Bach on the harpsichord, lute-harpsichord, clavichord

[Mandryka]

The only Leonhardt recordings of those suites I've heard are the Virgin ones. I've never really enjoyed the way he plays them. Compared with Walcha's, which is my favourite, they're dry and cautious and  and colourless. Walcha is particularly "deeply felt" in this music. I can't explain why I hear Leonhardt and Walcha this way: clearly Leonhardt is more rhythmically flexible. I put the links to the Walcha record somewhere on this oard once -- they should still be around.

[prémont]

By the way, do you find Rousset's set unlistenable due to the acoustics or for other reasons?

First and foremost the acoustics, but even that I find Rousset a bit too streamlined in this music.

[prémont]

The only Leonhardt recordings of those suites I've heard are the Virgin ones. I've never really enjoyed the way he plays them. Compared with Walcha's, which is my favourite, they're dry and cautious and  and colourless. Walcha is particularly "deeply felt" in this music. I can't explain why I hear Leonhardt and Walcha this way: clearly Leonhardt is more rhythmically flexible. I put the links to the Walcha record somewhere on this oard once -- they should still be around.

Leonhardt was sometimes accused of being too academic, and this may be the case here. I also find the instrument he uses (The "Lefebvre)" sounding too French to Bachs music. His first take of the English suites (Seon / Sony) is more convincing.

[milk]

Unfortunately, it seems to be out of print.

It popped up on Itunes in October so I downloaded it.

[Geo Dude]

It popped up on Itunes in October so I downloaded it.

Indeed, but I don't tend to order MP3 downloads.

[Que]

I listened this morning during breakfast on Youttube the following recordings of the English Suites, which BTW have despite their nickname bear a "French" connection in a musical sense. I favour the theory that they were inspired by the suites published by the London based (there's the English connection) French composer Charles Dieupart. A French flavour in performance is therefore not inappropriate IMO.

Edward Parmentier - I was not so impressed. Detailed and cultivated yes, but structurally and rhythmically not very strong. And I don't like his accents, nor his left hand.....no, not for me....

Van Asperen - quite impressed indeed. Thanks to premont for mentioning it! Though maybe still a small hint of the mechanical playing left that IMO marred his earlier recordings. A Dutch School "Germanic" approach.

I have currently besides Alan Curtis also Christophe Rousset on the shelves. And like it, though his tempi seemed a bit too much and exhausting at first. But once I got into it - it's pretty impressive.

Q

[milk]

I listened this morning during breakfast on Youttube the following recordings of the English Suites, which BTW have despite their nickname bear a "French" connection in a musical sense. I favour the theory that they were inspired by the suites published by the London based (there's the English connection) French composer Charles Dieupart. A French flavour in performance is therefore not inappropriate IMO.

Edward Parmentier - I was not so impressed. Detailed and cultivated yes, but structurally and rhythmically not very strong. And I don't like his accents, nor his left hand.....no, not for me....

Van Asperen - quite impressed indeed. Thanks to premont for mentioning it! Though maybe still a small hint of the mechanical playing left that IMO marred his earlier recordings. A Dutch School "Germanic" approach.

I have currently besides Alan Curtis also Christophe Rousset on the shelves. And like it, though his tempi seemed a bit too much and exhausting at first. But once I got into it - it's pretty impressive.

Q

Have you heard Rannou's English Suites?

[Geo Dude]

Based on a first listen yesterday this is a wonderful recording:

[asin]B004IZAEQS[/asin]

I ordered it based on a glowing review in a back issue of ARG and a fascination with pedal harpsichords.  I was a bit skeptical about the program, initially, since there were a few excerpted works in there (toccata without fugue, etc.), and about the interpretation, which I felt may be a bit clinical, but the disc is amazing.  The end result sounds like a brilliant organist attempting a take on a different instrument and loses none of the profoundness or passion of the works played on the organ, and certainly manages to maintain a great beauty, albeit, a different kind from what you get with an organ.  I heartily recommend it to harpsichord fanatics and to organ fanatics that don't mind a harpsichord.

[Geo Dude]

I ordered this album yesterday based on the strength of Baumont's French Suites and Que's fondness for the album.  After my first listen, I have no regrets whatsoever!  The playing is wonderful, the music is amazing (it's hard to believe that some of these works were transcribed by Bach merely for self-study purposes!) and the sound is great.  One also can't go wrong with the budget price.  Thanks, Que.  This certainly makes me anxious for Baumont's Four Harpsichord Suites/Clavichord Pieces disc to arrive.

[milk]

Based on a first listen yesterday this is a wonderful recording:

[asin]B004IZAEQS[/asin]

I ordered it based on a glowing review in a back issue of ARG and a fascination with pedal harpsichords.  I was a bit skeptical about the program, initially, since there were a few excerpted works in there (toccata without fugue, etc.), and about the interpretation, which I felt may be a bit clinical, but the disc is amazing.  The end result sounds like a brilliant organist attempting a take on a different instrument and loses none of the profoundness or passion of the works played on the organ, and certainly manages to maintain a great beauty, albeit, a different kind from what you get with an organ.  I heartily recommend it to harpsichord fanatics and to organ fanatics that don't mind a harpsichord.

I also enjoy this recording. In fact, I would love him to continue with another recording of organ pieces on this instrument. I wonder if the people here who are so intimately familiar with Bach's organ output feel this is warranted.

[Mandryka]

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]

I thought Asperen was really beautiful in Sinfonia 5; the slow tempo was really touching. Elsewhere I wasn't so convinced by some of the tempos, In Sinfonia 9 I think I prefer Leonhardt, who takes it faster and, I think, is better at telling a story with the music.

Also, don't you not find that sometimes, there's  not enough space and air around the notes, so that the resulting texture is rather thick and full of notes?

I was intrigued by your point about dialogue. An example would be good so I could listen out for what you mean.

[Geo Dude]

I also enjoy this recording. In fact, I would love him to continue with another recording of organ pieces on this instrument. I wonder if the people here who are so intimately familiar with Bach's organ output feel this is warranted.

I too would enjoy a second recording in this series.  I'm a fan of his organ works, but I'm certainly not among the most intimately familiar with those works.  I'll leave it to those members (many of whom visit this thread) to answer that question.

[Bulldog]

I thought Asperen was really beautiful in Sinfonia 5; the slow tempo was really touching. Elsewhere I wasn't so convinced by some of the tempos, In Sinfonia 9 I think I prefer Leonhardt, who takes it faster and, I think, is better at telling a story with the music.

Also, don't you not find that sometimes, there's  not enough space and air around the notes, so that the resulting texture is rather thick and full of notes?

No, I didn't find that at all.  Concerning the dialogue, it's front and center in each piece.

[Mandryka]

No, I didn't find that at all.  Concerning the dialogue, it's front and center in each piece.

Yes  I can hear that in some of the inventions. But what I couldn't hear was that he deals with that in a specially interesting or successful way. Compared with Landowska or Leonhardt or Verlet.

This textural thing that I mentioned is particular clear to me in the faster music. Leonhardt, for example, is more limpid.

[Bulldog]

Yes  I can hear that in some of the inventions. But what I couldn't hear was that he deals with that in a specially interesting or successful way. Compared with Landowska or Leonhardt or Verlet.

This textural thing that I mentioned is particular clear to me in the faster music. Leonhardt, for example, is more limpid.

I don't know what to tell you.  Obviously, you don't hear what I hear and vice versa.  We'll just have to leave it at that, since the subject has strong subjective elements.

[Que]

Giving this a first run through.  Now on CD 3, the first half of Book II
[asin]B0064DLG32[/asin]
First off, the undoubted positive--the harpsichord (1624 Ruckers renovated by an anonymous 18th century (probably) Frenchman) sounds wonderful, and the engineering does it full justice.  For those that like harpsichord pr0n, the packaging features a beautiful picture of the instrument

As to the playing--she seems to prefer a quiet, reflective approach, sometimes approaching the "cantabile" approach linked to Egarr.  Occasionally this comes out as being merely stodgy. She can be brisk, although it's usually a walking fast brisk as opposed to a running brisk--IOW, not extremely brisk but not slow.    My personal preference is for a faster, more vigorous approach,  but that's only my preference.  Someone who doesn't share that will undoubtedly enjoy this recording more than I do.

That said, I don't want to sound negative--within those limits, the playing is well done (voicing, etc.).  I'm glad I got this set, but it won't be my first choice for the WTC (which currently sits with Belder).

Thanks for the comments! They are more or less conguent with my own impressions.

The Belder set is on the list to investigate more - my first impressions when it came out were favourable.

Q

[Leo K.]

As far as harpsichord recordings go, this is one of the best sounding I've heard, in terms of the instrument and sound quality.

The performances have precise articulation with interesting rhythm choices that drive the drama with intensity. The overall tone is rather cool, and driven. I absolutely love this WTC.

[Geo Dude]

As far as harpsichord recordings go, this is one of the best sounding I've heard, in terms of the instrument and sound quality.

The performances have precise articulation with interesting rhythm choices that drive the drama with intensity. The overall tone is rather cool, and driven. I absolutely love this WTC.

Unfortunately I've become quite a Hantai fan-boy recently and it seems that I'll be picking up another WTC 1.  Due to this being out of print I'll probably be picking it up soon, too.  I'll have to see if I can arrange for it at the beginning of March.

...Now, when will he get around to the WTC 2?

[Geo Dude]

Everyone is wondering but no answer yet, it is not planned for the moment. Hantaï is very interested in ensemble music at the moment and wishes to record Bach Brandenburg concertos, Suites, and other orchestral pieces (from Bach and others) with his ensemble Le Concert français (which was revived for the occasion).

Thank you for the information.  I've scoured the internet, but the man is a ghost!  Not even a Facebook page.  This information would also explain why his Scarlatti series seems to have been put on hold.

Well, I'm becoming quite addicted to solo harpsichord recordings and hope that he gets back to those at some point, but I certainly can't ask an artist to ignore the direction his mind pulls him in.  Hopefully he'll record some great stuff with those ensembles and then take a break to record some more solo material.

[milk]

Everyone is wondering but no answer yet, it is not planned for the moment. Hantaï is very interested in ensemble music at the moment and wishes to record Bach Brandenburg concertos, Suites, and other orchestral pieces (from Bach and others) with his ensemble Le Concert français (which was revived for the occasion).

I haven't read all this subject yet. Except Hantaï, if I had to cite the most exciting recent recordings and interpreters of Bach at the harpsichord I would cite Benjamin Alard as first. His partitas are wonderful and he will record the Goldbergs (as part of his Clavierübungs complete recording) in 2013.

Among others, Béatrice Martin has recorded very interesting concertos with his husband's ensemble (Les Folies françoises), and she plans to return to the Goldbergs at the end of this year, so let's hope she will record them as she's certainly one of the best harpsichordists today !
Bertrand Cuiller's recording of the concertos with his father Daniel are great too, he has played the Goldberg in concert recently too, I don't know if he plans to record them (probably not, as Mirare already has the Goldberg on piano with Zhu & on harpsichord with Hantaï).

Actually, I've been very disappointed by recent accounts of Bach works, from Rannou, Staier and others, who tend to forget a little the score and think too much about originality. Leonhardt frequently said that he did not interpret Bach, he played him. That's the kind of modesty and dedication I hear when Alard or Martin play.

Does Staier stray from the score on his Goldberg? I don't read music, but (comparing it to other Goldberg recordings) it doesn't sound that way. Rannou certainly adds ornamentation and, in the aria, maybe even something like improvisation. However, doesn't Hantai employ ornamentation also (Mirare)? ...for example, on the very first variation?