Bach on the harpsichord, lute-harpsichord, clavichord

[Leo K.]

Despite some sound problems (regarding the D Major Partita) in Leonhardt's DHM account of the partitas, I am very drawn to it, and I'm drawn to the other performances on this set. They sneak into my thoughts often (I am used to the sets of Suzuki and Ross). Don's descriptions are right on in his comparison article at:

http://www.bach-cantatas.com/NonVocal/Klavier-Partitas-Pinnock1.htm

I am now interested in seeking out Leonhardt's WTF and other Bach recordings.

[Mandryka]

I have no problems with either of Verlets recordings of the partitas, but I know that some consider her second set wilfull and excentric.

I don't think Verlet is eccentric at all. Eccentric suppose a dose of arbitrary and capricious behavior and she is not that kind of performer. She is very personal; some time I said that she plays this music as if it were her intimate diary: turbulent, feminine and highly expressive. Anyway, I speak about her Naïve set because I don't particularly like her first recording on Philips.

I just listened to the 6th partita, on the 1977 and 2001 performances. 

Both sounded pretty turbulent, feminine and highly expressive. I don't see that one is more eccentric than the other, but maybe I don't have a good grasp of what the centre is.

I can't help wondering why Antoine Marchand doesn't like the first. I found the harpsichord sound less attractive, but not problematically so. And the poetry is different -- the emotion evoked is different, at least in 6. There's a nervous intensity about the Philips which I thought was really powerful, if slightly disconcerting. Little rushes of energy out of the blue sometimes.  Very turbulent!

Maybe Partita 6 isn't the best example to have chosen -- I'll continue exploring this week.

[Mandryka]

I am now interested in seeking out Leonhardt's WTF and other Bach recordings.

I'm very interested in the third record he made of the Goldbergs. A few weeks ago I set up a playlist with a whole bunch of different Var13s, including some piano ones in fact.

It was striking how distinctive Leonhardt's articulation and phrasing was in that recording.  That probably had something to do with the selection I made, of course!

Setting up a play list like that revealed how much variety there is. There's wes no sense of a central performance style.

(I had Landowska RCA, Hantai 1, Leonhardt 1 and 3, Kirkpatrick, Walcha, Tureck on Great Pianists, Sokolov, Verlet)

[Antoine Marchand]

I can't help wondering why Antoine Marchand doesn't like the first. I found the harpsichord sound less attractive, but not problematically so. And the poetry is different -- the emotion evoked is different, at least in 6. There's a nervous intensity about the Philips which I thought was really powerful, if slightly disconcerting. Little rushes of energy out of the blue sometimes.  Very turbulent!

Maybe Partita 6 isn't the best example to have chosen -- I'll continue exploring this week.

Currently I don't have her first recording, but I prefer the second exactly for the reasons that you mention: sound of the harpsichord and some nervous character in the first one.

BTW, her interpretation of the Partita II BWV 826 is my favorite in that work: the interplay among its different movements defines an incredible range of expression, from the most extroverted eloquence to the most tender and personal expression. 

[Opus106]

I am now interested in seeking out Leonhardt's WTF and other Bach recordings.

WTF!

[Leo K.]

WTF!

Oh my! I'm so embarrassed!

[Opus106]

Oh my! I'm so embarrassed!

It's just a typo in the interwebs.

[Geo Dude]

Any thoughts on Belder's recording of the Goldberg Variations on Brilliant Classics?

[Oldnslow]

One  Bach haprsichord recording I have enjoyed recently is by Olga Martynova on Caro Mitis of the English suites. Beautiful playing, gorgeous recording. Her J.C. Bach CD is also wonderful.

[Geo Dude]

Watchorn's recording of the toccatas is jaw-dropping, though there is a bit much reverb. (I like my recordings to be as dry as Don does.)  Strongly recommended for anyone interested in those works.  It's the first time I've really been able to connect with some Bach works on harpsichord.  Any suggestions for a recording I should pair with it?

[milk]

Currently I don't have her first recording, but I prefer the second exactly for the reasons that you mention: sound of the harpsichord and some nervous character in the first one.

BTW, her interpretation of the Partita II BWV 826 is my favorite in that work: the interplay among its different movements defines an incredible range of expression, from the most extroverted eloquence to the most tender and personal expression.

This isn't the easiest recording to track down. I mean the second one.

[Bulldog]

Watchorn's recording of the toccatas is jaw-dropping, though there is a bit much reverb. (I like my recordings to be as dry as Don does.)  Strongly recommended for anyone interested in those works.  It's the first time I've really been able to connect with some Bach works on harpsichord.  Any suggestions for a recording I should pair with it?

Yes, Bob van Asperen playing the Inventions/Sinfonias and more on an Aeolus disc.  It's my favorite disc of this music on harpsichord or piano because I find the dialogue captivating and love the subtle changes in tempo.

[asin]B000055WN9[/asin]

[Leo K.]

Wow...this is quite a recording, Glen Wilson's WTC book II. Glad this thread is so helpful in finding great recommends.

Thanks all!

[Geo Dude]

I've just listened to the first disc of Watchorn's English Suites recording.  I tend to agree with the assessment of some members that he is a bit heavy-handed, but what a beautiful harpsichord, and it's well recorded, too.  I love the bass end on that thing!

How are his French Suites?  Do they also seem heavy handed?

[Antoine Marchand]

How are his French Suites?  Do they also seem heavy handed?

IMO, better than his English Suites. Watchorn sounds less stern and more in tune with the spirit of dance. Harpsichord and sound quality are outstanding. Additionally, it's a 3-CD set and the third CD offers the Little Preludes BWV 924 to BWV 943, as a bonus.

[Geo Dude]

IMO, better than his English Suites. Watchorn sounds less stern and more in tune with the spirit of dance. Harpsichord and sound quality are outstanding. Additionally, it's a 3-CD set and the third CD offers the Little Preludes BWV 924 to BWV 943, as a bonus.

That's wonderful to hear.  I wanted to make sure it was less stern and more in tune with the spirit of the dance, as you put it, before I laid down money for it given that it's a bit more expensive than the English Suites.  I'll look into that recording.

[milk]

IMO, better than his English Suites. Watchorn sounds less stern and more in tune with the spirit of dance. Harpsichord and sound quality are outstanding. Additionally, it's a 3-CD set and the third CD offers the Little Preludes BWV 924 to BWV 943, as a bonus.

I had a hard time getting into Watchorn's French Suites. I much prefer Van Asperen, Brookshire, Moroney and Curtis.

[Antoine Marchand]

I had a hard time getting into Watchorn's French Suites. I much prefer Van Asperen, Brookshire, Moroney and Curtis.

Well, I guess it's a lawful opinion. 

I totally enjoyed Watchorn's set, but I haven't still decided its place among my favorite recordings. Some of those are Curtis, Koopman (Erato) and (after some fight) Cates.   

Anyway, what I wrote about Watchorn was especially a comparative opinion with his English Suites. And, IMO, he sounds more spontaneous here, probably because of the more tuneful and less complex nature of the music itself.

[milk]

Well, I guess it's a lawful opinion. 

I totally enjoyed Watchorn's set, but I haven't still decided its place among my favorite recordings. Some of those are Curtis, Koopman (Erato) and (after some fight) Cates.   

Anyway, what I wrote about Watchorn was especially a comparative opinion with his English Suites. And, IMO, he sounds more spontaneous here, probably because of the more tuneful and less complex nature of the music itself.

Well, maybe I should give Watchorn another chance. The instrument and sound quality are certainly excellent as always. I've come to really appreciate his WTC.
Are you impressed at all with Van Asperen's French Suites? The original Vater he plays is unlike any other harpsichord I've heard. What a sound! - So charming!
And his performance matches the delicacy and charm of the instrument. I don't know why I struggle with Cates. Everyone loves his French Suites but the recording eludes me. I'm sure the fault is in my own ears. Interesting that Van Asperen, Brookshire and Watchorn all play Vaters or Vater copies on their French Suites. I'd like to find a recording, aside from these, that uses a Vater harpsichord.

[Mandryka]

Well, maybe I should give Watchorn another chance. The instrument and sound quality are certainly excellent as always. I've come to really appreciate his WTC.
Are you impressed at all with Van Asperen's French Suites? The original Vater he plays is unlike any other harpsichord I've heard. What a sound! - So charming!
And his performance matches the delicacy and charm of the instrument. I don't know why I struggle with Cates. Everyone loves his French Suites but the recording eludes me. I'm sure the fault is in my own ears. Interesting that Van Asperen, Brookshire and Watchorn all play Vaters or Vater copies on their French Suites. I'd like to find a recording, aside from these, that uses a Vater harpsichord.

No. I don't like Cates either and I know why. You're not alone and it's not your ears.

The problem is partly to do with basic tempo choices. Too slow. Sarabandes and Allemandes become like elephants' dances. Sometimes -- like in the sarabande to suite 4 -- the music almost falls apart because the basic tempo is so slow. The faster dances aren't dynamic either.

And there are some less objective problems. I think the instrument sounds unattractive and I don't get much care for his ornamentation either: Koopman's ornamentation is much more inginative and makes the music much more fun. I think Cates is inclined towards the reverential and the dry.

My favourite complete sets  French Suites  are Koopman's and Koroliov's, to which I would add some odd ones from Landowska and Richter. Koroliov, more than any other musician I've heard, has  made great poetry from this music.