Started by The Mad Hatter, May 23, 2007, 12:37:26 AM
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Quote from: Mandryka on May 22, 2023, 01:27:15 PMIt sounds to me as though all the fugues are played by two people, two harpsichords. Presumably he needed it because of all the ornamentation. The effect is quite unique and well worth hearing - very different vibe from Asperen's. Koopman and Mahot are exuberant, virtuoso display.
Quote from: premont on May 23, 2023, 01:09:02 PMYes, Koopman plays the canons and the cpt. VIII (which is a piece for three voices) solo. All the pieces for four voices are played by Koopman and Mathot on two harpsichords, each of them playing two voices on each harpsichord. I haven't heard it for ages, but recall it as being relatively solid and sober.
Quote from: Mandryka on May 23, 2023, 01:25:31 PMIt's interesting because when I listened to it last night I looked for reviews on the web and of course found Don Satz. And he said things like "Koopman can't express joy." And yet my response was that it's the really exuberant AoF! And here's you saying it's sober. Subjectivity everywhere! I listened to Koopman's Forqueray too - astonishing performances. I thought that he makes the music sound like a baroque counterpart to those 19th century virtuoso concert etudes we never listen to - Liszt's transcendental etudes, things like that. I mean, I don't I want to hear it often, but what Koopman does there is kind of, unforgettable!
Quote from: premont on May 16, 2023, 04:08:52 PMMy interest in piano versions of the Art of Fugue is relatively small. Despite this I own 35+ piano versions. My preference is towards informed and not too interventionist performers. Some who don't fall victim to the romantic potential of the piano. So some of my favorites are (in casual order):Hans PetermandlWalter RiemerRon LepinatGeoffrey Douglas MadgeIvo JanssenRisto LaurialaCelimene DaudetAnn-Helena Schlüter
Quote from: Atriod on May 29, 2023, 06:50:18 AMThoughts on this? A while back I posted about being greatly captivated by Weiss' recording of WTC.
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