Bach on the harpsichord, lute-harpsichord, clavichord

[Bulldog]

I'm really a sensualist when it comes to sound rather than an analyst.  I understand that structural clarity is going to be more apparent with less reverberance and less embellishment, but it's Baroque Art not Neo-Classical.  Where is the flamboyance and drama of Curtis's recording?  It's just not baroque enough for me.  When I hear the rich sound of the notes pouring out of the Ruckers, it's as if I can see each one floating through the air, sparkling like dust motes turned golden by the sun.  I just don't get that from Curtis's drier recording.  Sometimes it's not about hearing the structure or being able to analyze every word of the dialogue.  Sometimes it's about being transported to a different universe of colors and sounds that are more intense and vibrant.  For me Rousset's recording of the French Suites are the musical equivalent of Bernini's St. Theresa.  The little angel with his arrow pierces her heart the way the notes pierce mine.  The Curtis recording is quite fine, but the Rousset is extraordinary.

I find the Curtis recording extraordinary, and I couldn't disagree more about which recording sounds "baroque".  As for drama, there's abundant drama in the Curtis interpretations.  Also, Curtis does transport me to a unique universe; Rousset transports me to the bathtub.  Perhaps my distaste for taking a bath enters into the picture.

Oh well, different strokes and all that.  I only wish that Rousset's soundstage was more like that on his Decca recordings.  By the way, have you heard the David Cates account of the French Suites on the Music & Arts label?  I'd be interested in your views on the performance and soundstage.

[Bunny]

I find the Curtis recording extraordinary, and I couldn't disagree more about which recording sounds "baroque".  As for drama, there's abundant drama in the Curtis interpretations.  Also, Curtis does transport me to a unique universe; Rousset transports me to the bathtub.  Perhaps my distaste for taking a bath enters into the picture.

Oh well, different strokes and all that.  I only wish that Rousset's soundstage was more like that on his Decca recordings.  By the way, have you heard the David Cates account of the French Suites on the Music & Arts label?  I'd be interested in your views on the performance and soundstage.

I don't have that, do you think I would enjoy it?

No samples available at Amazon.

[Dancing Divertimentian]

Donwyn, I don't know how I could live if all I could listen to were the pallid notes from a 78 recording.  I'd never even own a recording -- I'd just go to concerts rather than settle for such a poor representation.

We certainly see eye-to-eye on that, Bunny.

I wouldn't dream of defending 78s but I still can somehow tolerate dim, scratchy recordings more than excessively soggy ones.

Above all I'm grateful I don't have to settle for either of these limitations.

[Bulldog]

I don't have that, do you think I would enjoy it?

No samples available at Amazon.

The Cates recording is on the Naxos Music Library site that allows 15 minute previews for non-members.  Cates uses a staggering technique that I find totally absorbing, and the reverb. is greater than in the Curtis recording.  Check it out.

[Bunny]

The Cates recording is on the Naxos Music Library site that allows 15 minute previews for non-members.  Cates uses a staggering technique that I find totally absorbing, and the reverb. is greater than in the Curtis recording.  Check it out.

Thanks!  I certainly will do so.

[Captain Flint]

Gustav Leonhardt: Bach, Bull, Byrd, Gibbons, Hassler, Pachelbel, Ritter, Strogers
Alpha 042

Anyone liking odd keyboard instruments should try listening to the claviorganum (or claviorgan), an unusual device combining a harpsichord and an organ.

In this album, Gustav Leonhardt plays pieces from different northern Europe baroque composers that were influenced by italian music. The last three tracks are JSB's compositions (BWV 1121, BWV 989, BWV 767) but they are played on a harpsichord.

[SonicMan46]

I've been a follower of this thread from the beginning, and would like to acquire a 'harpsichord' version of the WTC  Bach recordings  Thanks - 

Currently, as already mentioned I'm interested in the WTC recordings for Harpsichord - I've already obtained a number of piano versions which have been well recommended - now after reviewing this thread, I'm still confused about which harpsichord versions (whether on standard or gut-strung instruments) would be the best choices - now I don't need 'multiple' versions, but would enjoy a consensus opinion on a set of recordings that all would considered excellent - please provide some choices of those discussed so far (or others not mentioned) - thanks to all - Dave

[Que]

Dave, my favourites are Ottavio Dantone and Glen Wilson.

See on the Dantone see my comments HERE.

I got Glen Wilson' set on don's (Bulldog) recommendation: a solid but subtly balanced, transparant  and imaginative WTC. Sadly OOP, but that hasn't stopped you before! Besides, this perhaps might be part of the reissues form the "Das Alte Werk" series, that Warner/Teldec is doing.

If you like Christophe Rousset, whose WTC will be delightfull if judged on the basis of the excerpts in the issue of Wilhelm Friedemann's Klavierbuch, you might like Dantone.

Glen Wilson' style is more in the direction of Alan Curtis, that you recently got.

Q


 

   

Q

[Bulldog]

I agree with Que's recommendations of Wilson and Dantone.  For an alternative version having no equal when it comes to clarity of counterpoint and balance of voices, check out Edward Parmentier on the Wildboar label.

[SonicMan46]

Que & Don - thanks for your responses & the recommendations - this morning, I was just going through the list of recordings available of these works on harpsichord on Amazon USA - did not exhaust the review!  There seems to be plenty, but much is OOP and/or overly priced, esp. in the marketplace!

Some others that 'surfaced' w/ good Amazonian comments included Bob van Asperen on the Virgin label @ a great price (excellent reviews but not sure of the sound quality); Kenneth Gilbert on Arkiv Prod (availability & price may be an issue?); Luc Beausejour on Naxos (and just Bk. 1) - noticed that Don just did an average rating vs. some that were 5* (one rater suggest this for Bk. 1 & the Dantone for Bk. 2); Gary Cooper on the ASV label - now, never heard of this guy - any comments? (I like that label & prices not bad); and Robert Levin on 3 different instruments.

Certainly, the above review was not complete, and I'd like to have both Books (whether w/ one or two performers) - thus, will certainly add Dantone & Wilson as some TOP choices, and 'look around' - thanks again, Dave - 

[Bulldog]

Some others that 'surfaced' w/ good Amazonian comments included Bob van Asperen on the Virgin label @ a great price (excellent reviews but not sure of the sound quality); Kenneth Gilbert on Arkiv Prod (availability & price may be an issue?); Luc Beausejour on Naxos (and just Bk. 1) - noticed that Don just did an average rating vs. some that were 5* (one rater suggest this for Bk. 1 & the Dantone for Bk. 2); Gary Cooper on the ASV label - now, never heard of this guy - any comments? (I like that label & prices not bad); and Robert Levin on 3 different instruments.

van Asperen - Yes.
Beausejour - No, but the price is right.
Gilbert - Yes.
Cooper - No.

[prémont]

van Asperen - Yes.
Beausejour - No, but the price is right.
Gilbert - Yes.
Cooper - No.

Agree, but would like to add:

Levin - yes
Parmentier - no.

[Bulldog]

Agree, but would like to add:

Levin - yes
Parmentier - no.

I forgot about the Levin, and it's a "yes" from me also.  What I didn't appreciate concerning Parmentier was some lack of characterization.  What didn't you like about it?

[prémont]

What I didn't appreciate concerning Parmentier was some lack of characterization.  What didn't you like about it?

First and foremost I do not like his sense of tempo and his agogics. Seem to me to be applied at random, making the music fall apart at some level. And he has not at all got the authority of say Wolfgang Rübsam, who can bend the tempo deliberately, without loosing sight of the integrity of the work.

[SonicMan46]

Don & Premont - thanks for the additional comments - I was pretty much settled on the Dantone recordings but was a little reluctant at a discrepant review on Amazon between the two books; then I found two reviews on Classics Today by Ted Distler (who I've respected in the past) (Bk.1 HERE & Bk. 2 HERE) - rated 4/10 & 7/10, respectively - the sound ratings are disturbing to me, esp. on the first book.  Seems like there is presently no 'ideal' harpsichord set of these WTC works but I'll keep listening & researching - thanks all - 

[Bulldog]

Don & Premont - thanks for the additional comments - I was pretty much settled on the Dantone recordings but was a little reluctant at a discrepant review on Amazon between the two books; then I found two reviews on Classics Today by Ted Distler (who I've respected in the past) (Bk.1 HERE & Bk. 2 HERE) - rated 4/10 & 7/10, respectively - the sound ratings are disturbing to me, esp. on the first book.  Seems like there is presently no 'ideal' harpsichord set of these WTC works but I'll keep listening & researching - thanks all - 

The sound ratings are "10" on both discs; it's the performances that Distler doesn't like very much.  Concerning Distler, I don't tend to agree with him much.

[Que]

Don & Premont - thanks for the additional comments - I was pretty much settled on the Dantone recordings but was a little reluctant at a discrepant review on Amazon between the two books; then I found two reviews on Classics Today by Ted Distler (who I've respected in the past) (Bk.1 HERE & Bk. 2 HERE) - rated 4/10 & 7/10, respectively - the sound ratings are disturbing to me, esp. on the first book.  Seems like there is presently no 'ideal' harpsichord set of these WTC works but I'll keep listening & researching - thanks all - 

The sound ratings are "10" on both discs; it's the performances that Distler doesn't like very much.  Concerning Distler, I don't tend to agree with him much.

The recording is - as remarked previously - "audiophile".

Jed Distler is a fine reviewer, but I strongly disagree with him on these. These are IMO as ideal performances of the WTC as can be. Do not get the disctintion Distler and Amazonians make between Dantone's Book I and Book II BTW - his approach is the same and the results are of the same quality.

BTW Kirk McElhearn at Musicweb did like it - much:

"This is a one of the best recordings available of the Well-Tempered Clavier for harpsichord. The combination of the beautiful instrument, excellent recording and uniquely personal interpretation puts this among the few truly indispensable recordings of this work on harpsichord. Ottavio Dantone is certainly a harpsichordist to follow in the coming years. This set announces a great musician."

Dave, I would sample online as much as you can find and make up you own mind.

Q

[Que]

Agree, but would like to add:

Levin - yes
Parmentier - no.

I forgot about the Levin, and it's a "yes" from me also. 

Don, Premont, how big a deal is the Levin? Nice or key recommendation?

The three instruments approach is of course in itself interesting.

Talking about alternative intrumentation makes me wonder about Antoine's recent recommendation of Jaroslav Tůma's recording on Arta of the complete WTC on clavichord. Does anyone else know it?



Q

[SonicMan46]

The sound ratings are "10" on both discs; it's the performances that Distler doesn't like very much.  Concerning Distler, I don't tend to agree with him much.

Thanks again guys and sorry about reversing those ratings (I should know better!  ) - will do some 'online' sampling as suggested - Dave

[jlaurson]

Now on another note! 
I very much admire harpsichordist Christophe Rousset, and I'm considering this CD.
Does anyone know it? Thanks!


J.S. Bach, Klavierbüchlein, C.Rousset

If you can still get it (oop in North America), get it! It's the best thing since sliced bread. {Review on Ionarts}

And while you are at it, get his English and French Suites on Ambroise. Compared to these, the Decca recordings are merely "OK".

   

Yes, they are somewhat (err.... ridiculously) expensive [for the price of all three 2-CD albums you could get the complete works of Bach in the Brilliant Box), but they are worth it. Even I - and I am quite used to getting CDs for free - have spent the money for the full price on these and never regretted it. The sound blooms on the Ruckers harpsichord like you wouldn't believe (until you've heard it), and Rousset's rubato really brings every piece to live. (Not that Bach wouldn't be 'alive' even in lesser, or more rigid, performances.) The sound on these three discs is unrivaled -- or, if rivaled, only by Blandine Rannou and her very fine, superb Bach on Zig Zag Territories.

If I had to order these three in terms of preference/impressiveness, I'd opt for: 1.) Klavierbüchlein 2.) French Suites 3.) English Suites.