Handel on the Harpischord

[Leo K.]

I'm in the market for a good recording of Handel's keyboard suites on the harpischord. So far, I'm thinking Ottavio Dantone, since I'm mesmorized by his Bach WTC Book I recording. I'm looking for different interpretations for my collection.

[Que]

I'm in the market for a good recording of Handel's keyboard suites on the harpischord. So far, I'm thinking Ottavio Dantone, since I'm mesmorized by his Bach WTC Book I recording. I'm looking for different interpretations for my collection.

Before I made my choice I did some comparisons by online sampling. On top came Olivier Baumont and Pieter-Jan Belder Michael Borgstede, closely followed by Ottavio Dantone.

I opted for the more inclusive set by Belder Borgstede, but wouldn't mind to have the Baumont or Dantone as well, one day.

Q

[Marc]

Before I made my choice I did some comparisons by online sampling. On top came Olivier Baumont and Pieter-Jan Belder, closely followed by Ottavio Dantone.

And what are the current odds with Ladbrokes?
I want to place me bets!

Too late, they've already started!

On top of the hill still going strong in front it's Olivier Baumont. He's just a neck ahead of Pieter-Jan Belder, closely followed by Ottavio Dantone. (DEEP SIGH.) Next in the field is Secretariat from Sunday Silence and Easy Goer, then comes Dancing Brave with the mare Triptych on his outside and still in contention is Henri Buitenzorg. [DEEP SIGH.) The backmarker at this stage is Tail End Charlie as they run downhill ..... blablabla.

(Sorry 'bout that Q, calling horses was my job once, on a - very short - blue monday.)

[Drasko]

I'm in the market for a good recording of Handel's keyboard suites on the harpischord.

Don't know if it's in print currently, but I've been very happy with Scott Ross' double disc on Erato.

[Geo Dude]

If you don't mind a dark-toned harpsichord (listen to the samples on Amazon), Borgstede's recording is a fine start.

[Leo K.]

This is going to be a fun consideration. Right now, after hearing a few samples, I like Olivier Baumont and Ovattio Dantone. Still want to check out Belder. I would love to hear the Scott Ross account, as I have his Couperin set. 

[Leo K.]

If you don't mind a dark-toned harpsichord (listen to the samples on Amazon), Borgstede's recording is a fine start.

That looks good too! I am a fan of dark-toned harpsichord sounds.

[Opus106]

Has Belder recorded Handel on the keyboard?

Don't know if it's in print currently, but I've been very happy with Scott Ross' double disc on Erato.

The double disc may not be, but the recordings are included in the box of keyboard works in Warner's Handel Edition.

[Que]

If you don't mind a dark-toned harpsichord (listen to the samples on Amazon), Borgstede's recording is a fine start.

Agreed - see below!

Has Belder recorded Handel on the keyboard?

Sorry guys, my bad!

I confused Belder and Michael Borgstede - I meant the latter's 4CD set on Brilliant:

[asin]B001AZU0CW[/asin]

Q

[val]

I have the 8 Suites played by Scott Ross. I love it.

[Josquin des Prez]

Scott Ross for me as well.

[prémont]

My favorite is Ludger Remy (CPO), who´s interpretation I find to be the most imaginative - in a good sense. But there are many fine recordings of these works. To mention some of the ones I know:
Laura Alvini, Scott Ross, Colin Tilney, Michael Borgstede, Sophie Yates, Ottavio Dantone, Paul Nicholson, Olivier Beaumont (who´s recording only includes some of the Great Eight),

[Leo K.]

Agreed - see below!

Sorry guys, my bad!

I confused Belder and Michael Borgstede - I meant the latter's 4CD set on Brilliant:

[asin]B001AZU0CW[/asin]

Q

I see! No wonder I couldn't find Belder 


I am really enjoying the samples of Borgstede's account.

Also, thanks premont for the heads up on Ludger Remy...I wasn't aware of that recording.

[Leo K.]

I have decided on the Borgstede. I shall report back after some listens. 

Thanks all!

[Mandryka]

The one I like is an old one, from the 1960s. A harpsichordist called Paul Wolfe. I wonder if anyone knows it. I bought a couple of Cds of him playing half a dozen suites on the basis of this youtube, and I must say he's given me more pleasure with the music than anyone else I've heard -- harpsichord or piano.  I'll try Ludger Remy.

http://www.youtube.com/v/2LFaGSfEL-A

[prémont]

The one I like is an old one, from the 1960s. A harpsichordist called Paul Wolfe. I wonder if anyone knows it. I bought a couple of Cds of him playing half a dozen suites on the basis of this youtube, and I must say he's given me more pleasure with the music than anyone else I've heard -- harpsichord or piano.  I'll try Ludger Remy.

http://www.youtube.com/v/2LFaGSfEL-A

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.   

[Mandryka]

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.   

I like the strong bass and the organ-like timbre of his pedal harpsochord. It gives the music a good foundation.  Is it completely inauthentic? I mean, there were pedal harpsichords back then, weren't there?

[prémont]

I like the strong bass and the organ-like timbre of his pedal harpsochord. It gives the music a good foundation.  Is it completely inauthentic? I mean, there were pedal harpsichords back then, weren't there?

It is now considered certain that Bach in Germany had access to a pedal harpsichord (or pedal clavichord) and also to a non-pedal harpsichord with 16F stop on one of  the manuals. I do not know Händel´s situation in England as to this question, but I would not consider Händel played with 16F stop (pedalharpsichord or not) inauthentic per se.

[Mandryka]

It is now considered certain that Bach in Germany had access to a pedal harpsichord (or pedal clavichord) and also to a non-pedal harpsichord with 16F stop on one of  the manuals. I do not know Händel´s situation in England as to this question, but I would not consider Händel played with 16F stop (pedalharpsichord or not) inauthentic per se.

All that fits in with my reading on this too.

. . .  inorganic changes of registration  . . .

Well in that suite 3 there certainly are some abrupt registration changes in the variations and  that does make the music more vulgar and more swaggering. But we are talking Handel here and maybe vulgar swagger is just a part of the aesthetic. Of course I could be plesently surprised when I get to finally hear Remy.

I remember you once said  Walcha's registration changes in that Bach G minor prelude we once discussed here were inauthentic. I guess there were "rules" about what sort of registration changes were allowed.

[prémont]

Well in that suite 3 there certainly are some abrupt registration changes in the variations and  that does make the music more vulgar and more swaggering. But we are talking Handel here and maybe vulgar swagger is just a part of the aesthetic.

Händel´s harpsichord suites build like Bach´s suites on a mixture of German, Italian and French stylistic elements. One can say that Händels music probably was meant to have more public appeal than Bach´s. But I think it is an overstatement to call Händel´s music vulgar.

I remember you once said  Walcha's registration changes in that Bach G minor prelude we once discussed here were inauthentic. I guess there were "rules" about what sort of registration changes were allowed.

Maybe not rules, but recommendations. But a number of Walcha´s register changes are unquestionably inauthentic, because they were impossible to make on the baroque organs.