harmonia Mundi HMS 30 855: Historische Orgeln: Ottobeuren [1967].
"Sic transit gloria mundi". Sleeve notes for Harmonia Mundi HMS 30 860: Alte Cembali aus Italien, Deutschland und den Niederlanden [1967].
Sleeve notes for Telefunken Das Alte Werk SAWT 9512-B: Cembalomusik auf Originalinstrumenten aus den Niederlanden, Italien, Deutschland und England um 1650-1750 [1967].
    — Notes on the instruments.

Jan Pieterszoon Sweelinck. Opera Omnia, Vol. I: The Instrumental Works — Fascicle 1: Keyboard Works: Fantasias and Toccatas. Edited by Gustav Leonhardt (Amsterdam, Vereniging voor Nederlandse Muziekgeschiedenis, 1968).
   Second, revised edition, 1974.

"Johann Jakob Froberger and His Music", in: L'Organo. Rivista di cultura organaria e organistica Vol. VI No. 1 (1968), 15–38 (with summaries in Italian, French, and German, pp. 38–40).

"Alte und neue Cembali", in: HiFi Stereophonie 5 (1968), 945–946.
    — In response to Martin Skowroneck, "Probleme des Cembalobaus aus historischer Sicht", ibid., 700–711, 781–784, 875–878.

Orgelbrief/Organ Leaflet [insert] for Telefunken Das Alte Werk SAWT 9521-B: Die Alte Orgel/The Historic Organ: Holland. Christiaan-Müller-Orgel der Waalse Kerk in Amsterdam. Arp-Schnitger-Orgel der Hervormde Kerk in Noordbroek/Groningen [1968].

Introductory essay for Harmonia Mundi HM 30 950 XK: Johann Sebastian Bach, Die Kunst der Fuge [1969], 3–8.
    — An extensive summary of Leonhardt's The Art of Fugue (1952).

"In Praise of Flemish Virginals of the Seventeenth Century", in: Edwin M. Ripin (ed.), Keyboard Instruments. Studies in Keyboard Organology (Edinburgh, Edinburgh University Press, 1971), 43–46.
   Second edition, revised and enlarged: Keyboard Instruments. Studies in Keyboard Organology, 1500—1800 (New York, Dover Publications, 1977), 45–48.
   Dutch translation: "Ter ere van Vlaamse virginalen in de zeventiende eeuw", in: Jan Pieterszoon Sweelinck (1562—1621), De orgel- en klavecimbelwerken I. Het Sweelinck Monument: Complete werken, Deel IV A (Heidelberg, Note 1 Music, 2013), 70–75.

Sleeve notes for Philips SEON 6775 002: Wolfgang Amadeus Mozart, Klaviersonaten I [1973].
    — Notes on playing Mozart on the Viennese fortepiano.
Sleeve notes for Philips SEON 6575 017: Jacques Duphly, Pièces de Clavecin [1973].

"Bij het bespelen van historische instrumenten", in: Ruckers Genootschap Antwerpen 1969–1974 [Gedenkboek gewijd aan het eerste lustrum] (Amsterdam/Buren, Frits Knuf, 1974) = The Brussels Museum of Musical Instruments Bulletin, Vol. IV Nos. 1/2 (1974), 7.

Sleeve notes for BASF Harmonia Mundi 20 22618-2: Johann Sebastian Bach, Partien in e-moll, g-moll und A-dur für Cembalo (Fassungen von Gustav Leonhardt nach den Werken für Violine solo) [1976].

"Woonhuisramen in Amsterdam", in: De Lamp. Uitgave van de Vereniging Vrienden van de Amsterdamse Binnenstad Vol. 10 No. 36 (February 1976), 1–4.


"Preface", in: Kees Rosenhart, The Amsterdam Harpsichord Tutor Vol. I (Amsterdam, Muziekuitgeverij Saul B. Groen, 1977), [iii].
    — The preface is also printed in Vol. II (1978).
"Zur Interpretation auf Originalinstrumenten", in sleeve notes (on insert) for Philips SEON 6775 025 Johann Sebastian Bach, Brandenburgische Konzerte 1-6 [1977].


Het huis Bartolotti en zijn bewoners (Amsterdam, Meulenhoff, 1979).

"Introduction", in: Early Music Vol. 7 No. 1 = Keyboard issue 1 (October 1979), 452.


"Die Aufnahmen der Bachkantaten", sleeve note for Telefunken Das Alte Werk 6.42664 AQ: Johann Sebastian Bach, Kantaten BWV 73 & 94 [1980].
    — Also in English and French. Record issued on the occasion of the awarding of the Praemium Erasmianum 1980 to Gustav Leonhardt and Nikolaus Harnoncourt.

"Dankrede/Dankeswort", in: G. Leonhardt & N. Harnoncourt, Aussagen anläszlich der Verleihung des Erasmuspreises 1980 (Amsterdam, Muziekuitgeverij Saul B. Groen, 1981), [7]–[10].
   Also published in: Praemium Erasmianum MCMLXXX (Amsterdam, Stichting Praemium Erasmianum, [1981]), 40–44.


"Zum 50. Geburtstag der Schola Cantorum Basiliensis" [Grusswort], in: Peter Reidemeister & Veronika Gutmann (ed.), Alte Musik: Praxis und Reflexion. Sonderband der Reihe "Basler Jahrbuch für Historische Musikpraxis" zum 50. Jubiläum der Schola Cantorum Basiliensis (Winterthur, Amadeus Verlag, 1983), 28.

"Ten geleide", in: Hans Brandts Buys, Het Wohltemperirte Clavier van Johann Sebastian Bach. Een herdruk van de derde herziene uitgave. Met een inleiding van Gustav Leonhardt (Utrecht/Antwerpen, Bohn, Scheltema & Holkema, 1984), v–vi.
    — Reprint of the third, revised edition (Arnhem, Van Loghum Slaterus, 1955).
"Preface", in: Howard Schott (ed.), The Historical Harpsichord. A Monograph Series in Honor of Frank Hubbard, Vol. 1 (Hillsdale, NY, Pendragon Press, 1984), vii.


Het zand onzer wensen. Over ons beeld van Johann Sebastian Bach. Rede, uitgesproken op 19 maart 1985 te Groningen ter gelegenheid van de 300e geboortedag van Bach. Met een houtsnede en drie initialen gesneden door Pam G. Rueter (Amsterdam, Phoenix Editions, 1985).
   French translation: "Si bémol – La – Do – Si bécarre", in: Silences 2 (Paris, Editions de la Différence, 1985), 7–15.

"Scarlatti's ongewone klanken", in: 1685 – Europa en de muziek. Deel [3]: Scarlatti (Amsterdam, Uniepers/Zutphen, Terra, 1985), 73–76.


"Zu umstreitende Stellen bei Froberger", in: Pio Pellizzari (ed.), Musicus Perfectus. Studi in onore di Luigi Ferdinando Tagliavini. Prattico e specolativo nella ricorrenza del LXV° compleano (Bologna, Pàtron Editore, 1995), 137–145.


Amsterdams Onvoltooid Verleden. Met photo's van Maarten Brinkgreve (Amsterdam, Architectura & Natura, 1996).

"Préface", in: Hervé Lacombe (ed.), Le mouvement en musique à l'époque baroque. Collection "La lyre moderne" (Metz, Editions Serpenoise, 1996), [v].


"Préface", in: Michel Verschaeve, Le traité de chant et mise en scène baroques (Bourg-la-Reine, Aug. Zurfluh, 1997, 2007²), 5–6.
   Third printing Charnay-lès-Mâcon, Éditions Robert Martin, 2013.


"Foreword", in: Thomas Donahue (ed.), Gerhard Brunzema: His Work and His Influence (Lanham, Md., Scarecrow Press, 1998), xv.


Jan Pieterszoon Sweelinck. Opera Omnia, Vol. I: The Instrumental Works — Fascicle 1: Keyboard Works: Fantasias and Toccatas. Edited by Gustav Leonhardt. Second, revised edition, reissued with corrections by Gustav Leonhardt and Pieter Dirksen (Amsterdam, Vereniging voor Nederlandse Muziekgeschiedenis, 1999).
"Schon wieder eine Matthäus-Passion!... Anlass zu erneuten praktischen Überlegungen", in: Christoph Wolff (ed.), Die Gegenwart der musikalischen Vergangenheit. Meisterwerke in der Dirigenten-Werkstatt. Nikolaus Harnoncourt zu seinem 70. Geburtstag am 6. Dezember 1999 (Salzburg, Residenz Verlag, 1999), 21–32.
   Dutch translation: "Alweer een Matthäus-Passion!... alle reden om nog eens over een aantal praktische kwesties na te denken", in: Pieter Dirksen (ed.), De geheimen van de Matthäus-Passion. Ambacht en mystiek van een meesterwerk (Amsterdam, De Nederlandse Bachvereniging/Uitgeverij Balans, 2010), 139–151.

"Prefacio", in: Gustavo Delgado Parra & Ofelia Gòmez Castellanos, Órganos históricos de Oaxana. Estudio y catalogación (Mexico, Conaculta-INAH/Fomento Cultural Banamex, 1999), 15.


"The Principle of Varietas in Sweelinck's Variation Works", in: Pieter Dirksen (ed.), Sweelinck Studies. Proceedings of the International Sweelinck Symposium Utrecht 1999 (Utrecht, STIMU Foundation for Historical Performance Practice, 2002), 57–64.
"Preambulum", in: Peter van Dijk and Pieter Dirksen, booklet accompanying the CD box Sweelinck – The Complete Keyboard Works, NM Classics 92119.
    — Also in English, French, German and Spanish.


Girolamo Frescobaldi. Opere complete, Vol. 9: Recercari et canzoni franzese, fatte sopra diversi oblighi in partitura. Libro primo (1615). A cura di Gustav Leonhardt, con il contributo di Etienne Darbellay e Christine Jeanneret. – Monumenti musicali italiani, Vol. 24 (Milano, Edizioni Suvini Zerboni, 2004).


Alphabetisch-chronologische lijst van Portretten van Beeldende Kunstenaars en Architecten tot ca. 1800 / verzameld door Gustav Leonhardt. [Amsterdam], 2006.
    — 151 pp.; privately circulated.


"Rede anlässlich der Verleihung der Ehrendoktor-Würde an Jean-Claude Zehnder im Januar 2002 an der Universität Dortmund", in: Luigi Collarile & Alexandra Nigito (ed.), In organo pleno. Festschrift für Jean-Claude Zehnder zum 65. Geburtstag. Publikationen der Schweizerischen Musikforschenden Gesellschaft, Ser. 2, Vol. 48 (Bern/New York, Peter Lang, 2007), 39–45.

"Zum Geleit", in: Siebert Rampe (ed.), Bachs Klavier- und Orgelwerke. Das Handbuch. Teilband 1. Das Bach-Handbuch, Band 4/1 (Laaber, Laaber-Verlag, 2007), 15–17.


"Témoignages: Alfred Deller", in booklet accompanying the DVD Alfred Deller - Portrait d'une voix, a film directed by Benoît Jacquot [1976] (Arles, Harmonia Mundi, 2009), 9.
    — Also in English and German.

[Introductory recommendation*)], in: Tilman Hoppstock, Die Lautenwerke Bachs aus der Sicht des Gitarristen. Vol. I: Suiten 995/996. (Darmstadt, PRIM-Musikverlag, 2009), 3.
   *) "Kommentar von Gustav Leonhardt", a brief letter to the author, signed 2 April 2009. Also in the English translation, Bach's Lute Works from the Guitarist's Perspective Vol. I (Darmstadt 2010), 3.
posthumous, 2017

J. S. Bach, Suiten, Partiten, Sonaten, bearbeitet für Cembalo von Gustav Leonhardt/Suites, Partitas, Sonatas, transcribed for Harpsichord by Gustav Leonhardt. Herausgegeben von/Edited by Siebe Henstra. – BA 11820 (Kassel, Bärenreiter-Verlag, 2017
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