Bach on the harpsichord, lute-harpsichord, clavichord

[Antoine Marchand]

Today I have listened to the Watchorn's WTC Book 1 for the first time.

It has been a devastating experience: the wonderful sound of the pedal harpsichord, the musicality and warmth of the interpretation, the agogics (as sometimes says our friend Premont) IMO so well chosen in order to "declaim" every prelude and fugue in the best possible way.

Probably I should wait some days to write my impressions about this and to be cautious, but I am so happy that I can't be prudent... 

A real must-have.

[Antoine Marchand]

I found this interesting discussion (on www.jsbach.org) about the previous recording mentioned by me.

It includes two comments from the performer himself:

Scott Belyea said:

New recording on a pedal harpsichord. Done using the "Lehman" tuning. Extensive & interesting notes with comments on each pair of pieces including comments on the effect of the tuning and the use of pedal.

Have only been through it once, but I like it very much. Everything seems to "work;" nothing is jarring or out of place; and I listened to both CD's with great pleasure. I'm confident that it's a recording which will "wear well."

Lovely recording quality.

Definitely recommended.

Jan Hanford said:

I found this to be a mostly tedious and ponderous performance. There were a few nice moments but too few to make the recording enjoyable, for me.

The frequent use of the 4' stop was very unpleasant; it's the kind of harpsichord sound that makes people not like the harpsichord. The pedal harpsichord doesn't work here either, the sound is too huge and deep for these pieces. The repetition of the first Prelude in C major at the conclusion of the 24 preludes and fugues because it created "closure" where there was none, is just a pompous affectation and comes off like... well, a pompous affectation. The recorded sound is lovely.

As for the tuning I can only say: The emperor has no clothes.

Peter Watchorn said:

Notes from the performer to Jan Hanford's comments above:

1. Bach owned perhaps as many as three pedal harpsichords (they were left to Johann Christian, the youngest son). They were widely used in Germany in Bach's time. The A minor fugue (no.20) is unplayable without an independent pedal. Other pieces also benefit from its use. The instrument would certainly have not seemed "too huge and deep" to an organist used to playing a 60 rank Silbermann organ, with pedal stops down to 32' pitch. And it does not seem so to me: I think this is instrument is tremendously effective in clearly delineating Bach's counterpoint. Majestic, in fact.
2. Bach's harpsichords (and virtually all Northern European instruments from 1560-1809) all had a 4' register, whose use is an integral part of the plein jeu (full harpsichord) sound, and necessary for many of Bach's more imposing preludes & fugues. Many will find it an exciting sound (as I do, and as 17th-18th century musicians clearly did), especially on a Ruckers type instrument like this one. For the listener's information: there is great variety of registration used throughout these performances. Everything from single 8', 2 x 8', different 8's on different manuals and full harpsichord (8',8',4'). If I had had a 16', I would have used that too, on occasion.
3. The reprise of the first prelude was not intended as a "pompous affectation", and should not be characterised as such. Others may well judge it as effective as I did when I had the idea to do it. Bach himself did it in the Goldberg Variations, another cyclical work from 20 years later.

The temperament, which was the product of much compelling research on the part of Bradley Lehman, (www.larips.com) may well prove very effective to those with the experience to hear the point of it (and perhaps, the point of Bach's writing the work to demonstrate it). It is subtle, but more interesting and characterful than equal temperament. It will be obvious to even the casual listener after a few listenings. It should not be lightly dismissed, since it may very well represent the truth of the matter. Lehman's evidence is very well argued, and the ear accepts it right away. No keys sound bad, which is not the case with other unequal tunings in this music.

I believe that, listened to in the right way, these performances will prove enjoyable to many listeners - that is my hope. Please, just take the time to do it and the music will do the rest.

David Hamilton said:

Although I did find Miss Hanford's comments to be somewhat harsh I found Mr. Watchorn's response to be sadly inappropriate from a so-called professional musician. Are we to believe that if one does not praise a recording there is some flaw in the listener, who did not listen "in the right way"? I have no doubt that Miss Hanford is duly capable of listening "in the right way". I myself did enjoy Mr. Watchorn's performance however after reading his comments I'm disinclined to recommend it to my fellow music lovers for fear they may not listen to it "in the right way" thereby forming a bad opinion of it and further distressing Mr. Watchorn.

Peter Watchorn said:

Thanks to Jan for publishing my comments - she was under no obligation to do so. They were meant to inform, not to denote any sense of upset on my part (although I'd prefer it if she liked my work). However, David Hamilton will, I'm sure agree that recordings take a lot of time, money and effort (especially for a small non-profit label such as ours) and it is surely as fair for a professional musician to answer criticism as it is for others to criticize. This is a public forum, and what I sought to do was to provide supplementary information that many readers might find interesting, as well as an alternative view - and invitation for others to investigate what I believe is an interesting release - and not simply because I'm doing the playing!

Ronald K Tacelli SJ said:

I'm an avid reader of jsbach.org and especially of Jan Hanford's reviews. I've come to trust her judgment so much that when she praises a recording I'll order it right away, if she pans one--well, I figure there's no point even bothering to listen to it. Hence I'm glad I'd already heard Peter Watchorn's WTC, Book 1 before Jan's review appeared; I might have missed what I now consider to be the greatest recording of this work ever made. When I first noticed the pedal harpsichord during the C major Fugue I was startled; I'd never thought of the music that way before. So I stopped everything else I was doing and just listened--again, and again, and again. Once I'd heard the Fugue in C# Major I thought: this is the way it was meant to be heard. Now my previous favorite version (by Glen Wilson) seems thin and anemic. Watchorn has instantiated Bach's music both as an Uebung and as a unified work of art: the very opposite of tedious or pedantic. As for the repetition of the Prelude in C major--I don't understand the offense this elicited. Watchorn is presenting Book 1 as an organic unity and he replays the first Prelude at the end (and more beautifully, by the way) to remind us that the ending has developed from a beginning. It's no more pompous than the flute solo introducing Jordi Savall's version of the Musical Offering. If it's an affectation, it's certainly not self-serving. It's clearly meant to serve the music. And for me at least it works. I hope all readers of this great web-site will give Watchorn's WTC, Book 1 a chance. And, Jan, I hope you'll give it a second chance.

Jan Hanford said:

I am delighted that other people love this recording, I really am. But I stand by my opinion, regardless of how much other people would like me to think differently. 

[FideLeo]

Watchhorn's WTC1: at least it is not expensive to try out. 

ps. You may find a previous discussion about Richard Egarr's WTC1 (using the same Bach/Lehmann tuning) on this website equally "interesting".  I am willing to leave people to their different tastes, especially in Bach.

[Coopmv]

This WTC by Bob van Asperen is on my shopping list for the next month ...

[Antoine Marchand]

Watchhorn's WTC1: at least it is not expensive to try out. 

ps. You may find a previous discussion about Richard Egarr's WTC1 (using the same Bach/Lehmann tuning) on this website equally "interesting".  I am willing to leave people to their different tastes, especially in Bach.

I have read the previous discussion about Egarr. But usually his individual performances are not "interesting" for me. I like his work as a chamber musician in Bach, accompanied by Manze or Jaap ter Linden.

[Coopmv]

I have read the previous discussion about Egarr. But usually his individual performances are not "interesting" for me. I like his work as a chamber musician in Bach, accompanied by Manze or Jaap ter Linden.

The same here.  I am not sure if I care to get any of his solo CD's.  As some have pointed out, it is not clear if Egarr is indeed a better harpsichordist than Pinnock, Hogwood or Rousset.  So far, he certainly does not seem to be a better band-leader than Pinnock and Hogwood.  He still needs a number of years to prove that he is the equal of Pinnock and Hogwood ...

[SonicMan46]

I found this interesting discussion (on www.jsbach.org) about the previous recording mentioned by me.

It includes two comments from the performer himself: Re: Peter Watchorn Bach WTC, Book1 on pedal harpsichord.

Antoine - thanks for the comments & quotes concerning the recording above - I don't usually visit that site, so was unaware of the performer's responses.

I have a number of versions of these works on piano, which please me, but have been 'in the market' for a harpsichord option - Glen Wilson has been on my wish list for a while (waiting for either the price to drop and/or a re-issue in a 'cheaper' package!), mainly because of Don's et al recommendations.  However, one commentor in your post and also one in the Amzonian Reviews HERE state that they prefer this new interpretation over that of Wilson!  Not sure if Don has heard this 'new' set of discs, but if he's reading, then comments appreciated.  Thanks all!  Dave

P.S. Is or will there be a 'second book'?

[Antoine Marchand]

Antoine - thanks for the comments & quotes concerning the recording above - I don't usually visit that site, so was unaware of the performer's responses.
...
P.S. Is or will there be a 'second book'?

You're welcome, Dave.

These are the future Watchorn's releases announced on the Musica Omnia website:

MO 0202: Bach: Das Wohltemperierte Clavier II Peter Watchorn (pedal harpsichord)

MO 0306: Bach: French Suites, BWV 812-817 Peter Watchorn (harpsichord)

MO 0307: Bach: Clavierübung II & III Peter Watchorn (harpsichord)

MO 0403: Bach Partitas, BWV 825-830 Peter Watchorn (harpsichord)

MO 0405: Bach: Harpsichord Concertos, BWV 1052-1055 Penelope Crawford, Peter Watchorn

MO 0411: Bach: Trio Sonatas, BWV 525-530 Peter Watchorn (pedal harpsichord)

MO 0502: Bach: Fantasias & Fugues I Peter Watchorn (harpsichord)

MO 0504: Bach: Harpsichord Concertos, BWV 1056-1059 Penelope Crawford, Peter Watchorn

MO 0505: Bach: Toccatas, BWV 910-916 Peter Watchorn (pedal harpsichord)

MO 0506: Bach: Sonatas, Suites, Capriccios Peter Watchorn, (pedal harpsichord)

MO 0507: Bach: Concerto arrangements, BWV 972-987; 592a Peter Watchorn (harpsichord)

MO 0511: Bach: Die Kunst der Fuge, BWV 1080 Peter Watchorn (pedal harpsichord)

MO 0512: Bach: Goldberg Variations, BWV 988 Peter Watchorn (harpsichord)



Now I'm listening to the Violin Sonatas by Ngai/Watchorn. I'm especially impressed for the great balance between the instruments.

[Antoine Marchand]

Peter Watchorn is really the anchor recording artist for Musica Omnia ...

He is not just a Musica Omnia artist, he is a co-founder, president of the board and owner of the label... And, BTW, a great  harpsichordist and scholar.

[Bulldog]

I have a number of versions of these works on piano, which please me, but have been 'in the market' for a harpsichord option - Glen Wilson has been on my wish list for a while (waiting for either the price to drop and/or a re-issue in a 'cheaper' package!), mainly because of Don's et al recommendations.  However, one commentor in your post and also one in the Amzonian Reviews HERE state that they prefer this new interpretation over that of Wilson!  Not sure if Don has heard this 'new' set of discs, but if he's reading, then comments appreciated.  Thanks all!  Dave

Yes, I've had Watchorn's WTC I for the better part of a year now and have listened to it a few times.  Watchorn is certainly a "major league player", and I've greatly enjoyed his WTC I each time I played it; I also love the pedal harpsichord.  So I give the set the thumbs-up.

I found it amusing that Watchorn indicated to Hurford that she might not be listening properly.  When I reviewed his English Suites, I had a few negative comments.  His response was to say that I likely hadn't listened enough times to his performance; little did he know that nobody listens more extensively to a disc being reviewed than the Bulldog - 15 to 20 hearings of complete concentration along with numerous comparison versions.  So, in a polite way, Watchorn gets quite defensive.

[Bulldog]

Now I'm listening to the Violin Sonatas by Ngai/Watchorn. I'm especially impressed for the great balance between the instruments.

I've had this set for a few years now and find Watchorn very rewarding.  However, I'm not as enthusiastic about Ngai whose vitality and incisiveness are sometimes insufficient.  So it's a good set but not among the leaders.

[Bulldog]

He is not just a Musica Omnia artist, he is a co-founder, president of the board and owner of the label... And, BTW, a great  harpsichordist and scholar.

My understanding is that Watchorn started his own label to insure that he could progress and complete his Bach recordings without worrying about which labels might take him on.  I like that approach - screw them all and do your own thing.

[Antoine Marchand]

Like Jordi Savall ...   

Sure, although in the last years the artistic quality of Savall's recordings has been strongly criticized.

Some people believe that the artist has been replaced by the businessman. But the people say so many things... 

[Antoine Marchand]

Watchorn is certainly a "major league player"...

That was exactly my thought yesterday. I'm looking forward to listen to Leonhardt again.

[Coopmv]

Sure, although in the last years the artistic quality of Savall's recordings has been strongly criticized.

Some people believe that the artist has been replaced by the businessman. But the people say so many things... 

The major labels are only interested in cranking out more warhorse CD's.  Few of them are genuinely interested in bringing something new and "worthy" to the listening public ...

[Bulldog]

The major labels are only interested in cranking out more warhorse CD's.  Few of them are genuinely interested in bringing something new and "worthy" to the listening public ...

I don't think in terms of "major" labels anymore.  There are just a whole bunch of different labels, and I get to have my pick of them.  That's good.

[Antoine Marchand]

I've had this set for a few years now and find Watchorn very rewarding.  However, I'm not as enthusiastic about Ngai whose vitality and incisiveness are sometimes insufficient.  So it's a good set but not among the leaders.

I am enjoying the first disc, but I have not listened to the second one or the disc "Bach as Capellmeister". But I clearly have noticed a remarkable interest for the balance between the instruments, sometimes difficult in these pieces and the Gamba Sonatas, for example. Obviously my impression is totally incomplete yet, but I don't know if the search for the balance could be the cause of certain "lack of incisiveness" in the violin.

[prémont]

These are the future Watchorn's releases announced on the Musica Omnia website:

MO 0202: Bach: Das Wohltemperierte Clavier II Peter Watchorn (pedal harpsichord)

MO 0306: Bach: French Suites, BWV 812-817 Peter Watchorn (harpsichord)

MO 0307: Bach: Clavierübung II & III Peter Watchorn (harpsichord)

MO 0403: Bach Partitas, BWV 825-830 Peter Watchorn (harpsichord)

MO 0405: Bach: Harpsichord Concertos, BWV 1052-1055 Penelope Crawford, Peter Watchorn

MO 0411: Bach: Trio Sonatas, BWV 525-530 Peter Watchorn (pedal harpsichord)

MO 0502: Bach: Fantasias & Fugues I Peter Watchorn (harpsichord)

MO 0504: Bach: Harpsichord Concertos, BWV 1056-1059 Penelope Crawford, Peter Watchorn

MO 0505: Bach: Toccatas, BWV 910-916 Peter Watchorn (pedal harpsichord)

MO 0506: Bach: Sonatas, Suites, Capriccios Peter Watchorn, (pedal harpsichord)

MO 0507: Bach: Concerto arrangements, BWV 972-987; 592a Peter Watchorn (harpsichord)

MO 0511: Bach: Die Kunst der Fuge, BWV 1080 Peter Watchorn (pedal harpsichord)

MO 0512: Bach: Goldberg Variations, BWV 988 Peter Watchorn (harpsichord)

I certainly look forward to these releases, but considering the time he needs to complete each of his recordings, I doubt, if he will manage to finish his gigantic project.

[Bulldog]

A question for those of you who have Watchorn's WTC I:

The booklet indicates that Watchorn uses two instruments - a harpsichord and a pedal harpsichord.  However, I didn't notice any information as to which instrument he plays for each piece (except for a few citations in the discussion of each piece).  Am I on the wrong track?

[prémont]

A question for those of you who have Watchorn's WTC I:

The booklet indicates that Watchorn uses two instruments - a harpsichord and a pedal harpsichord.  However, I didn't notice any information as to which instrument he plays for each piece (except for a few citations in the discussion of each piece).  Am I on the wrong track?

His pedal harpsichord is probably only made up of of the pedalboard. He must have a "usual" harpsichord too (mounted upon the pedalboard) on which he can play the manual parts.