General Harpsichord and Clavichord Thread

[early grey]

............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.

[Karl Henning]

Probably my favorite Louis Couperin piece:

http://www.youtube.com/v/csLXp5vXIn8

[Geo Dude]

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.

[Mandryka]

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.

[Jo498]

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]

[Karl Henning]

And some Sweelinck:

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

[king ubu]

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).

[Jo498]

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.

[Mandryka]

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.

[Jo498]

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.

[Que]

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

[king ubu]

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!

[Que]

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

[Drasko]

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.

[king ubu]

... 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!

[Mandryka]

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. )

[Drasko]

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.

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.   

[Moonfish]

Johann Sebastian Bach: Das Wohltemperierte Clavier - II      Vieru     (3 cds)

Less than $8 on the Amazon MP

[asin] B000F0H4BI[/asin]

[Moonfish]

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]

[Geo Dude]

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...