Bach on the harpsichord, lute-harpsichord, clavichord

[Que]

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.

Perhaps, or rather probably  , I'm in the wrong here in using the term in this context. Sorry. What I meant was a strict-tempo approach without any use of hesitations or emphasis. Of which Bonizzoni is the opposite.

Q

[milk]

Perhaps, or rather probably  , I'm in the wrong here in using the term in this context. Sorry. What I meant was a strict-tempo approach without any use of hesitations or emphasis. Of which Bonizzoni is the opposite.

Q

Sigh. I guess I'll have to check it out. More money out of my wallet! My opinions really ping-pong around as I read and listen more.
I guess Bonizzoni is next.

[Bulldog]

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

I largely share your views of the Bonizzoni Goldbergs.  It is certainly an antidote to legato-driven interpretations as if Bonizzoni is saying to the legato/piano crowd - Take that, you whimps!

Concerning the Dantone recording, I do feel that Dantone offers more angst in the slower and darker variations.  On the other hand, Dantone's highly ornamented repeats with a trill-happy attitude have my respect but not my affection.  Regardless, I consider both Dantone and Bonizzoni must-haves for the repertoire.

[jlaurson]

I largely share your views of the Bonizzoni Goldbergs.  It is certainly an antidote to legato-driven interpretations as if Bonizzoni is saying to the legato/piano crowd - Take that, you whimps!

Concerning the Dantone recording, I do feel that Dantone offers more angst in the slower and darker variations.  On the other hand, Dantone's highly ornamented repeats with a trill-happy attitude have my respect but not my affection.  Regardless, I consider both Dantone and Bonizzoni must-haves for the repertoire.

Thanks for the tip. It's on its way. 

[Que]

Don, great to hear your perspective! And you are one of the few I can compare notes with on the Dantone.

Anyway, just making note that a blind comparison of the harpsichord Toccata BWV 914 has just been initiated. Giving the attention these Toccatas have attracted on this thread before, I'm sure there is considerable interest to participate. More info HERE.

Q

[Bulldog]

Don, great to hear your perspective! And you are one of the few I can compare notes with on the Dantone.

Q

I was lucky to pick up the Dantone at a record shop in Rome three years ago on our European vacation. 

[milk]

The reason why I do not mention it much is, that I find it less inspired than we are used to, when it is about Leonhardt. It is a pity, that f.i. Alpha didn´t offer him the chance to rerecord these suites.

I see there is a new release of this. I trust what you've said but still...I'm curious.

[kishnevi]

I see there is a new release of this. I trust what you've said but still...I'm curious.

I have it, and although I'm not a Leonhardt maven,  the only defect I found was--there should have been more!

[Mandryka]

He recorded the second French Suite twice in fact, once in 1975 (that's part o the set of all 6), and once in 1990 (I think),  on a clavichord.

The 1990 one is phrased differently I think, in the Allemende, Sarabande and Menuet  the articulation is less lyrical, the phrases less long.

There's also a record of the Allemande from the the first suite on his Anna Magdalena Notebook CD -- I think it's more refined than the performance in the 1975 set.

[milk]

I have it, and although I'm not a Leonhardt maven,  the only defect I found was--there should have been more!

Well, I've just ordered it. Thanks.

[milk]

I have it, and although I'm not a Leonhardt maven,  the only defect I found was--there should have been more!

Thanks. I just ordered this.

[milk]

I have it, and although I'm not a Leonhardt maven,  the only defect I found was--there should have been more!

I've acquired this disc. I'm enjoying it.

[milk]

I've acquired this disc. I'm enjoying it.

I've spent a little time doing some comparison tonight with this recording. It's nice to finally get Leonhardt's take on the French Suites.
For me, Van Asperen is pleasure. His instrument is incredible - as I've said before. It's a brilliant recording and his performance is utterly charming. Leonhardt is certainly great. He does bring that sense of natural momentum and detail as always. Moroney has a lot of gravitas and brings out the counterpoint. Brookshire is eccentric, maybe too much so - although he's never boring and the instrument and sound is delicious. Curtis still doesn't quite get to me. I'm not always convinced by his pace and hesitations. Rannou is full of verve and has some nice ornamentation - although sometimes the ornamentation feels planned and detracts from the naturalness of the music. I've lost interest in Cates - although that's just my subjective reaction and may have something to do with the sound of the instrument. Maybe I'm repeating myself from earlier posts but my favorite is Van Asperen. Leonhardt and Moroney are also great. The others are a notch below for me.

[Sammy]

Curtis still doesn't quite get to me. I'm not always convinced by his pace and hesitations. Rannou is full of verve and has some nice ornamentation - although sometimes the ornamentation feels planned and detracts from the naturalness of the music. I've lost interest in Cates - although that's just my subjective reaction and may have something to do with the sound of the instrument.

Since Curtis and Cates are all about hesitations and staggering of musical lines in the French Suites, I'll try to keep that in mind if I'm ever in the position of giving you recommendations on Bach solo keyboard works.

[milk]

Since Curtis and Cates are all about hesitations and staggering of musical lines in the French Suites, I'll try to keep that in mind if I'm ever in the position of giving you recommendations on Bach solo keyboard works.

But I still may come around. I have moments where I like Curtis. I don't trust that I really know what's going on. I just gave my late-night impressions. It seems like Brookshire does a lot of this staggering of musical lines? To an excess? Sometimes I like to put on the Brookshire. He's intense - as it were.

[Sammy]

But I still may come around. I have moments where I like Curtis. I don't trust that I really know what's going on. I just gave my late-night impressions. It seems like Brookshire does a lot of this staggering of musical lines? To an excess? Sometimes I like to put on the Brookshire. He's intense - as it were.

Not to any excess.  Performers who deviate from a "straight" interpretation take the risk that their means of deviation will call attention to itself, but that's not a problem for Brookshire.

[betterthanfine]

Being still fairly new to classical music, my collection of Bach's keyboard works has so far consisted mainly of piano recordings, with the exception of one disc of harpsichord concertos by Ottavio Dantone. After reading a lot of piano vs. harpsichord discussion on this board, I decided I needed to acquaint myself with the harpsichord a little better. So today, I came across this box by Leonhardt:



Remembering it got some favourable comments on here, I bought it, and I'm happy to say that I am quite pleased with what I'm hearing.

My next purchase will be a recording of the Goldbergs. I've listened to a few samples of the Bonizzoni recording mentioned on the previous page, and had a very positive reaction. Any other suggestions?

[milk]

Being still fairly new to classical music, my collection of Bach's keyboard works has so far consisted mainly of piano recordings, with the exception of one disc of harpsichord concertos by Ottavio Dantone. After reading a lot of piano vs. harpsichord discussion on this board, I decided I needed to acquaint myself with the harpsichord a little better. So today, I came across this box by Leonhardt:



Remembering it got some favourable comments on here, I bought it, and I'm happy to say that I am quite pleased with what I'm hearing.

My next purchase will be a recording of the Goldbergs. I've listened to a few samples of the Bonizzoni recording mentioned on the previous page, and had a very positive reaction. Any other suggestions?

I can't recall anyone in this thread who doesn't think that Pierre Hanta's recording is one of the best.

[stingo]

I can't recall anyone in this thread who doesn't think that Pierre Hanta's recording is one of the best.

To my knowledge he's recorded the Goldberg Variations twice...

Once for Opus 111

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And once for Mirare

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Both are excellent but from what I recall the Mirare is the flashier of the two.

[kishnevi]

I can't recall anyone in this thread who doesn't think that Pierre Hantai's recording is one of the best.

I don't think it's one of the best.

Of course, the fact that I've never heard it may have something to do with that 

(I do remember liking his recording of the Toccatas.)

I don't have that terribly many performances of the GVs on harpsichord--Leonhardt's three various recordings (very much worth hearing, but I'm not sure which of the three I'd suggest), van Asperen (nothing pops in my memory about this performance good or bad),  Egarr (thumbs down), Staier (thumbs up).  For whatever reason,  I seem to prefer Bach's keyboard works to be done on piano.