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The Music Room => Great Recordings and Reviews => Topic started by: Geo Dude on January 15, 2012, 10:22:56 AM

Title: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 15, 2012, 10:22:56 AM
This is a place for harpsichord/clavichord fanatics to discuss recommended (and not-so-recommended) recordings, great musicians, schools of harpsichord (or clavichord) playing, and anything else of relevance that comes to mind.

Let's get started.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 16, 2012, 08:05:49 AM
Any recommendations on great recordings by Leonhardt?  For that matter, what are some of the elements that define his style and that of the 'Leonhardt School' I've heard about here?

For that matter, while the harpsichord is usually tied in most minds to the baroque era, some early classical era material also employed the harpsichord -- Haydn keyboard sonata sets that many people have been enjoying lately come to mind.  Do any specialists have tips on classical era composers and recordings that employ the harpsichord?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 16, 2012, 03:56:09 PM
Quote from: Geo Dude on January 16, 2012, 08:05:49 AM
For that matter, while the harpsichord is usually tied in most minds to the baroque era, some early classical era material also employed the harpsichord -- Haydn keyboard sonata sets that many people have been enjoying lately come to mind.  Do any specialists have tips on classical era composers and recordings that employ the harpsichord?

Many of the earlier classical composers wrote extensively for the harpsichord, but their music still hark back to the baroque in many ways.

Some of those composers include Soler and Duphly, which used the language of Scarlatti and Rameau respectively mixed with many classical elements. Then we have Carl Philipp Emanuel Bach, whose vast keyboard output presents a nearly fully formed classical language, though the presence of his father looms large.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 16, 2012, 04:09:53 PM
Quote from: Josquin des Prez on January 16, 2012, 03:56:09 PM
Many of the earlier classical composers wrote extensively for the harpsichord, but their music still hark back to the baroque in many ways.

Some of those composers include Soler and Duphly, which used the language of Scarlatti and Rameau respectively mixed with many classical elements. Then we have Carl Philipp Emanuel Bach, whose vast keyboard output presents a nearly fully formed classical language, though the presence of his father looms large.

I've been meaning to explore C.P.E. Bach.  Any harpsichord recordings you can recommend as being particularly strong?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 16, 2012, 04:34:39 PM
Quote from: Geo Dude on January 16, 2012, 04:09:53 PM
I've been meaning to explore C.P.E. Bach.  Any harpsichord recordings you can recommend as being particularly strong?

Saldy, i cannot. This is not one area i explored very deeply. The only point of interest that i can think of is that the complete edition of his keyboard works is recorded using a clavichord (to my chagrin). Since you are curious about the instrument this may be a good starting point as any:

http://www.youtube.com/watch?v=YGAicBrQrEA
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 16, 2012, 04:43:52 PM
Now that i think about it, many of his concertos were written for the harpsichord as well. I haven't personally explored any of them, but his cello concertos are pretty good. Take it from there i guess.
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on January 16, 2012, 06:03:24 PM
There is also a C.P.E. Bach cycle by Miklos Spanyi on BIS, covering both the solo sonatas and the concertos. There are many volumes out, but I believe the series is still in progress. Spanyi again uses clavichord for the sonatas, at least in the two volumes I own (Solo Keyboard Music, volumes 16 and 17, which together cover the Wurttemberg sonatas — some of C.P.E. Bach's most engaging work, and a great place to start and possibly to stop).

(http://ecx.images-amazon.com/images/I/51OJyt8MjgL._SS500_.jpg)(http://ecx.images-amazon.com/images/I/51cX8hfj89L._SS500_.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: val on January 17, 2012, 01:15:07 AM
There is a good anthology, with the 6 Sonatas Wq 48 and the six Sonatas Wq 49 by Bob van Asperen. It was published by TELDEC.

Regarding Wilhelm Friedemann Bach, there is a recent and superb CD  with two Sonatas and some Polonaises and Fantasies played in clavichord by Maude Gratton.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 17, 2012, 06:08:03 AM
Quote from: val on January 17, 2012, 01:15:07 AM
There is a good anthology, with the 6 Sonatas Wq 48 and the six Sonatas Wq 49 by Bob van Asperen. It was published by TELDEC.

I used to have that. Those are mostly early sonatas, and they tend to sound very baroque.
Title: Re: General Harpsichord and Clavichord Thread
Post by: DieNacht on January 17, 2012, 06:23:12 AM
Another vote for the Spanyi/CPE Bach. There´s a lot to discover yet in that series. Sometimes tempi are broader than average compared to recordings, but often to a nice effect. And beautiful sound, too.

Some recent harpsichord concerti I like in particular are
Kokkonen: Durch ein Speigel, for harpsichord and strings;
Pawel Szymanski: Partita III for harpsichord and orchestra;
Martinu: Harpsichord Concerto, especially the recording with Ruzickova/Neumann
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 17, 2012, 03:22:49 PM
Thanks to everyone for the information on CPE Bach.

By the way, Josquin, I know you're a fan of Scott Ross; what recordings do you recommend?  Does he show particular strength for any composer(s) in particular?

Quote from: Geo Dude on January 16, 2012, 08:05:49 AM
Any recommendations on great recordings by Leonhardt?  For that matter, what are some of the elements that define his style and that of the 'Leonhardt School' I've heard about here?

In light of the recent news of Leonhardt's death I feel it's worthwhile to restate these questions.  What are his finest recordings, the material we should remember him by?  And for that matter, which harpsichordists did he most influence?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 17, 2012, 04:06:44 PM
Quote from: Geo Dude on January 17, 2012, 03:22:49 PM
By the way, Josquin, I know you're a fan of Scott Ross; what recordings do you recommend?  Does he show particular strength for any composer(s) in particular?

Beyond Scarlatti, i think he was particularly strong with French baroque music. I think his Couperin and his Rameau are pretty much definitive. I tend to like his Bach and Handel a bit less, though it remains great. An exception to this are the Partitas, which for me are unmatched. He is my favored harpsichordist, and i enjoyed the majority of his recordings, but his style can be rather hard driven at times. His laser sharp technique always assures a great performance but sometimes you may wish he would soften up a little. He died relatively young and one wonders how much his style would have chanced through out the years.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 18, 2012, 12:01:40 AM
Quote from: Josquin des Prez on January 17, 2012, 04:06:44 PM
Beyond Scarlatti, i think he was particularly strong with French baroque music. I think his Couperin and his Rameau are pretty much definitive. I tend to like his Bach and Handel a bit less, though it remains great. An exception to this are the Partitas, which for me are unmatched. He is my favored harpsichordist, and i enjoyed the majority of his recordings, but his style can be rather hard driven at times. His laser sharp technique always assures a great performance but sometimes you may wish he would soften up a little. He died relatively young and one wonders how much his style would have chanced through out the years.
Seems like it's pretty hard to find a good deal on the partitas. I wish I could!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 18, 2012, 02:00:02 AM
Well, you can always use the internet. If you like them, you can buy them once you find a good used copy. Some of his recordings, like the Couperin set, have been out of print for years, so you might as well hit a p2p or emule network and worry about buying an hard copy later, if you ever find one.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on January 18, 2012, 08:31:00 AM
Quote from: Josquin des Prez on January 17, 2012, 04:06:44 PM
He is my favored harpsichordist, and i enjoyed the majority of his recordings, but his style can be rather hard driven at times. His laser sharp technique always assures a great performance but sometimes you may wish he would soften up a little. He died relatively young and one wonders how much his style would have chanced through out the years.

I have bit different take on that, it seems to me that he hardened with years. His earlier recordings (Rameau, Couperin) are softer, more languid and lyrical than his later 80s stuff, try comparing his 1975 STIL Rameau with live e minor Suite from 1986 recital at Saint-Guilhem-le-Desert on INA, the later is much faster and driven. It might be just conjecture but I somehow always felt that drivenness and slight haste came as a result of AIDS diagnosis and desire to get more things done while there is still time. I could be completely off on this of course.   

Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 18, 2012, 05:07:36 PM
Quote from: Josquin des Prez on January 18, 2012, 02:00:02 AM
Well, you can always use the internet. If you like them, you can buy them once you find a good used copy. Some of his recordings, like the Couperin set, have been out of print for years, so you might as well hit a p2p or emule network and worry about buying an hard copy later, if you ever find one.
I haven't found it to download. Maybe I'm looking in the wrong places. I don't need a hard copy and, of course, I'm willing to pay for it. But not 50$.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 19, 2012, 05:40:43 AM
Quote from: Josquin des Prez on January 19, 2012, 03:16:44 AM
A lot of harpsichordists have a tendency to sound disjointed since they are so focused on the detail that they forget the whole.

Whom do you particulary think of?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 19, 2012, 07:31:49 AM
Quote from: (: premont :) on January 18, 2012, 10:20:42 AM
Thanks for this. Paul Wolfe´s Händel suites were well regarded in the 1960es, his recording of the Eight great suites being the only one besides Anton Heiller´s recording from the mid 50es (Amadeo) and Christopher Wood´s from the late 50es (Saga). I never heard Wolfe´s as the LPs were unavailable in my country. I note that Wolfe plays in a typical post-Landowska style, which among other things is characterized by deliberate pace, heavy registrations (much 16F), inorganic changes of registration, litteral execution of rhythms (very disturbing in the prelude), metrical execution of trill´s and a general pianistic approach implying almost continual legato. But I admit, that some kind of poetry emerges from the playing after all.   

OK -- that's an interesting thing to think about. I'm much less familiar with styles of harpsichord playing than I am with schools of piano playing.

So would you put Puyanas's French Partita (BWV 831), Walcha's English Suites, Kirkpatrick's Partitas  and the 1950s Goldbergs and AoF from  Leonhardt in the same category? I mean, I know they didn't record on instruments as colourful as Wolfe's and Landowska's. But in terms of articulation?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Josquin des Prez on January 19, 2012, 10:01:29 AM
Quote from: milk on January 19, 2012, 04:08:38 AM
Thanks so much for trying but I can't seem to make this work. Now I want this more than ever.

I'll try to upload them later on today, when i get back home.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 19, 2012, 12:36:55 PM
Quote from: Josquin des Prez on January 19, 2012, 10:01:29 AM
I'll try to upload them later on today, when i get back home.

I'm sure I speak for all of the harpsichord fans on the board when I say that I'm thankful for the effort.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 19, 2012, 02:18:23 PM
Quote from: Geo Dude on January 19, 2012, 12:36:55 PM
I'm sure I speak for all of the harpsichord fans on the board when I say that I'm thankful for the effort.
I was able to get a few of the files to download but not all of them. I liked what I heard. I'm not sure what the problem is - it may be something I'm doing
wrong. Anyway, thanks a lot. One way or another, I want to get a hold of this.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 20, 2012, 12:44:47 AM
Quote from: Mandryka on January 19, 2012, 07:31:49 AM
So would you put Puyanas's French Partita (BWV 831), Walcha's English Suites, Kirkpatrick's Partitas  and the 1950s Goldbergs and AoF from  Leonhardt in the same category?

To some degree, but if I shall elaborate further, I need some time.
Title: Re: General Harpsichord and Clavichord Thread
Post by: snyprrr on January 20, 2012, 08:40:37 AM
I've got most things by Tiensuu, the Composer and performer, and Choinacka/Chojnacka (Maciek? ???), the two most distinguished players of the High Modernism.

Xenakis's chamber concerto L'Isle d'Goree may be the loveliest expression for this instrument in all of Modernism.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 20, 2012, 03:17:28 PM
Quote from: snyprrr on January 20, 2012, 08:40:37 AM
I've got most things by Tiensuu, the Composer and performer, and Choinacka/Chojnacka (Maciek? ???), the two most distinguished players of the High Modernism.

Xenakis's chamber concerto L'Isle d'Goree may be the loveliest expression for this instrument in all of Modernism.

I must admit that while I'm generally not a connoisseur of 20th century composers the idea of harpsichord works written by modernist composers is fascinating.  I'll make a point of looking up that Xenakis work on YouTube, or at least sampling it if that is not possible.  Any suggestions on recordings by the others you've mentioned that may be palatable to someone whose ears lean more toward 'traditional' tastes?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on January 20, 2012, 04:28:21 PM
Jukka Tiensuu is Finnish composer and harpsichordist who recorded three colorfully titled CDs - The Fantastic, The Exuberant and The Frivolous Harpsichord which all mix modern and baroque harpsichord pieces. First two on Finlandia last on Ondine, shamefully all three out of print (but can be found on pirate downloading sites). They are superb way of getting into modern harpsichord repertoire.

(http://ecx.images-amazon.com/images/I/51WaUTG4eNL.jpg)(http://img827.imageshack.us/img827/2406/1424212.jpg)(http://ecx.images-amazon.com/images/I/51qOajEbNNL.jpg)

http://www.amazon.com/Fantastic-Harpsichord-Corrette-Salvatore-Sciarrino/dp/B000009JRP
http://www.amazon.com/Jukka-Tiensuu-Exuberant-Harpsichord-Clavecin/dp/B000P3LEMA
http://www.amazon.com/Frivolous-Harpsichord-Salmenhaara-Franzpeter-Scarlatti/dp/B00000IYNZ

Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 21, 2012, 07:23:02 AM
Quote from: Geo Dude on January 16, 2012, 08:05:49 AM
For that matter, while the harpsichord is usually tied in most minds to the baroque era, some early classical era material also employed the harpsichord -- Haydn keyboard sonata sets that many people have been enjoying lately come to mind.  Do any specialists have tips on classical era composers and recordings that employ the harpsichord?

Quite rightly CPE Bach has been recommended! :) I would seek out the concertos, particularly an older DHM recording of double concertos with Leonhardt and a brand new recording with the concertos Wq43 by Andreas Staier:

(http://ecx.images-amazon.com/images/I/51wScRmzg5L._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51aT4r5lM2L._SS500_.jpg)


But there is more.... 8) I'll point out two sets by other composers that are particularly close to my heart. What they have in common is that both composers have a idiosyncratic style in which they  seek new ways with old means, which is typical of the period I guess. One set with clavichord music, possibly the most special clavichord recording I've ever come across, and one with harpsichord music.

(http://www.teknon.nl/CD3-Muthel.jpg)

My own comments from before:

Quote from: ~ Que ~ on May 01, 2010, 08:03:33 AM
Very nice, and it grows on me. Written in the "transitional" style, akin to Georg Benda & CPE Bach. Müthel's style is particularly willful, and I like that. The combination of the rather timid nature of the clavichord with such impulsive music, is an interesting touch in this respect. Van Delft gives it his best: propulsive and expressive. Another bonus: the clavichord is a notoriously difficult instrument to record, but that is a success here.

Samples HERE (http://www.teknon.nl/cd-label.html).

And a very beautiful and instructive essay (quoted partly) on this recording, the composer and the clavichord in general, by David Yearsly from Cornell University.

QuoteWhen snow blankets the ground the clavichord comes into its own. The world becomes quieter, or tries to, and this quietest of instruments finds its voice anew.

The clavichord demands great concentration of  listeners but rewards them with its unlimited dynamic shadings and expressive powers.  In this heightened state extraneous sounds come as a shock to the ear.  The clavichord is an instrument of introspection, but it can also be played for the enjoyment of a few listeners seated nearby; it requires a degree of stillness to which few people are accustomed.  J.S. Bach, who thought the clavichord was the most expressive of all instruments, "favored it for private musical entertainments."  The most popular domestic keyboard instrument in 18th-century Germany, the clavichord could not compete with the flash and brilliance of the piano, which had largely displaced it in bourgeois homes by the early 19th century.

The clavichord is the most expressive of keyboard instruments and derives much of its beauty from the simplicity of its action — the mechanism for producing sound.  In contrast to the complex piano action with its array of levers, hammers, dampers, not to mention wippens, capstans and other exotic contrivances, the clavichord strikes the string in the most elegant and obvious way.  At one end the key is veneered in ebony, boxwood, bone or another traditional substance that is both beautiful to look at and hard enough to withstand the wear from years of fingertips against it.  Inside the instrument the key narrows to a thin strip on which is placed a small piece of brass — a tangent — that projects up from the end of the key about three-quarters of an inch.  When the finger depresses one end of the key the other end goes up, making the tangent strike the string.  At the hands of a skillful player, this simple action allows for minute dynamic shadings, abrupt accents, and even vibrato.

Johann Gottfried Müthel (1724-1788), the last of J. S. Bach's students, was by all accounts a willful, melancholic genius and one of the greatest masters of the instrument.  Much of Müthel's music, with its carefree passage work and ornaments that suddenly dissolve into reverie and pathos, would seem to bear out the scant biographical information that documents his moody character. Prone to introspection and even lassitude, Müthel produced a relatively small body of work.  An interesting recording of some of Müthel's keyboard concertos and chamber works was made back in the 1990s by Music Alta Ripa of Hanover, Germany; the two CD-set gives you a sense not only of Müthel's incredible dexterity of mind and hand, but of the elegant and often intense conversational mode that brings the keyboard into contact with other instruments in the bourgeois and noble drawing room where it was heard. One is amazed, even sometimes perplexed, at the frequent collision of the insouciant and the soul-searching that animates Müthel's style.

No music reflects that pleasant paradox of art and nature so crucial to north German music of the 18th-century as much as Müthel's. He was a musician, like so many others of his caliber, who apparently spent huge amounts of effort learning to act or play "naturally"; all should sound easy, but the level of detail and refinement is taken to such an extreme that things begin to sound like a critique of politeness: the manners are so refined they become almost scathing. The above-mentioned CD doesn't quite capture this manic decorum.

The finest recording of Müthel, indeed of clavichord music of any kind is that of the Dutch keyboard player Menno van Delft.   On this two CD set van Delft plays Müthel's solo keyboard works, three sonatas and two sets of variations on a clavichord from Hamburg built in 1763 and now in the Russell Collection in Edinburgh; it is a sumptuously decorated instrument that was first bought by a wealthy Amsterdam family and was played on in their household by Mozart. Mozart also loved the clavichord, and doubtless loved this one, capable of such power and nuance, such bold outbursts and whispered asides.  Müthel's music is fiendishly difficult both for its velocity and other acrobatics and for its hushed nuances. To hear van Delft make these demanding works his own is to begin to understand that Müthel at the perfect instrument is a unique musical experience: there is really nothing quite like it, and this recording is as impressive as it is moving.

In spite of his solitary nature, Müthel had many admirers and his music was disseminated even as far as London. The 18th-century traveler Charles Burney visited the most legendary of the clavichordists, C. P. E. Bach (J. S. Bach's second son), in Hamburg in 1772 and described a transcendent clavichord performance in his host's house in which Bach's "eyes were fixed, his under lip fell, and drops of effervescence distilled from his countenance."
Burney did not make it far enough east to meet Müthel in Riga, but he ordered the German's mighty duet in E-flat for two keyboards; the title page of this 1771 publication lists piano, harpsichord, or clavichord, but clearly the latter is the perfect instrument for the piece, especially since it calls for so much of the vibrato specific to the clavichord.  Burney performed the piece often for his winter concerts in London, describing it as his "big gun."
At the final pages of the third volume of his European  travels published in the 1770s, Burney turned to a Müthel  inhabiting the farthest frontier of musical civilization:

"When a student upon the keyed instruments has vanquished all difficulties to be found in the lessons of Handel, Scarlatti, Schobert, Eckart and C.P.E. Bach; and, like Alexander lament that nothing more remains to conquer, I would recommend to him, as an exercise for patience and preservation, the compositions of Müthel; which are so full of novelty, taste, grace and contrivance, that I should not hesitate to rank them among the greatest productions of the present age. Extraordinary as are the genius and performance of this musician, he is but little known in Germany."

It was difficult to get Müthel to play even for his circle of devotees, which included Johann Herder. He would relent only when "thickest snow covered the ground" of the Baltic city of Riga, where he spent his professional career. Only when the outside world was muffled could his innermost thoughts and feelings be expressed in the fullness of silence.  The clank and clatter of horseshoes on cobblestone were intolerable intrusions.

[...]

To play the clavichord is constantly to be reminded of what, on reflection, seems obvious:  that once the world was a much quieter place.  Müthel would have been happy for all this snow, but not snow blowers.


My second recommendation is a set with the complete solo harpsichord by Georg Anton (Jiří Antonín) Benda.

My previous comments:

Quote from: ~ Que ~ on September 07, 2008, 02:38:08 AM
Previous impressions are once again confirmed: very interesting music - which is getting more delightful now I've progressed to the really mature sonatas nos. 10-12 on disc 3, and really excellent performances - beautifully recorded. Bulgarian Sylvia Georgieva, musically educated in Prague, plays two double manual harpsichords: one after Johannes Ruckers (1624) and one after Michael Mietke (ca. 1710)

(http://ecx.images-amazon.com/images/I/51akjTMdiCL._SS400_.jpg) (http://www.jpc.de/jpcng/classic/detail/-/hnum/1647118?rk=home&rsk=hitlist)
This is a 4CD set of the complete harpsichord sonatas.
           Click picture for samples at jpc

(tip: is used to be available cheaply at Berkshire Record Outlet)

Sorry for the long post! :o :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on January 21, 2012, 07:58:08 AM
On the contrary, THANK YOU for the long and informative post. I bough the Benda set on your recommendation sometime ago, so I will now give serious consideration to the Muthel!
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on January 21, 2012, 05:02:24 PM
I've enjoyed following all this discussion of recordings of the six keyboard partitas. The only recordings I know well are the three I own: Suzuki, Parmentier, and Haugsand. I enjoy all three, but it's hard to sum up their virtues in brief descriptions. The appeal of the Suzuki set for me is partly the instrument he plays (with a wonderfully sinewy tone), and the energy and joy that his performances convey.

I've just placed an order for the Lars Ulrik Mortensen. I liked a lot of what I heard in previews, and I am a sucker for his bold use of the lute stop (also a feature of his Goldberg Variations). Verlet on naïve also sounds intriguing in the previews; the tuning of her instrument is significantly more pungent than others I've heard.

But back to this lute stop business. It's an instrumental color that I'm always delighted to hear, which prompts me to ask for recommendations of harpsichord recordings in which it is used to especially good effect. (A few that come to mind: Mortensen's Goldberg Variations, as noted above; Vartolo's Goldberg Variations; and a Scarlatti recital by Joseph Payne on Turnabout.)

Perhaps surprisingly, I've never been entirely happy with the lute harpsichord. There is something too squeaky-clean about the sound of Keith Hill's instruments in particular, based on what I've heard from Robert Hill and Lisa Crawford. I suspect I would get along better with John Paul's Bach series. But I wonder if fatigue would set in listening to such a distinctive sound; the lute stop has the advantage of being deployed more sparingly as a special coloration in the context of the harpsichord performance.

Finally, is this terminology correct?
- Lute stop or buff stop: applies a rail wrapped in leather or other material to the strings near the pin block to produce a muted lute-like tone
- Lute register: a set of strings activated by plectra made of leather or a similar material
- Nazard: the strings are plucked by a set of jacks positioned very close to the pin block

The nazard is easy to recognize, if not to love. It is heard for example in Andreas Staier's recording of Goldberg Variation 15. But I'm not sure I would recognize the difference between a lute stop and a lute register (assuming I've got the terminology straight above). 
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on January 21, 2012, 05:07:37 PM
Ha! While I was busy writing that, you moderator with good intentions appears to have moved all the Bach partitas discussion to a Bach-specific thread.

But please keep my post here, because I didn't have that much to contribute to the Bach discussion and I'd really appreciate some responses to my lute-stop and related questions...
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 21, 2012, 09:52:37 PM
Quote from: Geo Dude on January 20, 2012, 03:17:28 PM
I must admit that while I'm generally not a connoisseur of 20th century composers the idea of harpsichord works written by modernist composers is fascinating.  I'll make a point of looking up that Xenakis work on YouTube, or at least sampling it if that is not possible.  Any suggestions on recordings by the others you've mentioned that may be palatable to someone whose ears lean more toward 'traditional' tastes?

Be sure to hear Landowska playing Poulenc's Concert Champetre
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 22, 2012, 02:15:57 AM
Quote from: PaulSC on January 21, 2012, 05:02:24 PM
Perhaps surprisingly, I've never been entirely happy with the lute harpsichord. There is something too squeaky-clean about the sound of Keith Hill's instruments in particular, based on what I've heard from Robert Hill and Lisa Crawford
Do you think of Elisabeth Farr?

Quote from: PaulSC
I suspect I would get along better with John Paul's Bach series. But I wonder if fatigue would set in listening to such a distinctive sound; the lute stop has the advantage of being deployed more sparingly as a special coloration in the context of the harpsichord performance.
I do not recommend the recordings of John Paul. Despite good intentions the result is questionable. The instrument he uses virtually emasculates the music. This may be acceptable in some of the French suites, but for the Partitas, the English suites and the French Ouverture Hill´s instruments would have been far superior.

Quote from: PaulSC
Finally, is this terminology correct?

- Lute stop or buff stop: applies a rail wrapped in leather or other material to the strings near the pin block to produce a muted lute-like tone
- Lute register: a set of strings activated by plectra made of leather or a similar material
- Nazard: the strings are plucked by a set of jacks positioned very close to the pin block
Yes.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 22, 2012, 04:07:30 AM
Quote from: PaulSC on January 21, 2012, 05:02:24 PM
I've just placed an order for the Lars Ulrik Mortensen. I liked a lot of what I heard in previews, and I am a sucker for his bold use of the lute stop (also a feature of his Goldberg Variations).

Where did you order the Mortensen?  I'm certainly interested in a player that makes good use of the lute stop.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 22, 2012, 04:27:29 AM
Quote from: Geo Dude on January 22, 2012, 04:07:30 AM
Where did you order the Mortensen?  I'm certainly interested in a player that makes good use of the lute stop.
His Buxtehude harpsichord cycle is fantastic.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 22, 2012, 04:30:44 AM
Quote from: milk on January 22, 2012, 04:27:29 AM
His Buxtehude harpsichord cycle is fantastic.

Based on the listening I've done on YouTube it is indeed fantastic.  Unfortunately, it's also out of print (or so it seems) which means I'll have to acquire it slowly.

EDIT:  Are you referring to the set on DaCapo or the set he is working on for Naxos?
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 22, 2012, 04:32:09 AM
Quote from: Geo Dude on January 22, 2012, 04:30:44 AM
Based on the listening I've done on YouTube it is indeed fantastic.  Unfortunately, it's also out of print (or so it seems) which means I'll have to acquire it slowly.
I think I got mine from itunes.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 22, 2012, 04:38:22 AM
Quote from: Geo Dude on January 22, 2012, 04:30:44 AM
Based on the listening I've done on YouTube it is indeed fantastic.  Unfortunately, it's also out of print (or so it seems) which means I'll have to acquire it slowly.

The DaCapo recordings have been reissued on Naxos:

(http://ecx.images-amazon.com/images/I/51FeBWBg8JL._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51kspWPCLVL._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51caBPiChQL._SL500_AA300_.jpg)

PS there is a new kid on the block in the guise of a new complete set on Brilliant played by Simone Stella - haven't heard it.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 22, 2012, 04:42:02 AM
Quote from: ~ Que ~ on January 22, 2012, 04:38:22 AM
The DaCapo recordings have been reissued on Naxos:

(http://ecx.images-amazon.com/images/I/51FeBWBg8JL._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51kspWPCLVL._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51caBPiChQL._SL500_AA300_.jpg)

PS there is a new kid on the block in the guise of a new complete set on Brilliant played by Simone Stella - haven't heard it.

Q

Wonderful!  I wasn't aware that that was a reissue.  I'm aware of the Stella and will probably be ordering that soon.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on January 22, 2012, 05:28:50 AM
Quote from: ~ Que ~ on January 22, 2012, 04:38:22 AM
The DaCapo recordings have been reissued on Naxos:

(http://ecx.images-amazon.com/images/I/51FeBWBg8JL._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51kspWPCLVL._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51caBPiChQL._SL500_AA300_.jpg)

PS there is a new kid on the block in the guise of a new complete set on Brilliant played by Simone Stella - haven't heard it.

Q

Thanks for the heads up on these!  8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 22, 2012, 08:59:52 AM
Quote from: Mandryka on January 19, 2012, 07:31:49 AM
So would you put Puyanas's French Partita (BWV 831), Walcha's English Suites, Kirkpatrick's Partitas  and the 1950s Goldbergs and AoF from  Leonhardt in the same category? I mean, I know they didn't record on instruments as colourful as Wolfe's and Landowska's. But in terms of articulation?


To begin with Wanda Landowska: I consider her an artist, who tried to adapt piano-aestetics to harpsichord-playing (a kind of reversed Glen Gould –  he tried to adapt harpsichord aestetics to piano-playing). She exerted great influence, and many harpsichordists in the 1950es and 1960es thought like her obviously of the piano, when they played (what they thought was) a harpsichord (f.i. George Malcolm, Frank Pelleg), and also the young Leonhardt. But considering the fact that his recordings  for Vanguard of the AoF and Goldbergs  were made in 1952, when he was about 24 years old, I would not expect him to have elaborated any individual Bach style yet. But already in the mid 50es he had in principle thought out his well known informed style and had begun to play period instruments or copies.
I do not know  much about  Puyana – but he was a pupil of Landowska as was Kirkpatrick. I think brilliance was his primary aim, and his sense of style limited.

Walcha and Kirkpatrick were both individualists, who created their own harpsichord style. Nor did they play on period harpsichords. Well, Walcha recorded the WTC for DG in the early 70es on period harpsichords, but his touch is an organists  touch, which has not much in common with period harpsichord touch (or Landowska´s touch for that matter).

Walchas point of departure was first and foremost  the score (and the fact that he was an organist not a pianist), and he invented his own Bach style, relative uninformed and rather litteral (true to the score) with his own system of articulation and using much 16F, as he was used to on the organ.  His changes of registration were few and aimed – like in his organ playing  –  at  the displaying of the overall structure of the work. He retired too early to think of changing his style (1977).but part of the picture is, that he maintained to the end of his life (1991) a critical attitude towards the HIP movement.  Elderly people often think they know better.

Kirkpatrick is in my opinion one of the first harpsichordists to create a playing style with the harpsichord as his point of departure. Other than that he was a relatively informed musician, and I do not hear many hints of Landowska in his playing.  His articulation was varied and sensitive for his age. He used much 16F, but his changes of registration were few and aimed like Walcha´s at the displaying  of  the musical structure, and not at piano-derived "expressivity". 
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on January 22, 2012, 09:16:30 AM
Quote from: (: premont :) on January 22, 2012, 02:15:57 AM

Do you think of Elisabeth Farr?
Yes indeed, and I'm impressed that you figured this out in spite of my misremembering both her first and her last name!

QuoteI do not recommend the recordings of John Paul. Despite good intentions the result is questionable. The instrument he uses virtually emasculates the music. This may be acceptable in some of the French suites, but for the Partitas, the English suites and the French Ouverture Hill´s instruments would have been far superior.
Thanks. I haven't even spent much time previewing John Paul's recordings. It seems as if the lute harpsichord just isn't for me.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on January 22, 2012, 09:21:17 AM
Quote from: PaulSC on January 22, 2012, 09:16:30 AM
I'm impressed that you figured this out in spite of my misremembering both her first and her last name!

::) Duh. He's premont!

;)
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on January 22, 2012, 09:26:08 AM
Quote from: Geo Dude on January 22, 2012, 04:07:30 AM
Where did you order the Mortensen?  I'm certainly interested in a player that makes good use of the lute stop.

First I spotted it at iTunes. I have no problem buying compressed audio files, but the track names were hopelessly mixed up to the point where I worried the content might be incomplete. So I placed the rather expensive double CD at Amazon (around $45) in my shopping cart. But at the last minute I figured out the pattern to the track-name errors at iTunes, so I went ahead and completed my purchased there. (For the benefit of anyone else buying this format, I posted a review at the iTunes Store that supplies the correct track names.)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 23, 2012, 12:49:00 AM
Quote from: PaulSC on January 22, 2012, 09:16:30 AM
Yes indeed, and I'm impressed that you figured this out in spite of my misremembering both her first and her last name!
Thanks. I haven't even spent much time previewing John Paul's recordings. It seems as if the lute harpsichord just isn't for me.
I like the lute-harpsichord very occasionally and only on some works. Robert Hill has some nice (Bach) recordings on the Lute-harpsichord. 
I put it on once a year or so.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on January 23, 2012, 04:30:25 AM
Quote from: PaulSC on January 21, 2012, 05:02:24 PM
Perhaps surprisingly, I've never been entirely happy with the lute harpsichord. There is something too squeaky-clean about the sound of Keith Hill's instruments in particular, based on what I've heard from Robert Hill and Lisa Crawford. I suspect I would get along better with John Paul's Bach series. But I wonder if fatigue would set in listening to such a distinctive sound; the lute stop has the advantage of being deployed more sparingly as a special coloration in the context of the harpsichord performance.

You are certainly not alone here.  Upon hearing samples of Robert Hill's recording of Bach on the lute harpsichord I promptly rushed out and bought it, dazzled by the beauty of the instrument.  I very quickly discovered that listening to an entire CD of music played on that instrument is an entirely different prospect from listening to samples.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 24, 2012, 01:17:24 AM
Quote from: Geo Dude on January 23, 2012, 04:30:25 AM
You are certainly not alone here.  Upon hearing samples of Robert Hill's recording of Bach on the lute harpsichord I promptly rushed out and bought it, dazzled by the beauty of the instrument.  I very quickly discovered that listening to an entire CD of music played on that instrument is an entirely different prospect from listening to samples.
I feel the same way. I like it in very small doses.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 01, 2012, 05:53:38 PM
(http://ecx.images-amazon.com/images/I/51TUEbOis%2BL._SL500_AA300_.jpg)

I listened to a bit of this album earlier today.  Fandango is stunning!  I was mesmerized for the full ten minutes.

On that note, any thoughts on Pieter-Jan Belder?  The man seems to be a fine harpsichordist with a wide range of talents.  His Rameau and Bach get great reviews and I think he holds his own in Scarlatti next to Scott Ross, though I haven't done enough listening to place myself squarely in either camp.  He also seems to serve as Brilliant's in-house accompanist.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on February 04, 2012, 04:16:39 AM
Re: Belder

His Soler and his Bach Partitas - that is as far as I got myself, and both are outstanding! :) Not that fond of his Scarlatti, but I recall commenting o that before.


Anyway, Iberian harpsichord music is not only a big empty hole in my collection but seems to be a big omission in performances on record in general!  :o

This new recording of harpsichord music by the Portuguese composer José António Carlos de Seixas (http://en.wikipedia.org/wiki/Carlos_Seixas) therefore seems (and sounds) all the more attractive. Does anyone know it?

[asin]B00563YJI0[/asin]

samples at Passacaille (http://www.passacaille.be/CD.aspx?ID=93)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 04, 2012, 05:28:02 AM
I'm certainly aware of a divide in Scarlatti fans that's split into the Ross and Belder camps, Que.  And then there's Hantai there to throw a wrench in the gears, too (assuming one is not a completist)... ;D

In any case, I am unfamiliar with this disc but am certainly interested.  It's been wish listed for now.  Surely, though, some honorable soul will take a bullet for the rest of us harpsichord fanatics and order it! 

(Harry...?)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on February 04, 2012, 05:55:36 AM
Quote from: ~ Que ~ on February 04, 2012, 04:16:39 AM
Re: Belder

His Soler and his Bach Partitas - that is as far as I got myself, and both are outstanding! :) Not that fond of his Scarlatti, but I recall commenting o that before.


Anyway, Iberian harpsichord music is not only a big empty hole in my collection but seems to be a big omission in performances on record in general!  :o

This new recording of harpsichord music by the Portuguese composer José António Carlos de Seixas (http://en.wikipedia.org/wiki/Carlos_Seixas) therefore seems (and sounds) all the more attractive. Does anyone know it?

[asin]B00563YJI0[/asin]

samples at Passacaille (http://www.passacaille.be/CD.aspx?ID=93)

Q

I am also really interested in José António Carlos de Seixas.

I haven't heard the recording you mention, but I have a recording performed by Anne Robert (released 1993).

I have volume 1, but can't find the cover artwork for this OOP recording. Here is Vol.2:

(http://ecx.images-amazon.com/images/I/31dimeRR9UL.jpg)



Title: Re: General Harpsichord and Clavichord Thread
Post by: SonicMan46 on February 04, 2012, 06:25:04 AM
Quote from: Geo Dude on February 01, 2012, 05:53:38 PM
(http://ecx.images-amazon.com/images/I/51TUEbOis%2BL._SL500_AA300_.jpg)

I listened to a bit of this album earlier today.  Fandango is stunning!  I was mesmerized for the full ten minutes.

On that note, any thoughts on Pieter-Jan Belder? ..........................

Just picked up Vol. 3 of the Soler double-disc sets w/ Belder - the first 2 volumes are excellent - have yet to give set 3 a listen but expect the same -  :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 04, 2012, 09:35:46 AM
Any thoughts on this recording?  Not just 'good', 'great', 'bad', or what have you, but on the style of the music?  Is it baroque?  pre-baroque?  For that matter, any non-Watchorn fans can feel free to recommend other works by Dr. Bull.

[asin]B001VM0LGE[/asin]

By the way, this guy seems to have lived 'the life.'  I found this story in particular very amusing (from Wiki):

"In 1597 his appointment to Gresham College required him to [...] give an inaugural lecture during the second week of June in the presence of the mayor, the aldermen, the Bishop of London and the master and warden of the Mercers Company. Fearful of losing his readership because his assigned rooms were still occupied by Gresham's stepson, William Reade, he forced an entry to the rooms by engaging a mason to help him break down a wall, which led to an action against Bull in Star Chamber."
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on February 04, 2012, 10:26:32 AM
See you already went for the Bull! :)

Anyway, my favourite Renaissance set is the William Byrd keyboard works set by Davitt Moroney.

A search of the forum will undoubtedly reveal many posts - it was discussed as a favourite of quite a few posters a year ago or so! :) A terrific set with an array of keyboard instruments - strongly recommended.

{EDIT}

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: petrarch on February 04, 2012, 02:11:34 PM
Quote from: ~ Que ~ on February 04, 2012, 10:26:32 AM
PS the price at Amazon US seems rather steep. At the time a nice bargain at jpc triggered the interest here - maybe look around a bit to get a good deal.

Here's the reissue, at $70 (I managed to get it direct from Amazon for about $50 about a year ago). Or you can go to the marketplace and find it for about $40.

[asin]B003UW6WEI[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 04, 2012, 02:19:37 PM
Quote from: ~ Que ~ on February 04, 2012, 10:26:32 AM
See you already went for the Bull! :)

Indeed, my goal wasn't to get recommendations so much as to open a discussion on a lesser-known recording/composer.  And to sort out my confusion whether he qualifies as Renaissance era or a Baroque transition.

QuoteAnyway, my favourite Renaissance set is the William Byrd keyboard works set by Davitt Moroney.


Thanks for the information.  It's been wish listed.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on February 05, 2012, 12:52:42 PM
I'm getting acqainted with Antonio Soler slowly but surely. First, with Gilbert Rowland on his Naxos series (my introduction to Soler), and second, through Bob Van Asperen's revelatory set of the complete harpsichord works:

(http://static.rateyourmusic.com/album_images/02c97da7897f7ce236da9ae657e7ea66/781631.jpg)

A beautiful recording, and I love the tone of the two harpsichord's used. Stunning sounds.

8)




Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 05, 2012, 02:25:15 PM
If you can afford to try out another performer I highly recommend Belder's set, the first volume at least.  He does a wonderful job with really driving home the rhythm without taking it too far.

By the way, Leo, it seems like it's about time for you to report back on your experience with Borgstede's Handel set. :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on February 05, 2012, 03:26:45 PM
Quote from: Geo Dude on February 05, 2012, 02:25:15 PM
If you can afford to try out another performer I highly recommend Belder's set, the first volume at least.  He does a wonderful job with really driving home the rhythm without taking it too far.

By the way, Leo, it seems like it's about time for you to report back on your experience with Borgstede's Handel set. :)

You're right! I will have a refresh listen and report back soon. I am also listening to Scott Ross's account so will do a quick comparison  8)

Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 08, 2012, 09:22:58 AM
I'm pretty sure we're all familiar with the Belder/Ross debate when it comes to Scarlatti recordings, but I think that other harpsichordists tend to get passed by when many people fall into one of those two camps.  Who are some of the other great Scarlatti experts out there?  Hantai immediately comes to mind with his four discs (one early disc + his three more well known discs on Mirare), and I'm sure there are others I'm unfamiliar with.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on February 08, 2012, 07:03:47 PM
Quote from: ~ Que ~ on February 04, 2012, 02:20:13 PM
I see I mistook the original for the reissue! :-\ 40 dollars looks much better - it's worth every penny.

Q
(http://static.rateyourmusic.com/album_images/f1f541ab8a971beb2914bd660eb6f7c3/3177677.jpg)The Moroney is great. This is also an enjoyable recording.
Sempe plays Byrd, Bull and Dowland - among others - on virginals and harpsichords.
Pierre Hantai and Olivier Fortin also play on a few of the tracks (some tracks have 2 and 3 keyboard instruments).
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 13, 2012, 11:07:09 AM
Is anyone familiar with this recording?  It looks fascinating.

[asin]B0002VYF2Q[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on February 13, 2012, 12:32:10 PM
Quote from: Geo Dude on February 13, 2012, 11:07:09 AM
Is anyone familiar with this recording?  It looks fascinating.

[asin]B0002VYF2Q[/asin]

I have it from a download, but haven't heard it yet. I will try to listen to it soon!

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 13, 2012, 01:22:47 PM
Quote from: Leo K on February 13, 2012, 12:32:10 PM
I have it from a download, but haven't heard it yet. I will try to listen to it soon!

8)

On that note, any thoughts on the Handel?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on February 13, 2012, 02:36:30 PM
Quote from: Geo Dude on February 13, 2012, 01:22:47 PM
On that note, any thoughts on the Handel?

oops, I've been trapped in a vortex of Bach and haven't got to Handel yet  :-X  :-[



Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 13, 2012, 02:45:30 PM
Quote from: Leo K on February 13, 2012, 02:36:30 PM
oops, I've been trapped in a vortex of Bach and haven't got to Handel yet  :-X  :-[

No worries.  It's easy to get trapped in a vortex of Bach!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on February 16, 2012, 12:51:40 PM
(http://cover7.cduniverse.com/MuzeAudioArt/Large/84/2135284.jpg)

An interesting new release!  :) (2CD)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on February 16, 2012, 01:04:11 PM
Speaking of new releases, anyone have thoughts on this one?

(http://ecx.images-amazon.com/images/I/51YvVxAzaRL._SL500_AA280_.jpg)

My first impression is that the music is interesting (it's not Bach, but what is?) but the production isn't great.  It sounds rather thin to me.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 01, 2012, 10:18:31 AM
Quote from: Drasko on January 18, 2012, 08:31:00 AM
I have bit different take on that, it seems to me that he hardened with years. His earlier recordings (Rameau, Couperin) are softer, more languid and lyrical than his later 80s stuff, try comparing his 1975 STIL Rameau with live e minor Suite from 1986 recital at Saint-Guilhem-le-Desert on INA, the later is much faster and driven. It might be just conjecture but I somehow always felt that drivenness and slight haste came as a result of AIDS diagnosis and desire to get more things done while there is still time. I could be completely off on this of course.   

I prefer the Bach partita on that record to the studio. It's more spontaneous sounding to me, less "worked."

Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on March 26, 2012, 03:16:54 PM
I've decided to reawaken this thread because I visited a harpsichord builder yesterday and thought that the harpsichord aficionados on this board would appreciate the write up. (http://omnivorousintellectual.blogspot.com/2012/03/visit-to-harpsichord-builders-workshop.html)  Keeping in mind that this write up is intended for people who aren't familiar with the instrument, I think many will still enjoy it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leon on March 26, 2012, 04:40:35 PM
In my opinion

This recording

[asin]B0058RN84U[/asin]

Is a very good sounding recording, well played and would be a very good introduction to Couperin.

:)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on March 26, 2012, 09:53:21 PM
Quote from: Geo Dude on March 26, 2012, 03:16:54 PM
I've decided to reawaken this thread because I visited a harpsichord builder yesterday and thought that the harpsichord aficionados on this board would appreciate the write up. (http://omnivorousintellectual.blogspot.com/2012/03/visit-to-harpsichord-builders-workshop.html)  Keeping in mind that this write up is intended for people who aren't familiar with the instrument, I think many will still enjoy it.

I did, indeed. Thanks for sharing it with us.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Leo K. on March 27, 2012, 07:00:42 AM
Quote from: Geo Dude on March 26, 2012, 03:16:54 PM
I've decided to reawaken this thread because I visited a harpsichord builder yesterday and thought that the harpsichord aficionados on this board would appreciate the write up. (http://omnivorousintellectual.blogspot.com/2012/03/visit-to-harpsichord-builders-workshop.html)  Keeping in mind that this write up is intended for people who aren't familiar with the instrument, I think many will still enjoy it.

That was a wonderful article, thanks very much for that.

:)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on March 27, 2012, 08:01:11 AM
I'm glad you two enjoyed it.  I've done a lot of writing intended to be read by an individual (papers for classes, letters to friends and relatives) but very little for a larger audience.  My blog is my first foray into writing for an audience rather than an individual and it's good to hear that it's enjoyable.

By the way, Leo, are you still in that Bach vortex? :D
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 23, 2012, 11:23:29 PM
I just want to make a post in praise of Skip Sempe, really to see whether there's anyone else who feels strongly about his style.

I love the way he is so bold and imaginative and gives the impression of being freely spontaneous. The raw energy in some of his recordings is breathtaking and yet there's also a real pleasure in lyricism sometimes, and IMO great depth of feeling.

I'll  single out three which I think show what I mean quite well.

(http://ecx.images-amazon.com/images/I/51bnhv8vHmL._SL500_AA300_.jpg)

I love the performances of the 1728 Viole Suites here partly because Jay Bernfeld's instrument is so earthy, and partly because the expression is so full of feeling. What it doesn't have is the sort of refined nobility that you hear in, for example, the record of the suites by Philippe Pierlot, but I see that as a deliberate thing in fact -- and a choice which I like. Anyway this is one record which I play a lot.

What is the statue on the cover? I love it.

(http://ecx.images-amazon.com/images/I/417McHrRoqL._AA115_.jpg)

What's remarkable about these Scarlatti sonatas for me is the way it is both energetic and yet does justice to the melodies in the music. It's a real achievement, and it probably ranks with Leonhardt on DHM as my favourite Scarlatti CD. Most of the sonatas are late works, when the style is less fancy and there's more emphasis on beauty and melody. Skip Sempe seems to me to have a real special intuition for the late Scarlatti style.

(http://ecx.images-amazon.com/images/I/51VVIgHKB%2BL._SL500_AA300_.jpg)

He also has a feel for the eventful style of the Buxtehude suites here. I don't know if it's pukka stylus fantasticus in this music, but there's loads of things happening all the time in the music and  there's a sort of improvisatory feel I think -- it seems to me to suit Skip Sempe's style to a tee.
Title: Re: General Harpsichord and Clavichord Thread
Post by: scarlattiglenross on June 24, 2012, 12:00:52 AM
I saw him perform English music like Purcell and Gibbons a couple of years back. He is indeed a convincing performer with a sympathetic concern for ensemble and performance space.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on June 24, 2012, 12:31:45 AM
Quote from: scarlattiglenross on June 24, 2012, 12:00:52 AM
I saw him perform English music like Purcell and Gibbons a couple of years back. He is indeed a convincing performer with a sympathetic concern for ensemble and performance space.
I'm a fan as well. I love these was well:
(http://target.scene7.com/is/image/Target/12104383?wid=300&hei=300)
(http://i24.servimg.com/u/f24/15/34/85/80/anh4233.jpg)
(http://c3.cduniverse.ws/MuzeAudioArt/Large/58/1214258.jpg)
I really want Sempe to tackle a complete Bach work for solo harpsichord.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 25, 2012, 09:47:20 AM
Quote from: milk on June 24, 2012, 12:31:45 AM

I really want Sempe to tackle a complete Bach work for solo harpsichord.

The recording with the Partita has really repaid repeated listening to me. At first I thought it was just glib, with too much emphasis on bravura. But after a while I could see that that was just a knee jerk reaction to the fast speeds and that the Sarabande, for example,  is very movingly played.

I'm really tempted to get this despite the high prices being asked for it.

(http://ecx.images-amazon.com/images/I/413P4KCKVAL._SL500_AA300_.jpg)

Here's the review from Gramophone magazine:

Quote from: Gromophone Magazine March 1999
Not only purists but Bach-lovers too would be well advised to sit this one out; for the disc's avowed purposes are to illustrate Skip Sempe's theory that 'in the act of performance a performer must make the score his own' and the huge sonorities of which two closely recorded harpsichords are jointly capable of producing. The resultant heavy-handedly noisy and libertarian treatments are examples not so much of poetic licence as of licentiousness. One merely cringes at the free arrangements of music by Marcello, Vivaldi, Reinken and Duke Ernst of Sachsen-Weimar that first passed harmlessly through Bach's hands, but is goaded to protest at the indignities insensitively heaped on pieces such as Bach's own Preludio to the E major Violin Partita. Sempe, how could you? And be photographed laughing happily at your vandalism?

And here's an amazon review:



Quote from: G T King reviewing for amazon.co.uk

There have been many approaches to performing Bach, which is perfectly natural, given the variety of his music and the profound nature of so much of it. Nonetheless, in my view a sine qua non is some kind of understanding of the prevailing aesthetic of the time, which is centred on matters such as rhetoric, the affects and articulation. Bach wasn't in the business of writing 'nice' or 'beautiful' music as such, at least not in terms of the later Romanticist aesthetic. So it makes no sense to judge Bach performances today according to those criteria.

It's much more difficult to achieve some of these aspects using modern (really late 19th-century instruments), but the real point is understanding something of what lies behind the music -- the energy and (in Bach's case) sheer humanity. I don't believe an interpretation of his music can ever be successful if it doesn't take all of this into account. So that more or less eliminates 90% of the market for me.

Skip Sempe and Oliver Fortin ate mong the realtively small percentage of active musicians today who know what to do with Bach. They achieve a splendidly elemental performance that I find exhilharating. The clarity, energy (even rawness) and musical insight is tremendous. The sound is fabulous. Try doing this on a piano (or two pianos) and see what happens!Their fresh performances are not so much 'historical' (although they clearly understand hsitorical performance) as thoroughly modern -- late 20th and early 21st century -- taking the listener out of any comfort zones s/he may be accustomed to. Get this CD and change your life.

Anything that causes such strong opinions is worth hearing, no?


Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on June 26, 2012, 03:49:10 AM
Quote from: Mandryka on June 25, 2012, 09:47:20 AM
The recording with the Partita has really repaid repeated listening to me. At first I thought it was just glib, with too much emphasis on bravura. But after a while I could see that that was just a knee jerk reaction to the fast speeds and that the Sarabande, for example,  is very movingly played.

I'm really tempted to get this despite the high prices being asked for it.

(http://ecx.images-amazon.com/images/I/413P4KCKVAL._SL500_AA300_.jpg)

Here's the review from Gramophone magazine:

And here's an amazon review:



Anything that causes such strong opinions is worth hearing, no?
I'm going to re-listen to Sempe's partita the first chance I get. His Louis Couperin is magical. It's one of my favorite recordings. I'm curious as to what his next solo project will be. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on June 30, 2012, 01:37:35 AM
Quote from: Mandryka on June 25, 2012, 09:47:20 AM
I'm really tempted to get this despite the high prices being asked for it.

(http://ecx.images-amazon.com/images/I/413P4KCKVAL._SL500_AA300_.jpg)

[...]
Anything that causes such strong opinions is worth hearing, no?

Worth hearing, yes. But.. I went to considerably trouble to find it - it is seriously OOP. When I did find it - it was even a brand new copy - I wasn't exactly bowled over....

I adore double harpsichord repertoire, but I have a few quibbles over this. Firstly, I don't think Sempé is a natural in Bach. He misses the rhythmic discipline and does some weird accentuation. It does seem in general a bit over the top and unsteady - also it the rapport between the two players. Too much bravoura?  I think so. Another thing is that not all the arrangements on the disc quite work. A lovely disc nonetheless, that has its brilliant moments. Not a disc to pass by when the opportunity arises for a harpsichord lover, but not worth spending a lot of time and/or money on either...

Q

PS Double harpsichord repertoire seems a perfect nice topic for this thread! :) I'll browse though my collection for some nice recommendations.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on June 30, 2012, 04:48:23 AM
Quote from: Que on June 30, 2012, 01:37:35 AM
PS Double harpsichord repertoire seems a perfect nice topic for this thread! :) I'll browse though my collection for some nice recommendations.

(http://ecx.images-amazon.com/images/I/41Y35073PFL.jpg) (http://ecx.images-amazon.com/images/I/71F%2BmK0XK6L.jpg)

Both out of print, unfortunately.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 30, 2012, 07:00:30 AM
Quote from: Que on June 30, 2012, 01:37:35 AM
Worth hearing, yes. But.. I went to considerably trouble to find it - it is seriously OOP. When I did find it - it was even a brand new copy - I wasn't exactly bowled over....

I adore double harpsichord repertoire, but I have a few quibbles over this. Firstly, I don't think Skempé is a natural in Bach. He misses the rhythmic discipline and does some weird accentuation. It does seem in general a bit over the top and unsteady - also it the rapport between the two players. Too much bravoura?  I think so. Another thing is that not all the arrangements on the disc quite work. A lovely disc nonetheless, that has its brilliant moments. Not a disc to pass by when the opportunity arises for a harpsichord lover, but not worth spending a lot of time and/or money on either...

Q

PS Double harpsichord repertoire seems a perfect nice topic for this thread! :) I'll browse though my collection for some nice recommendations.

Too late. I too found a new copy and I too have ordered it, but I haven't received it yet. But it wouldn't be surprising if the truth is between the amazon review and the Gramophone review.

The issue of how much bravura is too much bravura is an interesting one. And clearly bravura is a major part of what Sempe's about. Initially I reacted against the Bach partita and Chaconne transcription because it seemed to stress virtuosity so much, and I had a similar reaction to the Scarlatti CD, which at first seemed hard and brutal. But I've changed my mind now and I think I hear plenty of sensitivity and feeling in there -- when the music calls for it. But clearly he's not inward, introspective, contemplative.

I wonder if your problems with his rhythm apply to the music in that CD. If so it would certainly interst me if you could spell things out a bit more. I hadn't noticed anything problematic about the rubato in the slower music myself, but I could well have missed something.

What are the origins of this double harpsichord practice? When Sempe does it for Scarlatti for example I guess he's inventing the idea for himself.

By the way I've started to explore the other partner in the Sempe duo a bit -- Olivier Fortin. On  spotify there's a very fine and moving Bach violin sonata. But maybe even more interesting are his Rammeau pièces en concert with Masques. I only know that music really  through Leonhardt/Kuijken/Bruggen  and it's interesting to listen to the rhythm differences between them and Masques. Fun music, those pièces.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on July 12, 2012, 02:09:37 AM
Posting it here, since it is music from the Classical era and therefore falls outside the scope of the Baroque threads.

.[asin]B006AZKHG6[/asin]

A remarkable disc, because:
1. Harpsichord music from the Classical era, from a contemporary of C.P.E Bach and Mozart. Though I presume that it could alternatively played on the clavichord or fortepiano as well. That being said, I feel that either the harpsichord or the clavichord should be the preferred choice. Johann Wilhelm Hässler (http://en.wikipedia.org/wiki/Johann_Wilhelm_H%C3%A4ssler) is reportedly the "other" contender in the famous keyboard playing contest in which Mozart and Salieri also participated.
2. The suitably exuberant, willful virtuosity of Michele Benuzzi, a new Italian kid on block. A student of Ottavio Dantone - and you can tell. :)
3. The bright and dramatic intensity of the 1733 Falkner (London) harpsichord.


Quote from: Opus106 on July 12, 2012, 01:13:15 AM
What can we expect from the music as such, Que?

I seems that Mozart had some misgivings about Hässler. Apart from the rivalry I think an important explanation might be that Hässler was stylistically more conservative than Mozart. They obviously lived in another musical world. Hässler seems mostly influenced by J.S. and C.P.E. Bach: I hear a lot of the Empfindsamkeit of CPE and some beautiful fugal writing - the Fantasia in C is an ode to Bach's WTC. But add to that mix: elegance like in Georg Benda's music and a bit of virtuosic and willfull eccentricity à la Johann Gottfried Müthel, and the result is thoroughly interesting and engaging indeed.

So on the evidence on this disc Hässler was, despite the fact that he lived well into the 19th century, a representative of the Classical transitional style. And a (very) good one too. I personally don't mind a conservative outlook in a composer - J.S. Bach himself had a conservative streak - and IMO Hässler can by no means be considered mediocre or average. His music is interesting, exiting and gorgeous. I does not fall in any way below the standard of CPE himself, I think! :) More recordings of music by this composer please! :o

Since I'm not sure how long it will be freely available, I'm quoting the Fanfare review in its entirety - it is very to the point IMO.

QuoteAlthough he is almost completely unknown today, Johann Wilhelm Hässler (1747–1822)—not to be confused with the Renaissance-era composer whose name is spelled without an umlaut—emerges from this CD as one of the unsung heroes of the later 18th century. You'd hardly know it from the brief article in New Grove,  and if you were to search for a recording, either on ArkivMusic or in the Fanfare Archive, you'd come up empty-handed. The present CD is therefore almost certainly a premiere recording.

Hässler stood in the front ranks of the vanguard that swept through German music after the death of Sebastian Bach. As nephew of one of the last pupils of Bach, Hässler naturally had the essence of the learned German keyboard style coursing through his veins. His later interactions with Emanuel Bach and W. A. Mozart further shaped his career and set him on a new course—in 1789 he engaged in a famous keyboard contest with the latter, which ended in a draw and caused Mozart to utter some uncharacteristically unkind remarks. Ensuing concert tours took Hässler all over Europe, to great acclaim. He moved to England in 1790, and two years later to Russia, where he entered the service of the Grand Duke. Hässler published large quantities of keyboard music, especially during his Russian years. He is credited with nurturing the nascent generation of Russian pianist/composers at the turn of the century, but it's fun to speculate what influence his unique blend of erudition (learned from his uncle) and Empfindsamkeit (acquired from Emanuel Bach) might also have had on composers such as Beethoven, Weber, and Chopin.

The music is endlessly varied and inventive. The melodies are inspired, and Hässler uses them in novel ways, adding frequent chromatic alteration and rhythmic variation. The opening movements of the sonatas are typically bipartite in structure—essentially the sonata style inherited from Emanuel Bach. The concluding sonatas movements are usually cast as a rondo, with the exception of the A-Major Sonata, which ends with a Scherzo-Allegro. The fantasies once again pay homage to Emanuel Bach, but are usually less ruminative and more rhythmically active.

The young Italian harpsichordist Michele Benuzzi covers himself in glory with this release. He is the ideal interpreter to bring this music to light: highly sensitive to the gesture and emotion of the music, yet capable of carrying the musical narrative forward in telling fashion. The liner notes recount Benuzzi's initial encounter with the music of Hässler, beginning with a mysterious Fantasy in C Minor, attributed to Friedemann Bach, that Benuzzi first heard on an old recording. Subsequent investigations failed to produce the piece—evidently, it was not part of Friedemann Bach's oeuvre . Quite accidentally Benuzzi discovered an ancient edition of piano music called Le Trésor des pianists in the library. Contained therein was the music to the Fantasy (eureka!), which bore the inscription "J. W. Hässler. 1776." Further trips to the library yielded a veritable mountain of Hässler's music. The rest, as they say, is history.

Benuzzi has chosen an original harpsichord by Robert Falkener (London, 1773) in the Russell Collection, Edinburgh, for his recording. Clearly, this is music suited for an expressive keyboard such as the fortepiano or clavichord; at first, I thought the choice of harpsichord would prove to be a handicap. Benuzzi justifies his choice by saying that a good interpreter can fully exploit the sonority and characteristics of every instrument, whether harpsichord, piano, or clavichord, to suit late 18th-century music. Fair enough—given Benuzzi's prowess, this program would have been successful on just about any keyboard.

The instrument has a rich, dark sound, with excellent balance between the registers. Original English harpsichords tend to be rare on CD; after hearing this recital, you'll wonder why more haven't been recorded. The sessions took place in St. Cecilia's Hall in Edinburgh, where the Russell Collection is housed. Visitors to the Russell Collection know that in addition to housing the instrument collection (one of the most extensive in Europe), the hall is a noted concert venue with excellent acoustics. The recording fully captures that ambience, at the same time presenting the harpsichord in a natural perspective, as if the listener were seated six feet away or so. Absolute highest recommendation. Christopher Brodersen
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on July 12, 2012, 02:44:30 AM
Thank you for reproducing the Fanfare review, Que. A description like that makes one wonder why Hässler isn't already the darling of the performing/recording keyboard world, esp. the HIP one. But given that even other, more prominent keyboardists of that time are getting their recorded dues only now, perhaps we can look forward to more of H. in the future. I'll try to find some samples later in the evening of this new discovery. :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: SonicMan46 on July 12, 2012, 02:11:02 PM
Hi Que - thanks for your extensive post on Hassler and the STRONG recommendation of this harpsichord disc of his music - just visited Amazon and entered his name, this recording popped up first BUT nothing else listed purely devoted to him - amazed!

At any rate, I went ahead and placed an order - Dave :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Sammy on July 16, 2012, 01:05:50 PM
Quote from: SonicMan46 on July 12, 2012, 02:11:02 PM
Hi Que - thanks for your extensive post on Hassler and the STRONG recommendation of this harpsichord disc of his music - just visited Amazon and entered his name, this recording popped up first BUT nothing else listed purely devoted to him - amazed!

At any rate, I went ahead and placed an order - Dave :)

Given Que's strong recommendation, I listened to the Hassler disc on NML.  Perhaps I'll think better of this music on further hearings, but I can't say I liked it much.  Reminds me of lesser CPE with melody lines that do nothing for me.  The first piece on the disc, a 6 minute fantasia, seemed to go on endlessly.  Que quoted a Fanfare review that was full of praise; there's also a second Fanfare review that's more along my feelings about the disc.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on July 16, 2012, 09:43:58 PM
Quote from: Sammy on July 16, 2012, 01:05:50 PM
Given Que's strong recommendation, I listened to the Hassler disc on NML.  Perhaps I'll think better of this music on further hearings, but I can't say I liked it much.  Reminds me of lesser CPE with melody lines that do nothing for me.  The first piece on the disc, a 6 minute fantasia, seemed to go on endlessly.  Que quoted a Fanfare review that was full of praise; there's also a second Fanfare review that's more along my feelings about the disc.

Don, can it be that you that much into a Galant style? I do recall something like that - all that elaborations are not to very one's taste.
The Fanfare review I quote is perhaps even more enthustiastic than I am. I didn't know there was another one. Do you have a link? :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Sammy on July 16, 2012, 10:14:54 PM
Quote from: Que on July 16, 2012, 09:43:58 PM
Don, can it be that you that much into a Galant style? I do recall something like that - all that elaborations are not to very one's taste.
The Fanfare review I quote is perhaps even more enthustiastic than I am. I didn't know there was another one. Do you have a link? :)

Q

Well, I read that review in the mag. that comes with my subscription.  This review must be on the Fanfare website, but I think you need a subscription to see it.

True, the galant style isn't exactly my cup of tea, but I am able to appreciate it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: SonicMan46 on July 17, 2012, 09:15:54 AM
Hi Que & Don - I purchased the Hassler CD on Que's comments & also the more laudatory review in the recent issue of Fanfare (I've attached BOTH reviews in a text file, for those interested).

I particularly liked the last paragraph of the somewhat negative review w/ a short quote below that made me chuckle:

Quote......Granted, then, Hässler was completely unoriginal—a thoroughgoing retrograde, a stylistic dinosaur who long outlived his era. The far more important question is whether his music is any good, and to that my answer is unhesitatingly "yes"; while not highly distinctive, it is thoroughly enjoyable.......

I'm now listening to the CD a second time and enjoy although the music certainly is not revelatory; I have no problem w/ composers writing in a past style and am a great fan of the 'galant' period and the mid-18th century (and I think 'stylistic dinosaur' is a bit of a hyperbole to say the least!).  Now Benuzzi's performance and enthusiasm for this music may be more revealing - he also wrote some excellent liner notes; and finally, the instrument is an original harpsichord from 1773 and to my ears is in great shape and produces a pleasant tone.  The recording will be a keeper for me, but likely will not be listened to as much as my many other harpsichord discs from this era.  Dave :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on July 19, 2012, 12:54:37 PM
Johan van Veen's take on the Hässler/ Benuzzi recording! :D And so the plot thickens...... 8)

QuoteJohann Wilhelm Hässler is one of the many little-known composers from the second half of the 18th century. They are overshadowed by either the sons of Bach or the classical masters Haydn and Mozart. At least one composition from Hässler's pen is relatively well-known: a Fantasia in c minor was long attributed to Wilhelm Friedemann Bach, and is still recorded now and then as being from his pen. The fact that it is relatively well-known could have been the reason that Michele Benuzzi didn't include it in his selection, even though it was this very piece which raised his interest in Hässler's oeuvre.

Hässler studied with Johann Christian Kittel, one of Germany's great organists of the mid-18th century and one of the last pupils of Johann Sebastian Bach. He started his career as organist of the Barfüsserkirche in Erfurt, where he was appointed in 1762. In the 1770s he travelled across Germany as a keyboard player. He also visited Hamburg where he became acquainted with Carl Philipp Emanuel Bach. In 1789 he met Mozart who in a letter was less than complimentary about Hässler as an organist. From 1790-92 he worked in London as a keyboard player and teacher, and then went to Russia, where he first lived in Riga and St Petersburg and in 1794 moved to Moscow. He enjoyed much success as a performer and teacher, and also acted as music publisher. He stayed there for the rest of his life.

Almost the entire oeuvre of Hässler comprises music for keyboard. He composed a large number of sonatas, and also made use of various other then popular forms, such as the fantasia, the capriccio and variations. One of the main issues in regard to performance practice is which instrument to choose. Apart from the organ he played both the harpsichord and the clavichord. In his later years in Russia he certainly would have played the fortepiano. Paul Simmonds believes that the music written after 1790 is clearly intended for that instrument (in the liner-notes of his disc 'German music for clavichord', Ars Musici, 1995). Benuzzi plays just one piece which dates from the last period of Hässler's life, the Fantasia in e minor (1803). I tend to agree that this piece comes off best on a fortepiano, even though Benuzzi's performance is admirable.

Benuzzi has chosen the harpsichord for all these pieces. He plays an instrument from the Russell Collection in Edinburgh, which was built by Robert Falkener in 1773. It has the sound of instruments by Jacob Kirckman, and Falkener even used Kirckman's reputation to his advantage by affixing a nameplate with his name on it. It has two manuals and two pedals which allows some dynamic shading. Even so, it is hard to realise all the dynamic indications which one finds in these scores. These seem to point into the direction of the clavichord which is able to master to whole range of Hässler's dynamic requirements.

That said, Benuzzi makes the most of it on the harpsichord. Many pieces have a capricious character, and these show a strong congeniality with the style of Wilhelm Friedemann Bach. They also bear witness to the influence of the latter's brother Carl Philipp Emanuel. In a letter in which Mozart wrote about his meeting with Hässler he stated that "he has done no more than commit to memory the harmony and modulations of old Sebastian Bach". One piece bears witness to the old Bach's influence: the Fantasia in C from 1782 which displays a remarkable similarity with the first prelude from the first set of the Wohltemperirte Clavier. The Rondeau in C was printed in 1779 but is also a reminiscence of times gone by.

Michele Benuzzi has done us a great favour by recording this selection from Hässler's oeuvre. He turns out to be a most intriguing composer. This disc is an excellent introduction to his music, and it has made me very curious about the rest of his oeuvre. Wouldn't it be a good idea to record another disc, this time on a clavichord? The Russell Collection has some fine instruments of this kind. For the time being let's be happy with his disc which is one of the most interesting I have heard of late.

Johan van Veen (© 2012)




Title: Re: General Harpsichord and Clavichord Thread
Post by: Rinaldo on September 03, 2012, 06:07:38 PM
I've got a noob question about harpsichord playing: in a lot of solo records, I hear these (to my ears) absolutely weird tempo "brakes" and shifts that I don't get. To me, it sounds like the player losing his way and trying to find the right keys, which is obviously not the case. So I suppose it's part of the way you play this instrument but there are times when these sudden tempo changes defy any "rhythmical logic" I can think of. This is mind-boggling to me especially when it comes to pieces that are available both in harpsichord and piano versions - the piano interpretation can be wildly dynamic as well, but I get those changes. Can anyone enlighten me on this topic, please?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on September 04, 2012, 03:25:58 AM
Quote from: Rinaldo on September 03, 2012, 06:07:38 PM
I've got a noob question about harpsichord playing: in a lot of solo records, I hear these (to my ears) absolutely weird tempo "brakes" and shifts that I don't get. To me, it sounds like the player losing his way and trying to find the right keys, which is obviously not the case. So I suppose it's part of the way you play this instrument but there are times when these sudden tempo changes defy any "rhythmical logic" I can think of. This is mind-boggling to me especially when it comes to pieces that are available both in harpsichord and piano versions - the piano interpretation can be wildly dynamic as well, but I get those changes. Can anyone enlighten me on this topic, please?

While I certainly don't have an answer to your question, I think it would be helpful -- to the rest of us -- if you could perhaps post a sample from YouTube or somewhere, so that we can follow any discussion that might follow. :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Rinaldo on September 04, 2012, 07:21:16 AM
Well, a perfect example would be Les Baricades Misterieuses and funnily enough, when I went searching for examples, I came onto this video

http://www.youtube.com/v/9ffPVFTmK48

where the first comment talks about notes inégales which seems to be the likely source of my confusion. Still feels quite weird (especially the part around 3:08) but at least now I know who's to blame - damn you, inégales!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on September 04, 2012, 07:49:06 AM
Much appreciated, Rinaldo. :) I, in fact, came across the term Inegalité just last week (http://www.good-music-guide.com/community/index.php/topic,9885.msg655841.html#msg655841). It might be that this is related to aspects of Baroque keyboard performance that people like Don, Premont et al. often talk about, viz agogics, staggering (which is usually qualified by another word, but which I now forget) et cetera. (But it may very well be that I'm way off the mark here.)

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on September 04, 2012, 10:44:31 PM
Harpsichordists can't differentiate beats with obvious gradations of loud and soft, so they set off strong beats with rhythmic nuances. To emphasize downbeats they often insert a tiny silence just before them; sometimes they hold downbeats a little longer than written.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on September 05, 2012, 01:16:13 AM
Quote from: Rinaldo on September 04, 2012, 07:21:16 AM
Well, a perfect example would be Les Baricades Misterieuses and funnily enough, when I went searching for examples, I came onto this video

http://www.youtube.com/v/9ffPVFTmK48

where the first comment talks about notes inégales which seems to be the likely source of my confusion. Still feels quite weird (especially the part around 3:08) but at least now I know who's to blame - damn you, inégales!

Does anyone know what these barricades are and what's so mysterious about them?
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on September 05, 2012, 02:40:35 AM
Quote from: Mandryka on September 05, 2012, 01:16:13 AM
Does anyone know what these barricades are and what's so mysterious about them?
I thought this was an interesting question so I did a little search. I found this interesting excerpt on the website of a Professor of philosophy named Simon J. Evnine (http://www.as.miami.edu/personal/sevnine/barricades.htm):

François Couperin's piece for harpsichord, Les Barricades Mystérieuses (the original spelling seems to have been Les Baricades Mistérieuses - now all four possible combinations of these two variants seem to be employed) was published in 1717, as the fifth piece in his VIth Ordre de Clavecin in B flat major. Written in the arpeggiated style brisé (broken style) or style luthé of a lute piece, the work is in rondeau form. As David Tunley notes, the piece employs a variant of the traditional romanesca in the bass, though here in quadruple, rather than the usual triple, time (François Couperin and 'The Perfection of Music,' Ashgate, 2004, p. 116). A detailed harmonic analysis of the piece is given by the composer Philip Corner on the Music page of this site.

While the piece itself is haunting and beautiful, its effect has surely been enhanced by its mysterious title. Couperin gave most of his harpsichord pieces titles. This practice stemmed from "the music of Chambonnières and the earliest works of the French 'clavecinists' who, in turn, had borrowed the habit from the lutenists of the late sixteenth century" (David Tunley, Couperin, BBC, 1982, p. 79). (There is, in fact, a harpsichord piece called Les Baricades (or Les Barricades) by Chambonnières himself. What does his title mean? I have seen nothing addressing this question.) Some of Couperin's pieces are named after people or types of people, some indicate something the music is supposed to represent. A few of the names, however, remain mysteries to us.  David Tunley adds that "even in their own days these same pieces might well have appeared enigmatic to all but a handful of the composers' circle" (ibid., p. 82-3). Such appears to be the case with Les Barricades Mystérieuses. As far as I am aware, there is absolutely no direct evidence to illuminate the meaning of Couperin's title. Anything offered as an interpretation is more or less well-founded speculation.

A number of the artists whose work is recorded on this website have connected the piece with barricades impeding communication between people, barricades between past and present or present and future, between life and death, between the immanent and transcendent. Almost none of these are offered in the spirit of conjecture as to what Couperin really meant by the title himself.

One sometimes sees suggestions that the mysterious barricades of Couperin's title are either women's eyelashes or women's underwear, or chastity belts. Neither of these hypotheses is very plausible (the music itself surely makes the ribaldry of the second suggestion out of place) and there is no evidence I am aware of to support them in the least. In one place (a Youtube of a performance of the piece by Philippe Radault), it is claimed in addition that the use of the expression to refer to women's eyelashes was distinctive of "les précieuses," the witty and educated women who populated the salons of the 17th century. Again, I have found no evidence of this.

In 'The mirror of human life': Reflections on François Couperin's Pièces de Clavecin by Jane Clark and Derek Connon (Redcroft, King's Music, 2002), Jane Clark links the VIth ordre to a divertissement staged by one of Couperin's patrons, the Duchesse Du Maine in 1714. The entertainment was called Le Mystère ou les Fêtes de l'Inconnu (The Mysterious One or the Celebrations of the Unknown One). In the performance, the King's musicians and Marguerite-Louise Couperin (François' sister) wore masks, emphasizing the mysterious presence celebrated by the divertissement, possibly the exiled Stuart James III. Clark suggests that the barricades mistérieuses may refer to these masks (p. 67-8). With regard to another piece, La Misterieuse, in the XXVth ordre, Clark suggests a possible reference to the Duchesse Du Maine's interests in freemasonry.

Wilfrid Mellers also wonders if there is a link to a divertissement though in tandem with another approach to understanding the name, that it refers to some technical features of the piece itself. Mellers suggests that the piece is "one of Couperin's technical jokes, the continuous suspensions in the lute style being a barricade to the basic harmony; and this may link up with the illusory devices in a masque decor. Barricades has its modern sense after 1648, but if the harmonic ambiguities might be described as 'revolutionary' in the context of baroque orthodoxies, the tone of the music remains, even in its mystery, impeccably aristocratic" (François Couperin and the French Classical Tradition, new version, London, Faber and Faber, 1987, pp. 400-2). I am not aware of other cases in which Couperin's titles reflect technical features of the music they name, but the approach is not altogether implausible. Some have suggested that the constant syncopation of the piece makes of the bar lines themselves "mysterious barricades". (Perhaps this is also what Mellers is referring to.) Others point to the fact that in playing the piece, one's hands are 'barricaded' in more or less one place. Finally, in what strikes me as the most plausible suggestion linking the title of the piece to features of the music itself, the harpsichordist Luke Arnason offers the following (written for this website):

The title Les Barricades Mystérieuses is probably meant to be evocative rather than a reference to a specific object, musical or otherwise. Scott Ross, in a master class filmed and distributed by Harmonia Mundi, likens the piece to a train. This clearly cannot have been the precise image Couperin was trying to convey, but it is easy to hear in Les Barricades the image of a heavy but fast-moving object that picks up momentum. In that sense, the mysterious barricades are perhaps those which cause the "train" to slow down and sometimes stop. The piece could almost be seen as a catalogue of the effects that can cause an energetic line (the piece is marked vivement) to do slow down or stop naturally and elegantly: through the imperfect and perfect cadences at the end of each couplet, the cadence resulting in a unison E flat in the third couplet, the introduction and modification of sequences in both the treble and bass (third couplet), and through some of the more "unexpected" harmonies like the diminished D chord in the first couplet. This hypothesis seems to fit in with the pedagogical aims of Couperin's music, since the composer presents himself as something of a specialist in building sound through legato, style luthé playing. It might also explain the placement of the piece [in the ordre at the beginning of the second volume]. Though the title does not appear to be in keeping with the pastoral register of the rest of the ordre, it is emblematic of Couperin's compositional and pedagogical style, and in that sense very much belongs at the head of the second book. Moreover, it seems to form a set with the following piece, Les Bergeries. This latter piece, though more melodic than Les Barricades, set in a higher register and more bucolic in feeling, is also an exercise in using a repetitive motif (in this case a left hand ostinato evocative of the musette) to build sound without seeming mechanical or repetitive. Both Les Barricades Mystérieuses and Les Bergeries, then, are exercises in building (and relaxing) sound and momentum elegantly. It is unfortunate, then, that so many harpsichordists play both pieces in such a relentless fashion, disregarding Couperin's rather obvious invitations to slow down and, in my mind, the very spirit of the pieces.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on September 05, 2012, 08:32:20 AM
Quote from: milk on September 05, 2012, 02:40:35 AM
The mysterious barricades of Couperin's title are either women's eyelashes or women's underwear, or chastity belts.


I like the idea that it's a chastity belt (eyelashes and knickers are hardly barricades, surely) But why mysterious?

For me the word barricade always conjures up images of May 1968

(http://web.ncf.ca/ek867/riboud.barricade.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Sammy on September 05, 2012, 10:30:00 AM
Quote from: Opus106 on September 04, 2012, 07:49:06 AM
Much appreciated, Rinaldo. :) I, in fact, came across the term Inegalité just last week (http://www.good-music-guide.com/community/index.php/topic,9885.msg655841.html#msg655841). It might be that this is related to aspects of Baroque keyboard performance that people like Don, Premont et al. often talk about, viz agogics, staggering (which is usually qualified by another word, but which I now forget) et cetera. (But it may very well be that I'm way off the mark here.)

When I mention "staggering", I refer to it as staggering of musical lines.  Some folks hate this effect and think of it as an off-balanced drunkard.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on September 05, 2012, 10:43:24 AM
Quote from: Sammy on September 05, 2012, 10:30:00 AM
When I mention "staggering", I refer to it as staggering of musical lines.  Some folks hate this effect and think of it as an off-balanced drunkard.

Thanks, Don. It came back to me this morning, but it was I though it was late/pointless to edit my post. :) So are these things (notes inégales and agogics) related?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dinkle on October 18, 2012, 05:49:51 PM
Would any enthusiast care to make a list of works or recordings that they'd start with, like "main" stuff?  I happened upon this thread while searching for Harpsichord/Clavichord music, but as these things can be hard to track down I'd appreciate someone's approximation of a definitive list.

Some things I have and know, but don't know much about:
J.S. Bach -  Complete 1950s Recordings [Ralph Kirkpatrick] (http://www.amazon.com/Complete-1950s-Bach-Recordings-Archiv/dp/B0002ANQW2)
Domenico Scarlatti - 60 Sonatas [Ralph Kirkpatrick] (http://www.amazon.com/Domenica-Scarlatti-Sonatas-Kirkpatrick-Masterworks/dp/B0078TH2AM/ref=sr_1_1?s=music&ie=UTF8&qid=1350611138&sr=1-1&keywords=ralph+kirkpatrick+60+sonatas)
F. Couperin, J.P. Rameau - Harpsichord Works [George Malcolm] (http://www.amazon.com/Couperin-Rameau--Harpsichord-Works--Malcolm/dp/B00030EYZO/ref=sr_1_4?s=music&ie=UTF8&qid=1350611047&sr=1-4&keywords=Harpsichord+Works+%5BGeorge+Malcolm)
English Virginalists [Zuzana Ruzickova] (http://www.amazon.com/Englische-Virginalisten-English-Virginalists-Ruzickova/dp/B00000599D/ref=sr_1_1?s=music&ie=UTF8&qid=1350611084&sr=1-1&keywords=English+Virginalists+%5BZuzana+Ruzickova)

(I particularly enjoy Scarlatti's early Sonatas and Bach's Goldberg Variations, from those, if that's of any bearing, and mostly just like the instrument solo).
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 19, 2012, 07:36:15 AM
Quote from: Dinkle on October 18, 2012, 05:49:51 PM
Would any enthusiast care to make a list of works or recordings that they'd start with, like "main" stuff?  I happened upon this thread while searching for Harpsichord/Clavichord music, but as these things can be hard to track down I'd appreciate someone's approximation of a definitive list.

Some things I have and know, but don't know much about:
J.S. Bach -  Complete 1950s Recordings [Ralph Kirkpatrick] (http://www.amazon.com/Complete-1950s-Bach-Recordings-Archiv/dp/B0002ANQW2)
Domenico Scarlatti - 60 Sonatas [Ralph Kirkpatrick] (http://www.amazon.com/Domenica-Scarlatti-Sonatas-Kirkpatrick-Masterworks/dp/B0078TH2AM/ref=sr_1_1?s=music&ie=UTF8&qid=1350611138&sr=1-1&keywords=ralph+kirkpatrick+60+sonatas)
F. Couperin, J.P. Rameau - Harpsichord Works [George Malcolm] (http://www.amazon.com/Couperin-Rameau--Harpsichord-Works--Malcolm/dp/B00030EYZO/ref=sr_1_4?s=music&ie=UTF8&qid=1350611047&sr=1-4&keywords=Harpsichord+Works+%5BGeorge+Malcolm)
English Virginalists [Zuzana Ruzickova] (http://www.amazon.com/Englische-Virginalisten-English-Virginalists-Ruzickova/dp/B00000599D/ref=sr_1_1?s=music&ie=UTF8&qid=1350611084&sr=1-1&keywords=English+Virginalists+%5BZuzana+Ruzickova)

(I particularly enjoy Scarlatti's early Sonatas and Bach's Goldberg Variations, from those, if that's of any bearing, and mostly just like the instrument solo).

Just to throw this out there:
Verlet's new F. Couperin is great:
(http://www.classiquenews.com/images/articles/E4nl_E1Tz7_2012521IASCF6EWYB.jpg)
Sempe's L. Couperin is a favorite of mine:
(http://ecx.images-amazon.com/images/I/51xUGui4pBL._SL500_AA300_.jpg)
Levin's WTC is a nice mix wonderful sounding of harpsichords, clavichords, organs and fortepianos:
(http://cps-static.rovicorp.com/3/JPG_250/MI0001/050/MI0001050947.jpg?partner=allrovi.com)
(http://ecx.images-amazon.com/images/I/4182hxVRboL._SL500_AA300_.jpg)
and Van Asperen's French Suites has the most interesting sounding antique harpsichord I've heard:
(http://www.aeolus-music.com/var/shop_site/storage/images/media/images/ae-10084-banderole-8x9-rgb/25262-1-eng-GB/AE-10084-Banderole-8x9-RGB_imagelarge.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 28, 2012, 11:32:48 AM
I've been listening to Koopman's Art of Fugue and Goldbergs.

Has he ever discussed his ornamentation's in print?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 29, 2012, 03:15:50 PM
Quote from: Mandryka on October 28, 2012, 11:32:48 AM
Has he [Koopman] ever discussed his ornamentation's in print?

The only thing I have seen IIRC is a few words in the booklet to his recording of the Buxtehude harpsichord suites about adding the ornamentation, he finds natural.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 30, 2012, 11:00:34 AM
Quote from: (: premont :) on October 29, 2012, 03:15:50 PM
The only thing I have seen IIRC is a few words in the booklet to his recording of the Buxtehude harpsichord suites about adding the ornamentation, he finds natural.

Aha. He's improvising those ornaments spontaneously maybe, and he's putting himself right in the centre of the picture.  It's what he finds natural.  I once read that in orchestral music he encourages the performers to improvise.

In his Bach the ornamentation seems to lighten the music up, make it more fun, less solemn.

In the Buxtehude suites  that may be spot on because they were just domestic pieces I think, written for friends who wanted something to play at home. In the  AoF or The Goldbergs you  lose something aesthetically -- you lose some  of the feeling, depth. But you gain  a sort of dancing nonchalance.  Anyway I suspect that where he's coming from is so far away from Leonhardt, Gilbert etc that they're incommensurable.

By the way I haven't heard his Buxtehude suites -- I've only heard Mortensen.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 30, 2012, 01:09:09 PM
Quote from: Mandryka on October 30, 2012, 11:00:34 AM
In his Bach the ornamentation seems to lighten the music up, make it more fun, less solemn.

In the Buxtehude suites  that may be spot on because they were just domestic pieces I think, written for friends who wanted something to play at home. In the  AoF or The Goldbergs you  lose something aesthetically -- you lose some  of the feeling, depth. But you gain  a sort of dancing nonchalance.  Anyway I suspect that where he's coming from is so far away from Leonhardt, Gilbert etc that they're incommensurable.

I agree very much with this. The Koopman problem is, that he even adds voluptouos ornamentation in abundance to music, which is best served without it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dinkle on October 30, 2012, 04:34:14 PM
Quote from: milk on October 19, 2012, 07:36:15 AM
Just to throw this out there:

Thank you.  I've picked up the Skip Sempe L. Couperin so far and was impressed, not that I had a point of reference for those works.

However, I then acquired Richard Egarr's Complete Harpsichord works for L. Couperin, and having read some criticisms here in advance I found myself hearing many of the same less-desirable qualities (though I tried not to do this automatically).  It feels slow and to me has an opaque quality to it, and I'm much more likely to return to the Skip Sempe in the near future.

Does anyone know how Simone Stella's Buxtehude recordings are regarded, or which are the best?  I keep coming back to a certain suite at the moment (BuxWV237) and I'm interested to hear some other recordings.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on October 30, 2012, 10:42:34 PM
Quote from: Dinkle on October 30, 2012, 04:34:14 PM
However, I then acquired Richard Egarr's Complete Harpsichord works for L. Couperin, and having read some criticisms here in advance I found myself hearing many of the same less-desirable qualities (though I tried not to do this automatically).  It feels slow and to me has an opaque quality to it, and I'm much more likely to return to the Skip Sempe in the near future.

Didn't get Egarr, but I'm not surprised. Try Rousset's set. Most here opted for Egarr, but I am mightily impressed with Rousset's Louis Couperin. Sounds different from what you migh expect from Rousset (his style is ussually on the flashy, "brilliant" side). This set is one of his best recordings ever IMO. Quite intense and well considered.

QuoteDoes anyone know how Simone Stella's Buxtehude recordings are regarded, or which are the best?  I keep coming back to a certain suite at the moment (BuxWV237) and I'm interested to hear some other recordings.

Stella is superb. Would definitely choose it over Mortensen (DaCapo/Naxos). But haven't been able to compare it to Koopman, who should have, given his background, a different approach than the Italian(ate) Stella. I would expect Stella to hold his ground in his own right - what a gifted player! :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 04, 2012, 12:44:17 AM
Quote from: Que on October 30, 2012, 10:42:34 PM
Stella is superb. Would definitely choose it over Mortensen (DaCapo/Naxos).


I feel the opposite in fact: I would definitely choose Mortensen over Stella in the suites at least. Mortensen less vigorous and more introspective, which I prefer.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on November 04, 2012, 01:58:15 AM
Quote from: Mandryka on November 04, 2012, 12:44:17 AM
[...] Mortensen less vigorous and more introspective, [...]

Absolutely, agreed. :) But I've become more and more aware of Buxtehude "wild" side - him being an representative of the Stylus Phanstasticus (http://en.wikipedia.org/wiki/Stylus_fantasticus). I've grown to like a more extraverted approach.
What could be held against Stella, is that his interpretation has a slight Italianate twist. But I don't mind that at all.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 04, 2012, 01:35:37 AM
The hard thing about Buxtehude for me, Que, has to do with balance. Yes, I like the wild improvised feeling of the stylus phantasticus, but I really don't want that to result in muscular performances, performances which are mainly about exciting physical virtuosity. Neither would I want something that's too limp-wristed.  You've got to combine the phatasticus  with the spiritual.

Re the harpsichord suites in particular, I'm not sure that they really are examples of stylus phantasticus.

I'm not saying, by the way, that Stella is too muscular -- he's good. I'm just making a general point.

The same problems arise for Liszt, and maybe for middle period Beethoven. Scarlatti too maybe.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 04, 2012, 03:31:56 AM
Quote from: Mandryka on November 04, 2012, 01:35:37 AM
Re the harpsichord suites in particular, I'm not sure that they really are examples of stylus phantasticus.

You are right here. Allemandes, courantes, sarabandes and gigues et.c. are measured, metrical, stylized dances wthout much hint of stylus phantasticus.
A prelude to a suite might imply stylus phantasticus, but Buxtehudes suites contain no preludes. These probably had to be improvised. Unfortunately neither Mortensen nor Stella do so.
We may probably wait for Siegbert Rampe to do this, - sooner or later he is bound to record the Buxtehude suites.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on November 04, 2012, 05:21:03 AM
Quote from: Mandryka on November 04, 2012, 01:35:37 AM
The hard thing about Buxtehude for me, Que, has to do with balance. Yes, I like the wild improvised feeling of the stylus phantasticus, but I really don't want that to result in muscular performances, performances which are mainly about exciting physical virtuosity. Neither would I want something that's too limp-wristed.  You've got to combine the phatasticus  with the spiritual.

Definitely exciting physical virtuosity with Stella, whether is is too much is up to personal taste. I certainly understand your feeling about it. :)

QuoteRe the harpsichord suites in particular, I'm not sure that they really are examples of stylus phantasticus.

As Premont points out as well. Quite so. It was more of a general observation about my image of Buxtehude as a composer, not implying that these pieces should be played as if particularly in that style.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on December 09, 2012, 04:58:51 AM
I saw Celine Frisch play some Bach yesterday, the second half of WTC 1 mostly. It's going to be broadcast by France musique or France culture soon I believe.  Impeccable playing which moved from bravura to contemplation as she felt the music demanded. She used a repro Silbermann which sounded nice -- resounded in fact.

I also saw Skip Sempe play on Friday -- suites of his own making composed from short pieces by various members of the Couperin family, Rameau, D'anglebert and others. I think he's one of the great musicians of our time and this concert confirmed my opinion.

Frisch played in a swish modern theatre in Montmartre. It was pretty full -- at least 350 people I would say. She's glamorous, charismatic -- she smiles, she joked with some guy who had a coughing fit, she looks great.The acoustics were great -- I was in the balcony and it was like I was right next to her instrument.

Sempe was in a beautiful  protestant church near the Chatelet. He was completely uncharismatic -- he hardly cast a glimpse at the audience as he shuffled on an off, he remained rigid as he played his  harpsichord. 50 people max came to hear him. It was freezing cold in the uncomfortable box pews  and the acoustics was lousy -- I was four rows from the front and it was like I was listening through a wall ( I exaggerate -- but only slightly) The sirens of police or ambulance vehicles could be heard frequently as they hurtled down Rue des Archives.

Sempe was more restrained than I had been expecting from his CDs of Scarlatti and Couperin and Bach; Frisch was deeper than I had expected from her records with Cafe Zimmerman and her Goldbergs. Maybe I don't do justice to either artists on record there -- during both concerts I kept thinking that I don't do either a favour because I play both too loudly at home. How to capture that sound of a harpsichord?

Sempe wrote a programme note where he talked about how for him baroque music is about juxtaposing highly energetic music with more "tasteful" must (or roughly that -- I kept the programme but it's not to hand right now.)  I kept thinking in the concert that this is what I want from Haydn performances, that the best interpreters bring out this in Haydn's music.

It really is alive in Paris for baroque!
Title: Re: General Harpsichord and Clavichord Thread
Post by: petrarch on December 09, 2012, 05:53:15 AM
Quote from: Mandryka on December 09, 2012, 04:58:51 AM
It really is alive in Paris for baroque!

That must have been awesome--two of my favorite harpsichordists!

When I listen to music I play it at concert level, judged roughly by ear. There is a sweet spot in volume level that makes the instruments "just right" in size, position on the "stage", relative position with respect to each other and venue ambience.
Title: Re: General Harpsichord and Clavichord Thread
Post by: snyprrr on January 26, 2013, 11:58:50 AM
Nicolas Roussakis Sonata for Harpsichord (1967)

This may be the single best Modern 'Sonata' I've heard for the harpsichord. I have as yet to hear the Persichetti, but I can't imagine it being as gutsy as this one.

It's in four movements, and there's nothing special per se, but, Roussakis does appear to put great care into his piece, and for those who are in dire need of Modern Harpsichord, I can't think of a more substantial piece. Mind you, this is NOT Xenakis or Tiensuu. This is more like a perfect Serialist/Bartokian Sonata, with real meat. Each movement also has a different sound, which works to the advantage of whatever music is being presented.

I do look in vain for things beyond Barbara Harbach, but this one just can't out-of-the-blue. Take my word, here's one to stand next to Persichetti.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Wakefield on January 27, 2013, 09:05:17 AM
Quote from: (: premont :) on October 29, 2012, 03:15:50 PM
The only thing I have seen IIRC is a few words in the booklet to his recording of the Buxtehude harpsichord suites about adding the ornamentation, he finds natural.

Talking about ornamentation and all kind of rhetorical figures, did you listen to the Goldbergs by Blandine Rannou?  :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: snyprrr on January 27, 2013, 10:24:09 AM
Quote from: snyprrr on January 26, 2013, 11:58:50 AM
Nicolas Roussakis Sonata for Harpsichord (1967)

This may be the single best Modern 'Sonata' I've heard for the harpsichord. I have as yet to hear the Persichetti, but I can't imagine it being as gutsy as this one.

It's in four movements, and there's nothing special per se, but, Roussakis does appear to put great care into his piece, and for those who are in dire need of Modern Harpsichord, I can't think of a more substantial piece. Mind you, this is NOT Xenakis or Tiensuu. This is more like a perfect Serialist/Bartokian Sonata, with real meat. Each movement also has a different sound, which works to the advantage of whatever music is being presented.

I do look in vain for things beyond Barbara Harbach, but this one just can't out-of-the-blue. Take my word, here's one to stand next to Persichetti.

Oy! I KNEW this wouldn't go over well on this Thread, haha!! ::)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 04, 2013, 12:33:13 PM
I'm trying to explore C P E Bach's Empfindsamkeit style music, but I'm finding it real hard to find good recordings. I have Van Asperen's CDs of Prussian and Wuttenburg sonatas, where you catch occasional glimpses of this style, in Wuttenburg 6 for example, but I think I need to go to later music to find him at his most astonishing. The sonatas with varied repeats maybe. Anyway, if you've found good performances on record , please let me know, because I like the music a lot -- also non keyboard stuff in Empfindsamkeit style.

Here's a lovely recording by Lena Jaconson -- this is the sort of thing I like.

http://www.youtube.com/v/e8odcZnXe7k&list=UUcgeR8s_FhF5kTZhca_Eq_g


Lena Jaconson has a lot of very fine stuff on youtube -- not just Buxtehude and Scarlatti but also Chopin, Brahms and Beethoven.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 04, 2013, 12:44:24 PM
Quote from: Mandryka on March 04, 2013, 12:33:13 PM
I'm trying to explore C P E Bach's Empfindsamkeit style music, but I'm finding it real hard to find good recordings. I have Van Asperen's CDs of Prussian and Wuttenburg sonatas, where you catch occasional glimpses of this style, in Wuttenburg 6 for example, but I think I need to go to later music to find him at his most astonishing. The sonatas with varied repeats maybe. Anyway, if you've found good performances on record , please let me know, because I like the music a lot -- also non keyboard stuff in Empfindsamkeit style.

Here's a lovely recording by Lena Jaconson -- this is the sort of thing I like.

http://www.youtube.com/v/e8odcZnXe7k&list=UUcgeR8s_FhF5kTZhca_Eq_g


Lena Jaconson has a lot of very fine stuff on youtube -- not just Buxtehude and Scarlatti but also Chopin, Brahms and Beethoven.

You don't mean 'on record' literally, I take it? Just 'recorded'? 

Anyway, by far my favorite CPE Bach keyboard is Miklos Spanyi on BIS. It's on clavichord, which it should be, and he is excellent. There are ~ 20+ volumes to choose from, you might try one out.

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 05, 2013, 05:28:53 AM
Quote from: Gordon Shumway on January 27, 2013, 09:05:17 AM
Talking about ornamentation and all kind of rhetorical figures, did you listen to the Goldbergs by Blandine Rannou?  :)

Her (awkward?) ornamentation in the Goldberg´s recording has been discussed in this forum, and based upon this I decided to pass her Goldberg´s by.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 05, 2013, 07:35:22 AM
(http://ecx.images-amazon.com/images/I/61f8w4wz7kL._SL500_SX300_.jpg)

I played this one today -- I think the music is Empfindsamkeit style, it certainly has some of the unpredictability that I like so much.

I thought the performance was a bit workmanlike -- this is great music, it's a shame that a great keyboard pianist hasn't recorded it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 05, 2013, 10:20:32 AM
Quote from: Mandryka on March 05, 2013, 07:35:22 AM
(http://ecx.images-amazon.com/images/I/61f8w4wz7kL._SL500_SX300_.jpg)

I played this one today -- I think the music is Empfindsamkeit style, it certainly has some of the unpredictability that I like so much.

I thought the performance was a bit workmanlike -- this is great music, it's a shame that a great keyboard pianist hasn't recorded it.

You should ask in a piano oriented thread; it is entirely possible that a pianist HAS recorded it. Mostly people like me who haunt this thread; I, for one, wouldn't have any idea about that. It is clavichord music, after all.... :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 05, 2013, 11:25:35 AM
I don't have a problem with the instrument, I should have said keyboard artist rather than pianist.

Having said that I don't think Spanyi makes his  clavichord sound as nice as the one that Leonhardt uses for Boehm or Kirkpatrick uses for WTC. And it doesn't  sound as nasty as the one(s?) that Hogwood uses for J S Bach, Mozart and Handel.

I know that some of CPE Bach's keyboard music was writen for clavichord - but all of it?  I'd always assumed not since Staier for one uses piano and harosichord. I know CPEB liked the clavichord.

Hogwood recorded some CPEB solo keyboard music. Has anyone heard the recording?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 05, 2013, 12:17:29 PM
Quote from: Mandryka on March 05, 2013, 11:25:35 AM
I don't have a problem with the instrument, I should have said keyboard artist rather than pianist.

Having said that I don't think Spanyi makes his  clavichord sound as nice as the one that Leonhardt uses for Boehm or Kirkpatrick uses for WTC. And it doesn't  sound as nasty as the one(s?) that Hogwood uses for J S Bach, Mozart and Handel.

I know that some of CPE Bach's keyboard music was writen for clavichord - but all of it?  I'd always assumed not since Staier for one uses piano and harosichord. I know CPEB liked the clavichord.

Hogwood recorded some CPEB solo keyboard music. Has anyone heard the recording?

Ah, I misunderstood you. Well, CPEB was very partial to the clavichord. He wrote pretty much all of it ON a clavichord and recommended its use, however, I don't know that he was adamantly opposed to other keyboard types.

I have that Hogwood recording. Not here at work with me though. Tonight when I get home I will play it again (it has been a couple of years) and report back. I certainly have no recollection of disliking the sound of his instrument though. There are so many different kinds of clavichords, and each one seems unique in many aspects. Moreso than fortepianos or cembalos, and way more than modern pianos.  :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 05, 2013, 12:31:58 PM
Quote from: sanantonio on March 05, 2013, 12:26:56 PM
The problem, as I understand it, is not the instrument itself, but recording it. 

Since it has such a delicate and soft sound, recording engineers try to increase the presence and end up capturing more than is naturally heard of the internal mechanism.  To counter-balance this, they employ equalization and and other effects in an attempt to weed out the unwanted sounds.  This so distorts the sound of the instrument that it is rare for it to come across on recordings as it really sounds. 

I too have not heard Hogwood's recordings is a while and don't remember them well enough to say what kind of job the recording engineers did.

I have always for myself, and recommended to several others, to listen at a lower volume than you would to regular music. This is very effective in eliminating the noise of the tangents and other internal mechanisms. Once the music starts, it only takes a short time before you can easily be accustomed to the quiet. That's what the instrument is about anyway, might as well go with it. :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 05, 2013, 12:54:48 PM
Quote from: sanantonio on March 05, 2013, 12:40:35 PM
Richard Troeger's recordings of Bach, I think, are some of the best clavichord (sounding). 

[asin]B00000JCG6[/asin]

He's also done the WTC Art of Fugue and other keyboard works.

Yep. I have his Toccatas disk from that series. It sounds very nice. :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 05, 2013, 04:02:18 PM
Thanks, Mandryka, for reminding me of this disk;

(http://i202.photobucket.com/albums/aa159/Gurn_Blanston/CPEHogwoodback_zpsc7a235ba.jpg)(http://i202.photobucket.com/albums/aa159/Gurn_Blanston/CPEHogwoodfront_zps74dc6dd3.jpg)

Of course, sound of an instrument is so subjective that my own take on this may not match yours, but I think this is a great sounding disk. As mentioned earlier, I do play it at low volume, and the various mechanisms are silent, nothing but music. :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: SonicMan46 on March 05, 2013, 04:24:06 PM
Quote from: sanantonio on March 05, 2013, 12:40:35 PM
Richard Troeger's recordings of Bach, I think, are some of the best clavichord (sounding). 

(http://ecx.images-amazon.com/images/I/61DD7FBC0XL.jpg)  (http://jazzland.ty.land.to/jazzland/Oscar_Peterson_and_Joe_Pass_Porgy_and_Bess.jpg)

He's also done the WTC Art of Fugue and other keyboard works.

Well All!  I really like the clavichord but recording the instrument is not easy - I have a number of clavichord recordings and really enjoy - would love to obtain some of Bach's music w/ Troegner; BUT, where to start? 

BTW, a 'clavichord' recording that I've loved and enjoyed for years is added above - the sound of the instrument is recorded beautifully by Pablo - Dave :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 05, 2013, 04:34:01 PM
This is the one I have, Dave. Back when I got it (6 or 7 years?) it was readily available. I like it because I like the toccatas. :)

(http://i202.photobucket.com/albums/aa159/Gurn_Blanston/BachJSToccatacover_zps0a430833.jpg)

And as San says, he uses a nice sounding clavichord in there too.

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 06, 2013, 10:19:33 AM
Re CPEB,  although some of the symphonies are rhythmically surprising, and sometimes change dynamics and mood quite unexpectedly, I don't think I've heard any of his  music quite as harmonically savoury and tangy  as, for example, the 6th Wuttenberg sonata, at least as Bob van Asperen plays it. Of course I've only scratched the surface, and I'm sure that real CPEB experts will find the idea risible

Maybe those Wuttenburg sonatas are a sort of high point of some sort of style, though whether it's rightly called
Empfindsamkeit isn't clear to me.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 06, 2013, 10:56:41 AM
Well, you know, those works were composed in 1742, which is significantly earlier than what would become the pre-Classical Empfindsamkeit. Maybe they would be pre-Empfindsam?  :)

I'm no expert on CPEB either, although I have dozens of his CD's. I just haven't had time to explore his personal history. But I would expect them to be probably the beginnings of a style that would flourish in the 1750's and '60's rather than ideal exemplars of a full-blown style. I will say this, though, they are the works that made him famous. The ones on that Hogwood disk I pictured above are from the 1750's and probably more developed along the lines you seem interested in. :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 06, 2013, 12:49:45 PM
Here's the Hogwood wq 63 CD on youtube

http://www.youtube.com/v/I6tjAEDs4sA

Goverts's CD is on spotify.

It looks as though I have some listening to do  :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on March 06, 2013, 09:34:47 PM
Quote from: Gurn Blanston on March 05, 2013, 12:31:58 PM
I have always for myself, and recommended to several others, to listen at a lower volume than you would to regular music. This is very effective in eliminating the noise of the tangents and other internal mechanisms. Once the music starts, it only takes a short time before you can easily be accustomed to the quiet. That's what the instrument is about anyway, might as well go with it. :)

8)
I went to a clavichord concert a few years ago. The clavichordist explained that hearing it is like seeing in the dark: after a few moments your eyes adjust. I found that was true. At first, it was unbelievably quiet but my ears adjusted, as it were.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on March 06, 2013, 10:02:50 PM
Quote from: sanantonio on March 05, 2013, 12:40:35 PM
Richard Troeger's recordings of Bach, I think, are some of the best clavichord (sounding). 

[asin]B00000JCG6[/asin]

He's also done the WTC Art of Fugue and other keyboard works.
I've never been able to able to fall in love with Troeger's AOF. However, I was just enjoying comparing Troeger's Chromatic Fantasy to Robert Hill's. They both perform on clavichords. Troeger's instrument is really something. It's very metallic and earthy sounding, much different than Hill's. The performances are quite different as well, quite a contrast - on the whole. Hill is very dreamy - he makes me feel like I'm floating though space. Whatever happened to Troeger anyway? I can't find any information about him anywhere. He seems to have just stopped. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 07, 2013, 09:26:58 AM
Quote from: Gurn Blanston on March 06, 2013, 10:56:41 AM
Well, you know, those works were composed in 1742, which is significantly earlier than what would become the pre-Classical Empfindsamkeit. Maybe they would be pre-Empfindsam?  :)

I'm no expert on CPEB either, although I have dozens of his CD's. I just haven't had time to explore his personal history. But I would expect them to be probably the beginnings of a style that would flourish in the 1750's and '60's rather than ideal exemplars of a full-blown style. I will say this, though, they are the works that made him famous. The ones on that Hogwood disk I pictured above are from the 1750's and probably more developed along the lines you seem interested in. :)

8)

I like Hogwood's style in wq 63. I especially like wq 63/4. I suppose that the Probe-Stücke are examples of music in different styles, and only some (one?) are  in the harmonically rich style of Wuttenburg 6. I suppose I'd better try and get hold of a copy of the  Essay on the True Manner of Playing Keyboard Instruments
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 07, 2013, 09:48:14 AM
Quote from: milk on March 06, 2013, 10:02:50 PM
I've never been able to able to fall in love with Troeger's AOF. However, I was just enjoying comparing Troeger's Chromatic Fantasy to Robert Hill's. They both perform on clavichords. Troeger's instrument is really something. It's very metallic and earthy sounding, much different than Hill's. The performances are quite different as well, quite a contrast - on the whole. Hill is very dreamy - he makes me feel like I'm floating though space. Whatever happened to Troeger anyway? I can't find any information about him anywhere. He seems to have just stopped.

Where is Hill's recording of the Chromatic Fantasie on a clavichord -- I'd like to hear it?

Here's Hill on a clavichord playing a CPEB fantasie, a stunning performance IMO, of a stunning piece of music.

http://www.youtube.com/v/X53TvVY4_BY
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 07, 2013, 11:21:35 AM
Quote from: Mandryka on March 07, 2013, 09:48:14 AM
Where is Hill's recording of the Chromatic Fantasie on a clavichord -- I'd like to hear it?
It is contained in the Haenssler cpt. Bach edition.

Hill recorded for this edition the BWV 903 on a harpsichord, but a variant (BWV 903a) on a clavichord.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 07, 2013, 09:13:13 PM
There's a CD on spotify called "C.P.E. Bach: Rêveries pour connaisseurs et amateurs" by Jocelyne Cuiller which is stuffed with delicious music, more in the style I like than most of the wq63 sonatas, and played on a real nice sounding clavichord, with no nasty buzzing bass.

That CD has led me to think that I really need to hear the music CPEB wrote "Für Kenner und liebhaber", so I've ordered a big box by Gabor Antallfy, which is reviewed very positively by someone who sounds quite informed (or more informed than me) on amazon.co.uk. ( The CD, by the way, is very cheap through amazon.de. The German site is often seriously  cheaper than anywhere else, I've no idea why.)

(http://o.scdn.co/300/1a91b5569f57a42437227a13ac830460894b17cf) (http://nsm03.casimages.com/img/2010/05/12//100512085314687116018532.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on March 08, 2013, 04:44:14 AM
While we're at it, I'd like to put in a good word for this recording. He also uses an appealing instrument and he's a sensitive performer. (http://www.resmusica.com/wp-content/uploads/2010/01/herisson_cpebach_dupouy.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on March 09, 2013, 07:23:24 PM
This may belong in the Bach thread but since there is a discussion of clavichord recordings I thought I'd bring attention to this new one:
(http://cps-static.rovicorp.com/3/JPG_250/MI0003/481/MI0003481178.jpg?partner=allrovi.com)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 10, 2013, 08:38:18 AM
Lovers of New Wave may well like this wonderful CD from a new kid on the block, Leonardo Carrieri, which I found on spotify:

(http://ecx.images-amazon.com/images/I/41jz6JfTFmL._SL500_AA280_.jpg)

The agogics are strong but seem so natural you hardly notice that the flow is interrupted till you compare with other performers. The instrument sounds nice to me. He doesn't make it too lyrical --you know, the counterpoint is clear and not masked for the sake of bringing out the tunes. Bravura is avoided -- I think that's all to the good in Scarlatti. This is a contemplative musician , not a muscle man.

Leonardo Carrieri is a prof in Italy, where he was a student of Claudio Astronio. It wouldn't surprise me if the teacher has left a strong mark on him -- I'm going to listen to some Astronio tonight to see.

There's tons of stuff on youtube which I'm looking forward to sampling.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on March 10, 2013, 07:46:42 PM
Quote from: Mandryka on March 07, 2013, 09:13:13 PM
There's a CD on spotify called "C.P.E. Bach: Rêveries pour connaisseurs et amateurs" by Jocelyne Cuiller which is stuffed with delicious music, more in the style I like than most of the wq63 sonatas, and played on a real nice sounding clavichord, with no nasty buzzing bass.

That CD has led me to think that I really need to hear the music CPEB wrote "Für Kenner und liebhaber", so I've ordered a big box by Gabor Antallfy, which is reviewed very positively by someone who sounds quite informed (or more informed than me) on amazon.co.uk. ( The CD, by the way, is very cheap through amazon.de. The German site is often seriously  cheaper than anywhere else, I've no idea why.)

(http://o.scdn.co/300/1a91b5569f57a42437227a13ac830460894b17cf) (http://nsm03.casimages.com/img/2010/05/12//100512085314687116018532.jpg)
Cuiller really brings out the drama in CPE. Very interesting recording!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 10, 2013, 10:23:29 PM
What I like about the music in that Cuiller CD is that the drama comes from harmonic colour. It reminds me of Gesualdo. Cuiller has recorded another CD of CPEB sonatas -- this time the music seems more conventionally Sturm und Drang, but that's not a problem. Some of them sound very much like Haydn. It's clear to me that CPEB is a major composer of keyboard music, probably of other stuff too -- he doesn't deserve his bad reputation at all.

(http://ecx.images-amazon.com/images/I/51peDi2DxHL._SL500_AA300_.jpg)

Yukio, by the way, is Yukio Mishima. Cuiller argues that there's a strong affinity between Mishima and CPEB. I like that sort of thing!
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on March 11, 2013, 02:54:37 AM
Quote from: Mandryka on March 10, 2013, 10:23:29 PM
What I like about the music in that Cuiller CD is that the drama comes from harmonic colour. It reminds me of Gesualdo. Cuiller has recorded another CD of CPEB sonatas -- this time the music seems more conventionally Sturm und Drang, but that's not a problem. Some of them sound very much like Haydn. It's clear to me that CPEB is a major composer of keyboard music, probably of other stuff too -- he doesn't deserve his bad reputation at all.

(http://ecx.images-amazon.com/images/I/51peDi2DxHL._SL500_AA300_.jpg)

Yukio, by the way, is Yukio Mishima. Cuiller argues that there's a strong affinity between Mishima and CPEB. I like that sort of thing!
How very strange! I've come to really dislike Mishima. But I won't hold it against Cuiller.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on March 11, 2013, 05:41:44 AM
Quote from: sanantonio on March 11, 2013, 05:19:06 AM
I didn't realize he had a bad reputation.

???

I was going to say that. I have never heard anything but high praise for CPE. Every keyboard composer through Beethoven attributed their basic understanding of the Art to CPE.  :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 11, 2013, 08:04:23 AM
Schumann was negative about him. If you go to the CPEB thread here you'll see some negative suggestions.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on May 17, 2013, 02:00:46 PM
(http://ecx.images-amazon.com/images/I/51O7I4ytoTL._SY300_.jpg)

This is a great one for the CPE Bach fans to look into.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Karl Henning on May 21, 2013, 10:18:58 AM
Quote from: Mandryka on March 11, 2013, 08:04:23 AM
Schumann was negative about him.

Well, you can't take as minted gold the negative opinion of one of those flighty Romantics.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on May 21, 2013, 10:28:06 AM
Quote from: sanantonio on March 11, 2013, 08:37:23 AM
I can't get to the C.P.E. Bach thread, I get this message:

The topic or board you are looking for appears to be either missing or off limits to you.

Although I thoroughly enjoy and respect Robert Schumann as a composer, I am unswayed by his opinion.  C.P.E. Bach is (IMHO) a very important composer who is, unfortunately, underrated.

:)

See if this link helps;

http://www.good-music-guide.com/community/index.php/topic,10407.0.html

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on May 21, 2013, 11:10:08 AM
Quote from: sanantonio on May 21, 2013, 10:32:45 AM
Works; thanks, Gurn.  Don't know what was going on when I posted my earlier trouble getting in.

:)

Weren't holding your tongue right is all... :)

The key to unlocking CPE Bach has eluded many men.  :D

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on May 21, 2013, 12:20:58 PM
Quote from: sanantonio on May 21, 2013, 11:31:58 AM
The problem is that the CPE Bach link in the Composer Index is broken.  It is a different URL from the one you posted:

http://www.good-music-guide.com/community/index.php/topic,13178.0.html

And leads to the error message.

Is there anyway to edit the bad link with the one that works?

Sure.

*fiddles about*

Done!

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on May 21, 2013, 09:07:34 PM
A review I was reading contained this observation: Pay close attention to this recording, and you will hear the sound of a canary (or some such songbird) trilling along to the music. I could readily imagine what he was referring to, as I have many times heard something that would fit that description quite well and wondered what it was. Is it some part of mechanism of the instrument that's making the sound?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Gurn Blanston on May 22, 2013, 04:10:45 AM
Quote from: Opus106 on May 21, 2013, 09:07:34 PM
A review I was reading contained this observation: Pay close attention to this recording, and you will hear the sound of a canary (or some such songbird) trilling along to the music. I could readily imagine what he was referring to, as I have many times heard something that would fit that description quite well and wondered what it was. Is it some part of mechanism of the instrument that's making the sound?

Is it a harpsichord or a clavichord, Nav? They operate on entirely different principles, and I can't think of a way that the harpsichord could make that sort of sound, but a fretless clavichord might. :)

8)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Opus106 on May 22, 2013, 06:01:12 AM
Quote from: Gurn Blanston on May 22, 2013, 04:10:45 AM
Is it a harpsichord or a clavichord, Nav? They operate on entirely different principles, and I can't think of a way that the harpsichord could make that sort of sound, but a fretless clavichord might. :)

8)

I usually hear it in recordings involving harpsichords, and the review refers to one as well. (I'll see if I can upload a sample/find a YouTube link.)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 02, 2014, 10:01:23 PM
I'm intrigued by this disc with early Italian harpsichord music and the samples sound good - anyone familiar with this recording or composer? :)

[asin]B0027029NM[/asin]

Review Johan van Veen (http://www.musica-dei-donum.org/cd_reviews/Christophorus_CHR77307.html)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on January 09, 2014, 05:32:02 AM
I've been reading through this thread out of curiosity. I know pretty much nothing about the topic.  I do know the name Leonhardt,  however, and I think he's only mentioned once in this thread so far.  Is there any reason? Like A). Everyone knows he's awesome so we don't even need to mention him, or B). He's a tedious reactionary dinosaur and we refuse to sully the pages of this thread with his name...

   I hope it's not B), because after reading about the topic here and having my curiosity piqued, I bought his 15 disc Sony box.  It should be here in a week or two.  Should I be excited-- or cursing my rashness :(
Title: Re: General Harpsichord and Clavichord Thread
Post by: Karl Henning on January 09, 2014, 05:36:58 AM
I like that box a great deal.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on January 09, 2014, 05:52:24 AM
Quote from: karlhenning on January 09, 2014, 05:36:58 AM
I like that box a great deal.

   Good to know [imagine icon sighing with relief here]. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 10, 2014, 03:05:57 AM
Quote from: Baklavaboy on January 09, 2014, 05:32:02 AM
I've been reading through this thread out of curiosity. I know pretty much nothing about the topic.  I do know the name Leonhardt,  however, and I think he's only mentioned once in this thread so far.  Is there any reason? Like A). Everyone knows he's awesome so we don't even need to mention him, or B). He's a tedious reactionary dinosaur and we refuse to sully the pages of this thread with his name...

   I hope it's not B), because after reading about the topic here and having my curiosity piqued, I bought his 15 disc Sony box.  It should be here in a week or two.  Should I be excited-- or cursing my rashness :(
I think you'll find that if you search the site, instead of just the thread, he's mentioned quite a lot.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on January 10, 2014, 03:19:23 AM
Quote from: milk on January 10, 2014, 03:05:57 AM
I think you'll find that if you search the site, instead of just the thread, he's mentioned quite a lot.

   I guess I've been lurking in the wrong places ;)   Actually, my friend Billy Torrential just helped me get a copy of the Teldec/Das Altewerk box, and I'm pretty impressed.  As often seems to be the case these days, it's almost too much of a good thing--there aren't enough hours in the day to listen to everything.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 10, 2014, 03:42:31 AM
Quote from: Baklavaboy on January 10, 2014, 03:19:23 AM
   I guess I've been lurking in the wrong places ;)   Actually, my friend Billy Torrential just helped me get a copy of the Teldec/Das Altewerk box, and I'm pretty impressed.  As often seems to be the case these days, it's almost too much of a good thing--there aren't enough hours in the day to listen to everything.
His English Suites, WTC (I&II), Partitas, and (versions of) Goldberg Variations are all wonderful. I'm not sure I've ever seen anyone disagree with that view on this site. I think his French Suites are fine as well. I don't seem to get around to some of the other recordings as much as I want to. I have some recordings with fine performances of Rameau, the Couperins, etc.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 21, 2014, 09:11:48 PM
Interesting essay on notes inégales and afekt here, I believe it was originally part of a fetschcrift for Harald Vogel


http://www.musicalratio.com/gpage.html
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 24, 2014, 10:08:36 AM
Thanks, Mandryka, for sharing this essay, which I shall study attentively.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 29, 2014, 12:40:10 AM
Breaking in this box set right away!  :) Unlike some other Naïve box sets, it is not a cardboard sleeve around the original issues but the familiar slimline cardboard box (separate lid, like a shoe box) with the discs in paper sleeves. A thick booklet with full liner notes, though! :o :) Hurray for Naïve! :) A class act.



(http://ecx.images-amazon.com/images/I/519SNaKBU1L.jpg)  [asin]B00EO7XQ2E[/asin]

This is Hantaï's 1st recording from 1992. After a while into this recording I was all ready to confess that I did not understand why this recording many years did not appeal to me, it sounds that great. But, a bit further into the recording some doubts crept in. Though the way I hear this recording has undoubtedly changed and I appreciate it considerably better, I can also hear where the reservations came from. Hantaï approach is fresh (and must have sounded even more so in 1992) and adventurous, but as a whole there is some unevenness: many brilliant moments with occassional quirky moments and notably in the brisker passages I feel he glosses over with sloppy phrasing. But definitely an impressive achievement which makes me more eager investigate his later recording on Mirare. Others have taking many things I hear in this recording further and in a more consistent way, but what remains here is the sheer energy and freshness and several brilliant insights.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 29, 2014, 09:20:11 AM
Quote from: Que on January 29, 2014, 12:40:10 AM
Breaking in this box set right away!  :) Unlike some other Naïve box sets, it is not a cardboard sleeve around the original issues but the familiar slimline cardboard box (separate lid, like a shoe box) with the discs in paper sleeves. A thick booklet with full liner notes, though! :o :) Hurray for Naïve! :) A class act.



(http://ecx.images-amazon.com/images/I/519SNaKBU1L.jpg)  [asin]B00EO7XQ2E[/asin]

This is Hantaï's 1st recording from 1992. After a while into this recording I was all ready to confess that I did not understand why this recording many years did not appeal to me, it sounds that great. But, a bit further into the recording some doubts crept in. Though the way I hear this recording has undoubtedly changed and I appreciate it considerably better, I can also hear where the reservations came from. Hantaï approach is fresh (and must have sounded even more so in 1992) and adventurous, but as a whole there is some unevenness: many brilliant moments with occassional quirky moments and notably in the brisker passages I feel he glosses over with sloppy phrasing. But definitely an impressive achievement which makes me more eager investigate his later recording on Mirare. Others have taking many things I hear in this recording further and in a more consistent way, but what remains here is the sheer energy and freshness and several brilliant insights.

Q

What I like about those early recordings is that they seem to pioneer a new harpsichord style, what I think of as the static electricity style. Like the music's full of jumpy little electric shocks of energy, spiky pin pricks and above all little buzzing noises in the lower voices. I hear it in Berben and sometimes in Glen wilson too -- I don't know who invented it. Maybe it's a reaction away from what Leonhardt did.

I think to some extent that static electricity style has had its day  now -- what I'm hearing from young cutting edge harpsichordists seems more singing.

In addition to the Bull, I'm keen on the Frescobaldi CD. Everyone seems to love his Scarlatti but I've never got into it -- the reason could be the choice of sonatas -- maybe I just don't much like the music.

I saw Hantai play some Bach just last week, and I couldn't help feeling that his way of playing had changed quite a bit. Less electric. But I may be wrong -- it was in chamber music.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 29, 2014, 09:30:27 AM
Quote from: Mandryka on January 29, 2014, 09:20:11 AM
What I like about those early recordings is that they seem to invent a new harpsichord style, what I think of as the static electricity style. Like the music's full of jumpy little electric shocks of energy, spiky pin pricks and above all little buzzing noises in the lower voices. No one else played harpsichord like that before as far as I know.

I think to some extent that static electricity style has had it's day  now -- what I'm hearing from young cutting edge harpsichordists seems more singing.

Interestingly and nicely put, and I quite agree.  :) It seems that after over half a century the revival of harpsichord playing has reached its heyday, and we are incredibly lucky to be able to witness it! :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 29, 2014, 09:31:52 AM
Quote from: Que on January 29, 2014, 09:30:27 AM
Interestingly and nicely put, and I quite agree.  :) It seems that after over half a century the revival of harpsichord playing has reached its heyday, and we are incredibly lucky to be able to witness it! :)

Q

I modified the post a bit because when I reread it "invent" didn't seem quite right.

And yes, we are lucky. I've felt that listening to WTC 2 recently. The sort of music making I'm hearing from Wilson and Asperen and Berben is sometimes quite astonishing and very exciting.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 29, 2014, 09:55:46 AM
Quote from: Mandryka on January 29, 2014, 09:20:11 AM
What I like about those early recordings is that they seem to pioneer a new harpsichord style, what I think of as the static electricity style. Like the music's full of jumpy little electric shocks of energy, spiky pin pricks and above all little buzzing noises in the lower voices. I hear it in Berben and sometimes in Glen wilson too -- I don't know who invented it. Maybe it's a reaction away from what Leonhardt did.

I think to some extent that static electricity style has had its day  now -- what I'm hearing from young cutting edge harpsichordists seems more singing.

In addition to the Bull, I'm keen on the Frescobaldi CD. Everyone seems to love his Scarlatti but I've never got into it -- the reason could be the choice of sonatas -- maybe I just don't much like the music.

I think the most obvious difference between Hantaï´s and Leonhardt´s style´s is Hantaï´s use of more pronounced agogics, in between resulting in a hectic and too "busy" expression. IMO he adds something interesting to Bach - particularly Bach´s earlier works (Toccatas e.g.), but his Scarlatti is much too busy and energetic to convince me. So nor am I a fan of his Scarlatti.

In Berben´s WTC (ca 1999) this kind of style results almost in a caricature, but Berben´s style has become much more balanced since these early days.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 29, 2014, 10:44:17 AM
Quote from: (: premont :) on January 29, 2014, 09:55:46 AM
I think the most obvious difference between Hantaï´s and Leonhardt´s style´s is Hantaï´s use of more pronounced agogics, in between resulting in a hectic and too "busy" expression. IMO he adds something interesting to Bach - particularly Bach´s earlier works (Toccatas e.g.), but his Scarlatti is much too busy and energetic to convince me. So nor am I a fan of his Scarlatti.

In Berben´s WTC (ca 1999) this kind of style results almost in a caricature, but Berben´s style has become much more balanced since these early days.

Yes and it was really that extreme quality in some of those Berben preludes and fugues which made me think that they were a reaction, as if he's trying to be as different from Leonhardt as it's possible to be.

Caricatural or not, I think he's very musical, you know. For me it's been quite revealing to hear that the music can be played like that.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 29, 2014, 10:22:41 PM
Quote from: (: premont :) on January 29, 2014, 09:55:46 AM
In Berben´s WTC (ca 1999) this kind of style results almost in a caricature, but Berben´s style has become much more balanced since these early days.

I have never heard it since it was in a larger box set, was it complete? :)

Anyway, I love Léon Berben (http://www.leonberben.org)'s work nowadays - he is on the verge of becoming on of the leading Bach interpreters IMO.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 30, 2014, 03:48:57 AM
Quote from: Que on January 29, 2014, 10:22:41 PM
I have never heard it since it was in a larger box set, was it complete? :)

Anyway, I love Léon Berben (http://www.leonberben.org)'s work nowadays - he is on the verge of becoming on of the leading Bach interpreters IMO.

Q

Yes, it is Book I and II complete. Whatever Berbens style looks like, the set is completely marred by an astonishing large number of wrong notes particularly in the modes with many accidentals but also elsewhere. I wonder if it is a live recording (nothing is mentioned about this on the sleve BTW).  I have to confess, that I parted with the set for that reason - large parts of it is really unlistenable.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 02, 2014, 07:09:38 AM
Quote from: (: premont :) on January 29, 2014, 09:55:46 AM
I think the most obvious difference between Hantaï´s and Leonhardt´s style´s is Hantaï´s use of more pronounced agogics, in between resulting in a hectic and too "busy" expression. IMO he adds something interesting to Bach - particularly Bach´s earlier works (Toccatas e.g.), but his Scarlatti is much too busy and energetic to convince me. So nor am I a fan of his Scarlatti.

In Berben´s WTC (ca 1999) this kind of style results almost in a caricature, but Berben´s style has become much more balanced since these early days.

I wonder whether you'd say that Glen Wilson verges on the caricatural too. What prompted the question was listening to BWV 886 (A-flat major WTC2),  There's a little falling motif in the bass voice which supports the high melody right from the start. Leonhardt and Chorzempa use it to make the music into something contemplative and noble, stately and elegant and beautiful. Especially Chorzempa. Wilson  turns it into a dangerous burr of metal, a static discharge from a Van der Graaf generator, so the music becomes  restless, dangerous, sharp and spiky. Berben too.

Such an enormous difference between Leonhardt and his pupils. Presumably both were taking their inspiration from ideas about contemporary articulation, ornamentation and tempo, I really don't know.
Title: Re: General Harpsichord and Clavichord Thread
Post by: PaulSC on February 02, 2014, 10:48:00 AM
Quote from: Mandryka on February 02, 2014, 07:09:38 AM
I wonder whether you'd say that Glen Wilson verges on the caricatural too. What prompted the question was listening to BWV 886 (A-flat major WTC2),  There's a little falling motif in the bass voice which supports the high melody right from the start. Leonhardt and Chorzempa use it to make the music into something contemplative and noble, stately and elegant and beautiful. Especially Chorzempa. Wilson  turns it into a dangerous burr of metal, a static discharge from a Van der Graaf generator, so the music becomes  restless, dangerous, sharp and spiky. Berben too.

Such an enormous difference between Leonhardt and his pupils. Presumably both were taking their inspiration from ideas about contemporary articulation, ornamentation and tempo, I really don't know.
If you're interested in extreme applications of agogic emphasis in 886, don't miss Suzuki's recording. Maybe it comes off a bit mannered if listened to back-to-back with more mainstream renditions; but I like the sway of the upper voices and the cascading effect of the bass motive.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 02, 2014, 09:26:59 PM
Quote from: PaulSC on February 02, 2014, 10:48:00 AM
If you're interested in extreme applications of agogic emphasis in 886, don't miss Suzuki's recording. Maybe it comes off a bit mannered if listened to back-to-back with more mainstream renditions; but I like the sway of the upper voices and the cascading effect of the bass motive.

Yes, I'd listened to what Suzuki does with the prelude. I didn't get as much pleasure from it as you, I have to say. Jaroslav Tüma is as imaginative with agogic hesitations as Suzuki and I think his performance is more poetic (even though he takes it very slowly, and i'm not totally convinced that, at the end of the day, he finds the resources to justify the tempo.)

I'll just mention that the strangest, the most disconcerting,  886 prelude I've heard is Blandine Verlet's. She keeps changing the tempo. I thought the performance was random and ugly.
Title: Re: General Harpsichord and Clavichord Thread
Post by: early grey on February 09, 2014, 08:14:18 AM
I've had a go at some difficult 78s of Bach harpsichord music. They either have high surface noise levels or booming low frequencies and the restoration procedure has been more intrusive and varied than usual. I'm wondering whether nevertheless the result might be acceptable. You can hear for yourselves here

http://www.cliveheathmusic.co.uk/vinyl7.php

Title: Re: General Harpsichord and Clavichord Thread
Post by: Sammy on February 09, 2014, 05:59:25 PM
Quote from: Mandryka on February 02, 2014, 09:26:59 PM
Yes, I'd listened to what Suzuki does with the prelude. I didn't get as much pleasure from it as you, I have to say. Jaroslav Tüma is as imaginative with agogic hesitations as Suzuki and I think his performance is more poetic (even though he takes it very slowly, and i'm not totally convinced that, at the end of the day, he finds the resources to justify the tempo.)

I'll just mention that the strangest, the most disconcerting,  886 prelude I've heard is Blandine Verlet's. She keeps changing the tempo. I thought the performance was random and ugly.

Yes, Verlet's 886 Prelude can be difficult to appreciate.  In that piece, I think Suzuki does fine.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 10, 2014, 08:12:49 AM
Quote from: Sammy on February 09, 2014, 05:59:25 PM
Yes, Verlet's 886 Prelude can be difficult to appreciate.  In that piece, I think Suzuki does fine.

Her style in that prelude seems different from what she does elsewhere in Book 2. I wonder why.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 13, 2014, 11:42:29 AM
Celine Frisch gave a concert in Paris a couple of weeks ago with music by Byrd and Ligeti.  The concert was (beautifully) recorded by France Musique. It's now available for the taking at the music site ConcertArchive, Well worth hearing I think. This is the best solo music making I've heard from Frisch, the best live harpsichord recording I've heard both from the quality of the interpretation and the quality of the sound, some of the most wonderful Byrd playing I've ever heard and the Ligeti opens up new harpsichord ideas for me. 

Le 25 janvier 2014, la claveciniste Céline Frisch interprète des oeuvres de Gyorgy Ligeti et William Byrd.
Concert donné au Théâtre des Abbesses à Paris.

♫ Gyorgy Ligeti
Continuum (1968)

♫ William Byrd                   
Rowland or Lord Willoughby's Welcome Home                             
The Bells                                                                                       
Will you Walke the Woodes so Wylde                                       
Prelude – Pavan and Galiard, en ut                                           
The Queen's Alman, Alman                                                         
John Come Kiss Me Now
   
♫ Gyorgy Ligeti
Passacaglia ungherese (1978) 


♫ William Byrd 
Fantaisie en la                                                                             
Ground en ut                                                                                   
Sir William Petre, Pavan and Galliard

♫ Gyorgy Ligeti
Hungarian rock (1978)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Pat B on February 13, 2014, 02:34:31 PM
Quote from: Mandryka on February 13, 2014, 11:42:29 AM
It's now available for the taking at the music site ConcertArchive, Well worth hearing I think. This is the best solo music making I've heard from Frisch, the best live harpsichord recording I've heard both from the quality of the interpretation and the quality of the sound, some of the most wonderful Byrd playing I've ever heard and the Ligeti opens up new harpsichord ideas for me. 

That's quite an endorsement. What is concertarchive? Neither google nor concertarchive.com (or .co.uk) was fruitful for me. I've found the stream on www.francemusique.fr (http://www.francemusique.fr/player/resource/17699-22286) but would prefer a download for a variety of reasons.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 13, 2014, 09:09:16 PM
Quote from: Pat B on February 13, 2014, 02:34:31 PM
That's quite an endorsement. What is concertarchive? Neither google nor concertarchive.com (or .co.uk) was fruitful for me. I've found the stream on www.francemusique.fr (http://www.francemusique.fr/player/resource/17699-22286) but would prefer a download for a variety of reasons.

I'll PM you with a link over the weekend. Concertarchive is a yahoo group, part of operashare.

I was at the concert and enjoyed it. The recording seems to capture some of the ambience of the event. In fact, the harpsichord sounds better than what I heard from my seat in the theatre.  I'm listening again now to the Byrd and I'm still enthusiastic.
Title: Re: General Harpsichord and Clavichord Thread
Post by: early grey on February 16, 2014, 08:54:06 AM
On searching "Landowska" and ignoring the "you may have been looking for Landsat" message,  the Well Tempered Clavier thread mentions the poor sound of Wanda Landowska's recording so I don't know how the restoration of the Goldberg Variations I have done fares in comparison.  This was recorded in 1933 compared with 1926 for the Violet Gordon Woodhouse recordings of the three short pieces and the Italian Concerto.  See reply #173 for link.
Title: Re: General Harpsichord and Clavichord Thread
Post by: early grey on February 18, 2014, 01:08:50 AM
............and as a follow up to the above, there is a BBC interview with V G-W here

http://www.youtube.com/watch?v=aw46td2Gncc

which happens to contain Pearl's take on the Italian Concerto, maybe not the same recording as it is dated 1927 and is from the Small Queen's Hall.

http://en.wikipedia.org/wiki/Violet_Gordon-Woodhouse

may provide an insight into London life.

Concerning the Landowska Goldberg , the slight hesitancy of the opening Aria is odd because, as the discs are automatically coupled, the closing re-statement of the Aria is on the opposite side of the same shellac disc and suffers no wavering. Maybe I should have cheated and used the latter in both cases! My suspicion is that the deficiency is in the recording. I hope this won't put you off hearing the Goldberg in its entirety.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Karl Henning on June 02, 2014, 05:40:36 AM
Probably my favorite Louis Couperin piece:

http://www.youtube.com/v/csLXp5vXIn8
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on June 10, 2014, 11:39:06 AM
Quote from: Que on January 29, 2014, 12:40:10 AM
This is Hantaï's 1st recording from 1992. After a while into this recording I was all ready to confess that I did not understand why this recording many years did not appeal to me, it sounds that great. But, a bit further into the recording some doubts crept in. Though the way I hear this recording has undoubtedly changed and I appreciate it considerably better, I can also hear where the reservations came from. Hantaï approach is fresh (and must have sounded even more so in 1992) and adventurous, but as a whole there is some unevenness: many brilliant moments with occassional quirky moments and notably in the brisker passages I feel he glosses over with sloppy phrasing. But definitely an impressive achievement which makes me more eager investigate his later recording on Mirare. Others have taking many things I hear in this recording further and in a more consistent way, but what remains here is the sheer energy and freshness and several brilliant insights.

Q

I have Hantai's second recording of the GBV and much prefer that one.  I feel the same about his later Scarlatti discs compared to his first recording; in both cases (GBV and Scarlatti sonatas) they were great discs when I was first getting into harpsichord recordings, because they were very energetic and colorful, but during an extended listening session they would tend to wear on me.  I think he's mellowed just a bit with age.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 11, 2014, 07:47:53 AM
I reckon there's something a bit inhuman and unfeeling about the way Hantaï plays Scarlatti, even in Vol 3. What's more I've always felt the style is third person, as if he's uninvolved. I asumed that Hantaï thought Scarlatti was just writing bravura music, even in late sonatas like 526 (which is on Vol 3.)

The intense and electric style - busy, highly strung - I don't think it does justice to all of Scarlatti's music.


Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on June 26, 2014, 11:53:48 AM
If you are interested in what a cembalo could do soundwise, check out Staier's "Hamburg 1734". Apart from the Handel Chaconne the music is not very well known and the Telemann is an arrangement by Staier (very entertaining in any case), but the sound is huge and varied, the playing bold and engaging.

[asin]B000BM3MI4[/asin]

Siegbert Rampe has a Handel Recital disc on a similarly grand instrument which is also recommended, although Staier's is more interesting as far as the different registral possibilities go.

[asin]B001GTQTTU[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Karl Henning on June 26, 2014, 12:03:19 PM
And some Sweelinck:

http://www.youtube.com/v/QKNGJFV_pkM
Title: Re: General Harpsichord and Clavichord Thread
Post by: king ubu on June 26, 2014, 11:14:03 PM
Quote from: Jo498 on June 26, 2014, 11:53:48 AM
If you are interested in what a cembalo could do soundwise, check out Staier's "Hamburg 1734". Apart from the Handel Chaconne the music is not very well known and the Telemann is an arrangement by Staier (very entertaining in any case), but the sound is huge and varied, the playing bold and engaging.

[asin]B000BM3MI4[/asin]

The sound of that instrument is fat indeed! But I'm a bit on-and-off with Staier. He seems to quite lack humour most of the time. I love a few of his discs quite some, but others leave me pretty cold (and I don't get his Mozart at all, only have the selections included in the "Lumières" box, thought it sounded bad, the harpsichord sounded "ausgeleiert" in a way ... apologies to our mono-lingual friends  ;) - don't know any other than the German word to describe this, dictionary suggests "worn off", but that's way too bland to capture what I mean, the verb "leiern", after all, means among other things "to grind", "to drone", "to winch" and more).
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on June 27, 2014, 12:03:27 AM
I like most of Staier's discs I have heard, e.g. Scarlatti (two on dhm and one on Teldec), Haydn and CPE Bach. I also like the 4 Mozart Concerti with Concerto Köln. I have only one Mozart solo disc on fortepiano.
But  a mentioned the Hamburg 1734 mostly because of the sound effects.

I do not know how to translate "ausgeleiert". It means that something (like a spring) has lost most of its elasticity.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 27, 2014, 07:43:23 AM
I listened to the Buxtehude on that Staier CD and I was underwhelmed, he just has very little feel for the slightly wild spirit of stylus phantasticus. Just listen to what Rinaldo Alessandrini does in the same music and you'll see what I mean.

In the Bohm Staier took a stern approach in the prelude and I'm not at all convinced that makes sense on a harpsichord - William Porter takes a similar approach on a baroque organ (Tryserum) but because the voices are so much clearer (thanks to registrations) you  have some juicy expressive dissonances (thanks to tuning.). If you're going to use a harpsichord for this piece then I think it makes more musical sense to use more expressive voicing and ornamentation, rather than play it like a battering ram. Mitzi Mayerson is much more intetesting in it, but Porter seems to have a greater handle on what to do with the music than either Mayerson or Staier.

The Weckmann seemed clunky and and to be completely devoid of feeling or poetry - the fault is not with the music, or the choice of harpsichord rather than another keyboard instrument. Gustav Leonhardt  proves that this toccata (A minor) can sound just magical on a harpsichord, when played imaginatively and sensitively. 

I have similar reservations about Staier in Scheidemann's Pavana after Dowland. When it's played by a Scheidemann expert like Peter Dirkson, the interplay of the voices sounds much more interesting - one voice more obviously responding to another. Normally I'm a sucker for echos - I just have to hear them and my heart misses a beat and I writhe with pleasure. Not so with Staier who made the echos in this Pavan sound like a complete non-event.  Dirkson is basically better, less stiff, more expressive and humane. By the way there's an absolutely glorious performance of this by Peter van Dijk on a Cantate CD, he uses the organ at Laurenskerk Alkmaar.

I haven't heard the Telemann since he's a composer I'm not very interested in right now, and same for the Handel.

Sorry to dump on Staier like this, you should take it with a pinch of salt since I've never much enjoyed anything I've heard from him - probably my blind spot. Anyway I change my mind with the direction of the wind, and I'll probably feel completely different tomorrow.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on June 28, 2014, 12:06:32 AM
I have to admit that I am not familiar with the Scheidemann, Buxtehude etc. works in different interpretations. While I found nothing wrong with the interpretations in isolation, I am just not very familiar with the 17th century style and can understand that it's not a good fit with Staier and his instrument. (Staier recorded one disc of Byrd etc. but otherwise not much from the 17th century AFAIK, and I have not heard the Byrd disc.)

I guess the Boehm piece was supposed to show the huge sonority (although of course it's different from an organ) and these composers were also included, because they have a connection with Hamburg. Most of the Telemann pieces are arrangements of orchestral music and I find them very entertaining and the flamboyant style and huge sound also go well with the Handel Chaconne.

But as I said I mentioned this disc more for the sound of the instrument than for the actual music and interpretations.
However, I believe Staier recorded the Goldbergs also on the same instrument. I have not heard them and reviews were not unanimous, but mostly positive.

I was not very impressed with Staier's Diabellis which were an odd mix between fairly uneventful "mainstream" and gimmicky (strange sound effects, including cymbals.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on June 28, 2014, 12:16:40 AM
Staier should stick to the fortepiano IMO, though I did find that "Hamburg 1734" rather enjoyable.  :)

He is not a natural in anything Baroque IMO, while his Mozart and Schubert is amazing.

Hit and miss..... ::)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: king ubu on June 28, 2014, 04:18:28 AM
Haven't heard any of his Schubert (got Bilson and Peanut Butter Sammich there, guess that's enough as far as period instruments go), but don't like his Mozart sonatas much. His Haydn though, and his CPE Bach, pretty much so! Also the one Clementi disc. Still have to check out the Mozart concertos though ... actually Schubert, too - the disc with Lubimov has been on the pile for a while. But that's not for the harpsichord thread anyway.

If I have to name one favourite harpsichord recording, off the top of my head, it would be this one:

[asin]B00005BCWZ[/asin]

Wonderful playing and great recorded sound, too!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on June 28, 2014, 04:31:32 AM
Quote from: king ubu on June 28, 2014, 04:18:28 AM
If I have to name one favourite harpsichord recording, off the top of my head, it would be this one:

[asin]B00005BCWZ[/asin]

Wonderful playing and great recorded sound, too!

Wouldn't know if it would be my ONE favourite (would have to think long and hard about that one...),  but is is certainly a favourite of mine too!  :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on June 28, 2014, 05:06:13 AM
Quote from: Que on June 28, 2014, 04:31:32 AM
Wouldn't know if it would be my ONE favourite (would have to think long and hard about that one...),  but is is certainly a favourite of mine too!  :)

Q

Coincidentally, last week's episode of BBC3 'Building a Library' program was on Rameau's Pieces de Clavecin. Rannou didn't even get a mention, positive or negative, which I thought was bizarre. Neither did Ross (which could be one of my very favorites) but at least his set is unavailable since forever.

I'm big fan of Rannou's Bach French Suites, really should get her Goldbergs.
Title: Re: General Harpsichord and Clavichord Thread
Post by: king ubu on June 28, 2014, 06:14:59 AM
Quote from: Drasko on June 28, 2014, 05:06:13 AM
... Rannou's Bach French Suites, really should get her Goldbergs.
Hm, they're odd ... pretty slow. I think Hantaï (Mirare) is better there, Rousset, too - really need to re-listen to Ross though!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 28, 2014, 08:18:21 AM
I played some Rameau quite recently actually, Céline Frisch's recording of the solo harpsichord music. Very inward, concentrated performances I thought, and that seemed nice. I wouldn't like to have to do once of those Building a Library programmes. Not only do they get paid peanuts for a ton of work, the task is nearly impossible with a music like the Rameau suites, where there's so much to cover. Still, I'll check out Pinnock on Avie sometime soon  (I see his (earlier? faster? more complete) set is on spotify too. )


Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on June 28, 2014, 11:57:44 AM
Quote from: king ubu on June 28, 2014, 06:14:59 AM
Hm, they're odd ... pretty slow.

I know, she is consistently on slow side of things, but there is (or at least I find it) certain languid sensuousness in her playing that almost always works for me.

Quote from: Mandryka on June 28, 2014, 08:18:21 AM
I played some Rameau quite recently actually, Céline Frisch's recording of the solo harpsichord music. Very inward, concentrated performances I thought, and that seemed nice. I wouldn't like to have to do once of those Building a Library programmes. Not only do they get paid peanuts for a ton of work, the task is nearly impossible with a music like the Rameau suites, where there's so much to cover. Still, I'll check out Pinnock on Avie sometime soon  (I see his (earlier? faster? more complete) set is on spotify too. )

Thanks for reminding me, I've been meaning to give a spin to Céline Frisch, the Alpha Rameau disc, since that program. BBC reviewer really hated some of her interpretative choices, but I don't remember anything being that questionable. I agreed with him on Baumont being anonymous and boring, but now, week later have no recollection of Pinnock (whom he loved). Have you heard Frederic Haas? I liked the excerpts, but I heard him once live and wasn't particularly impressed.   
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on June 28, 2014, 12:39:07 PM
Johann Sebastian Bach: Das Wohltemperierte Clavier - II      Vieru     (3 cds)

Less than $8 on the Amazon MP

[asin] B000F0H4BI[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on June 28, 2014, 12:40:36 PM
Quote from: Drasko on June 28, 2014, 11:57:44 AM
I know, she is consistently on slow side of things, but there is (or at least I find it) certain languid sensuousness in her playing that almost always works for me.
   

Thanks for reminding me, I've been meaning to give a spin to Céline Frisch, the Alpha Rameau disc, since that program. BBC reviewer really hated some of her interpretative choices, but I don't remember anything being that questionable. I agreed with him on Baumont being anonymous and boring, but now, week later have no recollection of Pinnock (whom he loved). Have you heard Frederic Haas? I liked the excerpts, but I heard him once live and wasn't particularly impressed.

Seems like Frisch's Rameau recording on Alpha just was reissued in a bargain format:

[asin] B00IRQBTUE[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on June 29, 2014, 08:01:25 AM
Quote from: Moonfish on June 28, 2014, 12:40:36 PM
Seems like Frisch's Rameau recording on Alpha just was reissued in a bargain format:

[asin] B00IRQBTUE[/asin]

Yes, quite nicely done.  Now if only Rannou's would be reissued...
Title: Re: General Harpsichord and Clavichord Thread
Post by: king ubu on June 30, 2014, 12:27:36 AM
Never bought any of those alpha reissues ... looks kinda cheap, is it? Or does it come with the regular luxurious booklet?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on June 30, 2014, 12:34:34 AM
Quote from: king ubu on June 30, 2014, 12:27:36 AM
Never bought any of those alpha reissues ... looks kinda cheap, is it? Or does it come with the regular luxurious booklet?

Don't know yet..  ::)   but will report when it arrives. Alpha is kind of cheap in the first place apart from the pretty pictures and the excellent booklet. Still, most Alphas tend to be accessible for below $15.
Title: Re: General Harpsichord and Clavichord Thread
Post by: North Star on June 30, 2014, 03:12:11 AM
Quote from: king ubu on June 30, 2014, 12:27:36 AM
Never bought any of those alpha reissues ... looks kinda cheap, is it? Or does it come with the regular luxurious booklet?
I've never even seen a cheapo alpha reissue, or read of them. But count me interested in this matter, as Frisch's Rameau is something I'd definitely like to get, as cheap as possible..
Quote from: Moonfish on June 30, 2014, 12:34:34 AM
Don't know yet..  ::)   but will report when it arrives. Alpha is kind of cheap in the first place apart from the pretty pictures and the excellent booklet. Still, most Alphas tend to be accessible for below $15.
Huh?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on June 30, 2014, 10:15:27 AM
Quote from: North Star on June 30, 2014, 03:12:11 AM
I've never even seen a cheapo alpha reissue, or read of them. But count me interested in this matter, as Frisch's Rameau is something I'd definitely like to get, as cheap as possible..Huh?

Not the recordings...  :D
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 30, 2014, 10:15:57 AM
Quote from: Drasko on June 28, 2014, 11:57:44 AM
I know, she is consistently on slow side of things, but there is (or at least I find it) certain languid sensuousness in her playing that almost always works for me.
   

Thanks for reminding me, I've been meaning to give a spin to Céline Frisch, the Alpha Rameau disc, since that program. BBC reviewer really hated some of her interpretative choices, but I don't remember anything being that questionable. I agreed with him on Baumont being anonymous and boring, but now, week later have no recollection of Pinnock (whom he loved). Have you heard Frederic Haas? I liked the excerpts, but I heard him once live and wasn't particularly impressed.

I haven't heard Haas's Rameau but I enjoyed the F. Couperin he recorded a lot, contemplative and inward. Note that Frisch uses the 1750 Hemsch too. Frisch is less hedonistic than Rannou, better recorded (with Rannou the instrument is so close it's like you're going to drown in it.) And I think that Frisch's way of playing notes inégales is more natural and more noble, if less sensual and languid.

Another one to think about, she's good, is Noelle Spieth. I'm less keen on Rannou than everyone else it seems.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on July 01, 2014, 08:02:22 AM
Quote from: Moonfish on June 28, 2014, 12:39:07 PM
Johann Sebastian Bach: Das Wohltemperierte Clavier - II      Vieru     (3 cds)

Less than $8 on the Amazon MP

[asin] B000F0H4BI[/asin]

Unfortunately, this is a piano recording.  Just sayin'.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Sammy on July 01, 2014, 09:54:18 AM
Quote from: Geo Dude on July 01, 2014, 08:02:22 AM
Unfortunately, this is a piano recording.  Just sayin'.

Yes, but a stunning piano recording.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on July 01, 2014, 05:25:08 PM
Quote from: Sammy on July 01, 2014, 09:54:18 AM
Yes, but a stunning piano recording.

Listed on the harpsichord thread... ;)  Still, happy to know that it's a great deal for the piano buffs among us. :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on July 01, 2014, 08:17:58 PM
Quote from: Geo Dude on July 01, 2014, 05:25:08 PM
Listed on the harpsichord thread... ;)  Still, happy to know that it's a great deal for the piano buffs among us. :)

Oh----  ooops!!    :-[
Title: Re: General Harpsichord and Clavichord Thread
Post by: Geo Dude on July 02, 2014, 06:08:06 PM
Quote from: Moonfish on July 01, 2014, 08:17:58 PM
Oh----  ooops!!    :-[

I gotta admit, it surprised me!  That label is usually HIP as hell.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Kontrapunctus on July 10, 2014, 06:57:49 PM
I highly recommend Bob van Asperen's three volumes of Louis Couperin Suites on the Aeolus label. Fantastic playing and demonstration-worthy sound, particularly if you have a multi-channel SACD system. I'm sure it sounds fine on a normal stereo, too!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 10, 2014, 09:34:47 PM
I like Louis Couperin a lot. You know there are so many interesting "complete" sets of Louis Couperin now, Asperen as you say, but also Egarr  and Moroney and Verlet. I can certainly see why you like Asperen so much - he's so intense sometimes, focussed hypnotically on the music.

Asperen's style is like the busy electric style that Hantaï probably invented. Egarr is more zen, more space, and I'd say his commitment and intensity is no less palpable than Asperen's. Both Asperen and Egarr see much of this music as having a principal melody. Verlet is intersting because her textures sometimes give more like an equal prominence to each musical line. And she plays zen style too

There's Moroney and Rousset too - I haven't really explored what they do as much. And in fact Egarr recorded some of the music twice. And if you move from complete sets there are plenty of other interesting recordings - Noelle Spieth is very interesting, as is Jovanka Marville, Leonhardt, Sempé and Cummings.



Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on July 11, 2014, 06:03:08 AM
Quote from: Mandryka on July 10, 2014, 09:34:47 PM
intense...focussed hypnotically on the music.

Perfect! And Sempe is lush. These are some of my favorite recordings in my collection. Egarr never grabbed me so much. As much as I like the other French guys, I'd take Louis if I had to choose. A lot of people I know just don't like the harpsichord. I think these represent the best chance to convince them. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on July 24, 2014, 07:40:16 AM
I haven't gotten the Couperin yet, but stumbled onto Asperen's 4 disc set of the J.S. Bach Harpsichord concertos and am very impressed.  I normally mix up my genres quite a bit, but played all four of these in succession and wished there was more. 

[asin]B00002ZZ56[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 30, 2014, 02:38:51 AM
(http://www.keithhillharpsichords.com/images/De%20Zentis%20side%20view_0.jpg)

I first became aware of the Zentis 1658 through Martha Folts's record of music by Frescobaldi on Naxos, and just a few days I found an equally valuable recording of Fröberger's music by Pamela Ruiter-Feenstra which uses it. What's impressive not just the beauty of the sound, but also the clarity and balance of treble, midrange and bass. The bass especially. The result is that Ruiter-Feenstra's CD reveals that Fröberger could write music which is contrapuntally very inventive. And that, combined with her feel for the gestures and phrases in the music, and her poised and calm approach to ornamentation and rubato,  makes her CD a worthwhile one IMO.

The Folts Feescobaldi CD is less closely recorded and hence probably gives a truer impression of the sound of the Zentis.


More on the Zentis here:

http://www.keithhillharpsichords.com/1658dezentis.html

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on July 30, 2014, 03:06:38 AM
Just got this in the mail. I'm only on my second disc, but WOW.  What joie de vivre.  Charming, delightful, and energetic.  This could turn anyone into a harpsichord enthusiast. 
[asin]B0009MWAVQ[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on July 30, 2014, 05:47:43 AM
Quote from: Mandryka on July 30, 2014, 02:38:51 AM
(http://www.keithhillharpsichords.com/images/De%20Zentis%20side%20view_0.jpg)

I first became aware of the Zentis 1658 through Martha Folts's record of music by Frescobaldi on Naxos, and just a few days I found an equally valuable recording of Fröberger's music by Pamela Ruiter-Feenstra which uses it. What's impressive not just the beauty of the sound, but also the clarity and balance of treble, midrange and bass. The bass especially. The result is that Ruiter-Feenstra's CD reveals that Fröberger could write music which is contrapuntally very inventive. And that, combined with her feel for the gestures and phrases in the music, and her poised and calm approach to ornamentation and rubato,  makes her CD a worthwhile one IMO.

More on the Zentis here:

http://www.keithhillharpsichords.com/1658dezentis.html
I put it on because of your post and quite enjoyed it. I like how Froberger's music seems life 3am. Or perhaps it's Ruiter-Feenstra that's giving it that quality for me. She is very mellow without being bland at all, not as intimate as my Verlet but also not as quirky sounding. There's an effect of otherworldliness to the way Ruiter-Feenstra interprets the music. It's nice to re-appreciate Froberger. I need to go back through it and see what's what. I have Verlet, Staier, Rousset, Rotaru and Klosiewicz, yet it's been so long I can't say which I like best. Verlet seems like a bit of a challenge. Staier never stuck. Klosiewicz did stick with me...especially his no. 12 Allemande. Gosh Froberger is deliciously melancholy.       
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on July 30, 2014, 06:19:41 AM
Logic would seem to suggest I didn't need another Froberger recording but I decided to purchase this tonight:
(http://ec1.images-amazon.com/images/P/B0007RUT02.03._SS500_SCLZZZZZZZ_.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: HIPster on July 30, 2014, 06:53:25 AM
Quote from: Baklavaboy on July 30, 2014, 03:06:38 AM
Just got this in the mail. I'm only on my second disc, but WOW.  What joie de vivre.  Charming, delightful, and energetic.  This could turn anyone into a harpsichord enthusiast. 
[asin]B0009MWAVQ[/asin]

<Raises hand>

Exactly my story.   :laugh:

Great set, glad you are enjoying it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 30, 2014, 06:56:08 AM
Quote from: milk on July 30, 2014, 06:19:41 AM
Logic would seem to suggest I didn't need another Froberger recording but I decided to purchase this tonight:
(http://ec1.images-amazon.com/images/P/B0007RUT02.03._SS500_SCLZZZZZZZ_.jpg)

Ah. You've got to be able to understand German to really get the most out of that CD.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 30, 2014, 07:01:33 AM
Quote from: milk on July 30, 2014, 05:47:43 AM
I put it on because of your post and quite enjoyed it. I like how Froberger's music seems life 3am. Or perhaps it's Ruiter-Feenstra that's giving it that quality for me. She is very mellow without being bland at all, not as intimate as my Verlet but also not as quirky sounding. There's an effect of otherworldliness to the way Ruiter-Feenstra interprets the music. It's nice to re-appreciate Froberger. I need to go back through it and see what's what. I have Verlet, Staier, Rousset, Rotaru and Klosiewicz, yet it's been so long I can't say which I like best. Verlet seems like a bit of a challenge. Staier never stuck. Klosiewicz did stick with me...especially his no. 12 Allemande. Gosh Froberger is deliciously melancholy.     

So I've decided there are two ways to play baroque harpsichord music. Static Electricity Style, with buzzy busy ornamentation, like metal burrs, ricochet and shrapnel, high energy, Hantai's the main culprit. Or Tête Reposée Style, lots of space, lots of calm, no rush, zen, la couler douce. Frau Ruiter-Feenstra is defo tête reposée, which I rather like. I got a lot of pleasure from Gilbert's Froberger the other day, and he's TR too. I'm starting to see what I like.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 30, 2014, 07:10:19 AM
Quote from: Baklavaboy on July 30, 2014, 03:06:38 AM
Just got this in the mail. I'm only on my second disc, but WOW.  What joie de vivre.  Charming, delightful, and energetic.  This could turn anyone into a harpsichord enthusiast. 
[asin]B0009MWAVQ[/asin]

That's 555 hits of joie de vivre. Call me a miserable sod if you like, but it's too much for me.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on July 30, 2014, 07:13:12 AM
Quote from: Mandryka on July 30, 2014, 06:56:08 AM
Ah. You've got to be able to understand German to really get the most out of that CD.
Yeah, I don't understand what's going on with the expositions.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on July 30, 2014, 07:50:25 AM
Quote from: Mandryka on July 30, 2014, 07:10:19 AM
That's 555 hits of joie de vivre. Call me a miserable sod if you like, but it's too much for me.

;D You don't have to play it consecutively you know.  Leaven it with some lugubrious organ music.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on July 30, 2014, 07:54:49 AM
Quote from: Baklavaboy on July 30, 2014, 07:50:25 AM
;D You don't have to play it consecutively you know.  Leaven it with some lugubrious organ music.
Scarlatti wrote some great music but there's something about the structure of his music that leaves me quickly filled up, as it were, and not often rushing back to it. I guess I feel similarly about Soler.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 30, 2014, 09:30:36 AM
Part of what's going on is that Scott Ross doesn't find a whole lot of emotional variety.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Wakefield on July 30, 2014, 09:43:51 AM
Quote from: HIPster on July 30, 2014, 06:53:25 AM
<Raises hand>

Exactly my story.   :laugh:

Great set, glad you are enjoying it.

Great set, indeed.

Speaking of which, this set should be re-released:

(http://boxset.ru/wp-content/uploads/2012/01/ross_couperin_l_integrale_de_clavecin_au_chateau_d_assas.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on July 30, 2014, 06:14:57 PM
Quote from: Gordo on July 30, 2014, 09:43:51 AM
Great set, indeed.

Speaking of which, this set should be re-released:

(http://boxset.ru/wp-content/uploads/2012/01/ross_couperin_l_integrale_de_clavecin_au_chateau_d_assas.jpg)

  Interesting, two for, two against---three for, if we include me, which we probably shouldn't as I'm a noob.  No doubt 555 pieces is several hundred more than I (or almost anyone else) will really need or ever be able to meaningfully distinguish among, and yet the more I play the happier I am I got the set ;D
   I'll see if I'm ready for the Couperin when it comes out.  Ross says he did not enjoy playing it as much as the Scarlatti, which dampens my enthusiasm a bit, but of course that could have been for any number of reasons--perhaps he was distressed by the degree of emotional variety :D
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 30, 2014, 10:58:16 PM
Part of the reason Ross seems a bit emotionally limited is that the style is so rhythmically straight, no hesitions, or not much. I also think he's not the best at getting colour out of the harpsichord. And generally he's fast, so the depth of feeling doesn't really come through. And I didn't notice any imaginative ideas about how to take repeats and how to ornament, or how to relate the voices.

I think that often this doesn't matter because, quite honestly, a lot of Scarlatti's music isn't very interesting emotionally. But often enough it does matter.

Last night I listened to Vol 2 of  Enrico Baiano's Scarlatti, and did some comparisons with Ross, and that was revealing of expressive, affective, possibilities which elude Ross completely. 213, 132 and 148 are good examples to show the difference in approach I think. Ross's vision of the music is one of a thrilling keyboard trickster.

One thing this little exploration of Scarlatti's threw up is Hantai's extraordinary expanded, telescoped out, extended,  recording of 215. Not sure what to make of it, I don't think I like it, but I'm not sure.

It also threw up a wonderful 215 from Leonhardt.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on July 30, 2014, 11:30:46 PM
I understand what you are saying.  In fact, Ross uses different harpsichords to introduce variation and prevent boredom, rather than let natural variety in emotional register create its own moods and tones.  No doubt a fraction of the 34 discs would be enough, but as I would have paid the same price for 8 or 10, and feel no reason to complain at receiving 34.  Perhaps the most rational (frugal?) way to acquire the set would be to split the cost among a few people and then divvy up the discs. I'm sure most would be satisfied with a smaller number. 
    I ordered the Hantai set yesterday and look forward to hearing it. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Karl Henning on August 19, 2014, 05:07:06 AM
http://www.youtube.com/v/avHJXq6esIM
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 23, 2014, 01:59:55 AM
(http://ecx.images-amazon.com/images/I/51mgnDB0UYL._SS400_.jpg)

Leonhardt playing Fröberger's Tombeau for Blancrocher on this performance from 1996, I don't know who made the instrument. What's interesting is the impression of dynamic variation, the clearest example of this I can remember hearing.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on November 10, 2014, 11:55:15 PM
Reissue:

(https://www.jpc.de/image/w600/front/0/3760127222736.jpg)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 11, 2014, 07:49:56 AM
Quote from: Que on November 10, 2014, 11:55:15 PM
Reissue:

(https://www.jpc.de/image/w600/front/0/3760127222736.jpg)

Q

Does anyone think the style in the first CD is different from the other two?

Basically Hantai said that for him the key feature of Scarlatti's art is repetition of short motifs, repeated with different colours,  interrupted by wierd keyboard noises. And I can hear some of that I think in the first CD but less so in subsequent ones.

But I could be wrong. I have a bit of a love hate relationship both with Scarlatti and Hantaï.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mookalafalas on November 30, 2014, 07:31:06 AM
I've been on something  of a harpsichord binge lately.  I broke out an old disc from the Mercury box that I don't think I ever played. 

[asin]B00000IIX7[/asin]

  I remember someone speaking rather disparagingly of him--I think he was compared to a sewing machine.  I assumed the poster meant a mechanical, unvarying rhythm or pulse through the music, or at least some kind of monotony.   Now that I listen, however, I am not sure what could be "sewing machine like" about this disc.  Puyana really seems to go out of his way to introduce variety into his playing.  He varies speeds radically, perhaps a bit too much.  He will go through a virtuosic passage and then slow down to a degree that the music really loses its forward momentum.  He also seems determined to demonstrate the range in volume and intensity his harpsichord can produce as well.  At times he's almost mincing, and the sound becomes very distant (almost like something was done during post production processing) , and then he gets to playing so hard you wonder if he might damage the strings.  In the CPE Bach piece there is a point where it seems that some pedal or other effect is being used (or maybe he is doing it himself by reaching into the body of the player and using his hand) to depress the strings so that they have almost no resonance.

   Also, the tone and sound of the instrument seems to change, or maybe he has switched to another instrument (or instruments) (especially in track 13, the Teleman).  This may be partly because he works the bass end so much at times that it becomes like a drone on an organ (isn't this supposed to be impossible with a harpsichord?). 

    Anyway, sorry to ramble on.  It's extremely interesting. I was under the impression that since the string is plucked, the harpsichord has no "touch" and so only the make of the instrument can effect the sound.  However, this seems not to be the case at all.
  I also really like Puyana, or at least what I am hearing in this disc.
     
Title: Re: General Harpsichord and Clavichord Thread
Post by: Pat B on November 30, 2014, 11:52:21 AM
I also enjoyed those Puyana discs on Mercury. I should pull them out for another listen.

He had an unusual, 3-manual harpsichord, which may or may not explain some of what you heard.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Cosi bel do on December 01, 2014, 03:16:37 PM
This discussion deserves to be continued here :

Quote from: Mookalafalas on November 30, 2014, 04:12:12 PM
More harpsichord. 
[asin]B000059OBO[/asin]

from this:

[asin]B00EO7XQ2E[/asin]

  I bought this after reading some comments Mandryka made about it that sounded very interesting. It turns out I misunderstood what he said to some degree (apparently he wasn't actually recommending the set or Hantai), although (fortunately) it really is very interesting.


Quote from: Mandryka on December 01, 2014, 07:51:40 AM
I can't remember what I said! But I do know that recently I've started to enjoy the first volume of his Scarlatti. The Bull and Frescobaldi seem absolutely fabulous to me.

I'm really keen to know if anyone else hears a different style in Vol 2 and 3 of his Scarlatti -- I'm not sure I trust myself on this, I can only listen to so much Scarlatti.

He's an interesting musician as you say. Be sure to check his new recording with English Suites.

Quote from: Discobolus on December 01, 2014, 07:56:28 AM
This Frescobaldi album is one of the best recordings by Pierre Hantaï, and definitely the best Frescobaldi harpsichord recording. It's just disappointing he didn't play more Frescobaldi throughout his career...
The Bull CD is also very fine (it's just the music that is, of course, a little less interesting).

Quote from: Mandryka on December 01, 2014, 08:24:13 AM
Have you heard Aapo Häkkinen's CD? There's also Leonhardt's Capricci.

Quote from: Discobolus on December 01, 2014, 08:33:50 AM
I prefer Leonhardt's late Frescobaldi & Louis Couperin CD. His DHM capriccis are more of a historical interest now. I'd like to find his Philips Frescobaldi CD but I don't know when Universal will release all Leonhardt Philips recordings again, all of those I heard are admirable.

I don't know Häkkinen's Frescobaldi, I don't know him at all actually. How good is he ?

Quote from: Mandryka on December 01, 2014, 08:46:05 AM

I've found Leonhardt more rewarding than Aymes or Butt in fact. What do you think of Vartolo?

The DHM Capricci remind me of his DHM AoF. Both have been real sources of stimulation for a long time now.

I like Häkkinen in Byrd and Frescobaldi a lot - esp Byrd. I haven't heard his Bach.

Quote from: Discobolus on December 01, 2014, 09:01:03 AM
Yes of course Leonhardt is still very pleasant to hear, I just meant that no Frescobaldi harpsichord recording I know matches the perfection of Hantaï's CD. But that Leonhardt does better than Aymes or Butt is not something I would disagree with, of course !

Vartolo's complete set on Tactus is trash. Really, I mean it, I don't even know why I keep it, except that I hate not keeping CDs...
Frankly, Loreggian's performances in the Brilliant box are really very fine, better than most other recordings available.

Quote from: Mandryka on December 01, 2014, 09:29:46 AM
I agree with most of this. What I would say - I'm not sure this is right, I just propose it to see what people think - is that Leonhardt is a sort of anti-virtuoso musician. You know, his aim is never épater le galerie with a display of skills. He's like late (Sv.) Richter, Richter after his heart trouble. With Leonhardt, you have the impression of a man focused on getting right to the heart of the music in the score. Hantaï has more of the bravura keyboard man about him.

There's a sense in which it's hard to compare Hantaï and Leonhardt because their ideas about what a performance is are so different.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Cosi bel do on December 01, 2014, 03:33:47 PM
In response to the last comment by Mandryka, I would really not oppose Hantaï and Leonhardt is such a way. And I don't believe AT ALL that their conception of performance, and of music in general, are so different. 

First because Hantaï was Leonhardt's pupil and this is quite obvious, really, when considering their understanding of the internal, almost cyclical conception of time in many scores (Bach, obviously). Of course they are two different musicians, and even when teaching Leonhardt was known for letting his students making their own choices. But still, Hantaï was in my opinion one of his students Leonhardt influenced the most in terms of interpretation.
It is true, though, that comparing recordings made by Leonhardt in the 70s with recordings made by Hantaï in the 90s or more recently is not very relevant, but this is mainly because interpretation has changed, and because the way we hear harpsichord on recordings also relies heavily on recording techniques. Even comparing Leonhardt's own recordings from decade to decade is difficult, because of how the way he plays and how he was recorded changed so much...

Also, because Hantaï is not such a virtuoso, less so than he was 10 or 15 years ago, and even then his brilliance was never at the level showed by Sempé or, many years ago, by Scott Ross. It doesn't mean that Hantaï is not a very fine technician, one of the best actually (even if his performances are not as perfect as they were when he was younger). But Leonhardt also was, and this is an aspect that is too rarely understood : even in his very late performances, Leonhardt was one of the very few harpsichordists who was able to really make every technical consideration really secondary, in order to fully give back to the listeners a true living impression of the score. Hearing him in concert remain one of the most striking experiences I've had in concert.

Comparisons with pianists are quite out of place actually. If I had to compare someone to Richter, it would certainly not be Leonhardt though. Leonhardt would compare more adequately to someone like Neuhaus, maybe... Then Hantaï to Gilels, and Sempé to Richter ? Well, this is really far-fetched...
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on December 02, 2014, 07:39:35 PM
Check this out:
Elisabetta Lanzoni - harpsichord painter!!!   :)
These are some beautiful instruments (at least visually)!

http://www.elisabettalanzoni.com/index.htm (http://www.elisabettalanzoni.com/index.htm)

Lots of examples. Here are two:
[I WANT one of these! I would spend the rest of my life playing the harpsichord....]

(http://www.elisabettalanzoni.com/immagini/1290_124kb.jpg)

or

(http://www.elisabettalanzoni.com/immagini/3146_ritagliata_158kb.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on December 13, 2014, 08:41:27 PM
Quote from: Discobolus on December 01, 2014, 03:33:47 PM
In response to the last comment by Mandryka, I would really not oppose Hantaï and Leonhardt is such a way. And I don't believe AT ALL that their conception of performance, and of music in general, are so different. 

First because Hantaï was Leonhardt's pupil and this is quite obvious, really, when considering their understanding of the internal, almost cyclical conception of time in many scores (Bach, obviously). Of course they are two different musicians, and even when teaching Leonhardt was known for letting his students making their own choices. But still, Hantaï was in my opinion one of his students Leonhardt influenced the most in terms of interpretation.
It is true, though, that comparing recordings made by Leonhardt in the 70s with recordings made by Hantaï in the 90s or more recently is not very relevant, but this is mainly because interpretation has changed, and because the way we hear harpsichord on recordings also relies heavily on recording techniques. Even comparing Leonhardt's own recordings from decade to decade is difficult, because of how the way he plays and how he was recorded changed so much...

Also, because Hantaï is not such a virtuoso, less so than he was 10 or 15 years ago, and even then his brilliance was never at the level showed by Sempé or, many years ago, by Scott Ross. It doesn't mean that Hantaï is not a very fine technician, one of the best actually (even if his performances are not as perfect as they were when he was younger). But Leonhardt also was, and this is an aspect that is too rarely understood : even in his very late performances, Leonhardt was one of the very few harpsichordists who was able to really make every technical consideration really secondary, in order to fully give back to the listeners a true living impression of the score. Hearing him in concert remain one of the most striking experiences I've had in concert.

Comparisons with pianists are quite out of place actually. If I had to compare someone to Richter, it would certainly not be Leonhardt though. Leonhardt would compare more adequately to someone like Neuhaus, maybe... Then Hantaï to Gilels, and Sempé to Richter ? Well, this is really far-fetched...
Sempe's L. Couperin is still one of my favorite recordings. Yet I'm hoping for Sempe to record a complete Bach work, or another solo album at least. It seems like his interests are more in directing chamber ensembles. I guess the field is crowded for solo Bach. But I'm a little disappointed he hasn't done it (aside from, I think, one partita some years back). 
Title: Re: General Harpsichord and Clavichord Thread
Post by: SonicMan46 on December 14, 2014, 09:05:50 AM
Quote from: Moonfish on December 02, 2014, 07:39:35 PM
Check this out:
Elisabetta Lanzoni - harpsichord painter!!!   :)
These are some beautiful instruments (at least visually)!

http://www.elisabettalanzoni.com/index.htm (http://www.elisabettalanzoni.com/index.htm)

Lots of examples. Here are two:
[I WANT one of these! I would spend the rest of my life playing the harpsichord....]

(http://www.elisabettalanzoni.com/immagini/1290_124kb.jpg)  (http://www.elisabettalanzoni.com/immagini/3146_ritagliata_158kb.jpg)

Hi Moonfish - ya know, we have not had a new post in the Old Musical Instruments (http://www.good-music-guide.com/community/index.php/topic,11638.260.html) thread in over 6 months - yikes!  If interested, you might want to repost there and even add some further comments or pics - of course, completely up to you.  Dave :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Moonfish on December 14, 2014, 10:49:33 AM
Quote from: SonicMan46 on December 14, 2014, 09:05:50 AM
Hi Moonfish - ya know, we have not had a new post in the Old Musical Instruments (http://www.good-music-guide.com/community/index.php/topic,11638.260.html) thread in over 6 months - yikes!  If interested, you might want to repost there and even add some further comments or pics - of course, completely up to you.  Dave :)

Ah, thanks Dave. I completely forgot that there was such a thread...   ???
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 01, 2015, 05:11:45 AM
(http://cdn.classicsonline.com/images/cds/LAN0390.gif)

Kenneth Gilbert's first recording of the Purcell suites, I thought it was worth mentioning because I think it's the first time it's been off LP - you can buy it for peanuts from classicsonline. The Vaudry harpsichord is lovely, it's a slightly resonant recording but it's not a great problem for me. Recordings of this instrument are rare (Asperen did a Louis Couperin disc - is there anything else?)

Gilbert's style is an anteresting antidote to Richard Egarr's set - less English eccentric than Egarr, with  more conventional style luthé textures. But IMO no less affecting, no less poetic. Gilbert is firm and poised, of course.

His other recording of the suites is more transparently recorded, and is more extrovert in style I would say, it's quite different really, he clearly was thinking about Purcell a lot. The latter recording is more expressive.  I must say I enjoy the poise of the first, and the colour of the Vaudry harpsichord.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 05, 2015, 04:30:14 AM
(http://4.bp.blogspot.com/-2bSQBJpPSfk/UJP6SPNHzPI/AAAAAAAA_kI/4dyH5dP1WX0/s1600/rameau+portada+ross.PNG)

Scott Ross plays some Rameau on the anaonymous French or Flemmish instrument at the Chateau d'Assas. Minimal expressive rubato. The touch has minimal portamento. Perlé. The tempos let the notes resound and the articulation lets the music breath. The instrument, which is impeccably recorded, is silver sounding and transparent. The result is like hearing Birgit Nilsson in her prime, it's like being showered by diamonds.

But that's only the half of it. Ross manages to square the circle. He manages to make the music poignant AND he manages to make the music sound poised and classical. Hence I conclude that we have here the greatest recording of Rameau's suites ever made, the perfect style, the perfect instrument, the perfect sound quality, an interpreter who is, for once, touched by the muse.

The style is simple. Minimal. No distracting hesitations, no fancy ornaments, no drunken staggering of voices. It's tempting to say things like "he lets the music speak for itself", but that wouldn't do justice to his courage and the wisdom of his performance ideas.  There are few other recordings which are radical by virtue of their simplicity - some of Chorzempa's WTC has that quality, some of Walcha's Bach, but offhand I can't think of others.

In Musette en Rondeau, from book 1, there's a rest, a brief moment of silence. It's perfect, time stops still, you have to hold your breath. And after the rest, he gets such colour from the instrument, such warmth. Ross is a master of harpsichord colour here, a magician. And moments like that come all the time on these three discs. If ever a performance were orgasmic, to use Koopman's idea, this is it.

The downside is that it's practically unobtainable. It's on youtube but the sound's inferior, and that really matters. If anyone's interested let me know and I'll upload it onto symphonyshare.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 13, 2015, 08:50:20 AM
(http://cps-static.rovicorp.com/3/JPG_400/MI0001/115/MI0001115639.jpg)


I've been listening again to Glen Wilson's Farnaby recording, and this time round what's impressed me most is the music. It's like this sequence of fantasias constitutes one of those early music systematic exploration of a form, taking the form to the limits - like what Purcell did for Viol Fantasias and in nomines, what Bach did for Fugues, what Frescobaldi did for Capricci, what Scarlatti did for sonatas. As far as Glen Wilson's style is concerned, on the plus side there's suppleness, and a sense of moving forward logically, and a great feeling of inspiration and refinement.

Wilson's extremely muscular and tough. Heavy. That's partly a consequence of the harpsichord, which is a resonant instrument. But he chose it rather than a lighter English or Italian harpsichord, so weight must be part of his vision of the music.

As far as I can see, it's either Wilson or nothing in this music, the Farnaby Fantasias. Is that right? I mean, Belder may have recorded a couple, Tracey recorded a couple, but noone else has provided us with a big survey like Wilson. And IMO it's the scale of the survey which is most impressive.
Title: Re: General Harpsichord and Clavichord Thread
Post by: JCBuckley on February 13, 2015, 09:57:50 AM
There are four fantasias on Timothy Roberts' selection of Farnaby pieces from the Fitzwilliam Virginal Book - do you know that one?
   
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 13, 2015, 12:39:19 PM
Quote from: JCBuckley on February 13, 2015, 09:57:50 AM
There are four fantasias on Timothy Roberts' selection of Farnaby pieces from the Fitzwilliam Virginal Book - do you know that one?


No I don't know it,  I'll try to find it. There are 5 Fantasias on Hantai's Farnaby CD, I,forgot before. He has a less rich harpsichord than Wilson and a lighter feel. I don't like that Hantai CD much though, Wilson's superior in every way. hantai's  a bit uninvolved soundng and even a bit buttoned up. Wilson's wilder, and more colourful, and Wilson tells a better story with the music.
Title: Re: General Harpsichord and Clavichord Thread
Post by: JCBuckley on February 14, 2015, 03:51:16 AM
I'll be interested to hear what you make of the Roberts recording - I like it, but I'm very far from being an expert in this field.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 01, 2015, 04:06:26 AM
Anyone up for thinking about Christophe Rousset the harpsichordist? I've been bowled over by a few  things recently - Gaspard le Roux, Francois Couperin Bk 4, the two Pancrace Royer recordings. And impressed, if not to the point of being bowled over, by the WTC 2 - though maybe my reservations there don't do him justice.

Anyway, we have here a thinking performer  - the two Royer recordings show real evolution in his ideas. And his way of playing is sometimes really original (as in the above mentioned F Coup.) I have no idea whether he sees himself as HIP or as someone casually following his intuitions. Or both at the same time.

I said in the first sentence of this post "Rousset the harpsichordist." But sometimes I think that his whole style in French music is operatic. Big, dramatic gestures; arias and recitatives. I know his work in German music less well. He seems very much at home with baroque - even when he plays earlier composers like Louis Couperin and D'Anglebert, he makes them sound more like heralds of the future more than people harking back to past styles. You wouldn't go to Rousset for gentle lyrical poetry.

His breadth of repetoire is impressive (there's even some WF Bach - if anyone can find a copy of his recording of the polonaises for sale at a reasonable price, please let me know. An upload would be even better!) He uses some great instruments and he's often pretty well recorded.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on April 05, 2015, 08:41:44 AM
Quote from: Mandryka on April 01, 2015, 04:06:26 AM
But sometimes I think that his whole style in French music is operatic. Big, dramatic gestures; arias and recitatives.

He conducts French baroque opera a lot. That has to reflect in some way back to his harpsichord playing.

Any opinions on his Froberger disc on Ambroisie. Clips sound very nice for what's that worth.

http://www.prestoclassical.co.uk/r/Ambroisie/AM148

Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on April 05, 2015, 09:51:02 AM
Quote from: Draško on April 05, 2015, 08:41:44 AM

Any opinions on his Froberger disc on Ambroisie. Clips sound very nice for what's that worth.

http://www.prestoclassical.co.uk/r/Ambroisie/AM148

I think it is stylish and expressive, definitely worthwile. Much like his earlier Froberger CD on HMF.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 05, 2015, 11:56:40 AM
Quote from: Draško on April 05, 2015, 08:41:44 AM
He conducts French baroque opera a lot. That has to reflect in some way back to his harpsichord playing.

Any opinions on his Froberger disc on Ambroisie. Clips sound very nice for what's that worth.

http://www.prestoclassical.co.uk/r/Ambroisie/AM148

Less emotional than the first one, more "abstract",  though by no means dry. Both of those  discs are exceptional for late Froberger, but I prefer the second I think.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on April 06, 2015, 03:41:26 AM
Excellent! Thank you both. On shopping list it goes.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on April 06, 2015, 04:10:27 AM
Quote from: Mandryka on February 05, 2015, 04:30:14 AM
(http://4.bp.blogspot.com/-2bSQBJpPSfk/UJP6SPNHzPI/AAAAAAAA_kI/4dyH5dP1WX0/s1600/rameau+portada+ross.PNG)

Scott Ross plays some Rameau on the anaonymous French or Flemmish instrument at the Chateau d'Assas. Minimal expressive rubato. The touch has minimal portamento. Perlé. The tempos let the notes resound and the articulation lets the music breath. The instrument, which is impeccably recorded, is silver sounding and transparent. 

But that's only the half of it. Ross manages to square the circle. He manages to make the music poignant AND he manages to make the music sound poised and classical. Hence I conclude that we have here the greatest recording of Rameau's suites ever made, the perfect style, the perfect instrument, the perfect sound quality, an interpreter who is, for once, touched by the muse.

The style is simple. Minimal. No distracting hesitations, no fancy ornaments, no drunken staggering of voices. It's tempting to say things like "he lets the music speak for itself", but that wouldn't do justice to his courage and the wisdom of his performance ideas.

I completely agree with all of this. The simplicity, seeming naturalness and rightness of his tempo choices, and not so easy to describe vocal quality of the playing is what got me. Have you heard his complete Francois Couperin, also on STIL?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 06, 2015, 05:56:31 AM
Quote from: Draško on April 06, 2015, 03:41:26 AM
Excellent! Thank you both. On shopping list it goes.

I think you can hear the influence that some of Leonhardt's recordings of Froberger had on Rousset in that second recording. Abstracted from emotion, distanced, and yet expressive. This thing that Busoni said which so impresses me, that the performer should express a feeling without appearing to suffer it himself. That's what I think Rousset got from Leonhardt.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 06, 2015, 06:02:37 AM
Quote from: Draško on April 06, 2015, 04:10:27 AM
I completely agree with all of this. The simplicity, seeming naturalness and rightness of his tempo choices, and not so easy to describe vocal quality of the playing is what got me. Have you heard his complete Francois Couperin, also on STIL?

I have heard some of his  Francois Couperin but I don't know it too well.

My latest Rameau discovery has been two recordings of transcriptions. One by Noelle Spieth not of the suites but of transcriptions for harpsichord alone of his pièces pour clavecin en concert that Rameau published in 1741. The other by Kenneth Weiss of transcriptions of orchestral music (Kenneth Gilbert also recorded this stuff.). The Weiss is really special.

The whole area of keyboard transcription on early music is interesting. Rameau and D'Anglebert and no doubt others (Bach I suppose.) Presumably the world of lute etc. is full of transcriptions too.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Drasko on April 08, 2015, 08:03:24 AM
Quote from: Mandryka on April 06, 2015, 05:56:31 AM
I think you can hear the influence that some of Leonhardt's recordings of Froberger had on Rousset in that second recording. Abstracted from emotion, distanced, and yet expressive. This thing that Busoni said which so impresses me, that the performer should express a feeling without appearing to suffer it himself. That's what I think Rousset got from Leonhardt.

That is interesting quote from Busoni, and comparison with Leonhardt's Frobreger is only a plus. Leonhardt's first Froberger recital for DHM is one of my favorite harpsichord CDs, such an authority comes through his playing.

Quote from: Mandryka on April 06, 2015, 06:02:37 AM
I have heard some of his  Francois Couperin but I don't know it too well.

I haven't heard all of it either, but what I did hear impressed me a lot. I though it was closer to his amazing Rameau, than to his later recordings which to me can sound bit hasty and impatient at times.

Quote from: Mandryka on April 06, 2015, 06:02:37 AM
The whole area of keyboard transcription on early music is interesting. Rameau and D'Anglebert and no doubt others (Bach I suppose.) Presumably the world of lute etc. is full of transcriptions too.

I have some D'Anglebert and some Rameau transcriptions on disc but so far I haven't really been able to muster too much enthusiasm for any of it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 08, 2015, 11:40:21 AM
Quote from: Draško on April 08, 2015, 08:03:24 AM
That is interesting quote from Busoni, and comparison with Leonhardt's Frobreger is only a plus. Leonhardt's first Froberger recital for DHM is one of my favorite harpsichord CDs, such an authority comes through his playing.


Everyone seems to like that first one but when I drew the comparison with Rousset2 it was withLeonhardt on Teldec, which is the one I like the most from him.  It's very different from the first recording, more abstract.

Quote from: Draško on April 08, 2015, 08:03:24 AM
I haven't heard all of it either, but what I did hear impressed me a lot. I though it was closer to his amazing Rameau, than to his later recordings which to me can sound bit hasty and impatient at times.


One thing by Ross I'm quite curious to hear is his WTC. One other late (I think) recording I liked was the Bach partitas.

Quote from: Draško on April 08, 2015, 08:03:24 AM

I have some D'Anglebert and some Rameau transcriptions on disc but so far I haven't really been able to muster too much enthusiasm for any of it.

Strangely enough I was listening to Gilbert's Lully/D'Anglebert just today and I love it, maybe more than any other Gilbert recording I've heard. I'm generally pretty keen on D'Anglebert, that early baroque music generally interests me more than Francois Couperin and Rameau in fact. The Rameau transcriptions are just fun, trivial but fun -- whether played by Gilbert or by Weiss or by Tramier. Listening to a CD of them is a bit like listening to Minkowski's Symphonie Imaginaire. Nice once a year max.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on May 03, 2015, 04:38:45 AM
http://www.mennovandelft.com/

The above link leads to Menno van Delft's website. If you go the section of audio samples, you'll see there's a performance on clavichord of some variations by Froberger, and it seems to have been recorded on a CD from an early music festival in Utrecht.

Can anyone find the CD?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on May 03, 2015, 05:18:39 AM
Quote from: Mandryka on May 03, 2015, 04:38:45 AM

Can anyone find the CD?

A job for our Dutch members I think (Marc, Que, Harry).
Title: Re: General Harpsichord and Clavichord Thread
Post by: JaapT on May 16, 2015, 12:56:45 PM
Last week I found out that one of the last (the last) recordings of Gustav Leonhardt can be finally purchased, at least electronically. The album contains pieces by Antoine Forqueray (gamba suites which were transcribed by his son). Leonhardt plays a beautiful french Hemsch harpsichord. I greatly enjoyed it. I like these pieces more than music by Francois Couperin. They are very lively. I also have still a vinyl record of Leonhardt from the 1970ies also with Forqueray. I am not sure which of the two recordings I prefer. I think the old one, but that is perhaps also because these were at the time a revelation.

The new recording was made by a russian/french friend of Leonhardt and distributed on  a small label, which was hard to find. So now everyone can enjoy. Greatly recommended, certainly if you do not yet have Forqueray in your collection!

[asin]B00SM6R2BE[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: North Star on May 16, 2015, 02:22:20 PM
Somewhat tempting, indeed.
(http://ecx.images-amazon.com/images/I/81m2oTB74GL._SY450_.jpg)
http://www.amazon.co.uk/Gustav-Leonhardt-joue-Forqueray-clavecin/dp/B00T0JPP4S/
http://www.amazon.fr/Gustav-Leonhardt-joue-Forqueray-clavecin/dp/B00T0JPP4S/
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 22, 2016, 01:00:48 PM
Interview with Hantai here, discussing things like interpretation, authenticity, the reception of baroque music etc etc.

http://www.franceinter.fr/player/reecouter?play=1040641
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 09, 2016, 09:58:53 PM
Here's a microtonal harpsichord as used, I believe, by the 16th century Italian avant garde

https://www.youtube.com/v/dFb1fECwk2o
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 10, 2016, 01:51:13 AM
Yes, but these instruments were relatively rare. Here is some more information about this topic:

https://en.wikipedia.org/wiki/Split_sharp
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on March 20, 2016, 01:07:35 AM
[repost from the listening thread]

[asin]B019G8SROM[/asin]
I have a recording of these works played by Laure Colladant played on a fortepiano (Mandala), but it never quite settled with me.... The epiphany of her Woelfl set was absent... Was it the music? ::)

Now I know what was the matter: the music simply sounds way better on a harpsichord. Sebastian de Albero was a contemporary of Domenico Scarlatti, though his junior, like Antonio Soler. This is a s close to Scarlatti as you can get IMO, though I also hear some other strong Italian (Neapolitan) influences. He is definitely more Italianate than Soler. It is a geat pity that Albero died at only 34 years of age, judging from this music he might well have become the next Scarlatti.

On 2nd hearing I think Alejandro Casal, professor at the conservatory of Seville, does an excellent job. He did a Froberger disc before on Enchiriadis. One quibble might be that he sounds sometimes a bit too "mechanical" in the extremely extensive fuges that Albero wrote (which is musically a very intersting feature). Another (minor) quibble is with the recording, which is too close - the harpsichord is right there in your face, which can come across as abrasive at times. Go easy in the volume when listening, and you'll be OK. :)

All in all recommended. The only recording on harpsichord of music that deserved to be heard. :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 25, 2016, 10:09:35 AM
(http://www.claudiobrizi.com/wp-content/uploads/2015/02/Claviorgan-Wonderland-Booklet09-1024x512.jpg)

The claviorganum that Claudio Brizi uses is described in the image - you'll see the harpsichord is a copy of a baroque instrument, the organ sounds good in early music to me, I think the link between the two offer more possibilities than any old instrument did. He can play harpsichord from the pedals for example.

His style of play is very different from Leonhardt's claviorganum CD on alpha.  Where Leonhardt uses the two instruments in one piece, he seems to use them really to give the effect of greater sustain of a harpsichord note. Brizi is much more ready to let the organ take one voice and the harpsichord take another. In Arauxo this is a nice thing to hear I think. I have no idea what if anything is known about historical claviorganum style. Note that these comments about Leonhardt are from memory, I'll check later.

Added. Not quite correct of Leonhardt, but the tone of organ seems more blended with that of the harpsichord.

His way of playing seems very natural and expressive. I originally started to listen to the CD because it includes a fantasy by Abraham van den Kerckhoven, rather beautifully played I think. Even in very familiar music, music I've thought about, like BWV 684, I enjoyed hearing what he does - not the deepest presentation of Christ's baptism in the Jordan perhaps, but still, rather good, a bold conception which avoids the trap of trying to make the music depict a river. He certainly makes sounds like I've never heard before (just listen to My Lady Carey's Dumpe) - but . . . I liked it. It sounded right.

The whole booklet is on Brizi's website, including an interview. he comes across as an inspired and imaginative musician

http://www.claudiobrizi.com

Anyway, I hope someone else will listen to this extraordinary CD and post their comments, it's on spotify.

(Does anyone have any information about the instrument Leonhardt used? I don't have the booklet.)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 11, 2017, 12:36:28 PM
(http://www.early-music.com/wp-content/uploads/2012/06/La-Belle-Homicide.jpg)

This is a CD worth hearing for two reasons: the music and the performance.

Johanne Couture has chosen to play pieces normally associated with lute, presumably because the boundaries between lute and harpsichord were porous. So we have suites by Ennemond Gautier and Jacques Gallot, several anonymous pieces and several by old friends like Chambonnières,  D'Anglebert and Louis Couperin. The thing that links all these pieces is Style Brisé: arpeggiated chords,  limping rhythms, constantly changing phrase lengths and a general feeling of unpredictability.

And the performance? Well she makes her copy of a Vaudry sound so lute like you could imagine she's plucking the strings with her finger nails. And at the level of interpretation she has a knack of knowing how long to let a note resound, and how long to pause between a phrase, to keep the listener hooked. It's a shame she has only recorded this one CD because my feeling is she's really very good indeed.
Title: Re: General Harpsichord and Clavichord Thread
Post by: king ubu on January 11, 2017, 10:43:44 PM
That's the "La Belle homicide" disc, right? This one: http://www.allmusic.com/album/la-belle-homicide-mw0001946265 (the pic is not showing on my work computer)
It's been a couple of years since I bought it, but I really enjoyed it when I gave it a few spins back then. Have to locate it and listen again, thanks for the reminder!
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 12, 2017, 03:02:37 PM
Quote from: Mandryka on June 25, 2016, 10:09:35 AM
(http://www.claudiobrizi.com/wp-content/uploads/2015/02/Claviorgan-Wonderland-Booklet09-1024x512.jpg)
(Does anyone have any information about the instrument Leonhardt used? I don't have the booklet.)

If you have the "Tribute to Leonhardt" set like me, the booklet is online: https://www.outhere-music.com/uploads/booklets/51824d19a1879.pdf?1.0.1.1

From the Claviorganum booklet:
"The instrument used here, made in 2001,comes from the workshops of Matthias Griewisch at Bammental (harpsichord) and Friedrich Lieb at Bietigheim-Bissingen (organ). It is composed of an Italian one-manual harpsichord, after Aelpidio Gregori, and a chest-like chamber organ with 8’ Gedackt (Bourdon) and 4’ Flute stops. By shifting the keyboard the harpsichord and the organ may be played separately or together. "

Oh dear, I just realized that I'm half a year late to the party! ;)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 13, 2017, 12:02:27 AM
Quote from: bioluminescentsquid on January 12, 2017, 03:02:37 PM
If you have the "Tribute to Leonhardt" set like me, the booklet is online: https://www.outhere-music.com/uploads/booklets/51824d19a1879.pdf?1.0.1.1

From the Claviorganum booklet:
"The instrument used here, made in 2001,comes from the workshops of Matthias Griewisch at Bammental (harpsichord) and Friedrich Lieb at Bietigheim-Bissingen (organ). It is composed of an Italian one-manual harpsichord, after Aelpidio Gregori, and a chest-like chamber organ with 8' Gedackt (Bourdon) and 4' Flute stops. By shifting the keyboard the harpsichord and the organ may be played separately or together. "

Welcome to the forum. :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: XB-70 Valkyrie on January 13, 2017, 06:22:50 PM
Bobtail Squids can appreciate classical music too. (Apperently, they have better taste than most humans).  ;D

On another note, as a non-French speaker, what is the closest English translation of La Belle homicide. (The beautiful murder?) Some context?
Title: Re: General Harpsichord and Clavichord Thread
Post by: kishnevi on January 13, 2017, 06:40:27 PM
Quote from: XB-70 Valkyrie on January 13, 2017, 06:22:50 PM
Bobtail Squids can appreciate classical music too. (Apperently, they have better taste than most humans).  ;D

On another note, as a non-French speaker, what is the closest English translation of La Belle homicide. (The beautiful murder?) Some context?

Not a French speaker, and don't have the CD, but I think the phrase can be translated as "the beautiful murderess"

Edit: the tracklist at the link Roi Ubu posted reveals one of the pieces on the recording is titled La Belle Homicide
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 13, 2017, 08:43:46 PM
Quote from: XB-70 Valkyrie on January 13, 2017, 06:22:50 PM
Bobtail Squids can appreciate classical music too. (Apperently, they have better taste than most humans).  ;D

Thanks - but I tend to prefer thinking that I'm an elusive colossal squid (who, by the way, are also bioluminescent), somewhere in the depths of the oceans ;D
But thank you, guys, for your warm welcomes!

On a (slightly) related note, what does the expression "douceur violente" mean? I've encountered it a the title of a Bailes lute album, and on a Dolmetsch clavichord, and I think it translates into "gentle violence," which doesn't make sense.

(http://www.hogwood.org/images/instruments/main/130424093042Chickering%20Whole.JPG)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 13, 2017, 10:30:33 PM
La belle homicide, the beautiful murderer/murder, is the title of a piece originally by Vieux Gaultier, later transformed by his pupil Charles Mouton. I have no idea why it's called La Belle Homicide, I don't know who gave Gaultier's piece the title.

La Douceur Violente - violent softness/gentleness/sweetness. An oxymoron. I think it's a great description of style brisé, which is sweet, and full of rhythmic and melodic irregularities, asperities. It may help to note that the 1694 Acadamie Francaise Dictionary defines "violent" as "Acting impetuously" But it may not help to note that the same dictionary defines "douceur" as "A way of acting which is far from every sort of violence."

I've often said that the greatest art is about paradox.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 14, 2017, 01:18:15 AM
Oh, come on guys.... ::)  ;)

Both expressions obviously refer the eternal concept of LOVE... :D

Plucked this from the net - from the booklet of Lislevand's CD "La belle homicide":

"The homicide in question is indeed a very sweet one. We recall the words from a Dowland song: to see/to touch/to kiss/to die. This Grace procures the metaphorical death of the late Renaissance: the sublime ecstasy of physical love.

In Gaultier's Rhetorique des Dieux, he adds the following text under the tablature of the L'homicide: (english translation) This Fair Lady, by her charms, brings death to all that see or hear her. But that Death is unlike ordinary deaths in that it is the beginning of life, instead of marking its end."

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 14, 2017, 05:31:38 AM
Quote from: Que on January 14, 2017, 01:18:15 AM
Oh, come on guys.... ::)  ;)

Both expressions obviously refer the eternal concept of LOVE... :D

Plucked this from the net - from the booklet of Lislevand's CD "La belle homicide":

"The homicide in question is indeed a very sweet one. We recall the words from a Dowland song: to see/to touch/to kiss/to die. This Grace procures the metaphorical death of the late Renaissance: the sublime ecstasy of physical love.

In Gaultier's Rhetorique des Dieux, he adds the following text under the tablature of the L'homicide: (english translation) This Fair Lady, by her charms, brings death to all that see or hear her. But that Death is unlike ordinary deaths in that it is the beginning of life, instead of marking its end."

Q

And now I remember that in Shakespearian England people thought that an orgasm was a sort of death. When Romeo says he wants to die in Juliette's arms, for example. How could I have forgotten!

This lute music is porno!
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 14, 2017, 06:23:05 AM
Quote from: Mandryka on January 14, 2017, 05:31:38 AM
And now I remember that in Shakespearian England people thought that an orgasm was a sort of death. When Romeo says he wants to die in Juliette's arms, for example. How could I have forgotten!

Yes, analogue to the French term "la petite mort" .

Quote from: Mandryka
This lute music is porno!

Do you consider sex synonymous with with porno?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 14, 2017, 10:39:52 PM
Quote from: (: premont :) on January 14, 2017, 06:23:05 AM


Do you consider sex synonymous with with porno?

You mean the expression of sexual passion in public music, like in Tristan Act II or the overture to Rosenkavalier? I don't know, I think the question is interesting. One thing I would say is that I don't necessarily think that pornography is a bad thing.

Anyway returning to Gaultier or Mouton's La Belle Homicide, the problem I have with que's  explanation is seeing how eroticism is reflected in the music. I'm beginning to think that Que was too quick to draw the conclusion, unless someone can convince me that there's something in the music which ties it to orgasm.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on January 14, 2017, 11:23:44 PM
Quote from: Mandryka on January 14, 2017, 10:39:52 PM
You mean the expression of sexual passion in public music, like in Tristan Act II or the overture to Rosenkavalier? I don't know, I think the question is interesting. One thing I would say is that I don't necessarily think that pornography is a bad thing.

IMO pornography (when we exclude pervertions) is the unscrupulous commercial exploitation and trivialization of basic normal sexual behavior. On the other hand I admit that some of the so-called artistic descriptions of sexual behavior may seem to cross the border to pornography. I use to say, that if I like it, it is art, and if I do not like it, it is pornography. But I am well aware, that even degusting descriptions may have an artistic aim. So the best definition may be one which includes the intention of its autor, and not depends upon how the reader/listener/viewer perceives it. So I do not think your musical examples above are pornography.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 15, 2017, 01:18:57 AM
Quote from: Mandryka on January 14, 2017, 10:39:52 PM
Anyway returning to Gaultier or Mouton's La Belle Homicide, the problem I have with que's  explanation is seeing how eroticism is reflected in the music. I'm beginning to think that Que was too quick to draw the conclusion, unless someone can convince me that there's something in the music which ties it to orgasm.

And I don't follow you in your conclusion that the concept of a fatal (deadly) love would be reflected in the music by means eroticism and association with an orgasm? ::)  ???

What about pain, sorrow, yearning, heartache and remorse....?

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 15, 2017, 04:25:01 AM
Quote from: Que on January 15, 2017, 01:18:57 AM
And I don't follow you in your conclusion that the concept of a fatal (deadly) love would be reflected in the music by means eroticism and association with an orgasm? ::)  ???

What about pain, sorrow, yearning, heartache and remorse....?

Q

Just because I have really clear recollection of my teacher in school (who had a doctorate on Shakespeare) saying that for Shakespeare, Marlowe, Donne, Johnson etc. orgasm was a sort of death, he didn't say that yearning is a sort of death etc. I never studied this after the age of 17, so my knowledge is pretty limited.

I also have a vague memory that they thought that sneezing was either a sort of orgasm or a sort of death . . . Sneezing is involved in this stuff.
Title: Re: General Harpsichord and Clavichord Thread
Post by: North Star on January 15, 2017, 05:13:10 AM
Quote from: Mandryka on January 15, 2017, 04:25:01 AM
Just because I have really clear recollection of my teacher in school (who had a doctorate on Shakespeare) saying that for Shakespeare, Marlowe, Donne, Johnson etc. orgasm was a sort of death, he didn't say that yearning is a sort of death etc. I never studied this after the age of 17, so my knowledge is pretty limited.

I also have a vague memory that they thought that sneezing was either a sort of orgasm or a sort of death . . . Sneezing is involved in this stuff.
Yes, that's what death often referred to in poetry... see e.g. this song by John Dryden from the play Marriage-à-la-Mode...
QuoteWHILST Alexis lay prest   
  In her Arms he lov'd best,   
With his hands round her neck,   
  And his head on her breast,   
He found the fierce pleasure too hasty to stay,           5
And his soul in the tempest just flying away.   

2
When Cœlia saw this,   
With a sigh, and a kiss,   
She cry'd, Oh my dear, I am robb'd of my bliss;   
'Tis unkind to your Love, and unfaithfully done,           10
To leave me behind you, and die all alone.   

3
The Youth, though in haste,   
And breathing his last,   
In pity dy'd slowly, while she dy'd more fast;   
Till at length she cry'd, Now, my dear, now let us go,           15
Now die, my Alexis, and I will die too.   

3
Thus intranc'd they did lie,   
Till Alexis did try   
To recover new Breath, that again he might die:   
Then often they di'd; but the more they did so,           20
The Nymph dy'd more quick, and the Shepherd more slow.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 15, 2017, 05:48:17 AM
Quote from: sanantonio on January 15, 2017, 05:02:59 AM
Death.  Which is why we say "bless you" after someone sneezes.

I too am familiar with the idea of linking love/sexual organism with death, viz. Wagner's Liebestod and much of Tristan und Isolde, is a famous manifestation of the idea.  I think it is the idea that, especially for a love which cannot be realized, in death can the lovers only be united, and also, as was mentioned earlier in this thread, loss of consciousness through orgasm is a kind of "death".

There's certainly a link between love and death in Tristan, not between sex and death.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 15, 2017, 07:13:51 AM
Quote from: sanantonio on January 15, 2017, 06:15:13 AM
Oh, come on.  You must be aware of how the music been described as one long build up to orgasm.  Love/sex/death is the subconscious message of the entire opera.

Let me just try and say it again more clearly, in Tristan Wagner tries to make  a link between love and death, not as far as  recall between sex and death. But if I'm wrong, and it's years since I heard the opera, just explain the link between sex and death for me.

I know the music's orgasmic, visceral, passionate. Tristan is a chivalrous knight and Isolde is betrothed to his lord. Are you suggesting that they were having it off? 
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 15, 2017, 04:55:11 PM
There's also a piece in the 24th Ordre of F. Couperin that's titled "les dars-homicdes" - but I'm listening to Verlet's recording of it, and it seems like a careless/dainty little piece, rather unlike Gaultier's piece a generation earlier. So, is the title also an allusion to love/sex? (I can't find a translation of "dars" in French, either)
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 15, 2017, 04:59:23 PM
Quote from: sanantonio on January 15, 2017, 08:46:34 AM
No, it was unconsummated, but the tension of a desire which cannot be fulfilled (as you said she was betrothed to his lord and thus off limits) is what is driving the drama, at least that has been my understanding of the work.  I think Wagner was representing their passion in teh[sic] music, which you accurately describe as "orgasmic, visceral, passionate".

I'm not as knowledgeable as either of you on such matters, but I can offer up a small excerpt from the wikipedia page of "liebestod" (which is German for Love-death, as we know from Tristian/Isolde) A bit lacking in citations, though - and didn't Romeo and Juliet already consummate their love before Romeo left to Mantua?

When used as a literary term, liebestod (from German Liebe, love and Tod, death) refers to the theme of erotic death or "love death" meaning the two lovers' consummation of their love in death or after death. Other two-sided examples include Pyramus and Thisbe, Romeo and Juliet, and to some degree Wuthering Heights. One-sided examples are Porphyria's Lover and The Sorrows of Young Werther. The joint suicide of Heinrich von Kleist and lover Henriette Vogel is often associated with the Liebestod theme.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 17, 2017, 10:32:23 PM
All sex and musical erotica aside...
Just listened to the first part of this:
(https://img1.doubanio.com/lpic/s3130539.jpg)

Probably will write more extensive impressions later (and I find that most discs require a few spins before I make heads or tails), but I feel rather ambivalent about this issue: the playing is fine (will comment on it when I make myself more familiar), but ugh, the recording!

I know this harpsichord from the recordings of Verlet, and it's quite a nice one, with a drier, leaner, more Italianate sound that seems like a hold-over from the days before the Ruckers-style took over in France (not one that I would normally associate with Rameau, but I believe that Rameau knew this maker personally, and Jean Rondeau uses a similar instrument to great effect, so I can't complain). But the recording seems to be taken from further, in a large space, rather like what one would expect when hearing a harpsichord in a concert hall with sub-optimal acoustics - and the harpsichord loses quite a lot of character, sounding like a cross between a dull Ruckers and an organ.

(https://upload.wikimedia.org/wikipedia/commons/f/fc/Donzelague-Clavecin-_1716_-.jpg)
(it fittingly has a picture of some putti busily fan-boying a portrait Rameau on it!  :D )

Well, the case is still open - I'll listen to vol. 2 another day.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 18, 2017, 05:32:47 AM
Quote from: bioluminescentsquid on January 17, 2017, 10:32:23 PM
All sex and musical erotica aside...
Just listened to the first part of this:
(https://img1.doubanio.com/lpic/s3130539.jpg)

Probably will write more extensive impressions later (and I find that most discs require a few spins before I make heads or tails), but I feel rather ambivalent about this issue: the playing is fine (will comment on it when I make myself more familiar), but ugh, the recording!

I know this harpsichord from the recordings of Verlet, and it's quite a nice one, with a drier, leaner, more Italianate sound that seems like a hold-over from the days before the Ruckers-style took over in France (not one that I would normally associate with Rameau, but I believe that Rameau knew this maker personally, and Jean Rondeau uses a similar instrument to great effect, so I can't complain). But the recording seems to be taken from further, in a large space, rather like what one would expect when hearing a harpsichord in a concert hall with sub-optimal acoustics - and the harpsichord loses quite a lot of character, sounding like a cross between a dull Ruckers and an organ.

(https://upload.wikimedia.org/wikipedia/commons/f/fc/Donzelague-Clavecin-_1716_-.jpg)
(it fittingly has a picture of some putti busily fan-boying a portrait Rameau on it!  :D )

Well, the case is still open - I'll listen to vol. 2 another day.

In fact I like this one because the rubato's so sensual, and I think the harpsichord sounds cool in the high notes, which cut through the sound like botrytis in premier cru Sauternes. She's also recorded some Clerambault, which is well worth catching I think.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 18, 2017, 07:48:21 PM
(http://cps-static.rovicorp.com/3/JPG_1080/MI0001/001/MI0001001178.jpg?partner=allrovi.com)

I think this one's a hit!
I've known la Guerre, one of the rare female composers of the Baroque era for quite some time, and absentmindedly made my way through some albums of harpsichord and violin music without being impressed.
But oh my, under the hands of Verlet, a very sympathetic performer, the music is marvelous!

Let's start from the recording - I really love how the Colmar Ruckers is recorded here, which captures the "Flemish sound" , with the wiry but lyrical trebles and the luminous bass (I've actually always thought that relatively unaltered Flemish harpsichords sounded exactly like 18th century French ones until I heard Hogwood's recording of Louis Couperin, performed on a Couchet), very well.
And they don't forget to leave out the occasional sounds of birds chirping, a touch that I adore. There's a noise in the prelude of the 1st suite (1707), however, which freaked me out the first time I heard it on headphones, as I thought it was someone was calling my name!

Then, the music - although it might not be as technically complex as Froberger's or Louis Couperin's (I haven't listened to much D'Anglebert or Chambonneries, as I haven't found a sympathetic performer), it certainly has the same emotional depth and poignancy of their works. There are quite a lot of haunting little Baroque dances on this disc - and while the first set (1687) of course reminds me of Froberger and L. Couperin, the second starts to seem to have have a little F. Couperin in it (and perhaps even a bit of Forqueray?).

(I hope these comments make up for the unenthusiastic impression I gave to Verlet's partitas)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 18, 2017, 10:15:54 PM
Quote from: bioluminescentsquid on January 18, 2017, 07:48:21 PM
(http://cps-static.rovicorp.com/3/JPG_1080/MI0001/001/MI0001001178.jpg?partner=allrovi.com)

I think this one's a hit!
I've known la Guerre, one of the rare female composers of the Baroque era for quite some time, and absentmindedly made my way through some albums of harpsichord and violin music without being impressed.
But oh my, under the hands of Verlet, a very sympathetic performer, the music is marvelous!

Let's start from the recording - I really love how the Colmar Ruckers is recorded here, which captures the "Flemish sound" , with the wiry but lyrical trebles and the luminous bass (I've actually always thought that relatively unaltered Flemish harpsichords sounded exactly like 18th century French ones until I heard Hogwood's recording of Louis Couperin, performed on a Couchet), very well.
And they don't forget to leave out the occasional sounds of birds chirping, a touch that I adore. There's a noise in the prelude of the 1st suite (1707), however, which freaked me out the first time I heard it on headphones, as I thought it was someone was calling my name!

Then, the music - although it might not be as technically complex as Froberger's or Louis Couperin's (I haven't listened to much D'Anglebert or Chambonneries, as I haven't found a sympathetic performer), it certainly has the same emotional depth and poignancy of their works. There are quite a lot of haunting little Baroque dances on this disc - and while the first set (1687) of course reminds me of Froberger and L. Couperin, the second starts to seem to have have a little F. Couperin in it (and perhaps even a bit of Forqueray?).

(I hope these comments make up for the unenthusiastic impression I gave to Verlet's partitas)

You may also like her Louis Marchand LP.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 20, 2017, 07:33:25 PM
Quote from: Mandryka on January 18, 2017, 10:15:54 PM
You may also like her Louis Marchand LP.

I know the Marchand recording (I'm listening to it right now), but I still like the de la Guerre CD more - I guess it's because I like the style of the latter more (More introspective, and really reminds me of the style of Froberger, L. Couperin etc.). But they're both great.

(https://img.discogs.com/0_wLb_VHzJb2Ebim_f8Z6ZJTo_Y=/fit-in/300x300/filters:strip_icc():format(jpeg):mode_rgb():quality(40)/discogs-images/R-8994079-1472932623-2257.jpeg.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 20, 2017, 09:58:14 PM
Quote from: bioluminescentsquid on January 20, 2017, 07:33:25 PM
I know the Marchand recording (I'm listening to it right now), but I still like the de la Guerre CD more - I guess it's because I like the style of the latter more (More introspective, and really reminds me of the style of Froberger, L. Couperin etc.). But they're both great.

(https://img.discogs.com/0_wLb_VHzJb2Ebim_f8Z6ZJTo_Y=/fit-in/300x300/filters:strip_icc():format(jpeg):mode_rgb():quality(40)/discogs-images/R-8994079-1472932623-2257.jpeg.jpg)

I probably agree with you about this, in truth I've never really enjoyed Louis Marchand's Harpsichord music as much as his organ music (and that solely through Freddy Eichelberger's recording.) I'm not a great lover of French classicism in fact, though I get the strong feeling that EJDLG was a very fine composer.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 25, 2017, 07:57:22 AM
(http://images.amazon.com/images/P/B004GA8RUA.01_SL75_.jpg)

I think Karen Flint's EJDLG is well worth hearing - I'm now convinced that the music is outstanding, she was a great keyboard composer.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 25, 2017, 06:02:59 PM
Quote from: Mandryka on January 25, 2017, 07:57:22 AM
(http://images.amazon.com/images/P/B004GA8RUA.01_SL75_.jpg)

I think Karen Flint's EJDLG is well worth hearing - I'm now convinced that the music is outstanding, she was a great keyboard composer.

Just curious - how do you think of Chambonnières? I've been so focused on Louis Couperin that I haven't heard much of Chambonnières. Any outstanding recordings?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 25, 2017, 09:20:34 PM
Quote from: bioluminescentsquid on January 25, 2017, 06:02:59 PM
Just curious - how do you think of Chambonnières? I've been so focused on Louis Couperin that I haven't heard much of Chambonnières. Any outstanding recordings?

In Chambonnières the recording that has impressed me the most, convinced me that the music is really fine, is Volume 2 of Karen Flint's second survey, this one

http://www.plectra.org/product-page/da13feda-83be-6451-e26a-5411642333d4


This is her latest issue and I think she's really found her voice in it. One issue in interpreting Chambonnières is striking a balance between lyrical flow on the one hand, and the interruption of  lyricism by other voices on the other. Flow and turbulence. In this recording, she has shown she's got the knack.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on January 25, 2017, 11:32:44 PM
Quote from: Mandryka on January 25, 2017, 09:20:34 PM
In Chambonnières the recording that has impressed me the most, convinced me that the music is really fine, is Volume 2 of Karen Flint's second survey, this one

http://www.plectra.org/product-page/da13feda-83be-6451-e26a-5411642333d4


This is her latest issue and I think she's really found her voice in it. One issue in interpreting Chambonnières is striking a balance between lyrical flow on the one hand, and the interruption of  lyricism by other voices on the other. Flow and turbulence. In this recording, she has shown she's got the knack.

Thanks - I should explore that label more, especially since it's free of spotify - for some reason I was quite prejudiced against it.

The quality, it seems, is somewhat uneven - Flint's contributions are wonderful, and so are Davitt Moroney's, but then there's the rather half-baked sounding Bach Harpsichord concertos.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 26, 2017, 12:08:54 AM
Quote from: bioluminescentsquid on January 25, 2017, 11:32:44 PM
Thanks - I should explore that label more, especially since it's free of spotify - for some reason I was quite prejudiced against it.

The quality, it seems, is somewhat uneven - Flint's contributions are wonderful, and so are Davitt Moroney's, but then there's the rather half-baked sounding Bach Harpsichord concertos.

Unfortunately the very good Chambonnières recordings by Flint aren't on spotify, be careful because the covers look so similar. The ones on spotify are earlier. The other thing to say is that I think much of the music on that vol. 2 of her second series that I gave a link to has never been previously recorded, and I'd say it's a lot of his best music too.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 26, 2017, 08:34:00 AM
Quote from: bioluminescentsquid on January 25, 2017, 11:32:44 PM
Thanks - I should explore that label more, especially since it's free of spotify - for some reason I was quite prejudiced against it.

The quality, it seems, is somewhat uneven - Flint's contributions are wonderful, and so are Davitt Moroney's, but then there's the rather half-baked sounding Bach Harpsichord concertos.

Maybe see what you think of Arthur Haas's passionate EJDLG suite on Plectra. I think his D'Anglebert CD for Wildboar is fabulous.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 26, 2017, 09:25:05 AM
Quote from: bioluminescentsquid on January 25, 2017, 06:02:59 PM
Just curious - how do you think of Chambonnières? I've been so focused on Louis Couperin that I haven't heard much of Chambonnières. Any outstanding recordings?

[asin]B00015EL7M[/asin]

A great, no, a fantastic performance!  :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: kishnevi on January 28, 2017, 04:19:32 PM
My brain finally clicked in, and realized I have just received this
[asin]B01DOV8GYI[/asin]

I have yet to actually play it.  Not comprehensive: 8 suites amounting to 89 minutes of music. Released this past October.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on February 26, 2017, 09:03:35 PM
Perhaps it would be better to post this in a "identify this piece" thread, but I'm putting this here.

Who's the composer/performer of this piece?

https://www.youtube.com/watch?v=NHsLZTLA0eM

Must be a 17th century French composer, based on the style and also harpsichord choice (Tibaut  1681, in the collection of Yannick Guillou) - but who? Too "frenchy" for Frobeger, and definitely not Louis Couperin (I'm pretty confident that I know most of his work). I initially thought Chambonnieres, but I'm not familiar with all his music. However, what I've heard sounds pretty similar to the Courante (?) in the start. Or is it D'Anglebert (not too familiar with his work either)?

Another hint: If my perfect pitch (more of a curse than a blessing when you're a baroque music enthusiast) is correct, at 392 hz tuning the piece should be in D major. The rest of the suite seems to also be in D.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on February 26, 2017, 09:20:35 PM
Quote from: Mandryka on January 18, 2017, 05:32:47 AM
In fact I like this one because the rubato's so sensual, and I think the harpsichord sounds cool in the high notes, which cut through the sound like botrytis in premier cru Sauternes. She's also recorded some Clerambault, which is well worth catching I think.
I hope I mentioned that this one clicked for me - I love it! The rubato is indeed delightful, and I enjoy the tender touch.

As for Chambonnieres, I'm listening to Sempe's recording - awesome! I never would guess that Sempe had a tender side to him until I heard his Louis Couperin, and this recording reminds me a lot of the Couperin (although much more cheerful and daintier). Still would like to explore Baumont and Lengelle's recordings.

And I also learned how to pronounce his name. I've always suspected that it wasn't pronounced "Sham-bon-eries!"
https://forvo.com/word/jacques_champion_de_chambonni%C3%A8res/
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on February 26, 2017, 11:14:44 PM
Quote from: bioluminescentsquid on February 26, 2017, 09:20:35 PM
I hope I mentioned that this one clicked for me - I love it! The rubato is indeed delightful, and I enjoy the tender touch.

As for Chambonnieres, I'm listening to Sempe's recording - awesome! I never would guess that Sempe had a tender side to him until I heard his Louis Couperin, and this recording reminds me a lot of the Couperin (although much more cheerful and daintier). Still would like to explore Baumont and Lengelle's recordings.

And I also learned how to pronounce his name. I've always suspected that it wasn't pronounced "Sham-bon-eries!"
https://forvo.com/word/jacques_champion_de_chambonni%C3%A8res/

I do not know the piece, but it might be from this CD:

http://www.lescyclopes.org/fre/7/pieces-de-clavessins
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on February 26, 2017, 11:48:48 PM
Quote from: (: premont :) on February 26, 2017, 11:14:44 PM
I do not know the piece, but it might be from this CD:

http://www.lescyclopes.org/fre/7/pieces-de-clavessins

Sounds too early for le Roux, though...
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on February 27, 2017, 12:03:29 AM
Quote from: bioluminescentsquid on February 26, 2017, 11:48:48 PM
Sounds too early for le Roux, though...

I have ordered the CD, an it will be delivered in about a week. Then I can say more.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on February 27, 2017, 12:22:14 AM
Quote from: (: premont :) on February 27, 2017, 12:03:29 AM
I have ordered the CD, an it will be delivered in about a week. Then I can say more.

I've found it on Spotify. Quite a nice CD, although I still think I like earlier stuff more. But as I thought, the piece was not on the disc - in fact, the CD was scored for 2 harpsichords.
I'm wondering if it's Lengelle's Chambonnieres, which is also done on the 1681?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on February 27, 2017, 12:30:17 AM
Quote from: bioluminescentsquid on February 27, 2017, 12:22:14 AM
I've found it on Spotify. Quite a nice CD, although I still think I like earlier stuff more. But as I thought, the piece was not on the disc - in fact, the CD was scored for 2 harpsichords.
I'm wondering if it's Lengelle's Chambonnieres, which is also done on the 1681?

Yes, I just found out. This I own and will give a listen to day, and then I can tell you.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on February 27, 2017, 01:30:34 AM
Quote from: bioluminescentsquid on February 27, 2017, 12:22:14 AM
I'm wondering if it's Lengelle's Chambonnieres, which is also done on the 1681?

Yes, that's right. Have just listened to it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on February 27, 2017, 08:11:00 AM
Quote from: (: premont :) on February 27, 2017, 01:30:34 AM
Yes, that's right. Have just listened to it.
Which suite is it?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 27, 2017, 09:37:11 AM
Quote from: bioluminescentsquid on February 27, 2017, 08:11:00 AM
Which suite is it?

It is the second track of her second cd, a courante in D

Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on February 27, 2017, 10:25:46 AM
Quote from: Mandryka on February 27, 2017, 09:37:11 AM
It is the second track of her second cd, a courante in D
Ok. This is a surefire signal that I should check this disc out, since it sounds quite nice. Thanks!

Edit: Wait, what do you mean by second CD? I didn't know that she had multiple Chambonnieres CD's...?
I hope that the audio quality in the CD sounds much better than the youtube, although I do like the sound of this harpsichord.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 27, 2017, 10:52:09 AM
The first CD

(https://images-na.ssl-images-amazon.com/images/I/61gbq9SzVlL._SX300_.jpg)

The second CD

(http://cps-static.rovicorp.com/3/JPG_500/MI0003/279/MI0003279610.jpg?partner=allrovi.com)

the audio quality of the second is excellent; the performances have plenty of fluidity and forward motion, wide awake, often extrovert, always lively, I'm glad to have it.

Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on February 27, 2017, 03:12:58 PM
Quote from: Mandryka on February 27, 2017, 10:52:09 AM
The first CD

(https://images-na.ssl-images-amazon.com/images/I/61gbq9SzVlL._SX300_.jpg)



Nor did I know her first CD. Where did you find it?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 27, 2017, 09:33:10 PM
Quote from: (: premont :) on February 27, 2017, 03:12:58 PM
Nor did I know her first CD. Where did you find it?

I don't know, I've had it for years, if you want I'll upload it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on February 27, 2017, 09:50:01 PM
Quote from: (: premont :) on February 27, 2017, 03:12:58 PM
Nor did I know her first CD. Where did you find it?

https://www.amazon.de/Chambonni%C3%A8res-Pi%C3%A8ces-pour-clavecin-Lengell%C3%A9/dp/B000027PM5//?tag=goodmusicguid-22
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 27, 2017, 10:05:18 PM
Quote from: Que on January 26, 2017, 09:25:05 AM
[asin]B00015EL7M[/asin]

A great, no, a fantastic performance!  :)

Q

Yes I agree this is outstanding.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 27, 2017, 10:18:07 PM
I'd be interested to know what people think of Jane Chapman's Chambonnières.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 01, 2017, 01:56:55 PM
Quote from: Marc on February 27, 2017, 09:50:01 PM
https://www.amazon.de/Chambonni%C3%A8res-Pi%C3%A8ces-pour-clavecin-Lengell%C3%A9/dp/B000027PM5//?tag=goodmusicguid-22

Thanks for the hint. I am going to order it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: GrowlingGecko on March 02, 2017, 02:06:26 PM
Can anybody point me towards where Philip Corner's detailed harmonic analysis of Mysterious Barricades is as I have been unable to find it?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 09, 2017, 11:17:40 AM
Is there any fan of Duphly on the thread??
My fav are below.

Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on March 10, 2017, 05:33:51 AM
Duphly is nice :)

The 2nd CD you posted is cool in that it's played on the "Lefebreve" harpsichord that Skowroneck built for Leonhardt after a bet that Skowroneck could produce a "fake" antique harpsichord that would fool experts.

Some other Duphly I like (Sadly, I don't listen to him enough -- sometimes, his works sound too "classical" to me, or just get overshadowed by people like Forqueray or Royer)

Elisabeth Joye's version on alpha is excellent - great harpsichord (The anonymous early-18th century one in Assas that Scott Ross and Jean Rondeau recorded on), and sensitive rubato. Somewhat dark, melancholy, in mood.

Rousset's I haven't listened in detail, but it seems pretty typical Rousset: muscular and full of force. Worth a listen.

Gluxam's Duphly is excellent - much less brooding and rather more balanced than the former two. The agogics are delicate, beautiful, and in the best of tastes.


https://www.youtube.com/watch?v=eXiIBoR4wks

The Duphly on Baumont's Quentin De La Tour Musical Portraits, and Skip Sempe's A French Collection is also excellent.

Edit: I forgot Leonhardt - doh!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on March 10, 2017, 09:44:06 AM
What about Jean-Patrice Brosse?  :)

[asin]B0001BVVZ6[/asin][asin]B0001NDGAW[/asin][asin]B0001YL676[/asin]

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 10, 2017, 11:57:19 AM
Both Joye and Brosse are very good.
Arguably, the Rousset recording could be the best performance, but that reverb sound is nuisance at best.
Surprisingly, to me, Joseph Payne's recording sounds good.
I like the old recording with solid, fat sound.

[asin]B00004SWFI[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 10, 2017, 01:09:05 PM
Quote from: bioluminescentsquid on March 10, 2017, 05:33:51 AM
Duphly is nice :)

The 2nd CD you posted is cool in that it's played on the "Lefebreve" harpsichord that Skowroneck built for Leonhardt after a bet that Skowroneck could produce a "fake" antique harpsichord that would fool experts.

Some other Duphly I like (Sadly, I don't listen to him enough -- sometimes, his works sound too "classical" to me, or just get overshadowed by people like Forqueray or Royer)

Elisabeth Joye's version on alpha is excellent - great harpsichord (The anonymous early-18th century one in Assas that Scott Ross and Jean Rondeau recorded on), and sensitive rubato. Somewhat dark, melancholy, in mood.

Rousset's I haven't listened in detail, but it seems pretty typical Rousset: muscular and full of force. Worth a listen.

Gluxam's Duphly is excellent - much less brooding and rather more balanced than the former two. The agogics are delicate, beautiful, and in the best of tastes.


https://www.youtube.com/watch?v=eXiIBoR4wks

The Duphly on Baumont's Quentin De La Tour Musical Portraits, and Skip Sempe's A French Collection is also excellent.

Edit: I forgot Leonhardt - doh!

Yes, Gluxam sounds elaborate if subtle .
Title: Re: General Harpsichord and Clavichord Thread
Post by: XB-70 Valkyrie on March 10, 2017, 03:54:23 PM
Any opinions on the Huguette Dreyfus set of F. Couperin's harpsichord works? This LP set has been sitting on my shelf--unlistened to--for decades.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on March 11, 2017, 12:27:21 AM
Quote from: Forever Electoral College on March 10, 2017, 11:57:19 AM
Both Joye and Brosse are very good.
Arguably, the Rousset recording could be the best performance, but that reverb sound is nuisance at best.


I agree, though the acoustics haven't bothered me much:

Quote from: Que on October 11, 2012, 09:12:35 PM
Me too!! :) Though I already have the complete Duphly (4 books, on 3 discs) by Jean-Patrice Brosse (Pierre Vérany/Arion).
Those are solid, sensitive and idiomatic performances, but Rousset always takes things to another level or in a different direction. And, like with his awesome Louis Couperin set, he seems to go for a selection instead of "complete". So the two seem complementary to each other.

Q

Quote from: Que on November 18, 2015, 08:56:24 AM
I already had some Duphly discs by Jean-Patrice Brosse, so I am familiar with the music. Rousset does a cross-section of Duphly's oeuvre.
Playing is, as usual with Rousset, elegant, virtuosic, brilliant and dazzling....but fortunately Rousset's style is for some time now not longer over-the-top and out-of-breath. This is perfectly balanced.  :)

All good news, but there is a catch here....this recording is out of print.... :(  I would recommend tracking a copy down soon...

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 11, 2017, 10:11:00 PM
Quote from: Leo K. on February 04, 2012, 05:55:36 AM
I am also really interested in José António Carlos de Seixas.

I haven't heard the recording you mention, but I have a recording performed by Anne Robert (released 1993).

I have volume 1, but can't find the cover artwork for this OOP recording. Here is Vol.2:

(http://ecx.images-amazon.com/images/I/31dimeRR9UL.jpg)

Robert sounds OK, but I prefer the Naxos recordings. Tin Pan Alley vs. Cool elegance.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on March 19, 2017, 09:38:50 AM
Found samples of a recording of Duphly that sounds quite promising: that is, if you can find it.
https://www.youtube.com/watch?v=2LTODfOkgik
(https://i1.wp.com/www.journalzibeline.fr/wp-content/uploads/2013/03/Jacques-Duphly.jpg?fit=500%2C500)
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on March 19, 2017, 09:51:58 AM
Leonhardt's Forqueray from the 70's. Strangely, it reminds me more of Koopman's Forqueray than Leonhardt's own "Bliss and pain of the Baroque" (Both I like).
https://www.youtube.com/watch?v=wOCN4eXkr1g
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 19, 2017, 10:13:01 AM
Quote from: bioluminescentsquid on March 19, 2017, 09:51:58 AM
Leonhardt's Forqueray from the 70's. Strangely, it reminds me more of Koopman's Forqueray than Leonhardt's own "Bliss and pain of the Baroque" (Both I like).
https://www.youtube.com/watch?v=wOCN4eXkr1g

Yes. He released Forqueray recordings in 1973, 1991 and 2005 and they're all quite different, as if they are like markers of his own development.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 24, 2017, 05:13:19 AM
Thank you very much. I am in the middle of a travel, but certainly will check it out.
Quote from: bioluminescentsquid on March 19, 2017, 09:38:50 AM
Found samples of a recording of Duphly that sounds quite promising: that is, if you can find it.
https://www.youtube.com/watch?v=2LTODfOkgik
(https://i1.wp.com/www.journalzibeline.fr/wp-content/uploads/2013/03/Jacques-Duphly.jpg?fit=500%2C500)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 25, 2017, 04:56:35 PM
Quote from: bioluminescentsquid on March 19, 2017, 09:38:50 AM
Found samples of a recording of Duphly that sounds quite promising: that is, if you can find it.
https://www.youtube.com/watch?v=2LTODfOkgik
(https://i1.wp.com/www.journalzibeline.fr/wp-content/uploads/2013/03/Jacques-Duphly.jpg?fit=500%2C500)
I checked it out on YT and I remember I listened her works a few years ago. She is a fine player and the instrument sounded very good. But her performance lacks liveliness and vividness.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on March 25, 2017, 09:07:54 PM
Quote from: Forever Electoral College on March 25, 2017, 04:56:35 PM
I checked it out on YT and I remember I listened her works a few years ago. She is a fine player and the instrument sounded very good. But her performance lacks liveliness and vividness.

Interesting. For me, it might not be the most flamboyant Duphly (probably Rousset), but there's a sense of restraint and sensitivity that I really enjoy. Of course, the relatively lackluster La Forqueray aside.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on March 25, 2017, 10:03:03 PM
Quote from: bioluminescentsquid on March 25, 2017, 09:07:54 PM
Interesting. For me, it might not be the most flamboyant Duphly (probably Rousset), but there's a sense of restraint and sensitivity that I really enjoy. Of course, the relatively lackluster La Forqueray aside.

Please compare her La Vanlo and Belombre with the same by Belder, Roussett, and Aya. Her performance does not convey the cuteness of the compositions.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 28, 2017, 09:04:32 PM
Quote from: bioluminescentsquid on January 25, 2017, 06:02:59 PM
Just curious - how do you think of Chambonnières? I've been so focused on Louis Couperin that I haven't heard much of Chambonnières. Any outstanding recordings?

Have you heard Paola Erdas play Chambonnières? It reminds me a bit of Langelle's second.

And maybe even more urgent than that is a magnificent D'Anglebert CD which I'd completely forgotten about, by Kenneth Gilbert and consisting of Lully transcriptions. Brigitte Tramier also made a good disc of this music. Of course you have to be in the mood for this sort of stuff.

(http://c3.cduniverse.ws/resized/250x500/music/918/3612918.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on April 01, 2017, 01:33:01 AM
Quote from: Mandryka on March 28, 2017, 09:04:32 PM
Have you heard Paola Erdas play Chambonnières? It reminds me a bit of Langelle's second.

And maybe even more urgent than that is a magnificent D'Anglebert CD which I'd completely forgotten about, by Kenneth Gilbert and consisting of Lully transcriptions. Brigitte Tramier also made a good disc of this music. Of course you have to be in the mood for this sort of stuff.

(http://c3.cduniverse.ws/resized/250x500/music/918/3612918.jpg)

Nope, need to find out more about this Erdas guy (I remember being very impressed by his Valente). I'm familiar with the Gilbert Lully: I'm always in the mood for this stuff!

https://www.youtube.com/watch?v=6zDQvX-gkpo
Meanwhile, I found this. A Sweelinck echo fantasy (ostensibly for organ, there're some that "echo" an octave down that are for harpsichord but this isn't one of them) on clavichord, yea or nay?
Methinks yea (mostly).
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on April 06, 2017, 11:13:46 PM
(http://www.carpediem-records.de/media/image/7e/4c/20/CD-16312_Shopcover58bd83aa37eb4.jpg)

First impressions, from sound samples, excellent!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 07, 2017, 01:58:11 AM
Quote from: bioluminescentsquid on April 06, 2017, 11:13:46 PM
(http://www.carpediem-records.de/media/image/7e/4c/20/CD-16312_Shopcover58bd83aa37eb4.jpg)

First impressions, from sound samples, excellent!

There's a review of this in Fanfare which compares it with a piano recording of some Bull, Alan Feinberg. The reviewer, Scott Noriega, makes this comment which surprised me:

Quote. . .  people may argue that the modern piano would never give one a clear picture of the music, as the instrument itself cannot transcend the issues of tuning so specific to the music of this time period.

What does he mean?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on April 07, 2017, 02:25:34 AM
Quote from: Mandryka on April 07, 2017, 01:58:11 AM
There's a review of this in Fanfare which compares it with a piano recording of some Bull, Alan Feinberg. The reviewer, Scott Noriega, makes this comment which surprised me:

What does he mean?

The used instrument is probably equally tuned, and this changes in his opinion the expressive potential too much.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 07, 2017, 04:24:54 AM
Quote from: (: premont :) on April 07, 2017, 02:25:34 AM
The used instrument is probably equally tuned, and this changes in his opinion the expressive potential too much.

Sure but he seems to be making a general claim about the limits of piano tuning.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on April 07, 2017, 06:20:49 AM
Quote from: Mandryka on April 07, 2017, 04:24:54 AM
Sure but he seems to be making a general claim about the limits of piano tuning.

I thought he meant, that the equal tuning is the central issue.

Maybe he means that a modern piano, even if it is meantone tempered, cannot do this music justice. The piano's relative lack of partials may change the way we perceive the harmonies in meantone in an unfavorable way.

BTW I have never heard - or heard of - a meantone tempered piano. He should have heard one to be able to say so. Of course it is possible to tune a piano in this way - and in every other thinkable way.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on April 07, 2017, 12:55:30 PM
Quote from: (: premont :) on April 07, 2017, 06:20:49 AM
I thought he meant, that the equal tuning is the central issue.

Maybe he means that a modern piano, even if it is meantone tempered, cannot do this music justice. The piano's relative lack of partials may change the way we perceive the harmonies in meantone in an unfavorable way.

BTW I have never heard - or heard of - a meantone tempered piano. He should have heard one to be able to say so. Of course it is possible to tune a piano in this way - and in every other thinkable way.

There's a video with pianos played in different temperaments, but the difference isn't as obvious as that we find on harpsichord.
https://www.youtube.com/watch?v=TBt6APk21tU

I think the gripe was also just with the eq-tuned piano.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 22, 2017, 06:39:08 AM
Quote from: Monsieur Croche on April 22, 2017, 02:20:47 AM

The harpsichord  . . .sacrificed . . . the touch sensitivity . . . of the clavichord. 

Apart from vibrato, can someone who plays these things say whether this is true?
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on May 17, 2017, 06:55:43 PM
Quote from: Forever Electoral College on March 10, 2017, 01:09:05 PM
Yes, Gluxam sounds elaborate if subtle .

Found: the naughty side of Gluxam.
https://www.youtube.com/watch?v=8RTyePBLECE
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on May 26, 2017, 03:06:11 PM
Quote from: bioluminescentsquid on May 17, 2017, 06:55:43 PM
Found: the naughty side of Gluxam.
https://www.youtube.com/watch?v=8RTyePBLECE

Solid performance on the unknown song. Impressive.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 13, 2017, 08:04:57 AM
(https://media1.jpc.de/image/w600/rear/0/9005346954209.jpg)

These pieces are all 17th century and anonymous, all very good music in a sort of Georg Böhm / Buxtehude style. Beautifully played by Lydia Maria Blank, who is as good here as she was in her Trabaci recording. Well worth hearing.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on September 13, 2017, 06:01:32 AM
Very amusing story about the discovery of the Louis Denis 1653 here

http://www.la-vouivre.ch/hanneton/pdf/historique.pdf

It is an amazing harpsichord. I'm really enjoying the recording using it by Giulia Nuti, she plays a Bauyn Manuscript selection. Apart from her, there are recordings by Rousset (LC), Jovanka Marville, (LC, Frob.), Erdas (D'Ang.) but I think that Nuti is the most successfully recorded, and in fact the best at making it sing, and at actualising  its colour potential.  Shame that Asperen has never recorded anything with it.

It's tempting to speculate that both Louis Couperin and Froberger knew it, maybe they played it together.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Turner on October 29, 2017, 01:05:28 AM
Am no specialist regarding harpsichord recordings, but I´d be interesting in seeing what people´s say selected 3 or 5 or 10 harpsichord music recordings in general would be, for reasons of repertoire, instruments, musical schools etc.

Of course some explaining would be great too, but not obligatory.

Feel free to do so here, if in the mood for it some time. Am currently thinking about which ones to choose myself ...
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 29, 2017, 02:09:02 AM
Quote from: Turner on October 29, 2017, 01:05:28 AM
Am no specialist regarding harpsichord recordings, but I´d be interesting in seeing what people´s say selected 3 or 5 or 10 harpsichord music recordings in general would be, for reasons of repertoire, instruments, musical schools etc.

Of course some explaining would be great too, but not obligatory.

Feel free to do so here, if in the mood for it some time. Am currently thinking about which ones to choose myself ...
It's a bit easier to do if I exclude Bach. For example, Skip Sempe's recording of Louis Couperin is a favorite of mine. There are some great recordings of Froberger, for example by Varotolo or Pamela Ruiter-Feenstra. Verlet's recording of Francois Couperin...Tilney's Frescobaldi...But this is excluding Bach who would probably take up all my slots. Oh, for the sound of a great harpsichord vis a vis Bach, Van Asperen's French Suit is unique. Otherwise the Well Tempered Clavier would get more than one place via various recordings. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on October 29, 2017, 03:59:49 AM
A bit short but very beautiful sounding instruments:
[asin]B00016B9A8[/asin]

People more familiar with the music were not too fond of the Boehm etc. pieces but I'd still recommend it for the sound of the instrument, alternatively Rampe's Handel disc on a similar instrument:

[asin]B000BM3MI4[/asin][asin]B001GTQTTU[/asin]

I have to think a little more about other favourites. Two I hesitate to mention because they are on 60s "revival" harpsichords, not on authentic ones are Anton Heiller's Rameau and Couperin Recitals (Vanguard), they are extremely entertaining, though.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 16, 2018, 09:11:30 AM
(https://images-na.ssl-images-amazon.com/images/I/51eKUKIc8RL.jpg)

Interesting music on this CD, very sympathetically executed by Arpo Hakkinen. De Macque may be relatively well known, but I was surprised to find that Ferdinand de Medici wrote some fine things, and Hakkinen even makes the Martini Sonata sound wonderful. De Nebra is a composer I've never heard of before, the pastorela is elegant and diverting in Hakkinen's hands.  I'm glad to have this CD.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Draško on March 10, 2018, 04:08:17 AM
(https://images-na.ssl-images-amazon.com/images/I/91F6O38nx-L._SL1500_.jpg)

Is anyone maybe familiar with this recording?

I've seen it at a flea market. It had a small scratch and I passed it. But if it is really good I probably could pick it up tomorrow.
Title: Re: General Harpsichord and Clavichord Thread
Post by: North Star on March 10, 2018, 04:13:48 AM
Quote from: Draško on March 10, 2018, 04:08:17 AM
(https://images-na.ssl-images-amazon.com/images/I/91F6O38nx-L._SL1500_.jpg)

Is anyone maybe familiar with this recording?

I've seen it at a flea market. It had a small scratch and I passed it. But if it is really good I probably could pick it up tomorrow.
It's on Youtube
https://www.youtube.com/v/P_L17pebwKk
Title: Re: General Harpsichord and Clavichord Thread
Post by: Draško on March 10, 2018, 01:37:18 PM
But of course, everything is on youtube these days, I hadn't checked. Thank you!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 18, 2018, 12:36:56 PM
(https://images-na.ssl-images-amazon.com/images/I/61e6YhehjmL._AC_US120_SCLZZZZZZZ__.jpg)

There's a review of this on Amazon.fr which I thought was quite inspiring and which is prompting me to re-evaluate Karen Flint's art

QuoteEn finir avec le culte des 'virtuoses" et des "interprétations de référence" pour cheminer à l'ombre des mains amoureuses qui tissent l'étoffe d'une musique dont l'essence est la retenue, la discrétion, la remise. Mme flint sait parfaitement qu'elle ne figurera jamais dans les palmarès des virtuoses, c'est à dire ceux dont la 'patte' les fait reconnaître, mais c'est bien cela qui la qualifie plus que jamais elle et de nombreux autres pour jouer ce clavecin français du XVII siècle dont l'esprit est a l'antipode de toute virtuosité, c'est d'ailleurs ne rien comprendre à Chambonnieres que de prendre au premier degré ce qu'en disent Mersenne et consort sur son 'toucher' et de vouloir en faire une virtuose. Certains prennent leur clavecin pour des voitures de courses et il enchainent les prouesses au carburant de leurs analyses musicologiques mais que n'ont ils composés si il avaient tant à dire? MMe Flint et Elizabeth Jaquet de la guerre nous épargnent tout cela, l'Abbé de la pure nous apprend que l'art suprême c'est peut -être celui de la conversation, il conviendrait surement de considérer la musique comme un lieu et un moment de conversation. L'écoute c'est à la fois: entendre avec l'ensemble de son corps-être l'unité factuelle d'un compositeur et son interprète, et 'parler-répondre" avec et par notre attention. Ce n'est pas écouter que mettre son attention entre la partition et les mains du claveciniste, écouter c'est s'abandonner a devenir "le clavecin" et la musique devient alors la forme de notre âme. Mme Flint qui est delivrée de la malédiction d'être une virtuose et un "blockbuster" du clavecin, elle est généreuse dans son jeu et dans ses actes, elle est poétesse, elle nous donne a prendre part à l'humaine conversation qui brillait encore aux allées du grand siècle.

Anyway I've been interested to explore another approach to Elisabeth Jacquet de la Guerre, up to now I only know Blandine Verlet's (excellent) recording. And I'm finally getting something out of Karen Flint's Lebègue, to use the terms of the above review,  I'm trying to abandon myself and actually become Karen's harpsichord, and hence to allow the music to become the form of my soul. Her Louis Couperin continues to defeat me, but I'm not going to abandon it just yet. 

Jacquet de la Guerre's harpsichord music is very good I'd say. She must be one of the most underrated baroque composers.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 18, 2018, 12:42:36 PM
Quote from: Draško on March 10, 2018, 04:08:17 AM
(https://images-na.ssl-images-amazon.com/images/I/91F6O38nx-L._SL1500_.jpg)

Is anyone maybe familiar with this recording?

I've seen it at a flea market. It had a small scratch and I passed it. But if it is really good I probably could pick it up tomorrow.

I only know this harpsichordist through her excellent D'Andrieu.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on March 18, 2018, 12:58:21 PM
Quote from: Mandryka on March 18, 2018, 12:42:36 PM
I only know this harpsichordist through her excellent D'Andrieu.

Maybe this one (Louis Couperin) is somewhere to be found on the world wide web, too.

(https://images2.imgbox.com/9b/f9/uDuhUp2S_o.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 19, 2018, 01:21:03 PM
Quote from: Mandryka on March 18, 2018, 12:42:36 PM
I only know this harpsichordist through her excellent D'Andrieu.

Surprise, it was you who drew my attention to her Louis Couperin CD a couple of years ago.

http://www.good-music-guide.com/community/index.php/topic,1729.msg970798.html#msg970798
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 19, 2018, 10:45:08 PM
Quote from: (: premont :) on March 19, 2018, 01:21:03 PM
Surprise, it was you who drew my attention to her Louis Couperin CD a couple of years ago.

http://www.good-music-guide.com/community/index.php/topic,1729.msg970798.html#msg970798

Yes I know, it was my first senior moment.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on March 19, 2018, 10:48:29 PM
Any recommendations for the recordings of the harpsichord music by Henry Purcell?  :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on March 19, 2018, 11:37:33 PM
Quote from: (: premont :) on March 19, 2018, 01:21:03 PM
Surprise, it was you who drew my attention to her Louis Couperin CD a couple of years ago.

http://www.good-music-guide.com/community/index.php/topic,1729.msg970798.html#msg970798

I thought Mandryka was gonna hug me for that L Couperin / Haudebourg recommendation, but apparently he knew that one all along. ;)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 20, 2018, 12:05:58 AM
(((((( Marc ))))))
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on March 20, 2018, 12:39:27 AM
In my impression Purcell's harpsichord pieces are very charming but comparably slight, I think of them as 17th century well-educated girl's music. I have one reasonably complete recording with Baumont that I enjoy and a few pieces on mixed recitals (Leonhardt in one of these boxes and probably a few more).

[asin]B000001Z2S[/asin] [asin]B002S9USRQ[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on March 20, 2018, 03:12:20 AM
Quote from: Mandryka on March 20, 2018, 12:05:58 AM
(((((( Marc ))))))

[Couldn't find an appropriate 'blush' emoticon]

;)

I got to know the L Couperin disc thanks to the Dutch central public library.
One of those old institutions that must not die.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 20, 2018, 05:45:10 AM
Quote from: Jo498 on March 20, 2018, 12:39:27 AM
In my impression Purcell's harpsichord pieces are very charming but comparably slight, I think of them as 17th century well-educated girl's music. I have one reasonably complete recording with Baumont that I enjoy and a few pieces on mixed recitals (Leonhardt in one of these boxes and probably a few more).


I think that it was a pretty widespread conception of correct English style, " charming and slight."

In addition to Egarr, the other "top tier" Purcell artist is Gustav Leonhardt  on Teldec where he recorded a suite and some shorter pieces, not much but outstanding, I remember being gobsmacked when I first discovered it and the sense of wonder at such miraculously humane and sensitive playing is still there.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on March 20, 2018, 06:13:56 AM
I don't think it has anything to do with an English style (and if, would Baumont who is French follow this style?)
A lot of Byrd's keyboard music is not charming and slight. Neither is Purcell's church music.
But Purcell's harpsichord pieces are obviously fairly small scale and neither hard to play nor demonstrations of either digital or contrapuntal skill like some other keyboard music of the baroque.
This is of course compatible with the music being "humane and sensitive". I used to like that Baumont disk quite a bit although admittedly it has been a while that I played it.

I meant a different later Leonhardt recording that included the suites 2,4,5,7 and a few more short pieces. Rec. 1994 and included in the "Legends" box.
But I probably have also (at least some subset) of the older Telefunken recordings you mentioned as some seem to be on the second disc of this collection:

[asin]B000000SIB[/asin]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 20, 2018, 06:41:58 AM
Quote from: Jo498 on March 20, 2018, 06:13:56 AM

But Purcell's harpsichord pieces are obviously fairly small scale and neither hard to play nor demonstrations of either digital or contrapuntal skill like some other keyboard music of the baroque.


You could be right. In fact  I'm not very familiar with English baroque keyboard music other than Purcell and Blow.


Quote from: Jo498 on March 20, 2018, 06:13:56 AM
I don't think it has anything to do with an English style (and if, would Baumont who is French follow this style?)
A lot of Byrd's keyboard music is not charming and slight.

A case to think about is Farnaby. Farnaby is often played like he wrote light and playful and unambiguous music.  When someone like Hantai comes along and reads the music differently they come in for criticism based on presuppositions about appropriate national style. But it's true that Farnaby is much earlier than Purcell.  It's also true that Byrd, also much earlier than Purcell,  wrote some interesting contrapuntal music which gives the possibility of making it more weighty from an expressive point of view -- how widely this aspect is taken up in performance I wouldn't like to say. Does Belder? Or Tilney? I'm not sure. Hakkinen does.

Quote from: Jo498 on March 20, 2018, 06:13:56 AM

I used to like that Baumont disk quite a bit although admittedly it has been a while that I played it.



I quite like it too.

Quote from: Jo498 on March 20, 2018, 06:13:56 AM


I meant a different later Leonhardt recording that included the suites 2,4,5,7 and a few more short pieces. Rec. 1994 and included in the "Legends" box.
But I probably have also (at least some subset) of the older Telefunken recordings you mentioned as some seem to be on the second disc of this collection:



I don't know the later one very well, I've never got into it much. I expect it's very rewarding given who's playing.


Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 20, 2018, 10:46:58 PM
Re above discussion, here's a recording by Colin Tilney called Pleasures of the English Baroque, which I've started to explore, most of the music is new to me, as are most of the composers, I wonder if it's really as simple and unambiguous emotionally.

https://www.youtube.com/v/ocJWze2FjPU

There's very little English baroque keyboard music on record, apart from Purcell these composers seem to have been avoided, maybe it just isn't very good music, maybe I'm forgetting something.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on March 23, 2018, 10:18:28 AM
I just wanted to add that the "Legend of Gustav Leonhardt" Box contains another suite nr.6 on a mixed disc (15, 11 ist the Purcell/Blow selection). So overall one gets 5/8 suites and several of the better known shorter pieces by Purcell in that box which would probably be sufficient for most, at least to get a good taste of it. Together with the Baumont disc and the odd piece in a mixed recital it is sufficient for my needs.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 23, 2018, 11:17:59 PM
Quote from: Mandryka on March 20, 2018, 10:46:58 PM
Re above discussion, here's a recording by Colin Tilney called Pleasures of the English Baroque, which I've started to explore, most of the music is new to me, as are most of the composers, I wonder if it's really as simple and unambiguous emotionally.

https://www.youtube.com/v/ocJWze2FjPU

There's very little English baroque keyboard music on record, apart from Purcell these composers seem to have been avoided, maybe it just isn't very good music, maybe I'm forgetting something.

Having listened to this once, I think the music is not very interesting.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 24, 2018, 02:53:08 AM
Quote from: Mandryka on March 23, 2018, 11:17:59 PM
Having listened to this once, I think the music is not very interesting.

I listened to most of the recording and found the music mildly boring. Also the big revival harpsichord (Goff - the English equivalent of Pleyel) does no good. But Tilney'a playing can hardly be faulted as such.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 05, 2018, 04:25:47 AM
(https://images-na.ssl-images-amazon.com/images/I/51UBgX82ceL.jpg)     (https://images-na.ssl-images-amazon.com/images/I/51lyaRdF3JL.jpg)


Martinoli Martinoli has a special knack. He can take music which really functions through superficial keyboard effects, and play it in a way which is natural sounding, expressive and humane. In Scarlatti, as far as I know, only Leonhardt takes this approach on DHM, and no one comes close in Louis Marchand's harpsichord music -  Blandine Verlet has different virtues. People who, like me, were close to giving up on these composers may not regret trying these two CDs of his.

Having said that, the high point of the Louis Marchand disc is the anonymous tombeau!

Beautifully recorded and packaged.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 10, 2018, 04:59:57 AM
Quote from: Mandryka on June 05, 2018, 04:25:47 AM
    (https://images-na.ssl-images-amazon.com/images/I/51lyaRdF3JL.jpg)


Martinoli Martinoli has a special knack. He can take music which really functions through superficial keyboard effects, and play it in a way which is natural sounding, expressive and humane. . . .  no one comes close in Louis Marchand's harpsichord music - 

Beautifully recorded and packaged.

Ah now I see why the Marchand CD is so good, it may not be Louis Marchand! I'd seen that the booklet was very scholarly, but I hadn't read it. Some details here

http://www.musicweb-international.com/classrev/2007/July07/Marchand_OM008.htm

Whoever it's by, the music's as good as anything in the Göttweig manuscript  ;)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 26, 2018, 07:18:44 AM
https://www.youtube.com/v/zJptIV2xaFE

This is a suite by D'Anglebert, the playing attributed to Leonhardt. Which Leonhardt recording is it from?

Found it

(https://img.discogs.com/jUNhu_Igy0nIqxQ2_FNSzOlMbDw=/fit-in/300x300/filters:strip_icc():format(jpeg):mode_rgb():quality(40)/discogs-images/R-5620890-1457648209-8448.jpeg.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on June 26, 2018, 11:47:58 AM
Quote from: Mandryka on June 26, 2018, 07:18:44 AM
https://www.youtube.com/v/zJptIV2xaFE

(https://img.discogs.com/jUNhu_Igy0nIqxQ2_FNSzOlMbDw=/fit-in/300x300/filters:strip_icc():format(jpeg):mode_rgb():quality(40)/discogs-images/R-5620890-1457648209-8448.jpeg.jpg)


One of his earliest recordings, released for the first time by DHM LP 1963.

I suppose you know this page:

https://www.discogs.com/artist/845763-Gustav-Leonhardt
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 27, 2018, 08:43:46 AM
I like what he does. What I think D'Anglebert needs is a sort of noble and proud beauty. Leonhardt can do it, and so can Kenneth Gilbert.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 16, 2018, 08:57:14 AM
I saw Richard Egarr play Bach last night, Partitas 1, 4 and 6 and French Suite 5.

He's a charmer and a comedian who talks to the audience about his ideas about the music. He's fascinated by numerological ideas encoded in the scores, and by the emotional meaning attached to key signatures before the dominance of equal temperament. He talked at length about the strange publication history of the partitas. He talked about how Bach seemed to deliberately introduce imperfections (the quodlibet, the real meaning of the barred circle time signature . . . ) But most of all he talked about how in his opinion the 6th partita is a musical representation of Christ's passion.

And you know what, as he was playing, those phrases in the toccata did sound like Jesus stumbling. And that final gigue did indeed sound bitter and angry. He emphasised the sheer strangeness of the 6th partita  - a gigue which isn't a gigue, a corrente which isn't a corrente, an air you could never sing . . .

This renewed my interest in the music, and I intend to revisit the partitas on record soon.

I was struck by how less well the French suite worked as a concert piece. His Ruckers style instrument just didn't seem to suit it. Maybe Egarr's just more temperamentally suited to the partitas.

He's a passionate musician at the top of his game. He's got a probing mind and he's curious -- that's something which I thought I sensed from his most innovative recordings like WTC and Goldberg Variations and Byrd, but hearing him speak and watching him play somehow confirmed that. You can see, sense, his involvement with the music as he plays, through his body language. There were times, many times, when we were all holding our breath with the wonder of it all.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 16, 2018, 12:50:23 PM
Quote from: Mandryka on October 16, 2018, 08:57:14 AM
I saw Richard Egarr play Bach last night, Partitas 1, 4 and 6 and French Suite 5.

He's a charmer and a comedian who talks to the audience about his ideas about the music. He's fascinated by numerological ideas encoded in the scores, and by the emotional meaning attached to key signatures before the dominance of equal temperament. He talked at length about the strange publication history of the partitas. He talked about how Bach seemed to deliberately introduce imperfections (the quodlibet, the real meaning of the barred circle time signature . . . ) But most of all he talked about how in his opinion the 6th partita is a musical representation of Christ's passion.

And you know what, as he was playing, those phrases in the toccata did sound like Jesus stumbling. And that final gigue did indeed sound bitter and angry. He emphasised the sheer strangeness of the 6th partita  - a gigue which isn't a gigue, a corrente which isn't a corrente, an air you could never sing . . .

This renewed my interest in the music, and I intend to revisit the partitas on record soon.

I was struck by how less well the French suite worked as a concert piece. His Ruckers style instrument just didn't seem to suit it. Maybe Egarr's just more temperamentally suited to the partitas.

He's a passionate musician at the top of his game. He's got a probing mind and he's curious -- that's something which I thought I sensed from his most innovative recordings like WTC and Goldberg Variations and Byrd, but hearing him speak and watching him play somehow confirmed that. You can see, sense, his involvement with the music as he plays, through his body language. There were times, many times, when we were all holding our breath with the wonder of it all.

Thanks for these interesting thoughts. We have indeed the "cross" motive in the subject of the gigue of the sixth partita, and the tormented nature of much of the partita points without problems to the suffering of Christ. So I think he is right here.

Two additional questions:

Did he use Lehmann's tuning (I suppose he did)?

Did he play the gigue from partita 6 in dual or triple meter?

I am not surprised, that the French suite is less suited for concert-performance. The French suites are intimate in character and close to clavichord music, and IMO also works less well even on piano, unless the pianist (like Rübsam) takes his point of departure from the clavichord - something no one else does.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 16, 2018, 01:24:44 PM
Double I think. He talked a lot about the time signature of the gigue.

I don't know how it was tuned, I didn't buy a programme (to mean!) i am sure it wasn't equal though.

By the way, do you have Willi Apel's  History of keyboard music before 1700? There's a copy in a London bookshop which is affordable - just, and I'm wondering whether to take the plunge. My real concern is that it's very out of date.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 16, 2018, 01:44:01 PM
Quote from: Mandryka on October 16, 2018, 01:24:44 PM

By the way, do you have Willi Apel's  History of keyboard music before 1700? There's a copy in a London bookshop which is affordable - just, and I'm wondering whether to take the plunge. My real concern is that it's very out of date.

I own an edition in German, which I read equally well as English. The German edition was much cheaper than the English. Even if the book is some years old, I find it mandatory for someone with interest in the topic. I do not know of any similarly comprehensive work.
Title: Re: General Harpsichord and Clavichord Thread
Post by: XB-70 Valkyrie on October 16, 2018, 11:21:23 PM
Gentlemen, what kind of Bull is this?

(https://images-na.ssl-images-amazon.com/images/I/51xKdvuKfwL._SY450_.jpg)

I will accept nothing less than the best Bull money can buy.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on October 17, 2018, 03:34:11 AM
Quote from: XB-70 Valkyrie on October 16, 2018, 11:21:23 PM
Gentlemen, what kind of Bull is this?

(https://images-na.ssl-images-amazon.com/images/I/51xKdvuKfwL._SY450_.jpg)

I will accept nothing less than the best Bull money can buy.

This disc is full of Bull Shit.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 17, 2018, 03:44:36 AM
Quote from: XB-70 Valkyrie on October 16, 2018, 11:21:23 PM
Gentlemen, what kind of Bull is this?

(https://images-na.ssl-images-amazon.com/images/I/51xKdvuKfwL._SY450_.jpg)

I will accept nothing less than the best Bull money can buy.
It's Van Asperen; one has to be Bullish about it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on October 17, 2018, 03:53:24 AM
Quote from: milk on October 17, 2018, 03:44:36 AM
It's Van Asperen; one has to be Bullish about it.

Yeah... I ordered it by the way.

"Is het waar true, men hoort wel eens say, dat als men op de bull shit, men, om de bull aan de gang te krijgen, to activate the bull als het ware, men elastiekjes om the testicles van the bull bindt? Is dat waar true?" [Freek de Jonge, Old & New Show 1985 :P]
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 17, 2018, 08:17:40 AM
Quote from: (: premont :) on October 16, 2018, 01:44:01 PM
I own an edition in German, which I read equally well as English. The German edition was much cheaper than the English. Even if the book is some years old, I find it mandatory for someone with interest in the topic. I do not know of any similarly comprehensive work.

I now own Christopher Hogwood's old copy, with his monogram on the fly leaf.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 17, 2018, 08:18:08 AM
Quote from: XB-70 Valkyrie on October 16, 2018, 11:21:23 PM
Gentlemen, what kind of Bull is this?

(https://images-na.ssl-images-amazon.com/images/I/51xKdvuKfwL._SY450_.jpg)

I will accept nothing less than the best Bull money can buy.

This is the best Bull I know, maybe apart from Hantai and Rampe.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on October 17, 2018, 08:23:31 AM
Quote from: Mandryka on October 17, 2018, 08:18:08 AM
This is the best Bull I know, maybe apart from Hantai and Rampe.

[asin]B001VM0LGE[/asin]
Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 17, 2018, 08:32:37 AM
Quote from: Que on October 17, 2018, 08:23:31 AM
[asin]B001VM0LGE[/asin]
Q

That's good too!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on October 17, 2018, 09:04:32 AM
Quote from: Mandryka on October 17, 2018, 08:18:08 AM
This is the best Bull I know, maybe apart from Hantai and Rampe.

Gonna get both Van Asperen and Hantai next week. Looking forward to it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Marc on October 17, 2018, 09:07:30 AM
Peter Watchorn playing John Bull in concert, 2017:

https://www.youtube.com/watch?v=aIaeEEeFqUw

https://www.youtube.com/watch?v=tPscCVZeg1E
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 17, 2018, 09:24:43 AM
I'm not sure how much Watchorn there is on that CD, how much Efahani.

Ah this makes it clearer

Prelude 1
Lord Lumley's Pavan & Galliard 1
The King's Hunt 2
My Grief 2
My Selfe 2
Prelude 2
Walsingham 2
Fantastic Pavan & Galliard 1
Bonny Sweet Robin 2
Why ask you? (I, II & III) 2
Pavan & Galliard 2
Melancholy Pavan & Galliard 1
Chromatic Pavan & Galliard 1
Fantasia 1
Bull's Goodnight 1

1 Peter Watchorn, harpsichord
2 Mahan Esfahani, harpsichord
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 17, 2018, 10:41:39 AM
Quote from: Mandryka on October 17, 2018, 08:17:40 AM
I now own Christopher Hogwood's old copy, with his monogram on the fly leaf.

A breath from the past. Congratulations.  :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 17, 2018, 10:45:20 AM
Quote from: Mandryka on October 17, 2018, 08:18:08 AM
This is the best Bull I know, maybe apart from Hantai and Rampe.

These are so to say all that is available - other than Belder, Payne and Watchorn/Esfahani.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 17, 2018, 12:39:18 PM
Quote from: Mandryka
.., I have a Sweelinck recording by her which I remember enjoying.

I also own the Sweelinck/Philips and wasn't that impressed.

Quote from: Mandryka
There's a couple of Bull pieces by Lydia Maria Blank on YouTube,including a big In Nomine, by the way.

LMB ought to record more. YouTube may stimulate the interest, but SQ is too bad.

Quote from: Mandryka
I won't make any jokes about Cok and Bull.

Would that imply cook or cock?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 17, 2018, 12:45:35 PM
Cock. There's an expression  « a cock and bull story » and The Cock and Bull is a pretty common name for a pub. Because of this « Cok's Bull » sounds funny, I can hardly bring myself to write it! It doesn't help that cock is a slang word for penis and bull sound like ball = testicle, and in Northern England « cock » is a friendly term of endearment, as in « what's up, cock? »

I just abandoned Cok's Bull after 10 minutes and am now enjoying Rampe at Tangermunde.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 17, 2018, 01:34:50 PM
Quote from: Mandryka on October 17, 2018, 12:45:35 PM
Cock. There's an expression  « a cock and bull story » and The Cock and Bull is a pretty common name for a pub. Because of this « Cok's Bull » sounds funny, I can hardly bring myself to write it! It doesn't help that cock is a slang word for penis and bull sound like ball = testicle, and in Northern England « cock » is a friendly term of endearment, as in « what's up, cock? »

I just abandoned Cok's Bull after 10 minutes and am now enjoying Rampe at Tangermunde.

That was fast. I use to do a 15 minutes test.

But very few can compete with Rampe and the Tangermünde organ.
Title: Re: General Harpsichord and Clavichord Thread
Post by: XB-70 Valkyrie on October 24, 2018, 10:20:55 PM
Um wow, was just browsing music on Amazon instead of doing something productive and saw this:

Whaddya think of this? How can you go wrong for $12? I never knew this existed!

(https://images-na.ssl-images-amazon.com/images/I/71Z67dw-OKL._SY450_.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Traverso on October 25, 2018, 03:17:58 AM
Quote from: XB-70 Valkyrie on October 24, 2018, 10:20:55 PM
Um wow, was just browsing music on Amazon instead of doing something productive and saw this:

Whaddya think of this? How can you go wrong for $12? I never knew this existed!

(https://images-na.ssl-images-amazon.com/images/I/71Z67dw-OKL._SY450_.jpg)

Congratulations  ;)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on December 31, 2018, 10:47:43 AM
Not sure where to put this sad news:
https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php (https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php)
I can't read French but apparently Bladine Verlet has passed away.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Florestan on December 31, 2018, 04:40:59 PM
Quote from: milk on December 31, 2018, 10:47:43 AM
Not sure where to put this sad news:
https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php (https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php)
I can't read French but apparently Bladine Verlet has passed away.

https://en.wikipedia.org/wiki/Blandine_Verlet (https://en.wikipedia.org/wiki/Blandine_Verlet)

RIP.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on December 31, 2018, 09:43:10 PM
Quote from: milk on December 31, 2018, 10:47:43 AM
Not sure where to put this sad news:
https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php (https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php)
I can't read French but apparently Bladine Verlet has passed away.

That's a well put together obituary, thanks. Jean Rondeau's comment is amusing and to me a bit unexpected, he says that she was savage, like a wary animal!

She's been sometimes painted as someone free and spontaneous in her interpretations, surprising even, in Bach especially. For me her most salient trait is freshness , you hear it most in the early recordings, I'm thinking of Louis Marchand and Elizabeth Jacquet de la Guerre.

In some ways she was a trail blazer for authenticity - she always insisted on meantone 1/4 comma tuning I think, or close, and she always tried to use well restored old harpsichords.

I enjoyed quite recently her Philips recording of the Partitas 4 - 6, and when I heard that she'd died, I listened to some of her warm hearted, affectionate recording of music by François Couperin released earlier this year. Strangely, the recordings I like least are the ones she is very much admired for - François and Louis Couperin, though I enjoyed the two recent Couperin recordings rather more than the big set. I've also had difficulty enjoying her Scarlatti. On the other hand the recordings of petits maîtres and Bach and Frescobaldi and Froberger and Handel have given me a good deal of pleasure over the years.

In 2010 she gave a concert in Paris, possibly her last.  I wasn't threre but a friend of mine was and he managed to get a recording of the encore, Louis Couperin's Tombeau for Blancrocher. No finer souvenir, no more fitting tribute. If anyone wants it they can PM me.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on January 01, 2019, 01:29:46 AM
Quote from: milk on December 31, 2018, 10:47:43 AM
Not sure where to put this sad news:
https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php (https://www.telerama.fr/musique/blandine-verlet,-le-clavier-bien-libere,n5533227.php)
I can't read French but apparently Bladine Verlet has passed away.

Hardly know any of her recordings...
Perhaps Naïve could reissue her complete François Couperin? Would love to hear it.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: king ubu on January 01, 2019, 06:48:44 AM
Quote from: Que on January 01, 2019, 01:29:46 AM
Hardly know any of her recordings...
Perhaps Naïve could reissue her complete François Couperin? Would love to hear it.

Q

Her recent Couperin recordings on Aparté are wonderful ... but yeah, I'd love to hear her earlier cycle, too!

Sad to hear of her death, I'm certainly grateful for what she left behind, even if I only know those Couperin releases on Aparté so far.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 03, 2019, 10:28:55 AM
Is Tilney the best there is for the Kuhnau sonatas? I think it's very good.

https://www.youtube.com/v/OAgnxI7XJQQ&list=OLAK5uy_lyLzBotr2RzFyA24KaDIfODg4XCila890
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 08, 2019, 01:50:50 AM
(https://m.media-amazon.com/images/I/5106DzaknIL._SS500_.jpg)

There are six things I'm noticing at the moment in the solo harpsichord music in this set from Celine Frisch

1. The fluidity of the the phrasing
2. The closeness of the voices, which combined with the above offers a D'Anglebert whose art is oriented to extreme lyricism
3. That despite the way the voices are held so tightly together, Frisch has the knack of touching the keys in a way which makes them very readable and clear -- we hear each voice separately and clearly and never a claustrophobic tangle.
4. That notwithstanding the close fitting counterpoint and the fluid phrasing, Frisch is an expert at setting and maintaining a pulse, which she somehow keeps to pretty rigidly without giving the impression of pounding out chords to accentuate the main beats of the rhythm.
5. The way that all the above is a real revelation in the faster music
6. And the icing on the cake is the beautiful, muscular, colourful instrument, a modern copy by Emile Jobin of a harpsichord by Vincent Tibaut, very well recorded.

And then a 7th, which just crossed my mind after posting -- that this all makes me think, may be the memory is deceptive, of Lars Ulrik Mortensen in solo Bach and Froberger -- will check later.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 08, 2019, 04:39:22 AM
(https://images-na.ssl-images-amazon.com/images/I/71Zyxi5yGtL._SY355_.jpg)

The harpsichord here is by Colin Booth, it has two 8' stops and a lovely lute stop, it's very well recorded.

Just as Colin Booth's harpsichord is beautifully balanced and coherent across all registers, Richard Lester's interpretation demonstrates perfectly a poise which is never marred by the ostentatious display of either virtuosity or emotion: both performance and instrument are classical.

It would be false to conclude that Lester's approach robs the music of its life force because of its discretion and modesty, just as it would be false to conclude that Colin Booth's harpsichord is flat sounding because of the absence of asperities. On the contrary, he finds so much buoyancy in the dances that there is no sense of linearity,  and he finds such a strong sense of liaison between the phrases, that the music is imbued with flowing, living, pulsating, sap.


We have, in short, a perfect symbiosis between performer and instrument, which makes Bach's music a pleasure to hear.

The booklet shows a scholar well able to construct a synthesis of the current state of research and to then draw his own conclusions about (for example) tempo.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 22, 2019, 12:30:37 AM
(http://www.musicweb-international.com/classrev/2009/Jan09/Alard_hortus065.jpg)


This has a suite by Froberger and a suite by Louis Couperin and various bits and pieces. The harpsichord is a modern copy of a Ruckers which has been given a ravalement according to C 17 principles. It sounds sweet as a nut and it has been very well recorded. Alard plays in a mainstream way but there's a natural sprezzatura, the whole CD is a pleasure to know.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on March 03, 2019, 03:21:09 AM
An new, enticing looking recording by Bob van Asperen with a fair amount of music by Dutch composers:

[asin]B07NBF1RRR[/asin]
Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 21, 2019, 11:52:11 PM
Quote from: Que on November 06, 2018, 08:39:39 AM
I know.... It's horrible.... ???

Q

Quote from: (: premont :) on November 10, 2018, 07:05:20 AM
A severe case of Leonhardtic misjudgement.

Let me recommend this recording to you

(https://images-na.ssl-images-amazon.com/images/I/41JzedQAAzL.jpg)


The whole thing is exceptional, but, though you'd never guess it from the cover, it has a Kuhnau biblical sonata in there without commentary. In my opinion it's an exceptional recital disc, one of his best, and as you know, when he's good he's very very good.

The tracklist is clear here

https://www.prestomusic.com/classical/products/8188911--gustav-leonhardt-harpsichord-recital

What is impressing me most in this CD is how he creates a sense of mystery, and his lyricism.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on April 22, 2019, 12:16:42 AM
Quote from: Mandryka on April 21, 2019, 11:52:11 PM

Let me recommend this recording to you

(https://images-na.ssl-images-amazon.com/images/I/41JzedQAAzL.jpg)


The whole thing is exceptional, but, though you'd never guess it from the cover, it has a Kuhnau biblical sonata in there without commentary. In my opinion it's an exceptional recital disc, one of his best, and as you know, when he's good he's very very good.

The tracklist is clear here

https://www.prestomusic.com/classical/products/8188911--gustav-leonhardt-harpsichord-recital

What is impressing me most in this CD is how he creates a sense of mystery, and his lyricism.

It's included in the set with Philips recordings that have (now issued on Decca), and it's indeed wonderful!  :)

As are quite a few other recordings in that set covering Leonhardt's heydays.

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on September 18, 2019, 11:32:23 AM
(https://images-na.ssl-images-amazon.com/images/I/71pe6m9-76L._SX342_.jpg)

This one's interesting because of the instrument, an Italian tiorbino harpsichord, which means that it has a stop which uses a gut string, it's the only one of its kind. (1710 attributed to someone called  Sabbatino (Alan Rubin Collection, restored in 2009 by Olivier Fadini.)) It gives the sonatas a very colourful sound, but don't let that put you off, it's not vulgar and garish, nor is it loud. The performances seem fine, more than that, quite thoughtful and sensitive. Mathieu Dupouy is someone I want to explore, even though the music he focuses on is a bit peripheral to my interests. The selection is a bit too familiar really, he's not been very adventurous there. But the strangeness of the instrument makes even the familiar sound slightly exotic, so I'll forgive him!
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on September 18, 2019, 08:50:41 PM
Quote from: Mandryka on September 18, 2019, 11:32:23 AM
(https://images-na.ssl-images-amazon.com/images/I/71pe6m9-76L._SX342_.jpg)

This one's interesting because of the instrument, an Italian tiorbino harpsichord, which means that it has a stop which uses a gut string, it's the only one of its kind. (1710 attributed to someone called  Sabbatino (Alan Rubin Collection, restored in 2009 by Olivier Fadini.)) It gives the sonatas a very colourful sound, but don't let that put you off, it's not vulgar and garish, nor is it loud. The performances seem fine, more than that, quite thoughtful and sensitive. Mathieu Dupouy is someone I want to explore, even though the music he focuses on is a bit peripheral to my interests. The selection is a bit too familiar really, he's not been very adventurous there. But the strangeness of the instrument makes even the familiar sound slightly exotic, so I'll forgive him!
A D. Scarlatti endorsement from you is really something!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on September 18, 2019, 11:58:32 PM
As far as I remember there are two Scarlatti recordings which I like, Dupouy is in the "tolerate once every ten years" category rather than the like category. They are Leonhardt DHM and Mario Martinoli.

On second thoughts, cut the Martinoli.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 02, 2019, 10:25:00 PM
(https://m.media-amazon.com/images/I/81j7uX6XeeL._SS500_.jpg)
Not exactly a harpsichord or a clavichord...but, close enough?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 03, 2019, 02:32:13 AM
Quote from: milk on October 02, 2019, 10:25:00 PM
(https://m.media-amazon.com/images/I/81j7uX6XeeL._SS500_.jpg)
Not exactly a harpsichord or a clavichord...but, close enough?

I like this very much, a controlled and expressive style, not too flamboyant. The instrument is authentic enough, the harpsichord based on a Ruckers and the organ based on one which is very old - 1600! Tuned meantone too. It's is full of bells and whistles, used with the best possible taste! I probably shouldn't say this but I think that que will like this one, from what I can see about his taste. The Squid will also appreciate the colourful renaissance organ. In fact basically it's just very fine - everyone will like it.

Here's the spec of the instrument

https://www.flickr.com/photos/37338861@N05/16969258809/

The music's taken from a manuscript in Antwerp which is particularly international in its contents, supporting the notion that musicians of the time knew no borders. Details here

https://www.adrienpiece.com/solo-claviorg/


Adrien Pièce seems to be one of those modest musicians who gets my respect, just quietly getting on with making music as well as he can  in his little corner of France. That phenomenon is one of the things which makes early music so specia for me.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 03, 2019, 04:11:28 AM
Quote from: Mandryka on October 03, 2019, 02:32:13 AM
I like this very much, a controlled and expressive style, not too flamboyant. The instrument is authentic enough, the harpsichord based on a Ruckers and the organ based on one which is very old - 1600! Tuned meantone too. It's is full of bells and whistles, used with the best possible taste! I probably shouldn't say this but I think that que will like this one, from what I can see about his taste. The Squid will also appreciate the colourful renaissance organ. In fact basically it's just very fine - everyone will like it.

Like so often I feel a bit lost, because there is no CD advertised on his home page, and Amazon only lists mp3 download.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 03, 2019, 04:14:01 AM
Quote from: (: premont :) on October 03, 2019, 04:11:28 AM
Like so often I feel a bit lost, because there is no CD advertised on his home page, and Amazon only lists mp3 download.

I got mine from Qobuz, PM me if you want me to help you do that.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 10, 2019, 03:28:55 PM
(https://images-na.ssl-images-amazon.com/images/I/51EbxypBFpL.jpg)
I'm just enjoying Parmentier's recordings so much.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 10, 2019, 11:23:42 PM
(https://e-cdns-images.dzcdn.net/images/cover/d6f367b599575358a423ed53b68b7e96/500x500.jpg)
What's a nice Lutheran country doing with a crazy harpsichord style like this?
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on October 11, 2019, 11:36:18 PM
Quote from: milk on October 10, 2019, 11:23:42 PM
(https://e-cdns-images.dzcdn.net/images/cover/d6f367b599575358a423ed53b68b7e96/500x500.jpg)
What's a nice Lutheran country doing with a crazy harpsichord style like this?

Shhh.. Don't tell him what those guys do in church on the organ :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 11, 2019, 11:51:57 PM
Quote from: bioluminescentsquid on October 11, 2019, 11:36:18 PM
Shhh.. Don't tell him what those guys do in church on the with their organ :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 13, 2019, 08:37:26 PM
Quote from: milk on October 10, 2019, 03:28:55 PM
(https://images-na.ssl-images-amazon.com/images/I/51EbxypBFpL._SR600%2C315_PIWhiteStrip%2CBottomLeft%2C0%2C35_PIStarRatingFIVE%2CBottomLeft%2C360%2C-6_SR600%2C315_SCLZZZZZZZ_.jpg)


I agree, this is a very attractive recording of enjoyable music, thanks for pointing it out.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on October 14, 2019, 12:24:04 PM
Quote from: Mandryka on October 11, 2019, 11:51:57 PM
Shhh.. Don't tell him what those guys do in church on the with their organ :)

Reminds me of this amusing article by David Yearsley about whatever went down between Bach and the "frembde Jungfer" he invited up onto the organ loft in Arnstadt.
https://www.counterpunch.org/2017/12/01/the-case-against-bach/

Featuring a delightful little poem by Picander, "Das Orgel-Werck der Liebe":

QuoteThe bed is your organ loft, where you can make music.
Love will give you the beat of the proper tempo.
This much I can see in advance,
That the entire organ sounds forth in chamber pitch.
In the meantime you will play a happy little piece,
That you will one day laugh about,
When at its proper time, much-beloved couple,
A young little cantor cries next to your organ.

Ok, back to harpsichords and clavichords, shall we! :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 28, 2019, 01:04:49 AM
(https://cps-static.rovicorp.com/3/JPG_500/MI0001/089/MI0001089662.jpg?partner=allrovi.com)
I think this was recorded in 1997 if I'm reading the internets correctly. This is wild and wonderful recording. David Lynch should use it on his next project. Sometimes it sounds like these guys were just noodling. But that's kind of a good thing.
Juicy/tangy sounding instruments all around:
ORGAN: Dionigi Romani, 1581, Church of San Niccolò Oltrarno, Florence.
CHROMATIC HARPSICHORD: Den­zil Wraight, 1987.
HARPSICHORD with extra chromatic keys: Denzil Wraight, 1980.



Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 28, 2019, 02:27:47 AM
Quote from: milk on October 28, 2019, 01:04:49 AM
(https://cps-static.rovicorp.com/3/JPG_500/MI0001/089/MI0001089662.jpg?partner=allrovi.com)
I think this was recorded in 1997 if I'm reading the internets correctly. This is wild and wonderful recording. David Lynch should use it on his next project. Sometimes it sounds like these guys were just noodling. But that's kind of a good thing.
Juicy/tangy sounding instruments all around:
ORGAN: Dionigi Romani, 1581, Church of San Niccolò Oltrarno, Florence.
CHROMATIC HARPSICHORD: Den­zil Wraight, 1987.
HARPSICHORD with extra chromatic keys: Denzil Wraight, 1980.

It's worth exploring everything that Christopher Stembridge has recorded.

Quote from: milk on October 28, 2019, 01:04:49 AM

Sometimes it sounds like these guys were just noodling. But that's kind of a good thing.


This makes me think of John Cage writing about Satie and Beethoven

QuoteWith Beethoven the parts of a composition were defined by means of harmony. With Satie [...] they were defined by means of time-lengths. The question of structure is so basic, and it is so important to be in agreement about it, that we must now ask: Was Beethoven right or [...] Satie? I answer immediately and unequivocally, Beethoven was in error, and his influence, which has been extensive as it is lamentable, has been deadening to the art of music.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on October 28, 2019, 05:00:52 AM
Quote from: Mandryka on October 28, 2019, 02:27:47 AM
It's worth exploring everything that Christopher Stembridge has recorded.

This makes me think of John Cage writing about Satie and Beethoven

Quote from: Mandryka on October 28, 2019, 02:27:47 AM
With Beethoven the parts of a composition were defined by means of harmony. With Satie [...] they were defined by means of time-lengths. The question of structure is so basic, and it is so important to be in agreement about it, that we must now ask: Was Beethoven right or [...] Satie? I answer immediately and unequivocally, Beethoven was in error, and his influence, which has been extensive as it is lamentable, has been deadening to the art of music.

You make me feel like I sort of made sense! :o This early Italian music really doesn't go anywhere (which I guess is Cage-ian and Satie-eque).   
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 01, 2019, 02:11:14 PM
(https://images-na.ssl-images-amazon.com/images/I/81WuRRo%2Bn0L._SY355_.jpg)

The recording has music played on organ and harpsichord . The harpsichord's "after"  Johann Mayer, 1619, and it's very colourful, apparently there are 13 different timbres possible. Márton Borsányi is well able to play the music on it. The organ is modern, based on an early c19 instrument, and not unattractive, the booklet suggests that it's similar to  c18 organs, in particular "Empfindsamkeit organs" (a term I've never heard before, presumably it means the sort of organ that CPE Bach would have known) -- and then leaps to the conclusion that " repertoire from Frobergerto Mendelssohn can be authentically performed on this instrument." I doubt it, but it's not offensive and it is very characterful.

Truth is I'm enjoying this CD a lot, though that's just my mood probably. The harpsichord is special.

Orgel/organ
Jacob Deutschmann, 1829
unequal temperament, 4 good thirds, similar to Werckmeister III

Cembalo/harpsichord
nach / after Johann Mayer, 1619
Salzburg Museum
Stimmung / temperament: 1/6 Komma mitteltönige Stimmung (jeweils der Tonart angepasst) /
comma meantone (modified for each key)
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on November 15, 2019, 11:10:41 PM
(https://aeolus-music.com/var/shop_site/storage/images/alle-tontraeger/ae10174-all-lust-und-freud/54094-1-eng-GB/AE10174-All-Lust-und-Freud_imagelarge570.jpg)

seems promising!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 16, 2019, 01:46:27 AM
https://www.aeolus-music.com/ae_en/All-Discs/AE10174-All-Lust-und-Freud

Some composers I've never heard (of) before.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on November 16, 2019, 10:43:09 AM
Ah..... Æolus, what a great label.... :)

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 17, 2020, 12:08:07 PM
(https://direct.rhapsody.com/imageserver/images/alb.131828442/600x600.jpg)

I think this is rather good, I'm listening to some Sweelinck. Who was Dahler? He sounds modern, informed. And it sounds like a real harpsichord.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on March 17, 2020, 01:44:25 PM
https://fr.wikipedia.org/wiki/J%C3%B6rg_Ewald_D%C3%A4hler

Dähler accompanied Ernst Haefliger on his late Schubert lieder recordings (I think these are my only recordings with him) and made a bunch of more solo and chamber recordings, mostly on Swiss or otherwise small labels, and I think more fortepiano than harpsichord.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on March 17, 2020, 02:30:05 PM
Quote from: Mandryka on March 17, 2020, 12:08:07 PM
(https://direct.rhapsody.com/imageserver/images/alb.131828442/600x600.jpg)

I think this is rather good, I'm listening to some Sweelinck. Who was Dahler? He sounds modern, informed. And it sounds like a real harpsichord.

He lived 1933 - 2018 and studied at Schola Cantorum Basiliensis, whose principal harpsichord teacher was Eduard Müller, who also taught Gustav Leonhardt.

I have never considered his recordings that much. Like so much else the Claves LP's were in practice unavailable in my country. I own his Opfer on CD (decent but not unique), and I see that Presto offers the Goldbergs and Inventions as download. As well as the one you posted. One more time you have wetted my tongue.  :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on October 22, 2020, 10:53:02 AM
Seems like as a forum we have collectively forgotten non-Bach harpsichord music!  :D

(https://m.media-amazon.com/images/I/91JDh0uC71L._SS500_.jpg)
https://www.youtube.com/playlist?list=OLAK5uy_k5KyXYVx5ksPYmIDPJmvPFV_afB5UG7FM
One that I've come across today - very good first impressions. Harpsichord sounds wiry and muscular, as a proper Italian one should. Bold, swashbuckling playing.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 23, 2020, 12:43:26 AM
There's a Frescobaldi harpsichord recording which I have a lot of difficulty enjoying, despite the fact that I normally appreciate the musician in his other recordings of Frescobaldi. But this one seems a bit too linear, to lack a bit of the magic fire. This is the recording

(https://m.media-amazon.com/images/I/713FCevNOmL._SS500_.jpg)

This, on the other hand, is one of my most favourite things in the whole world and is, I think, an ideal recording for someone who just wants a single Frescobaldi harpsichord CD

(https://images-na.ssl-images-amazon.com/images/I/519aGrT4g3L._AC_.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on October 23, 2020, 12:30:02 PM
Quote from: Mandryka on October 23, 2020, 12:43:26 AM
There's a Frescobaldi harpsichord recording which I have a lot of difficulty enjoying, despite the fact that I normally appreciate the musician in his other recordings of Frescobaldi. But this one seems a bit too linear, to lack a bit of the magic fire. This is the recording

(https://m.media-amazon.com/images/I/713FCevNOmL._SS500_.jpg)

This, on the other hand, is one of my most favourite things in the whole world and is, I think, an ideal recording for someone who just wants a single Frescobaldi harpsichord CD

(https://images-na.ssl-images-amazon.com/images/I/519aGrT4g3L._AC_.jpg)

Exactly the opposite for me - I like the Alpha recording more, haven't fallen in love with the latter. Late Leonhardt in general, when he started to free up his style a little more. The Capriccio sopra la Bassa Fiamenga sounds like there's someone singing along.
But now I have to listen to both again - I don't think there's any overlap between music between them.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 24, 2020, 01:33:12 AM
Quote from: bioluminescentsquid on October 23, 2020, 12:30:02 PM
Exactly the opposite for me - I like the Alpha recording more, haven't fallen in love with the latter. Late Leonhardt in general, when he started to free up his style a little more. The Capriccio sopra la Bassa Fiamenga sounds like there's someone singing along.
But now I have to listen to both again - I don't think there's any overlap between music between them.

I like the Louis Couperin on the Alpha very much, but not the Frescobaldi.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 24, 2020, 12:03:26 PM
Leonhardt made several more Frescobaldi recordings. Has anyone got an opinion of these:

https://www.amazon.de/Art-Frescobaldi-Leonhardt-Girolamo-2004-03-23/dp/B01AXMRCXW/ref=sr_1_1?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&dchild=1&keywords=frescobaldi+leonhardt&qid=1603569549&s=music&sr=1-1

https://www.amazon.de/Gustav-Leonhardt-Italienische-Cembalo-Consortmusik/dp/B0000251BA/ref=sr_1_9?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&dchild=1&keywords=frescobaldi+leonhardt&qid=1603569522&s=music&sr=1-9

https://www.amazon.de/Gustav-Leonhardt-Frescobaldi-Picchi-Macque/dp/B0000251OQ/ref=sr_1_12?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&dchild=1&keywords=frescobaldi+leonhardt&qid=1603569522&s=music&sr=1-12

https://www.amazon.de/Frescobaldi-Capricci-LEONHARDT-GUSTAV-2010-03-30/dp/B01AB7MIEW/ref=sr_1_5?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&dchild=1&keywords=frescobaldi+leonhardt&qid=1603569750&s=music&sr=1-5
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 24, 2020, 01:19:43 PM
Quote from: (: premont :) on October 24, 2020, 12:03:26 PM
Leonhardt made several more Frescobaldi recordings. Has anyone got an opinion of these:

1

2

3

4



4: Noble playing, perfect, but not as perfect as Vartolo in the same music . (I think you can have degrees of perfection.)

3: Real emotional depth, darkness sometimes, in this one. A great favourite of mine, I play it often.

2: Don't know this so well, just playing it now and I was struck by the harpsichord, a review on Amazon says it's a Zell.

1: Can't remember!
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on October 24, 2020, 02:40:20 PM
Quote from: Mandryka on October 24, 2020, 01:19:43 PM
1: Can't remember!

this one's done on a revival harpsichord I think. Either that or an 18th century English Kirckman harpsichord?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 24, 2020, 02:55:56 PM
Quote from: bioluminescentsquid on October 24, 2020, 02:40:20 PM
this one's done on a revival harpsichord I think. Either that or an 18th century English Kirckman harpsichord?

According to Discogs he uses a Neupert harpsichord (probably the one he used for his first AoF and first Goldberg variations recording) and the organ of the Silbermann Kapelle - of course a misnomer for the organ of the Hofkirche, Silberne Kapelle, Innsbruck. I have never warmed to this recording finding it dull and uninspiring.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on October 24, 2020, 02:58:25 PM
Quote from: Mandryka on October 24, 2020, 01:19:43 PM
4: Noble playing, perfect, but not as perfect as Vartolo in the same music . (I think you can have degrees of perfection.)

3: Real emotional depth, darkness sometimes, in this one. A great favourite of mine, I play it often.

2: Don't know this so well, just playing it now and I was struck by the harpsichord, a review on Amazon says it's a Zell.

1: Can't remember!

Agree as to 4 and 3. I haven't heard 2 for ages, and do not recall it clearly.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on October 24, 2020, 03:21:45 PM
Ah, this is the Kirckman Frescobaldi recording. His first recording on a historical instrument, before the series of Ahaus Ruckers releases. Anyone heard it? https://www.discogs.com/Girolamo-Frescobaldi-Gustav-Leonhardt-Music-For-Harpsichord/release/12919972

Edit: turns out this is identical to #2. Not a Zell, but it is the Kirckman.

Edit 2: Amazing playing, measured but lively. Although not as nuanced as his later recordings, there's a bit of a naïve joy in them. Very much like his Ahaus Ruckers Froberger recording, which I also like a lot. It really took this sort of playing to convince the public that this music was worth digging out and hearing.
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on November 10, 2020, 01:31:43 AM
An upcoming broadcast of Jean Rondeau playing L Couperin and Froberger in homage to the late Verlet - I wonder how he will fare with this music.
https://www.francemusique.fr/emissions/le-concert-de-20h/couperin-froberger-le-claveciniste-jean-rondeau-rend-hommage-a-sa-professeure-regrettee-blandine-verlet-88789
Title: Re: General Harpsichord and Clavichord Thread
Post by: bioluminescentsquid on November 10, 2020, 10:43:15 AM
Quote from: bioluminescentsquid on November 10, 2020, 01:31:43 AM
An upcoming broadcast of Jean Rondeau playing L Couperin and Froberger in homage to the late Verlet - I wonder how he will fare with this music.
https://www.francemusique.fr/emissions/le-concert-de-20h/couperin-froberger-le-claveciniste-jean-rondeau-rend-hommage-a-sa-professeure-regrettee-blandine-verlet-88789

Sometimes it's beautiful, poetic, some times he reminds me of Lang Lang - mannered and superficial. There's a fine line between the two.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on April 16, 2021, 05:40:48 AM
(https://images-na.ssl-images-amazon.com/images/I/7162rzkYxRL._AC_SL1200_.jpg)

When this came out in 2019 I remember being very impressed by the angle - basically Royer is often presented as a sort of empfindsamer stil avant la letter. It's a very enjoyable contrast to Rousset's more operatic view, I prefer Hayashi to both Rousset's offerings in fact, though that's a matter of taste obvs. Perfect music for a sunny p.m. in April in London, maybe it would be even more perfect (I know . . . contradiction in terms) for a languid August.

These petits maîtres like Royer can be every bit as fun as the grands.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on June 01, 2021, 10:24:23 AM
(https://imusic.dk/images/item/scaled/844/2100001435844/marcin-swiatkiewicz-2009-musikalisches-vielerley-cd-541.jpg)

I think this is very enjoyable playing - a few instruments by the sound of it but I can't find any details. His first release by the looks of it, and it has all the hallmarks we've come to expect from this musician: poetry, a taste for chromaticism, fantasy, virtuosity. In fact I can't even find a proper list of tracks, though it's familiar stuff by Weckmann, Froberger, Buxtehude, Bach, though be warned, there's some Handel and CPE Bach too. Worth hearing I think, you can't ever go wrong with Marcin Swiatkiewicz.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on June 01, 2021, 01:03:31 PM
Quote from: Mandryka on June 01, 2021, 10:24:23 AM
(https://imusic.dk/images/item/scaled/844/2100001435844/marcin-swiatkiewicz-2009-musikalisches-vielerley-cd-541.jpg)

I think this is very enjoyable playing - a few instruments by the sound of it but I can't find any details. His first release by the looks of it, and it has all the hallmarks we've come to expect from this musician: poetry, a taste for chromaticism, fantasy, virtuosity. In fact I can't even find a proper list of tracks, though it's familiar stuff by Weckmann, Froberger, Buxtehude, Bach, though be warned, there's some Handel and CPE Bach too. Worth hearing I think, you can't ever go wrong with Marcin Swiatkiewicz.

Looks as if it is impossible to find (unknown Polish label?). I have heard his GV, which wasn't just my cup of tea. Too much polish and too deliberately "sensational" approach I think. But the one you posted may be more interesting.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on August 06, 2021, 12:39:06 AM
Looking forward to this September release:

(https://blob.cede.ch/catalog/17419000/17419746_1_92.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on August 14, 2021, 04:21:03 AM
I didn't know where to put this. It's mostly reconstructed organs but also harpsichord. It's supposed to be very early music.

(https://images-na.ssl-images-amazon.com/images/I/61GIVfitj%2BS._SL1200_.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on December 06, 2021, 11:21:43 AM
(https://m.media-amazon.com/images/I/51jTmv0X7FL._AC_.jpg)

I think that Silvia Rambaldi is the real deal. Fra Gioseffo's book contains music by Frescobaldi, Andrea Gabrieli, Pasquini, Merula etc etc etc. A delightful anthology recording.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on December 06, 2021, 11:49:12 AM
Quote from: Mandryka on December 06, 2021, 11:21:43 AM
(https://m.media-amazon.com/images/I/51jTmv0X7FL._AC_.jpg)

I think that Silvia Rambaldi is the real deal. Fra Gioseffo's book contains music by Frescobaldi, Andrea Gabrieli, Pasquini, Merula etc etc etc. A delightful anthology recording.

Yes, indeed  :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 07, 2022, 07:51:16 AM
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODkwODE1NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6MzAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE2MTg5OTQ5NDB9)

https://www.prestomusic.com/classical/products/8908155--bach-and-friends

Nice instruments here - the organ is new, neo-baroque or almost, beautiful sound, it's in a place called Ciboure near Saint Jean de Luz. The harpsichord is a copy of an 18th century German harpsichord. Lovely recording and playing I'd say, de Camboulas is well aware of the contrapuntality of the music - including in the aria Sebaldina  - and he has chosen some gorgeous registrations for Muffat.

You need to hear this one.

Title: Re: General Harpsichord and Clavichord Thread
Post by: San Antone on August 07, 2022, 08:56:48 AM
Quote from: Mandryka on December 06, 2021, 11:21:43 AM
(https://m.media-amazon.com/images/I/51jTmv0X7FL._AC_.jpg)

I think that Silvia Rambaldi is the real deal. Fra Gioseffo's book contains music by Frescobaldi, Andrea Gabrieli, Pasquini, Merula etc etc etc. A delightful anthology recording.

Has he released any solo recordings since 2013?  I can only find one duo album from 2020 of music by Francesco Mancini on Spotify and not even that on Amazon Music.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 07, 2022, 10:24:42 AM
Quote from: San Antone on August 07, 2022, 08:56:48 AM
Has he released any solo recordings since 2013?  I can only find one duo album from 2020 of music by Francesco Mancini on Spotify and not even that on Amazon Music.

She.

Yes there's a nice Pasquini cd and there's a recording of music by someone called Ferrandini.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on August 07, 2022, 10:44:47 AM
Quote from: Mandryka on August 07, 2022, 10:24:42 AM
Yes there's a nice Pasquini cd and there's a recording of music by someone called Ferrandini.

Only posted about it at least six times...  8)

Quote from: Que on August 18, 2018, 12:40:42 AM
(https://images-na.ssl-images-amazon.com/images/I/61UaicCp2TL._SS500.jpg)

Neapolitan Antonio Ferradini in unadulterated Rococo style/ Stile Galante.

http://www.musicweb-international.com/classrev/2009/Feb09/ferradini_TC713101.htm

http://mldd.blogspot.com/2018/02/antonio-ferradini-300-years.html

Q
Title: Re: General Harpsichord and Clavichord Thread
Post by: San Antone on August 07, 2022, 05:17:53 PM
Quote from: Mandryka on August 07, 2022, 10:24:42 AM
Yes there's a nice Pasquini cd and there's a recording of music by someone called Ferrandini.

Spotify shows that as from 2013, but the Music-Web International review appears to be from 2009.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 07, 2022, 07:00:14 PM
Quote from: Que on August 07, 2022, 10:44:47 AM
Only posted about it at least six times...  8)

It sounds very sweet! Just not the style of music which I'm very interested in at the moment.  I haven't really managed to enjoy the Pasquini for some reason, I may give it another go soon.

On the other hand I just stumbled across what seems like a really lovely CD of hers, called Madrigali Per Laura Peperara - stuff by de Waert, Luzzaschi etc. As always the voices have to appeal and one of the singers does (don't know her name, maybe Silvia Frogato)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 07, 2022, 10:58:43 PM
Quote from: Mandryka on August 07, 2022, 07:51:16 AM
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODkwODE1NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6MzAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE2MTg5OTQ5NDB9)

https://www.prestomusic.com/classical/products/8908155--bach-and-friends

Nice instruments here - the organ is new, neo-baroque or almost, beautiful sound, it's in a place called Ciboure near Saint Jean de Luz. The harpsichord is a copy of an 18th century German harpsichord. Lovely recording and playing I'd say, de Camboulas is well aware of the contrapuntality of the music - including in the aria Sebaldina  - and he has chosen some gorgeous registrations for Muffat.

You need to hear this one.

Very nice Bohm here - possibly my favourite Vater Unser, at least it is while listening to it. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on October 30, 2022, 02:05:39 AM
Andreas Staier demolishes Mahan Esfahani - I know that musical people can often be extremely bitchy in real life, but Staier must have been very badly pissed off with Esfahani to feel the need to put this on the web


https://van-magazine.com/mag/patchwork-history/?amp
Title: Re: General Harpsichord and Clavichord Thread
Post by: vers la flamme on October 30, 2022, 05:52:02 AM
Quote from: Mandryka on October 30, 2022, 02:05:39 AM
Andreas Staier demolishes Mahan Esfahani - I know that musical people can often be extremely bitchy in real life, but Staier must have been very badly pissed off with Esfahani to feel the need to put this on the web


https://van-magazine.com/mag/patchwork-history/?amp

Wow, this is juicy stuff. I guess I did have some awareness that the harpsichord world was subject to some cliquishness, but this was an entertaining example of it. The article is old, published over 5 years ago. I wonder if the relevant parties still feel the same way.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Pohjolas Daughter on November 02, 2022, 08:30:27 AM
Quote from: Mandryka on October 30, 2022, 02:05:39 AM
Andreas Staier demolishes Mahan Esfahani - I know that musical people can often be extremely bitchy in real life, but Staier must have been very badly pissed off with Esfahani to feel the need to put this on the web


https://van-magazine.com/mag/patchwork-history/?amp
Re the article:  Youch!

PD
Title: Re: General Harpsichord and Clavichord Thread
Post by: Herman on November 02, 2022, 11:52:00 AM
This is called The Pathology of a Shrinking Market. It's a given, alas, that fewer and fewer people play classical music, and even fewer are into early music, so naturally the audience shrinks, too. Just go to and early music festival and you'll see baroque and early m. are typically babyboomer pursuits, even more so than classical music as a whole. There is no Yuja W. effect in EM.

My GF is shopping for a good baroque model alto recorder, so I checked where we should go and it turned out the number of makers has halved in the past ten years. We visited a wonderfully nice and open person; my experience with instrument builders is they are crazy jealous of their territory, whether it's harpsichord builders (GF) or violin luthiers (me), anxiously guarding their shrinking market.

This is what I sense in the linked article, not necessarily in Staier's attitude, but the whole climate he describes.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on November 03, 2022, 06:47:21 PM
Quote from: Mandryka on August 07, 2022, 07:51:16 AM
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODkwODE1NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6MzAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE2MTg5OTQ5NDB9)

https://www.prestomusic.com/classical/products/8908155--bach-and-friends

Nice instruments here - the organ is new, neo-baroque or almost, beautiful sound, it's in a place called Ciboure near Saint Jean de Luz. The harpsichord is a copy of an 18th century German harpsichord. Lovely recording and playing I'd say, de Camboulas is well aware of the contrapuntality of the music - including in the aria Sebaldina  - and he has chosen some gorgeous registrations for Muffat.

You need to hear this one.

Excellent recording. Thank you for the info.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 03, 2022, 07:58:23 PM
Quote from: (: premont :) on June 01, 2021, 01:03:31 PM
Looks as if it is impossible to find (unknown Polish label?). I have heard his GV, which wasn't just my cup of tea. Too much polish and too deliberately "sensational" approach I think. But the one you posted may be more interesting.

Did you get it?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 04, 2022, 12:44:40 AM
Quote from: Dry Brett Kavanaugh on November 03, 2022, 06:47:21 PM
Excellent recording. Thank you for the info.

Yes it is excellent.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 04, 2022, 01:59:33 AM
Quote from: Mandryka on November 03, 2022, 07:58:23 PM
Did you get it?

I have only found it at an AMP seller. Price: 133 Euro. Add postage to this. A cost like this is self-forbidding.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Pohjolas Daughter on November 04, 2022, 02:45:41 AM
Quote from: (: premont :) on November 04, 2022, 01:59:33 AM
I have only found it at an AMP seller. Price: 133 Euro. Add postage to this. A cost like this is self-forbidding.
I found a copy for sale online.  I'll send you a pm with the details.

PD
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 04, 2022, 05:33:13 AM
Quote from: Mandryka on November 03, 2022, 07:58:23 PM
Did you get it?

Update:
PD was very helpful and found it on ebay (13 Euro's from a German seller) and I have ordered it from there. Should arrive in about a week.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on November 13, 2022, 12:08:34 AM
Quote from: Mandryka on October 30, 2022, 02:05:39 AM
Andreas Staier demolishes Mahan Esfahani - I know that musical people can often be extremely bitchy in real life, but Staier must have been very badly pissed off with Esfahani to feel the need to put this on the web


https://van-magazine.com/mag/patchwork-history/?amp
That's something.  Wow. I've no idea what I think of Esfahani as my tastes and understanding is constantly updating. I relistened to Rondeau's Goldberg recently and while I'd enjoyed it before I found him a little too busy and pushy this time. But I wouldn't doubt his musicianship. Has anyone read the interviews of Esfahani that Staier refers to?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 13, 2022, 01:10:20 AM
Quote from: milk on November 13, 2022, 12:08:34 AM
That's something.  Wow. I've no idea what I think of Esfahani as my tastes and understanding is constantly updating. I relistened to Rondeau's Goldberg recently and while I'd enjoyed it before I found him a little too busy and pushy this time. But I wouldn't doubt his musicianship. Has anyone read the interviews of Esfahani that Staier refers to?

https://van-magazine.com/mag/mahan-esfahani/

We really are at the bottom of the barrel here and you may feel the need to have a shower after reading it - look at the populist non sequitur in the the transition from a very value laden and pejorative account of French performance style in harpsichord music to an opera


For our readers, could you clarify what a "French" style is to the harpsichord world?

It's the sort of vague and limp-wristed style one hears on many recordings today, almost as if the players are afraid of their instruments. Christ! Gluck's "Orfeo" was originally performed with 12 double basses, eight flutes, and eight oboes, but if you performed it that way today, the historical performance world would get upset, because it doesn't fit the normative mold of a highly articulate and languid style—the style that makes you think "Get on with it!" when you hear it
.




or this creation of a culture war -

Yes, and that the cultural and musical insularity are intertwined. The obsession with articulation and with this "French" style of harpsichord playing has resulted in a "harpsichord language" that is largely disconnected from any other musical schemes. The language is disconnected from the larger world because those who speak it really don't speak other languages; experience other music; go to hip-hop performances, listen to bluegrass. Because they don't know black people, because they don't know diversity—many harpsichordists only know about food from the wealthy Dutch harpsichordists of the 1960s who supposedly knew about wine because they knew about the harpsichord.



these forms of argument are familiar after Trump etc put them onto the international scene, so it's no surprise to find them in the musical world, which in my experience can be no less factious and boorish and nasty and cutthroat than politics.  I myself understand Staier's anger, and I am nevertheless angry with the interviewer for not challenging Esfahani in the interview. I think it's good that the editor gave Staier the opportunity to publish his response.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 16, 2023, 10:22:38 AM
Scott Ross – Harpsichord Rebel

https://www.bbc.co.uk/sounds/play/m001h4kh
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 17, 2023, 01:29:34 PM
Quote from: Mandryka on January 16, 2023, 10:22:38 AMScott Ross – Harpsichord Rebel

https://www.bbc.co.uk/sounds/play/m001h4kh
Did you listen? I sampled the discussion a bit. It's hard because I lost interest in him. They say in this discussion that he had micro-management of his fingers or something like that. But his playing often comes off as conservative to me now. Admittedly, it's been a while. Have you listened to him lately?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on January 17, 2023, 09:38:23 PM
Quote from: milk on January 17, 2023, 01:29:34 PMDid you listen? I sampled the discussion a bit. It's hard because I lost interest in him. They say in this discussion that he had micro-management of his fingers or something like that. But his playing often comes off as conservative to me now. Admittedly, it's been a while. Have you listened to him lately?

Listened to about 15 minutes of the programme but quite frankly I'm not interested. I also listened last night to him playing D'Anglebert's 3rd suite and thought it was excellent playing. And I listened a couple of days ago to his Frescobaldi - which he made knowing that death was inevitable - the performances are feel a bit drab after a while but I still think it's valedictory - probably my overactive imagination.

Oh, and I checked a handful of sonatas from of his Stil Scarlatti, and it is occasionally lively and fresh, but too often ruined by the rigid pulse.
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on January 17, 2023, 11:21:23 PM
Quote from: Mandryka on January 17, 2023, 09:38:23 PMListened to about 15 minutes of the programme but quite frankly I'm not interested. I also listened last night to him playing D'Anglebert's 3rd suite and thought it was excellent playing. And I listened a couple of days ago to his Frescobaldi - which he made knowing that death was inevitable - the performances are feel a bit drab after a while but I still think it's valedictory - probably my overactive imagination.

Oh, and I checked a handful of sonatas from of his Stil Scarlatti, and it is occasionally lively and fresh, but too often ruined by the rigid pulse.
Things moved on since his time. Or maybe even back them artists like Leonhardt were much more compelling. I don't want to drag Ross. I'm sure he had flashed of brilliance. He must be some people's favorites.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 07, 2023, 06:29:39 AM
https://www.youtube.com/watch?v=4NO3YnmPh0Q&ab_channel=MaciejSkrzeczkowski

A recital in Utrecht last year of lovely French bonbons from Maciej Skrzeczkowski


Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 21, 2023, 12:25:30 AM
Quote from: Mandryka on February 20, 2023, 08:57:33 AM(https://static.fnac-static.com/multimedia/Images/FR/NR/e5/2e/e5/15019749/1540-1/tsp20230105095144/La-peine-de-mon-coeur.jpg)

An exciting new release. Every bit as modest and deeply felt as Wonner's Sweelinck CD of 10 years ago. Andrea Gabrieli's art is nowhere more successful than in his transcription of Ciprien de Rore's lament  Ancor che col partire, which is my litmus test. Wonner's is a particularly expressive harpsichord rendition - expression in line with the text of the madrigal.

Ancor che col partire / Io mi senta morire - Although with leaving you / I feel myself die.

The music has three features which make it stand out in Wonner's hands

1. Ornamentation. This may not be written in the score, Wonner gets it and knows how to embellish that score beautifully.

2. Legato touch and at least in the canzons and transcriptions, cantabile phrasing  - each note flowing into the next, long song like phrases.

3. Expressiveness.

I'm listening through Qobuz, but it's frustrating because the booklet isn't there -here it is

https://www.encelade.net/images/livret/ECL2102%20livret%20num.pdf
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on February 22, 2023, 01:00:01 AM
Quote from: Mandryka on February 21, 2023, 12:25:30 AMAn exciting new release. Every bit as modest and deeply felt as Wonner's Sweelinck CD of 10 years ago. Andrea Gabrieli's art is nowhere more successful than in his transcription of Ciprien de Rore's lament  Ancor che col partire, which is my litmus test. Wonner's is a particularly expressive harpsichord rendition - expression in line with the text of the madrigal.

Ancor che col partire / Io mi senta morire - Although with leaving you / I feel myself die.

The music has three features which make it stand out in Wonner's hands

1. Ornamentation. This may not be written in the score, Wonner gets it and knows how to embellish that score beautifully.

2. Legato touch and at least in the canzons and transcriptions, cantabile phrasing  - each note flowing into the next, long song like phrases.

3. Expressiveness.

I'm listening through Qobuz, but it's frustrating because the booklet isn't there -here it is

https://www.encelade.net/images/livret/ECL2102%20livret%20num.pdf

Thnx agsin for pointing it out. I lined it up on Spotify!  :D
Title: Re: General Harpsichord and Clavichord Thread
Post by: milk on February 23, 2023, 04:02:57 AM
Quote from: Mandryka on February 21, 2023, 12:25:30 AMAn exciting new release. Every bit as modest and deeply felt as Wonner's Sweelinck CD of 10 years ago. Andrea Gabrieli's art is nowhere more successful than in his transcription of Ciprien de Rore's lament  Ancor che col partire, which is my litmus test. Wonner's is a particularly expressive harpsichord rendition - expression in line with the text of the madrigal.

Ancor che col partire / Io mi senta morire - Although with leaving you / I feel myself die.

The music has three features which make it stand out in Wonner's hands

1. Ornamentation. This may not be written in the score, Wonner gets it and knows how to embellish that score beautifully.

2. Legato touch and at least in the canzons and transcriptions, cantabile phrasing  - each note flowing into the next, long song like phrases.

3. Expressiveness.

I'm listening through Qobuz, but it's frustrating because the booklet isn't there -here it is

https://www.encelade.net/images/livret/ECL2102%20livret%20num.pdf
thanks! Mesmerizing!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on March 06, 2023, 04:22:40 AM
I'm a sucker for fancy footwork

https://www.youtube.com/watch?v=ALnTL2Gsu2g&ab_channel=NicolasAubin

I like bling too

https://www.youtube.com/watch?v=YXrqckB7IHk&ab_channel=NicolasAubin

and I love the way the baby cries when you take him out

https://www.youtube.com/watch?v=IA21PeJ01gg&ab_channel=NicolasAubin

and then there's this on the same channel

https://www.youtube.com/watch?v=7-YQtKhiTDc&ab_channel=NicolasAubin

Presumably @rappy knows M. Aubin and his excellent channel.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on April 23, 2023, 06:17:47 PM
Aya Hamada - Rameau & Scarlatti. The Juilliard graduate has issued two fine recordings of Duphly and JSB.






Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on May 02, 2023, 04:48:37 PM
Nice playing and nice sound, but I'm not sure if the compositions are very attractive.


(https://m.media-amazon.com/images/I/A1BEtFa1D0L._SL1500_.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on May 02, 2023, 06:39:44 PM
Quote from: Dry Brett Kavanaugh on May 02, 2023, 04:48:37 PMNice playing and nice sound, but I'm not sure if the compositions are very attractive.


I've not heard the Belder. I've always thought of the music as just nice and cheerful, like Haydn piano trios and late Dvorak quartets.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on May 03, 2023, 09:24:31 AM
Quote from: Dry Brett Kavanaugh on May 02, 2023, 04:48:37 PMNice playing and nice sound, but I'm not sure if the compositions are very attractive.

Well, that's why I have passed this by - despite my fondness for Belder.

I have purchased Aya Hamada's Clavierübung II, not listened to it yet.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on May 03, 2023, 11:20:33 AM
Quote from: premont on May 03, 2023, 09:24:31 AMWell, that's why I have passed this by - despite my fondness for Belder.

I have purchased Aya Hamada's Clavierübung II, not listened to it yet.



I like their Duphly albums. Both the recordings sound cool and colorful while Aya sounds a little more sharp and Belder more traditional. I like Duphly's compositions and harmonies, which, just like Vincent Lubeck, sound very modern.


(https://static.wixstatic.com/media/4bb202_37830e92a44e4e95a9ff7b5a91f328d7.jpg/v1/fill/w_726,h_720,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/4bb202_37830e92a44e4e95a9ff7b5a91f328d7.jpg)


(https://is5-ssl.mzstatic.com/image/thumb/Music1/v4/79/13/78/79137876-1e76-19e2-09e6-3efaeffa5ca6/cover.jpg/632x632bb.webp)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on May 03, 2023, 11:45:58 AM
How about Lydia Maria Blank's Dandrieu?

https://www.youtube.com/watch?v=OmZ1yBt5SZg&ab_channel=LMBChannel

Or Colin Tilney?

https://www.youtube.com/watch?v=dXxGQ92imgY&ab_channel=ColinTilney-Topic

(That CD which the Tilney is taken from is rather nice.)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on May 03, 2023, 12:21:32 PM
Quote from: Dry Brett Kavanaugh on May 03, 2023, 11:20:33 AMI like their Duphly albums. Both the recordings sound cool and colorful while Aya sounds a little more sharp and Belder more traditional. I like Duphly's compositions and harmonies, which, just like Vincent Lubeck, sound very modern.

(https://is5-ssl.mzstatic.com/image/thumb/Music1/v4/79/13/78/79137876-1e76-19e2-09e6-3efaeffa5ca6/cover.jpg/632x632bb.webp)

Some time ago I considered the Belder set, and probably I shall purchase it eventually.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on May 03, 2023, 02:24:14 PM
Quote from: Mandryka on May 03, 2023, 11:45:58 AMHow about Lydia Maria Blank's Dandrieu?

https://www.youtube.com/watch?v=OmZ1yBt5SZg&ab_channel=LMBChannel

Or Colin Tilney?

https://www.youtube.com/watch?v=dXxGQ92imgY&ab_channel=ColinTilney-Topic

(That CD which the Tilney is taken from is rather nice.)

Blank's instrument sounds good. Most of D's pieces are in minor key and the Melodie's are typically French.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on May 03, 2023, 11:07:24 PM
Quote from: Dry Brett Kavanaugh on May 02, 2023, 04:48:37 PMNice playing and nice sound, but I'm not sure if the compositions are very attractive.


(https://m.media-amazon.com/images/I/A1BEtFa1D0L._SL1500_.jpg)

I don't think Belder's rather mechanical style does Dandrieu full justice.... The full potential of this music is demonstrated by Olivier Baumont, but that's unfortunately just a single disc. Belder is not bad at all, but I'm still waiting for a worthy complete recording...
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on May 04, 2023, 12:42:42 AM
Quote from: Dry Brett Kavanaugh on May 03, 2023, 11:20:33 AMI like their Duphly albums. Both the recordings sound cool and colorful while Aya sounds a little more sharp and Belder more traditional. I like Duphly's compositions and harmonies, which, just like Vincent Lubeck, sound very modern.


(https://static.wixstatic.com/media/4bb202_37830e92a44e4e95a9ff7b5a91f328d7.jpg/v1/fill/w_726,h_720,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/4bb202_37830e92a44e4e95a9ff7b5a91f328d7.jpg)  (https://is5-ssl.mzstatic.com/image/thumb/Music1/v4/79/13/78/79137876-1e76-19e2-09e6-3efaeffa5ca6/cover.jpg/632x632bb.webp)

I have Duphly complete by Jean-Patrice Brosse, and I have been always quite happy with those. (I recall these recordings being disssed by one time member Sarcophage, even though he hadn't heard them. But he took the trouble after the fact, and then retracting his criticism.) I also have a very impressive 2-disc album by Christophe Rousset, who these days seems to have a more intense and "darker" look on music... An acquired taste in basically anything he does IMO.

But it would be fun to try Belder and others in the coming time!  :D
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on May 06, 2023, 03:44:52 PM
Quote from: Que on May 04, 2023, 12:42:42 AMI have Duphly complete by Jean-Patrice Brosse, and I have been always quite happy with those. (I recall these recordings being disssed by one time member Sarcophage, even though he hadn't heard them. But he took the trouble after the fact, and then retracting his criticism.) I also have a very impressive 2-disc album by Christophe Rousset, who these days seems to have a more intense and "darker" look on music... An acquired taste in basically anything he does IMO.

But it would be fun to try Belder and others in the coming time!  :D

I know Brosse's recording, and however competent it didn't engage me with the music. I didn't know of Rousset's recording - the thought of it sounds in a way intriguing. Maybe Belder is too "harmless", but still I tend towards his recording.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on May 06, 2023, 11:43:41 PM
Quote from: premont on May 06, 2023, 03:44:52 PMI know Brosse's recording, and however competent it didn't engage me with the music. I didn't know of Rousset's recording - the thought of it sounds in a way intriguing. Maybe Belder is too "harmless", but still I tend towards his recording.

Have you heard the transfers of Brosse's first Duphly integral on symphonyshare?

I assume you know Leonhardt's two Duphly CDs? They're both very successful I think.

I think that Duphly is interesting, worth exploring.

Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on May 07, 2023, 04:42:12 AM
Quote from: Mandryka on May 06, 2023, 11:43:41 PMHave you heard the transfers of Brosse's first Duphly integral on symphonyshare?

I assume you know Leonhardt's two Duphly CDs? They're both very successful I think.

I think that Duphly is interesting, worth exploring.


Honestly I haven't explored Duphly that much. If Brosse made two sets it's the first one I know. BTW did you know that Brosse died on 18 September 2021 at the age of 71 due to a cancer?

By Leonhardt I have a CD with works by Duphly (and Royer?) but haven't listened much to it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on May 07, 2023, 05:42:51 AM
Quote from: premont on May 06, 2023, 03:44:52 PMMaybe Belder is too "harmless", but still I tend towards his recording.

I thought that the Belder was spicy and vivacious.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on May 07, 2023, 06:10:16 AM
Quote from: Dry Brett Kavanaugh on May 07, 2023, 05:42:51 AMI thought that the Belder was spicy and vivacious.

Instead of "harmless" I should have written "neutral" - and this is first and foremost in comparison to some of the other options. BTW I see that Presto also lists sets by Yves Préfontaine and Georges Kiss, which I think both might be interesting.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on May 07, 2023, 06:12:17 AM
Quote from: premont on May 07, 2023, 04:42:12 AMHonestly I haven't explored Duphly that much. If Brosse made two sets it's the first one I know. BTW did you know that Brosse died on 18 September 2021 at the age of 71 due to a cancer?

By Leonhardt I have a CD with works by Duphly (and Royer?) but haven't listened much to it.

I think the one with just Duphly is well worth a shot, he just seems to be enjoying himself and it was made when he was on top form. There's something a bit special about this one for example

https://www.youtube.com/watch?v=re7IsGy_3ek&ab_channel=incontrariomotu

Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on May 07, 2023, 06:24:47 AM
This one? A few years ago, I listened to some tracks on YT. I remember the music was vg, if somewhat dark.


(https://m.media-amazon.com/images/I/51SnVqIhhmL.jpg)


Another album.

(https://i.discogs.com/eDKAv6h4jJz-iCD69EWNFpyNBLmGzp2tvUiYtfijM1E/rs:fit/g:sm/q:90/h:583/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTExOTkz/ODE4LTE1MjYxOTIx/OTgtNTQxNy5qcGVn.jpeg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on May 07, 2023, 06:55:52 AM
Quote from: Dry Brett Kavanaugh on May 07, 2023, 06:24:47 AMThis one? A few years ago, I listened to some tracks on YT. I remember the music was vg, if somewhat dark.


(https://m.media-amazon.com/images/I/51SnVqIhhmL.jpg)


Another album.

(https://i.discogs.com/eDKAv6h4jJz-iCD69EWNFpyNBLmGzp2tvUiYtfijM1E/rs:fit/g:sm/q:90/h:583/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTExOTkz/ODE4LTE1MjYxOTIx/OTgtNTQxNy5qcGVn.jpeg)

The first, he recorded it after WTC 1 on the same harpsichord if I remember right. It's as if he just wanted to kick back after all that heavy German music. The Forqueray is also worth a listen I think.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Dry Brett Kavanaugh on June 02, 2023, 12:07:51 PM
Listening to "Road to Goya's Era" by Naruhiko Kawaguchi, fortepiano. Kawaguchi studied fortepiano with Kikuko Ogura, Christine Schornsheim and Richard Egarr, clavichord with Menno van Delft. The below is a description of the recording I found on the web.

Naruhiko Kawaguchi plays Spanish piano works from Goya's era with J. Broadwood & Son 1792, C. Ganer square piano 1780. Really precious recording of rare and really interesting Spanish piano works with English fortepiano. In the 18th century, Spanish piano makers were influenced by English makers and John Broadwood had a good friendship with Spanish royal family. This new CD of Naruhiko Kawaguchi invites you to the world of the grand painter, Goya.


(https://lh3.googleusercontent.com/FJhAZjaxaMG0JK7tYvm7gGpEWEvtrfXBF6qOM7eYCbHZ6cLmVRAFKhnp5a2f7c0aN80A7ocUl3MsF5w=w544-h544-l90-rj)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on July 24, 2023, 07:48:10 PM
Festschrift of sorts for Kenneth Gilbert

https://www.harpsichord.org.uk/wp-content/uploads/2020/12/SB15R.pdf
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 03, 2023, 12:52:21 PM
(https://www.chandos.net/catalogueImages/CX5325.jpg)

Gottlieb Muffat published embellished scores of some of Handel's keyboard suites. I've only been able to find one example on record, on the above Cd from Flora Fabri. She starts at the beginning and works her way through to the end playing all the notes in the right order. Are there any other performances of Handel/Muffat?
Title: Re: General Harpsichord and Clavichord Thread
Post by: vers la flamme on August 18, 2023, 03:44:40 PM
Any PI Scarlatti sonata recommendations, like 1-3 disc sets (not trying to get a huge box of all of them)...?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Jo498 on August 19, 2023, 03:55:19 AM
Staier has 2 on dhm and another 2? on Teldec/Warner that I liked a lot. Also Pierre Hantai (probably more than 1 disc on different labels? I have one in a box).
There is also at least one 1-disc anthology from Scott Ross's cplt recording.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on August 19, 2023, 06:16:29 AM
Quote from: vers la flamme on August 18, 2023, 03:44:40 PMAny PI Scarlatti sonata recommendations, like 1-3 disc sets (not trying to get a huge box of all of them)...?


I must have listened to hundreds of these things over the years. Some are interesting concept CDs (for example, Enrico Baiano has one which explores how Scarlatti's harpsichord style changed when he wrote for piano, and Skip Sempé's two harpsichord CD exploring  "duende" style in Scarlatti.) Others are rather brash but impressively colourful "Scarlatti room ambience" recordings which are fun for a short time, but maybe not the length of a whole CD (I think Bob van Asperen and  Wladislav Klosiewicz and Ton Koopman maybe the best examples I can think of  of this, and (possibly less impressively)  Pierre Hantai's Astrée recording.) Yet others are endearing (for about 15 minutes)  because they are somehow direct, simple, no nonsense music making -- Colin Tilney's  recordings are like this I think.

I could happily live without hearing a single note from any of them ever again.


On the other hand, I've found two recordings which mean much more to me -- it goes without saying that this is just a personal thing, I'm not suggesting anything about their quality.

One is Gustav Leonhardt's DHM recording, this

https://open.spotify.com/album/0jY5IEsfvhbmDoIMYGXxpD

The other is the harpsichord sonatas in Sergio Vartolo's "Iberian Naples" recording


https://open.spotify.com/album/0zRagX0jGBEiQsoxELMKfb


It's such a shame that Belder hasn't produced a "best of" CD.
 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 05, 2023, 08:11:54 AM
(https://i.discogs.com/TKNe5Q2CGUuLi18MSrlXELIgmZp6tFjYQaAoCMjQd4I/rs:fit/g:sm/q:90/h:480/w:539/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTI2MTcw/NTk4LTE2NzY5MjQx/MzQtMjk5MC5qcGVn.jpeg)

I'm not sure what to make of this recording. There is dynamic variation in a way which is a bit unusual for a harpsichord - it could be the instrument (which is big and has suffered some serious ravalements.)  It could be the recording engineering. The big speakers bring it out most clearly, but it's very audible on the Lebègue Chambonnières chaconne. At first I thought there was something wrong with my hifi - but no.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 05, 2023, 09:04:48 AM
Quote from: Mandryka on November 05, 2023, 08:11:54 AMI'm not sure what to make of this recording. There is dynamic variation in a way which is a bit unusual for a harpsichord - it could be the instrument (which is big and has suffered some serious ravalements.)  It could be the recording engineering. The big speakers bring it out most clearly, but it's very audible on the Lebègue chaconne. At first I thought there was something wrong with my hifi - but no.

I made a deal with Peter Waldner that he should send me all the Tastenfreuden CDs, so I shall hopefully hear it soon.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 05, 2023, 12:01:53 PM
Quote from: premont on November 05, 2023, 09:04:48 AMI made a deal with Peter Waldner that he should send me all the Tastenfreuden CDs, so I shall hopefully hear it soon.

I think it's just the extraordinary sounds you can get out of this harpsichord actually  - I've got a recording by Bob van Asperen on the same instrument and it's the same effect occasionally (Asperen's is well worth having, it has excellent and rare music.)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 05, 2023, 01:15:30 PM
Quote from: Mandryka on November 05, 2023, 12:01:53 PMI think it's just the extraordinary sounds you can get out of this harpsichord actually  - I've got a recording by Bob van Asperen on the same instrument and it's the same effect occasionally (Asperen's is well worth having, it has excellent and rare music.)

May I ask which one? Van Asperen has made a CD with instruments from Musée des Instruments De Musique Brüssels named Virginaal, which I don't know, but I can't see that he uses the 1646 Couchet likewise from Brüssels which Waldner uses for the Musical storytelling.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 05, 2023, 01:25:38 PM
This one - if you write to the the shop there they'll send one out (or they did a few years ago, I can let you have it if needs be.)

https://www.mim.be/en/publication/harpsichord-couchet-bob-van-asperen-cd


Interesting that the blurb there says Asperen made it " . . . so that the harpsichord can be left in peace." It is a credit to Peter Waldner that they let him make another recording with it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Que on November 05, 2023, 02:11:07 PM
Quote from: premont on November 05, 2023, 09:04:48 AMI made a deal with Peter Waldner that he should send me all the Tastenfreuden CDs, so I shall hopefully hear it soon.

That's quick action!  :D

Please let me know if the Fischer recording is any good, when you get to it... :)
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 05, 2023, 02:43:13 PM
Quote from: Mandryka on November 05, 2023, 01:25:38 PMThis one - if you write to the the shop there they'll send one out (or they did a few years ago, I can let you have it if needs be.)

https://www.mim.be/en/publication/harpsichord-couchet-bob-van-asperen-cd

Thanks. How did you transfer the payment?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 05, 2023, 02:48:37 PM
Quote from: Que on November 05, 2023, 02:11:07 PMThat's quick action!  :D

Please let me know if the Fischer recording is any good, when you get to it... :)

Yes, I will do. 
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 05, 2023, 06:49:54 PM
Quote from: premont on November 05, 2023, 02:43:13 PMThanks. How did you transfer the payment?
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 05, 2023, 06:52:37 PM
Quote from: premont on November 05, 2023, 02:43:13 PMThanks. How did you transfer the payment?

I'm pretty sure I emailed them asking for the price shipped to London, and they wrote back to me with their bank details, it wasn't a problem. But I do remember it took them a bit of time to respond to the first email - I don't think the shop is staffed every day. This was about six years ago.

It's very good - I listened to the whole recording last night - you won't regret it.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 06, 2023, 01:27:32 PM
Quote from: Mandryka on November 05, 2023, 08:11:54 AM(https://i.discogs.com/TKNe5Q2CGUuLi18MSrlXELIgmZp6tFjYQaAoCMjQd4I/rs:fit/g:sm/q:90/h:480/w:539/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTI2MTcw/NTk4LTE2NzY5MjQx/MzQtMjk5MC5qcGVn.jpeg)

I'm not sure what to make of this recording. There is dynamic variation in a way which is a bit unusual for a harpsichord - it could be the instrument (which is big and has suffered some serious ravalements.)  It could be the recording engineering. The big speakers bring it out most clearly, but it's very audible on the Lebègue Chambonnières chaconne. At first I thought there was something wrong with my hifi - but no.

To day I received the CDs and listened to this one. The instrument has a distinctive and unusual sound and the disposition 8'+ 8'+ 4' on two manuals. One manual  - usually the upper - has a single 8' and the other manual - usually the lower manual - the other 8' and the 4'. There are a number of different volume levels you can achieve with this combination. The lowest dynamic level has the upper manual with the lonely 8'. The volume can be increased by playing on the 8' of the lower manual which usually is louder than the 8' of the upper manual. By coupling the two 8' on both manuals you get an even higher dynamic level and adding the 4' makes the sound even louder. I don't hear other dynamic changes on this CD than they without problems may be explained by his changing between these options.

As to the interpretation of the music I find it outstanding. Learned and expressive at the same time. I have never heard the Mein junge Leben variations played so mooving, and his way with the L Couperin Prelude non mensuré has certainly the right improvisatory character. The recorded sound seems to do the instrument full justice. So this CD is unconditionally a winner.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 06, 2023, 08:44:30 PM
Yes, he's very good in Sweelinck!
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 08, 2023, 11:07:44 AM
(https://m.media-amazon.com/images/I/810-LvNa0mL._AC_SL1389_.jpg)

Having been really impressed by Gustav Leonhardt's two Francois Couperin CDs, I thought I'd explore recordings from people who were around Amsterdam Conservatory when he was there. So far I've found this one from Asperen, and one from Tilman Skowroneck. Alan Curtis recorded one, but I can't get hold of a copy to hear it (it was never commercially transferred from LP as far as I can see.)

Are there any others?

This one from Asperen is in the predictable Asperen manner -- counterpoint and tempo full of life -- lively Couperin.  It's very good.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 09, 2023, 12:42:01 AM

Quote from: bioluminescentsquid on October 23, 2023, 07:46:05 PM(https://www.artistcamp.com/store/lydia-maria-blank/bach-die-kunst-der-fuge/9008798375042/cover.jpg)
https://www.artistcamp.com/lydia-maria-blank/bach-die-kunst-der-fuge/9008798375042/index.html#
A very beautiful, elaborately ornameted yet sober and noble Art of Fugue from Lydia Maria Blank. Played on what sounds like an Italian harpsichord, the lean and spare sound fits the playing style well. Actually the word that comes to mind is iki, as Toyohiko Satoh means it.

Of the three recordings that Lydia Maria Blank released at the start of the year, this is the one which has caught my imagination most so far.

(https://image.jimcdn.com/app/cms/image/transf/dimension=590x1024:format=jpg/path/sa63d09adb5c9382a/image/id5d870a60c1d907e/version/1676919303/image.jpg)
Title: Re: General Harpsichord and Clavichord Thread
Post by: atardecer on November 09, 2023, 08:01:59 PM
The latest from the Netherlands Bach Society, the Fantasia and Fugue in A minor BWV 944 in a stellar performance by Emmanuel Frankenberg. Nice sounding harpsichord here, and well mic'd.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 11, 2023, 10:36:55 AM
(https://www.peterwaldner.at/files/peterwaldner/images/cds/john_come_kiss_me_now.png)

Ich gieng einmal spatieren -- the most successful harpsichord performance I've heard -- colourful.

Peter Waldner must like the music, because I've got a recording of him playing it on organ too in Innsbruck in 2017 -- maybe The Squid gave me the recording, I don't know how I got it.  The fact that he likes it comes across in the verve and élan of the performance -- in fact the whole CD is a great favourite of mine.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 11, 2023, 11:19:35 AM
Quote from: Mandryka on November 11, 2023, 10:36:55 AM(https://www.peterwaldner.at/files/peterwaldner/images/cds/john_come_kiss_me_now.png)

Ich gieng einmal spatieren -- the most successful harpsichord performance I've heard -- colourful.

Peter Waldner must like the music, because I've got a recording of him playing it on organ too in Innsbruck in 2017 -- maybe The Squid gave me the recording, I don't know how I got it.  The fact that he likes it comes across in the verve and élan of the performance -- in fact the whole CD is a great favourite of mine.

I haven't gotten around to this yet, but from what I've heard until now, I have no doubt that Waldner loves the music he plays very much, and it's one of the reasons why his recordings are so refreshing and enriching to listen to.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 11, 2023, 11:34:24 AM
Quote from: premont on November 11, 2023, 11:19:35 AMI haven't gotten around to this yet, but from what I've heard until now, I have no doubt that Waldner loves the music he plays very much, and it's one of the reasons why his recordings are so refreshing and enriching to listen to.

Turns out that the Waldner live performance in Innsbruck is on claviorgan! Did you buy his Schubert CD?
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 11, 2023, 11:57:27 AM
Quote from: Mandryka on November 11, 2023, 11:34:24 AMTurns out that the Waldner live performance in Innsbruck is on claviorgan! Did you buy his Schubert CD?
Yes, and I have listened to the first movement of the "Fantasie" sonata D 894 and the first three Impromptus D 899. For some reason he leaves out the fourth Impromptu in A flat major. He wrote to me that he plays Schubert's music taking into account the Baroque Affectenlehre, and it fascinated me to hear it. Here, too, you can hear his love for music, and the result is very touching.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 12, 2023, 03:28:43 AM
Quote from: Que on November 05, 2023, 02:11:07 PMThat's quick action!  :D

Please let me know if the Fischer recording is any good, when you get to it... :)

You can listen to examples from Fischer's works on Waldner's home page:

https://www.peterwaldner.at/start.html

Click: Photos & Media and scroll down to the Fischer examples.

There are lots of other interesting things on this home page.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 12, 2023, 02:12:39 PM
Quote from: Mandryka on November 11, 2023, 10:36:55 AMIch gieng einmal spatieren -- the most successful harpsichord performance I've heard -- colourful.

I listened to Waldner's John come kiss me now CD today. The whole CD is outstanding and I enjoyed it immensely.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 17, 2023, 04:46:18 AM
A really impressive, serious, Pasquini recording from Arthur Haas. By serious, I mean Haas makes each piece sound like a real contrapuntal masterpiece.  well recorded, super colourful instrument and an good, stimulating, selection of music. Annoyingly, Plectra has not put the booklet online.

The harpsichord is apparently from something called The Flint Collection -- presumably Karen Flint.


https://eu.delawareonline.com/story/entertainment/music/1/01/01/striking-chords-brandywine-baroque-founder-plays-antique-instruments/2916541/
https://wsdg.com/projects-items/flint-barn-karen-flint/




(https://static.wixstatic.com/media/d4046e_460d3b852576400baf89d270f2010111~mv2_d_1638_1479_s_2.jpg/v1/fill/w_500,h_451,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/d4046e_460d3b852576400baf89d270f2010111~mv2_d_1638_1479_s_2.jpg)

Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 17, 2023, 07:59:09 AM
Quote from: Mandryka on November 17, 2023, 04:46:18 AMA really impressive, serious, Pasquini recording from Arthur Haas. By serious, I mean Haas makes each piece sound like a real contrapuntal masterpiece.  well recorded, super colourful instrument and an good, stimulating, selection of music. Annoyingly, Plectra has not put the booklet online.

The harpsichord is apparently from something called The Flint Collection -- presumably Karen Flint.


https://eu.delawareonline.com/story/entertainment/music/1/01/01/striking-chords-brandywine-baroque-founder-plays-antique-instruments/2916541/
https://wsdg.com/projects-items/flint-barn-karen-flint/


How would you rate it compared to Lydia Maria Blank's Pasquini CD? She is also relatively contrapuntally minded.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 17, 2023, 08:32:24 AM
Quote from: premont on November 17, 2023, 07:59:09 AMHow would you rate it compared to Lydia Maria Blank's Pasquini CD? She is also relatively contrapuntally minded.

Well just an immediate comment -- I think Haas's instrument is special enough to make it well worth investigating, whatever the interpretative merits vis-a-vis Blank. Haas is very eloquent, he lets the phrases breath, and have their effect on the listener.  You can see, I like the Haas very much.

Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 20, 2023, 10:43:17 AM
Jean Rondeau playing some Louis Couperin on a harpsichord

https://www.youtube.com/watch?v=dvZndPH7ftk
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 24, 2023, 06:14:30 AM
Quote from: premont on November 05, 2023, 09:04:48 AMI made a deal with Peter Waldner that he should send me all the Tastenfreuden CDs, so I shall hopefully hear it soon.
Quote from: Mandryka on November 05, 2023, 08:11:54 AM(https://i.discogs.com/TKNe5Q2CGUuLi18MSrlXELIgmZp6tFjYQaAoCMjQd4I/rs:fit/g:sm/q:90/h:480/w:539/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTI2MTcw/NTk4LTE2NzY5MjQx/MzQtMjk5MC5qcGVn.jpeg)

I'm not sure what to make of this recording. There is dynamic variation in a way which is a bit unusual for a harpsichord - it could be the instrument (which is big and has suffered some serious ravalements.)  It could be the recording engineering. The big speakers bring it out most clearly, but it's very audible on the Lebègue Chambonnières chaconne. At first I thought there was something wrong with my hifi - but no.

Turned out that all this stress was due to a loose interconnect, making one channel cut out intermittently.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Harry on November 24, 2023, 06:20:37 AM
I could select 12 albums on Qobuz with Peter Waldner, lets hear what its all about.
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 24, 2023, 11:26:10 AM
Quote from: Harry on November 24, 2023, 06:20:37 AMI could select 12 albums on Qobuz with Peter Waldner, lets hear what its all about.

Peter Waldner is an outstanding interpreter of early renaissance keyboard music and baroque keyboard music (harpsichord, clavichord, organ). I only got to know him by chance because his CDs are distributed by small labels. But having heard a few of his CDs I decided to get hold of all of them. This is something I don't do that often. They can be ordered from his own website. And listening to them has to me been a wonderful musical journey all through. The most rewarding and uplifting musical experience since long. I can only encourage others to do the same.

https://www.peterwaldner.at/start.html
Title: Re: General Harpsichord and Clavichord Thread
Post by: premont on November 24, 2023, 11:30:52 AM
Quote from: Mandryka on November 24, 2023, 06:14:30 AMTurned out that all this stress was due to a loose interconnect, making one channel cut out intermittently.

How do you explain this if it's your hi-fi gear?

Quote from: Mandryka on November 05, 2023, 12:01:53 PMI think it's just the extraordinary sounds you can get out of this harpsichord actually  - I've got a recording by Bob van Asperen on the same instrument and it's the same effect occasionally (Asperen's is well worth having, it has excellent and rare music.)
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on November 24, 2023, 11:38:57 AM
Quote from: premont on November 24, 2023, 11:30:52 AMHow do you explain this if it's your hi-fi gear?


Imagination is the best explanation I can offer.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 21, 2024, 10:38:19 AM
https://www.youtube.com/watch?v=CHI_tNEgNU0&ab_channel=KanjiDaito

Kanji Daito concert.
Title: Re: General Harpsichord and Clavichord Thread
Post by: Mandryka on February 22, 2024, 03:27:25 AM
https://www.youtube.com/watch?v=fLcvmswgqog&ab_channel=StripedGazelleMusic

An impressive performance of the 23 fist tone Magnificat fugues by Pachelbel -- I never thought I'd ever say this, but I hope he records the rest.

The performer is an not mentioned directly, I'll ask the uploader.

The uploader goes by the enigmatic name of Striped Gazelle. His work looks interesting

https://stripedgazelle.bandcamp.com/