Bach on the harpsichord, lute-harpsichord, clavichord

[Mandryka]

Is there a good WTC on harpsichord that isn't crazy expensive or hard to find?

There is, and it's a doozy, IF he'll send it to you in America. Colin Booth's Christmas offer is still running - this is one of the great WTCs and is more informed by latest understanding of the score than Leonhardt or Asperen or whatever.

https://www.colinbooth.co.uk/bach-well-tempered-clavier-book-1-and-2

[prémont]

There is, and it's a doozy, IF he'll send it to you in America. Colin Booth's Christmas offer is still running - this is one of the great WTCs and is more informed by latest understanding of the score than Leonhardt or Asperen or whatever.

Colin Booth is of course a great choice. Another might be Steven Devine, incidentally playing an instrument made by Colin Booth.

Glen Wilson.

As far as I know Glen Wilson's set is neither cheap nor easy to get hold on.

[vers la flamme]

more informed by latest understanding of the score than Leonhardt or Asperen or whatever.

Care to pontificate elaborate on this matter? Or perhaps you have a good PhD thesis for me to read on the subject?

As far as I know Glen Wilson's set is neither cheap nor easy to get hold on.

I found this to be the case unfortunately after reading DBK's suggestion :/

[Mandryka]

Or perhaps you have a good PhD thesis for me to read on the subject?

https://www.colinbooth.co.uk/did-bach-really-mean-that-colin-booth

I got it out actually and listened to half a dozen pieces. It is full of little insights which noone else has -- accents, rhythms, ornaments, changes to note liaisons etc.  All very natural, it's only through close listening and an awareness of the tradition that you notice just how much care and imagination has gone into the performance.  Nice instrument, well recorded.

[Mandryka]

Ton Koopman's first recording of the French Suites, 1975

https://www.youtube.com/watch?v=b4zcmXUZ6Ow&ab_channel=HarpsichordVinylGallery

[Dry Brett Kavanaugh]

Jfyi, the links to the WTC2, French and English Suites by Picht-Axenfeld are below, respectively.

https://www.youtube.com/playlist?list=OLAK5uy_nCgFRVVaOllhwvsqaU8fDP1tjWanDyre0

https://www.youtube.com/playlist?list=OLAK5uy_lI2iRH0MxCEeylx_wtc1dj6SFifCO3UE8

https://www.youtube.com/playlist?list=OLAK5uy_mf1ckH9gDyTxrTrxz4XETqD_ZGNCMFTbg

[prémont]

Jfyi, the links to the WTC2, French and English Suites by Picht-Axenfeld are below, respectively.

https://www.youtube.com/playlist?list=OLAK5uy_nCgFRVVaOllhwvsqaU8fDP1tjWanDyre0

https://www.youtube.com/playlist?list=OLAK5uy_lI2iRH0MxCEeylx_wtc1dj6SFifCO3UE8

https://www.youtube.com/playlist?list=OLAK5uy_mf1ckH9gDyTxrTrxz4XETqD_ZGNCMFTbg

From the perspective of historical information these recordings are interesting as being typical transitional "pre-informed" interpretetions played on revival harpsichords (by Thurston Dart ironically named pianochords) along with the recordings by Hans Pischner, Martin Galling, Zuzana Růžičková, Helmut Walcha et.c. What chacterizes this style is a strict trueness to the score, steady rhythm (meaning no rhetoric nor expressive rubato) and lack of distinctive and varied articulation. This style was a reaction against the earlier romantic style, and as such it was an important transitory style until the HIP movement took over. Picht-Axenfeld was one of the most important exponents of the transitional style.

[Dry Brett Kavanaugh]

From the perspective of historical information these recordings are interesting as being typical transitional "pre-informed" interpretetions played on revival harpsichords (by Thurston Dart ironically named pianochords) along with the recordings by Hans Pischner, Martin Galling, Zuzana Růžičková, Helmut Walcha et.c. What chacterizes this style is a strict trueness to the score, steady rhythm (meaning no rhetoric nor expressive rubato) and lack of distinctive and varied articulation. This style was a reaction against the earlier romantic style, and as such it was an important transitory style until the HIP movement took over. Picht-Axenfeld was one of the most important exponents of the transitional style.

Thank you for the insightful explanation. When you say "lack of distinctive and varied articulation" does it suggest a relative lack of liberty/novelity in interpretation?

You called the performances in the East German Silbermann organ set from Berlin Classics "transitional style". Did you mean similar?

[prémont]

Thank you for the insightful explanation. When you say "lack of distinctive and varied articulation" does it suggest a relative lack of liberty/novelity in interpretation??

Yes, just that.

You called the performances in the East German Silbermann organ set from Berlin Classics "transitional style". Did you mean similar?

Yes, but I don't use the term "transitional style" in a derogative way. The greatest exponents of this style are most often impressive listening (Walcha, Kirkpatrick eg.), and actually we don't know how much "expression" the baroque musicians put into their playing. I grew up with the transitional style and this style may still be a beneficial antidote to the often overexpressive HIP style. 

[Dry Brett Kavanaugh]

Yes, just that.

Yes, but I don't use the term "transitional style" in a derogative way. The greatest exponents of this style are most often impressive listening (Walcha, Kirkpatrick eg.), and actually we don't know how much "expression" the baroque musicians put into their playing. I grew up with the transitional style and this style may still be a beneficial antidote to the often overexpressive HIP style. 

Possibly are you suggesting that often "less is more" in terms of expression?

[prémont]

Possibly are you suggesting that often "less is more" in terms of expression?

Yes, you can say that. At least too much "expression" may be tiresome listening.

[Dry Brett Kavanaugh]

Ton Koopman's first recording of the French Suites, 1975

https://www.youtube.com/watch?v=b4zcmXUZ6Ow&ab_channel=HarpsichordVinylGallery

I wonder what you especially like in the performance.

[Mandryka]

I wonder what you especially like in the performance.

I like it because it sounds like a sincere declaration of love.

The Erato recording is better I think.

[Dry Brett Kavanaugh]

I like it because it sounds like a sincere declaration of love.

The Erato recording is better I think.

Wonderful opinion. Will check the Erato disc.

[prémont]

Wonderful opinion. Will check the Erato disc.

Among harpsichord recordings of the French suites Koopman's second recording (Erato) is my unchallenged favorite.

[Mandryka]

Ok I will buy the recording next month as I'm traveling this month.

And Julian Perkins on clavichord - which is possibly the performance which means most to me. A real case of ars adeo latet arte sua.

[Dry Brett Kavanaugh]

And Julian Perkins on clavichord - which is possibly the performance which means most to me. A real case of ars adeo latet arte sua.

Perkins sounds good. Sometimes his melodic alterations are large and busy, still the overall music is elegant and very likable. Peter Hill is a challenge for me. I'll come back to him in a few months.

[prémont]

Perkins sounds good. Sometimes his melodic alterations are large and busy, still the overall music is elegant and very likable. Peter Hill is a challenge for me. I'll come back to him in a few months.

Some other options - which I am very happy with - are

Colin Tilney - clavichord (Music & Arts)
Wolfgang Rübsam - piano (Naxos)
Wolfgang Rübsam - lute harpsichord (Brilliant classics)

I'm also going to explore Peter Hill after recently having enjoyed his WTC I & II.

[BWV 1080]

Some other options - which I am very happy with - are

Colin Tilney - clavichord (Music & Arts)
Wolfgang Rübsam - piano (Naxos)
Wolfgang Rübsam - lute harpsichord (Brilliant classics)

I'm also going to explore Peter Hill after recently having enjoyed his WTC I & II.

I don't care much for Hill & Rubsam's stille brise - muddles the rhythm too much for me.  Understand a wide degree of performance options exist in Baroque music, but their playing strikes me as a bit mannered.  Would be more interesting in someone who plays a stricter rhythm but with consistent notes inegales (more or less swung 8th notes), particularly on slow and mid-tempo dance movements

[Mandryka]

@BWV 1080 - where do you hear "style brisé" in Hill?