Bach on the harpsichord, lute-harpsichord, clavichord

[Que]

[On Rousset] Since then his style developed further. If you can take the swiftness, the elaborate brilliance and the very rich sound stage [...]

I am not captivated by Rousset´s "Limousine" approach.

What a great way of putting it!

Q

[milk]

   Bach fans I am still missing the French suites on harpsichord and am torn between these 2 sets:


 


  I have Moroney's Art of Fugue and find his approach a bit "clinical" at times.  I am not sure I would welcome this approach with the French suites.  Hogwood is unfamiliar to me.  I was hoping to find a recording with Leonhardt on harpsichord but there does not seem to be one??  as some of you might know I have his Partitas (German Suites) and his English Suites which I love.  No Leonhardt  ! What do I do?

  marvin

Might as well add my two cents. I don't know the Hogwood but I love the Moroney recording, especially the last three suites. I don't find Moroney's Frech suites to be clinical. I've never gotten into the Cates by the way. I've tried. Others may disagree, but I find Bradley Brookshire's truncated version of the French Suites to be otherworldly and exciting. Incidentally, I uploaded and listened to a bit of Rousset's Partitas tonight - as I was recommended to do. I've really enjoyed what I've heard so far. Furthermore, at the moment I'm checking out Francesco Cera's French Suites, also per recommendations from helpful contributors to this forum. After the first two suites I can say that this recording is also shaping up to be quite wonderful.   

 

[Coopmv]

The choice was between Hogwood and Moroney. Both a safe choice. But of course Curtis (Teldec) would be preferable. My own favorite BTW is Koopman (Erato), who offers a nice relaxed interpretation with surprising modest and well working varied reprises. And Lars Ulrik Mortensen (Kontrapunkt) who offers a colourful and  well articulated reading. Leonhardt (RCA) has but recorded these works once, and whether available or not I think that he was rather unfortunate this time as the interpretations lack his usuals tense and individual playing. I am not captivated by Rousset´s "Limousine" approach. And I find Cates a bit bland.

How about Pierre Hantai?  I just ordered his Goldberg Variations, which unfortunately is out of stock for now ...

[prémont]

How about Pierre Hantai?  I just ordered his Goldberg Variations, which unfortunately is out of stock for now ...

As far as I know he has not recorded the French Suites.

[Marc]

This one joins me (ir)regularly whilst travelling to and from work:



On a disc-man with moderate headphones, it's OK listening. Elina Mustonen's no-nonsense approach is quite to my likings, but on a better hifi equipment the both flat and 'spikey' sound of the harpsichord makes listening a rather tiring experience. Could be caused by the sound engineering of course ....

[prémont]

On a disc-man with moderate headphones, it's OK listening. Elina Mustonen's no-nonsense approach is quite to my likings, but on a better hifi equipment the both flat and 'spikey' sound of the harpsichord makes listening a rather tiring experience. Could be caused by the sound engineering of course ....

A couple of years ago I acquired Mustonen´s English suites. Well, good and middle of the road interpretations, but not exceptional. So I have not investigated her French suites. Maybe I should? However I recently ordred Baumont´s French suites, and the next will be Cera´s.

[Marc]

I don't have that many recordings of the French Suites, but as far as I knew mrs. Mustonen had not been mentioned yet. So, I decided to say something (nice) about her, also to let everybody know that I'm still alive despite 3 weeks of silencio.

So yes, I think Mustonen is OK, but definitely not exceptional.
And I'm sure there are better recordings available.

But this mr. Bach is turning me into a poor man .... all those different recordings I ought to buy!

Hab' Mitleid!
(Verschone mich!)

Post Scriptum: Premont, how do you rate the sound quality of Mustonen's English Suites?

[marvinbrown]

  Thank you all for your recommendations and responses  .  I am investigating the others sets especially the Curtis set and will make up my mind soon. 
 

  marvin

[prémont]

... also to let everybody know that I'm still alive despite 3 weeks of silencio.

Much appreciated. 

But this mr. Bach is turning me into a poor man .... all those different recordings I ought to buy!

Me too.

Post Scriptum: Premont, how do you rate the sound quality of Mustonen's English Suites?

Your word "spiky" covers my impression well. It is metallic in a bad sense. It is interesting to note, that neither the cover nor the booklet are mentioning the origin of the instrument at all.

[prémont]

I'd love to get your opinion about recordings that you prefer. But I love Staier. I really like his version of variation 20. I wonder if you'll object to his liberal use of various registers?

I have often considered him a bit showman-like, but in his Goldbergs I think he uses an interesting instrument in an interesting way.

[prémont]

To continue this, any ideas about the Partitas? I love the two I mentioned. I'm crazy about Bach's partitas for harpsichord. I have Pinnock but I don't think he stands up to Leonhardt and Suzuuki here.

Concerning the Partitas:
Yes, Pinnock is a bit too workman-like to my taste.

My preferences at the moment are:

Suzuki (BIS)  who is outstanding, offering an interpretation which is passionate to a degree which is most unusual for him.
Leonhardt (DHM or EMI - I prefer the DHM by a close margin).
Lars Ulrik Mortensen (Kontrapunkt), who even here offers a colourful and expressive interpretation.
Pieter-Jan Belder (Brilliant Classics) Beautiful no-nonsense subtle expresive interpretation.

[zauberharfe]

It seems this set has gone unobserved by the members here - a bit undeservedly, I think! It was recorded on the 'celebrated Blanchet-Taskin harpsichord in the collection of Kenneth Gilbert' in 2007. For me it is a performance showing a very good taste - no excesses, but the playing is amazing nevertheless.

disc info: Metronome MET CD 1078

EDIT: I don't know whether sampling is allowed here: if yes, I would willingly upload the Gavotte from Suite n.6.

[Mandryka]

Blandine Verlet recorded the partitas twice, once for Naïve and once for Philips. I only have the earlier Philips recording, and I love it because she is spontaneous and imaginative and bold and joyful and passionate and energetic. She doesn't have the patrician stateliness of Leonhardt -- but that's not necessarily a hardship. Neither is her reading particularly contemplative.

Anyway, my question is, has anyone listened to both the earlier and the later sets, who can say something about the differences?

[zauberharfe]

Bad luck - only the Naive set on this side 

But I would be interested in the (eventual) differences, too!

[Que]

Concerning the Partitas:
Yes, Pinnock is a bit too workman-like to my taste.

My preferences at the moment are:

Suzuki (BIS)  who is outstanding, offering an interpretation which is passionate to a degree which is most unusual for him.
Leonhardt (DHM or EMI - I prefer the DHM by a close margin).
Lars Ulrik Mortensen (Kontrapunkt), who even here offers a colourful and expressive interpretation.
Pieter-Jan Belder (Brilliant Classics) Beautiful no-nonsense subtle expresive interpretation.

Premont, thank you very much for that list! I do need to update on the Partitas.

A recording that has some fame but you didn't mention, is Ketil Haugsand on Simax. Have you heard that?

Q

[Marc]

Elina Mustonen's no-nonsense approach [of the French Suites] is quite to my likings, but on a better hifi equipment the both flat and 'spikey' sound of the harpsichord makes listening a rather tiring experience. Could be caused by the sound engineering of course ....
[....]
Premont, how do you rate the sound quality of Mustonen's English Suites?

Your word "spiky" covers my impression well. It is metallic in a bad sense. It is interesting to note, that neither the cover nor the booklet are mentioning the origin of the instrument at all.

Booklet on Mustonen's French Suites:
Harpsichord: Willem Kroesbergen (Utrecht 1993, after Couchet). Tuning: unequal temperament.

[milk]

Concerning the Partitas:
Yes, Pinnock is a bit too workman-like to my taste.

My preferences at the moment are:

Suzuki (BIS)  who is outstanding, offering an interpretation which is passionate to a degree which is most unusual for him.
Leonhardt (DHM or EMI - I prefer the DHM by a close margin).
Lars Ulrik Mortensen (Kontrapunkt), who even here offers a colourful and expressive interpretation.
Pieter-Jan Belder (Brilliant Classics) Beautiful no-nonsense subtle expresive interpretation.

I also love the Suzuki and Leonhardt recordings. There's something really special in the Suzuki. But I did enjoy the Rousset today. Are the Mortensen and Belder recordings must-have? I'm hoping I don't have to buy them! My wallets getting thin!   

[prémont]

Blandine Verlet recorded the partitas twice, once for Naïve and once for Philips. I only have the earlier Philips recording, and I love it because she is spontaneous and imaginative and bold and joyful and passionate and energetic. She doesn't have the patrician stateliness of Leonhardt -- but that's not necessarily a hardship. Neither is her reading particularly contemplative.

Anyway, my question is, has anyone listened to both the earlier and the later sets, who can say something about the differences?

I used to own her first recording on LP. Parted with it many years ago, when I changed to CD. Haven´t left but a faint memory, and agree with the words bold and energetic. Surely a competent interpretation, but I did not like it - maybe I fouund it to be too imaginative.

However her second recording is even more spontaneous and imaginative, bordering the wilful. And tell you what, I really like it. So I have considered to reaquire her first recording (on CD).

[prémont]

I also love the Suzuki and Leonhardt recordings. There's something really special in the Suzuki. But I did enjoy the Rousset today. Are the Mortensen and Belder recordings must-have? I'm hoping I don't have to buy them! My wallets getting thin!   

It depends upon how many recordings you want to own, as I find the Leonhardt and Suzuki more "essential" than the Belder and Mortensen.
If I get the time I may write a list of all the recordings I own and rank them with a few words.

[prémont]

Booklet on Mustonen's French Suites:
Harpsichord: Willem Kroesbergen (Utrecht 1993, after Couchet). Tuning: unequal temperament.

Thanks for this information. I might have guessed Kroesbergen, because Mustonen is a pupil of Koopman, who prefers Kroesbergen. On the other hand I do not think that Mustonen´s Kroesbergen sounds like the one´s Koopman and Suzuki use to use for recordings, so the culprit in the case of Mustonen may be the engineer.