Bach on the harpsichord, lute-harpsichord, clavichord

[Mandryka]

Yes I must say I listened to a few of the Sarabandes after Bulldog made that remark, and coincidentally I also listened to the same music played by Curtis, just for the contrast. I think I feel the same as many others here: there is something missing in  the Rannou though I haven't tried to formulate exactly what.

Listing again to Curtis was a real joy. It's well worth hearing his French Suites IMO.

[milk]

I have all three parts of the Curtis 'set.'  Unfortunately, I'm still working on adjusting to the sound of the harpsichord, so I can't judge the quality of the interpretation yet.  That may sound strange, but once in a while I run across a harpsichord recording with a sound that doesn't quite click with me for reasons I can't put my finger on.  The Curtis recordings are one of those, Suzuki's recordings of the Partitas are another.

I'm having the same issue with the Curtis - not just the harpsichord, but the overall production. But perhaps giving it a little time will help.

[milk]

Yes I must say I listened to a few of the Sarabandes after Bulldog made that remark, and coincidentally I also listened to the same music played by Curtis, just for the contrast. I think I feel the same as many others here: there is something missing in  the Rannou though I haven't tried to formulate exactly what.

Listing again to Curtis was a real joy. It's well worth hearing his French Suites IMO.

Do you think her English Suites are more successful or suffer from the same problem?

[Geo Dude]

I'm having the same issue with the Curtis - not just the harpsichord, but the overall production. But perhaps giving it a little time will help.

It's good to know that I'm not alone here.  Yes, we should definitely give those discs some time.


Thread duty:

I will strongly recommend -- again -- that people check out the budget-priced (on the MP) Baumont recording of the French Suites.  It is excellent.

[Leo K.]

Thread duty:

I will strongly recommend -- again -- that people check out the budget-priced (on the MP) Baumont recording of the French Suites.  It is excellent.

Thanks for that recommend, I'll definitely have to hear that recording. I've been listening to Baumont's various recordings of french harpischord masters and I'm stunned by what I hear!

[Geo Dude]

Thanks for that recommend, I'll definitely have to hear that recording. I've been listening to Baumont's various recordings of french harpischord masters and I'm stunned by what I hear!

Indeed.  Baumont is also a brilliant Bach player.  He has three recordings out, and all of them are worth checking out, but you may as well start with the French Suites since they're the most substantial piece of repertoire he has recorded.  Can't go wrong with a set of French Suites for $7, either!

[asin]B0037W391K[/asin]

[Kontrapunctus]

I enjoy this SACD of the English Suites played by Olga Martynova. Beautiful playing and rich, warm sound. (Caro Mitis is a Russian audiophile label.)

[Bulldog]

I'm having the same issue with the Curtis - not just the harpsichord, but the overall production. But perhaps giving it a little time will help.

I'm surprised that a few of you are finding this problem.  From the first time I listened to the Curtis set, it was immediate appreciation.

For me, it's sets from Rannou and Rousset (Ambroise) that are problematic concerning the productions.

[Mandryka]

What do you mean by production?

[Leo K.]

What do you mean by production?

I think he is referring to the recording quality, such as the generous reverb on the Rousett recording?

[Bulldog]

I think he is referring to the recording quality, such as the generous reverb on the Rousett recording?

Yes, that's exactly what I was referring to.  I used the word "production" because others had previously used it.

[kishnevi]

Indeed.  Baumont is also a brilliant Bach player.  He has three recordings out, and all of them are worth checking out, but you may as well start with the French Suites since they're the most substantial piece of repertoire he has recorded.  Can't go wrong with a set of French Suites for $7, either!

[asin]B0037W391K[/asin]

Okay, you twisted my arm....just ordered the French Suites.  Which will go along with my order this weekend from Arkivmusic, for Curtis's French Suites.  (I hope.  One of the three CDs is labelled as "low stock".)  For some reason they don't have his English Suites, so I'll need to go looking elsewhere for those.
But now I'll have a double dose of the Frenches!

[PaulSC]

Okay, you twisted my arm....just ordered the French Suites.  Which will go along with my order this weekend from Arkivmusic, for Curtis's French Suites.  (I hope.  One of the three CDs is labelled as "low stock".)  For some reason they don't have his English Suites, so I'll need to go looking elsewhere for those.
But now I'll have a double dose of the Frenches!

If you're getting three CDs worth of Curtis, you're almost certainly getting both the English and French suites. They're distributed two English and two French per disc... I hope you enjoy these recordings as much as I do!

[milk]

I'm surprised that a few of you are finding this problem.  From the first time I listened to the Curtis set, it was immediate appreciation.

For me, it's sets from Rannou and Rousset (Ambroise) that are problematic concerning the productions.

This is subjective I suppose. I love the sound of Rannou's harpsichords on her recordings - although I prefer her English Suites to her French Suites. To me, Curtis's instrument sounds a little dark and flat. But I'm also not enamored with Cates's harpsichord. I tend to like the French Suites on delicate sounding instruments. This may be the influence of the recordings by Van Asperen and Brookshire, on which "plucky" sounding Vaters are used (Watchorn used one also - though I haven't been drawn into his recording). This is not to say that I know anything about harpsichords, I do not. Anyway, I keep trying with recordings to see if I can break through my initial displeasure. In the beginning, I had trouble with the dark sounding instrument on Mortenen's partitas. After a while, I really came to love the performance and appreciate the sound quality.       

[Mandryka]

In the sarabandes of the French Suites  Rannou for me is sensual and smooth.   I find the experience with with her much more soothing than with Curtis.

This is mainly because Curtis brings in more  texture contrasts, I think, which makes the music more disturbing for me -- more attention grabbing. I guess tempo choices must have something to do with it too, just because Curtis is so energetic.

I actually think this slick soothing side to the Rannou sarabandes is  enough to make her performances of them shallower, even though I enjoy wallowing in the music that she makes. I like letting it wash over me sometimes. I can't do that with Curtis's sarabandes!

Prima facie there's a similarity  between Rannou's Bach and Affanassiev's Schubert.  I see both of them as experimenting: seeing what happens if you push slow tempos  to the max.  With Afanassiev part of the pleasure of listening is to experience the near miracle of how he can play so slowly and yet the music doesn't fall apart -- the whole thing stays coherent. Same, I would say, for the opening aria in Rannou's Goldbergs.

[Que]

Though I got this a few months ago, I trying to catch up in my write ups. And upon listening to it this morning, I thought a short note was in order!



I've never heard a livelier, more articulated and pronounced, dramatic even, version than this. If you like to hear the antidote to the dreamy, legato-played versions, this is it. Bonizzoni uses every technique in the book to make the journey through these variations as varied, engaging and exhilarating as possible: separation between the hands, not only in tempo but also character, ample use of agogics, using the contrast between the two registers on the double manual harpsichord built by Willem Kroesbergen. His technique is brilliant and his playing is swift in the faster mvts. The sound stage is rich, but not overbearing - though with this kind of playing there is a lot to take in.

I have to admit I passed his recording over before when sampling on-line - it came across as unsteady and erratic, which is not suprising given his approach. Only in the longer run and with familiarity with this iconic music, Bonizzoni's portrayal of it will click. This might be an acquired taste, for many this will simply be too much. But I love it, it has that exhilaration and intellectual rigour of Scott Ross (as a harpsichordist not his Goldbergs) or Enrico Baiano.
Speaking of Italians, how does it compare to Ottavio Dantone (Decca, Italy-only issue). Well, Dantone matches Bonizzoni freedom in playing but his approach is more relaxed and focuses on ornamentation and has a more gentle, sweet feel to it.

This recording is undeservedly very little reviewed. But Amazon's Giordano Bruno did and his review is a pleasure to read. I agree with it, even with the one tiny fault he could find: Bonizzoni should have played the final da capo with more weight and introspection, now it is just a nice frill to finish off.

Anyway - for those Bachians that like to live on the wild side - strongly recommended!

Q

[Que]

Another thing: upon reading this thread I noticed there is still a lot of talk about Blandine Rannou's Bach. Intrigued (might I have been mistaken before?) I looked into her Bach (again). The conclusion is the same as it was before: it's attractive sounding, easy-to-get-into but essentially unidiomatic Bach. The rhythmic treatement, phrasing and ornamentation, it's all somewhat "off", it also is too (emotionally) superficial for me. Her countrymen Baumont and Rousset have a better knack for Bach IMO.

If you want to hear something really awesome by Blandine? Try her complete Rameau set (Zig-Zag) - amazing, sans pareil!

Q

[kishnevi]

Another thing: upon reading this thread I noticed there is still a lot of talk about Blandine Rannou's Bach. Intrigued (might I have been mistaken before?) I looked into her Bach (again). The conclusion is the same as it was before: it's attractive sounding, easy-to-get-into but essentially unidiomatic Bach. The rhythmic treatement, phrasing and ornamentation, it's all somewhat "off", it also is too (emotionally) superficial for me. Her countrymen Baumont and Rousset have a better knack for Bach IMO.

If you want to hear something really awesome by Blandine? Try her complete Rameau set (Zig-Zag) - amazing, sans pareil!

Q

Which Rannou were you listening to?  I think you describe her Goldbergs perfectly, but I found her English/French Suites (and Toccatas) much better.

Speaking of Italians, how does it compare to Ottavio Dantone (Decca, Italy-only issue). Well, Dantone matches Bonizzoni freedom in playing but his approach is more relaxed and focuses on ornamentation and has a more gentile, sweet feel to it.


Q

So Bonizzoni is a Yiddishe Goldberg?  That makes ordering it mandatory. 

Seriously, though, I'm ordering it in another tab of this browser as I type this.

[Que]

Which Rannou were you listening to?  I think you describe her Goldbergs perfectly, but I found her English/French Suites (and Toccatas) much better.

Actually haven't heard hear Golbergs. The suites in particular. I think her Toccatas are the best Bach I've heard by her.

So Bonizzoni is a Yiddishe Goldberg?  That makes ordering it mandatory. 

Oops.

Seriously, though, I'm ordering it in another tab of this browser as I type this.

Good! I'm curious what you'll make of it - it's a love or hate kind of recording.

Q

[milk]

Though I got this a few months ago, I trying to catch up in my write ups. And upon listening to it this morning, I thought a short note was in order!



I've never heard a livelier, more articulated and pronounced, dramatic even, version than this. If you like to hear the antidote to the dreamy, legato-played versions, this is it. Bonizzoni uses every technique in the book to make the journey through these variations as varied, engaging and exhilarating as possible: separation between the hands, not only in tempo but also character, ample use of agogics, using the contrast between the two registers on the double manual harpsichord built by Willem Kroesbergen. His technique is brilliant and his playing is swift in the faster mvts. The sound stage is rich, but not overbearing - though with this kind of playing there is a lot to take in.

I have to admit I passed his recording over before when sampling on-line - it came across as unsteady and erratic, which is not suprising given his approach. Only in the longer run and with familiarity with this iconic music, Bonizzoni's portrayal of it will click. This might be an acquired taste, for many this will simply be too much. But I love it, it has that exhilaration and intellectual rigour of Scott Ross (as a harpsichordist not his Goldbergs) or Enrico Baiano.
Speaking of Italians, how does it compare to Ottavio Dantone (Decca, Italy-only issue). Well, Dantone matches Bonizzoni freedom in playing but his approach is more relaxed and focuses on ornamentation and has a more gentile, sweet feel to it.

This recording is undeservedly very little reviewed. But Amazon's Giordano Bruno did and his review is a pleasure to read. I agree with it, even with the one tiny fault he could find: Bonizzoni should have played the final da capo with more weight and introspection, now it is just a nice frill to finish off.

Anyway - for those Bachians that like to live on the wild side - strongly recommended!

Q

Does Van Asperen fit the bill as a non-legato-played version of the Goldbergs? I'm trying to get a handle on the technical descriptions for what it is I hear.