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post #16 of 298
Bunny
I Have considered the Tureck for Bach, perhaps sometime in the future. Some comments at Amazon seem to think that her VAI label recordings are better than those for DG.

CSMR
I have seen the Fischer/EMI set of complete WTC, many seem to like it very much and although in mono this would not bother me too much for solo piano work, also price is relatively low.

Tyson
I would probably own even more Hewitt if not for the insanely high price of her new Hyperion CDs! We were lamenting the high price of new MTT Mahler hybrid CDs and rationalized how expensive for entire orchestra to record now,
this is just one artist and one instrument!

Anyway almost any discussion of Bach will eventually refer to the Gould performances, therefore had to have them if for nothing else than point of references. I suspect I will probably really like them from the short 60 second samples heard.......we will see. Used price very reasonable, got all three Gould works above for the price of single new Hewitt version.
post #17 of 298
I find harpsicord recordings of Bach fascinating because the various instruments themselves sound so different. Plus the playing style, rythm, ornamentation of each artist makes big difference in sound, much more pronounced than piano versions.

Some artist have a choppy stacatto playing style or overly reverberant style which I don't care for, but a few of the great ones have a harmonious rythm they use that allows the notes to flow naturally and clearly......almost like a continuos clear flowing stream.
post #18 of 298
Quote:
Originally Posted by DarkAngel
I find harpsicord recordings of Bach fascinating because the various instruments themselves sound so different. Plus the playing style, rythm, ornamentation of each artist makes big difference in sound, much more pronounced than piano versions.
Some artist have a choppy stacatto playing style or overly reverberant style which I don't care for, but a few of the great ones have a harmonious rythm they use that allows the notes to flow naturally and clearly......almost like a continuos clear flowing stream.
I think you are referring to the staccato playing style on the piano? Harpsichord doesn't actually let you play staccato or legato because the strings are plucked not struck. There are two sets of strings that may be struck separately or together depending on how the stops are set. Some harpsichords may have the strings set an octave apart, have two keyboards which may be played singly or coupled, etc. but none of that allows for legato playing or for the dynamics of loud and soft by touch. That is why there is so much ornamentation in baroque music. Ornamentation was used for emphasis. Chords are frequently rolled to give them more dynamism as well.
post #19 of 298
Bunny, (or anyone else)
Was the reason Bach allowed for "repeats" in many keyboard works was to encourage artist to ornament or improvise on section just played? How much freedom does artist allow themself here?

I notice some artists do not use any repeats, others use all, and some use selective repeats.
post #20 of 298
DA,
Improvisation was a large part of baroque music. The soloists frequently added ornamentation where they thought fit, as well as improvised cadenzas and variations much as jazz musicians do nowadays. As a matter of fact, Beethoven, in the op.78 (Emperor) piano concerto was the first composer to actually direct that the soloist should play the music as written, and actually wrote out the fully developed cadenzas without leaving any room for improvisation. This was according to some, because his deafness precluded his own performance of the work, so that his own improvised cadenzas (which would set the standard for other's cadenzas) would have been impossible to perform. I'm not sure if this explanation is accurate, but I'll bet Beethoven's desire for greater control over his artistic product also played a part in this. It really makes me wonder what a performance of the Brandenburgs was like in the baroque period, or the Goldberg variations etc., or for that matter what a Mozart performance was like, when individual performers were allowed so much freedom with the work. This is why I love the Tafelmusik 5th Brandenburg so much; the harpsichord soloist (who is absolutely breathtaking) plays Bach's longer solo which is hardly ever heard, and one can get an approximation of what was really going on in the baroque performance.
post #21 of 298
As I await for my used Glenn Gould CDs to arrive I have to be careful not to let Dshea know I got the Hewitt/Hyperion English Suites 2CDs for $10 from yourmusic.com (shhhhhhh!)
post #22 of 298
That's better than my deal with them, they wanted 11.95 (and 5.95 per disc) now. I don't know if I still want the Hewitt after some of the things I have been reading about her! Ofcourse she does come with Tyson's recommendation.
post #23 of 298
Quote:
Originally Posted by Bunnyears
That's better than my deal with them, they wanted 11.95 (and 5.95 per disc) now. I don't know if I still want the Hewitt after some of the things I have been reading about her! Ofcourse she does come with Tyson's recommendation.
What do you mean.......what have you heard?
Seems to be unamimous praise from critics.

The reason my price is a little cheaper is because I joined when price was still $4.99 each CD
Archiv website price is $41.78 CD version or $49.38 for SACD.
post #24 of 298
I want to add Sviatoslav Richter IHMO one of the greatest artists of the last century.
I like specially his recordings of Haydn's sonatas.
post #25 of 298
Thread Starter 
Quote:
Originally Posted by DarkAngel
As I await for my used Glenn Gould CDs to arrive I have to be careful not to let Dshea know I got the Hewitt/Hyperion English Suites 2CDs for $10 from yourmusic.com (shhhhhhh!)


This is okay. You have worked tirelessly on our behalf and have exerted generous efforts to buy and review so many CDs for us. I congratulate you kind sir on your talents and acquisition of this fine CD.

dshea
post #26 of 298
Quote:
Originally Posted by DarkAngel
What do you mean.......what have you heard?
Seems to be unamimous praise from critics.

The reason my price is a little cheaper is because I joined when price was still $4.99 each CD
Archiv website price is $41.78 CD version or $49.38 for SACD.
You know, I can't remember quite what I heard, but I got the impression that although technically a marvel she sometimes tended to be a bit conservative in her interpretations. It was just something that stuck in my mind, because she is universally admired for her Bach performance. I must be losing my mind because for the life of me I now can't remember the reference! Hopefully, it will come back.

She is scheduled to play at Zankel Hall in April, and I have been debating getting tickets for her recital. The problem is the date: April 7
Here's the program:

BACH Chromatic Fantasia and Fugue in D Minor, BWV 903
BACH French Overture in B Minor, BWV 831
COUPERIN Treizième ordre
RAVEL Le Tombeau de Couperin

I'm not familiar with that Ravel, but referring to Couperin's tomb would seem pretty ominous for a baroque specialist. Come to think of it, although I have a bit of Lully and Rameau, I don't have any Couperin! and after having to spend so much time as a child on Le Coucou... He was Louis XIV's court musicians and I believed admired by Bach (if I am remembering accurately what my teacher said all those years ago).
post #27 of 298
bunnyears,
it is her very restraint that I absolutely adore about her performances of Bach. Bach's music is already very emotional to me, and her ability to bring out these emotions without histrionics and with absolute clarity of musical line is what I love. Even Gould seems vulgar next to her.

I'll admit I didn't think that way at first, it took me about a year of listening to her performances before they really grew on me (I thought they were a bit boring at detached at first). Now I wouldn't be without them no matter what.
post #28 of 298
Quote:
Originally Posted by Tyson
bunnyears,
it is her very restraint that I absolutely adore about her performances of Bach. Bach's music is already very emotional to me, and her ability to bring out these emotions without histrionics and with absolute clarity of musical line is what I love. Even Gould seems vulgar next to her.

I'll admit I didn't think that way at first, it took me about a year of listening to her performances before they really grew on me (I thought they were a bit boring at detached at first). Now I wouldn't be without them no matter what.
No, please understand, I do have her cd's ordered. it's just that I wish I could remember where I heard that one thing. Actually when I hear something like that it usually stimulates my curiousity. As for Gould, I was crazy about him when I was younger, but now his eccentricities annoy me so much that I never listen to him anymore.

I'm still thinking of the concert, but the date is so problematic for me with everything that I have to arrange that week in April. But, it is a Thursday, so it may be possible. Btw, have you listened to any of her Couperin recordings? Couperin is a hole in my cd collection that is aching to be filled!
post #29 of 298
My Gould sets are beginning to trickle in, no complaints sounds great, last night had French Suites spinning.

You have to adjust to the ocassional humming along by GG, but not too distracting. I do cheat a bit and increase subwoofer to add more bottom end to overall sound. I wish Sony would use slim double jewel case instead of chubby pack for 2Cds since wastes shelf space, but often if booklet is thick won't fit well in slim double. At least new Sony GG series is remastered with individual track # for each section.

I will be able to directly compare Hewitt/Gould on a couple pieces, should be interesting.
post #30 of 298
IMO Hewitt will sound a little bland compared directly to Gould's hyperactive playing. Gould is more impressive in the short term, but in the long term it is Hewitt that gets closer to the calm center of these works. JMHO, of course
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