Started by Que, April 14, 2007, 01:30:11 AM
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Quote from: Que on November 03, 2007, 02:46:35 AMJust got this.
Quote from: Que on November 03, 2007, 02:46:35 AMThe playing is excellent, Rechsteiner is a very fine harpsichordist indeed. Would like to hear more of him. He is the hands-on-and-not-to-linger type of player. Swift and clearly articulated, poetic if needed.
Quote from: Que on April 14, 2008, 08:39:41 AMHas anyone heard this? <Egarr's WTC1>Q
Quote from: fl.traverso on April 14, 2008, 09:09:48 AMEDIT. Found a lower price and ventured a buy. Will report back if it turns out to be more appealing than his oh-so-beautiful Goldberg.
Quote from: Que on April 14, 2008, 09:17:40 AMYes, please do. Q
Quote from: Que on April 14, 2008, 08:39:41 AMHas anyone heard this? Q
Quote from: premont on April 14, 2008, 09:42:56 AMIt is in my CDs to be listened to pile.
Quote from: fl.traverso on April 14, 2008, 09:45:24 AMPerhaps you will file a report first? (Please don't tell me it's better than Hantai's blazing, virtuosic effort on Mirare. Where is Pierre's Book II? I have been waiting. )
Quote from: premont on April 14, 2008, 10:08:01 AMWell, I shall try to get the time give it a listen in the week-end.Now I am perhaps shocking you: I do not know the Hantaï version.
Quote from: Que on April 14, 2008, 10:13:36 AMI tried Hantaï. but didn't like him that much. Like Ottavio Dantone very much on the other hand. (See few post back).Q
Quote from: Don on April 14, 2008, 01:29:00 PMAs for Egarr's WTC, it has similar virtues and problems found in his Goldbergs - a high priority on beauty but no interest in getting his hands dirty or digging deep into the bleak pieces. To me, it lacks "spine".
Quote from: fl.traverso on April 15, 2008, 01:51:13 AMIf it's just about "spine" I guess it's all right then. "Spine" in a long, continuous work such as the Goldberg is a lot more important than it is in a collection of shorter, sundry pieces.
Quote from: premont on April 16, 2008, 12:36:20 PMYes I have – now.Egarr uses a modern copy of a ( Johannes?) Rückers harpsichord from 1638, an instrument I would expect to sound more crisp and even a bit harsh, but the sound of Egarr´s instrument is so sweet as to defy its origin. It may be the recording though, but it does not suit the music IMO . Egarr´s tempi are generally slow, often too slow to my taste, and he plays too much legato. He seems to confuse articulation and phrasing, playing long phrases in strict legato, and in the end the music presents itself badly under-articulated. His agogics are very free with much dragging, and essentially romantic. In the long run he seems mannered. All the pieces – most true of the fugues – get the same basic treatment without much individual characterisation. It is a dreadful exercise in futility, which at best may be good for sleeplessness.
Quote from: fl.traverso on April 16, 2008, 03:05:11 AMNow that I have learned what people like here in UK by making friends with a couple of local fans of cm, I think Egarr here has a winner as far as THEIR taste is concerned. Oh my this is so moderate, so deliberate, not to mention so discreet. "Sublime," in other words. I couldn't share the Hantai WTC with my British friends for fear that they might disapprove of its wild ideas. Now I know I have a safe choice when it is time to hear Bach together.
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