Bach on the harpsichord, lute-harpsichord, clavichord

[prémont]

What do you think of Levin's strange recording? He uses clavichord, harpsichord, organ, and fortepiano. Perhaps it could be thought to be eccentric? I find it compelling. It rounds things out for me.

Nothing strange about it at all. Like Chorzempa (in his WTC set) Levin is chosing the instrument which he finds most suited to the piece in question. Their choices are not similar all way through though. This kind of interpretation results in less "integration",  but it displays the different character and style of the pieces in a  convincing way in its own right. And I am sure, that the integration mattered less in Bach´s days, where no one would get the idea to listen to - or rather play the entire WTC in one mouthful.

[Marc]

Listening to the French Suites played by Joseph Payne, the man of the famous/notorious Spaced-Out Bach LP's in the seventies (never heard them, though).

The suites were originally released by BIS and then sold to Brilliant Classics for their Bach Integral.
[....]
It's solid playing IMHO, but really nothing more. Rather stiff even, and the instrument is also sounding a bit 'light-weight', with problems concerning the lute stop. Some of the lower notes don't sound like a lute but return to the 'normal' harpsichord sound, as if the machinery isn't working properly.

[....]
Joseph Payne is not a favorite of mine, but I enjoyed his Klavierbüchlein for Wilhelm Friedemann Bach recorded on Hänssler, principally because of the variety of instruments and maybe because his less flexible style is not inappropriate to the propaedeutic goals of this collection.
[....]

Thanks for the tip. Might turn into another library order.
(Have to slow down on buying .... .... I need more MONEY!!)

Whilst I was listening I thought: if Payne played the organ in this style, with proper registrations, it would sound quite good. I have neglected the harpsichord for the last few years because of my sudden fast and furious growing love for the organ, but could it be that playing Bach on a harpsichord requires a more involved and imaginative way of playing, just because the organ is more able to decorate the music with various beautiful registration possibilities? Just wondering.

[....]
Not sure. In my experience it is more difficult to articulate clearly on an organ (even on a small organ in a small church with ultra dry acoustics) than on a harpsichord because of the marginally slower action of the organ trackers. And articulation is IMO more important for the interest than registration - within sensible limits of course. On the other hand you are right in assuming, that Joseph Payne´s organ recordings are more interesting than his harpsichord recordings. He has BTW made a small number of interesting harpsichord recordings f.i. a recording of music by John Bull and another with suites ascribed to Pachelbel, both for BIS.

Yes, I agree that articulation is very important.
And I also have the idea that a harpsichord is a more suitable instrument for proper articulation. But Payne's articulation in the French Suites isn't all that bad IMO. He's at least not putting me asleep with ponderous and/or sticky legato playing.

Still, it's too strict and uninspired to get me enthousiastic.

That's why I thought: this way of playing might work out better on organ, with some colourful registration added.

Well, let's wait and see, sorry: hear. Maybe I'm going to enjoy Payne's performance of the Neumeister chorales .... another poor man's library order , arriving presumably next week.

Now give me money (that's what I want)
That's what I want (that's what I want)
Oh yeah, I wanna be free (that's what I want)
Oh, whole lot of money (that's what I want)
That's what I want, oh yeah (that's what I want)
That's what I want!

[prémont]

But Payne's articulation in the French Suites isn't all that bad IMO. He's at least not putting me asleep with ponderous and/or sticky legato playing.

Still, it's too strict and uninspired to get me enthousiastic.

Strict, yes, and even if it is not at all that bad, it is not at all that good either. And that is why he puts me asleep with his French suites.

[Marc]

Strict, yes, and even if it is not at all that bad, it is not at all that good either. And that is why he puts me asleep with his French suites.

Sweet dreams!

[prémont]

Sweet dreams!

Yes, and fortunately I fall asleep "tout suite"  (it is the French suites!) 

[Kontrapunctus]

Olga Martynova has made some wonderful SACD recordings for Caro Mitis, a Russian audiophile label.

This recording received a rave review in the new issue of Fanfare.

[Mandryka]

This is real joyful, fun music making. Unreservedly recommended:

[asin]B000006PKO[/asin]

I only hav one other recording from Raphael Puyana -- a CD called "The Golden Age of Harpsichord Music" which is similarly a pleasure from start fo finish. A pupil of Wanda Landowska, Puyana clearly inherits some of her capacity for infectious rhythms and her inspired approach to tone and colour. His Cd of Scarlatti sonatas has arrived in the post -- but so far it's unexplored.

[prémont]

This recording received a rave review in the new issue of Fanfare.

Well, I think it is good but not exceptional. Not even in my  top ten harpsichord recordings of these works.

[SonicMan46]

Well, I think it is good but not exceptional. Not even in my  top ten harpsichord recordings of these works.

Re: Olga Martynova has made some wonderful SACD recordings for Caro Mitis, a Russian audiophile label.

Premont - thanks for the comments on the above recording; the Fanfare review was indeed excellent and placed on my 'too consider' list; already own Curtis & Jaccottet, so the new recording was not a MUST for me -

[haydnguy]

Yes, deserves oblivion IMO.

Not sure. In my experience it is more difficult to articulate clearly on an organ (even on a small organ in a small church with ultra dry acoustics) than on a harpsichord because of the marginally slower action of the organ trackers. And articulation is IMO more important for the interest than registration - within sensible limits of course. On the other hand you are right in assuming, that Joseph Payne´s organ recordings are more interesting than his harpsichord recordings. He has BTW made a small number of interesting harpsichord recordings f.i. a recording of music by John Bull and another with suites ascribed to Pachelbel, both for BIS.

I have this disk and was disappointed in it. Anyone have any recommendations for a replacement to this disk? Thanks. 

[kishnevi]

I have this one.

Meets my needs, but I seem to respond more to Bach on the piano than the harpsichord.

The prices on Amazon marketplace for new copies are rather outrageous--I paid list price for it, which was Virgin's standard two-for price of $11.99, and there are plenty of alternatives.  (The used prices have a much more reasonable range.)

[haydnguy]

I'm listening to some Bach in harpsichord right now from the Archiv concertos boxed set and enjoying it very much. I think I'll give the Payne another spin and see if I get a different reaction this time before looking at another one.

[kishnevi]

Uh wrong picture there!

I saw it and fixed it.  But you were quick on the draw!  The wrong image was only up for about two minutes!

[Que]

I have this disk and was disappointed in it. Anyone have any recommendations for a replacement to this disk? Thanks. 

You should visit this thread more often! We just went through the French Suites topic - start reading HERE.

Q

[DavidW]

I saw it and fixed it.  But you were quick on the draw!  The wrong image was only up for about two minutes!

Yeah I had been sitting at my computer ripping music, copying files etc bored out of my mind!

[Mandryka]

Concerning the different dynamic variation in these two recordings it is important to remember, that the dynamic range of baroque instuments is more limited than the dynamic range of their romantic counterparts.

Do you consider variety an aim per se?

Swingle singers and Wendy Carlos were also quite original.

Your point about dynaic variation is understood, but sometimes I find that it's a problem. In the Goldberg Variations I like the varied dynamics that some pianists bring to the music -- by contrast the harpsichord can sometimes be stifling, sufforcating.

But you and others here have made me aware that pianists tend tp sweeten  the music, and I can see that that isn't always good thing.

For these reasons I've started to explore  transcriptions of Bach's music  for guitar -- a plucked instrument with more dynamic variation than the harpsichord. I'm exploring this one at the moment.

I'd like to find a WTC in the same style -- anyone any ideas?


[asin]B0000029M2[/asin]

One thing I like about it is that there's a sense of fun in the music making. There's nothing reverential, nothing poker faced.  I like Busoni's transcription of The Goldbergs for piano for similar reasons.

[Kontrapunctus]

Your point about dynaic variation is understood, but sometimes I find that it's a problem. In the Goldberg Variations I like the varied dynamics that some pianists bring to the music -- by contrast the harpsichord can sometimes be stifling, sufforcating.

But you and others here have made me aware that pianists tend tp sweeten  the music, and I can see that that isn't always good thing.

For these reasons I've started to explore  transcriptions of Bach's music  for guitar -- a plucked instrument with more dynamic variation than the harpsichord. I'm exploring this one at the moment.

I'd like to find a WTC in the same style -- anyone any ideas?


[asin]B0000029M2[/asin]

One thing I like about it is that there's a sense of fun in the music making. There's nothing reverential, nothing poker faced.  I like Busoni's transcription of The Goldbergs for piano for similar reasons.

I love Rodarmer's disc. Of course, he used multi-tracking technology in order to be able to play all of the notes, but the results are outstanding. Joszef Eotvos has a single guitar version and he has a multi-tracked version of The Art of the Fugue. No WTC that I know of...yet!

Here's a video of him playing the Aira and 1st variation:

http://www.youtube.com/v/82yHKIsQ13Y

[prémont]

Your point about dynaic variation is understood, but sometimes I find that it's a problem. In the Goldberg Variations I like the varied dynamics that some pianists bring to the music -- by contrast the harpsichord can sometimes be stifling, sufforcating.

Wel, a question of taste. As you may guess, I do not usually find that this is a problem, but of course it depends upon the harpsichordist´s imagination and expression.

One thing I like about it is that there's a sense of fun in the music making. There's nothing reverential, nothing poker faced.  I like Busoni's transcription of The Goldbergs for piano for similar reasons.

I am tempted to recommend to you the recording of the Goldberg variations by Elena Barshai on Brilliant Classics. Ther you will find a rewarding sense of fun in the music making.

[Mandryka]

I am tempted to recommend to you the recording of the Goldberg variations by Elena Barshai on Brilliant Classics. Ther you will find a rewarding sense of fun in the music making.

I'll try it -- I've learned that nearly everything you suggest is interesting.

Don't forget that you promised to think of CU3 recordings for me -- I've played parts of  it (Walcha mono and stereo) most every day for the mast month now and I love the music.

[prémont]

I've learned that nearly everything you suggest is interesting.

Thanks. 

Don't forget that you promised to think of CU3 recordings for me -- I've played parts of  it (Walcha mono and stereo) most every day for the mast month now and I love the music.

Yes, I have this in my mind.