Bach: Keyboard Works

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Alan Curtis has the disadvantage of a somewhat gray sound if the Hamburg Zell instrument is actually fantastic (I have heard other more recent recordings on it). Blandine Rannou plays with a beat which seems free and fluid to me but may strike other listeners as being too unstable. The sound is excellent for my taste. I never bought the Rousset because the sets are kind of expensive in Taiwan. I figure the Rannou is cute enough anyway for me in this music, which is definitely "lite" fare compared to stuff like WTC, Partitas or preludes and fugues for organ.

I noticed that I seemed to have left out a period in my post about the English and French Suites. hehe.

Yes, I have the Curtis but have heard nothing in them to make me favor them above the Rousset. I'm surprised the Rousset are still so expensive in Taiwan. The prices have dropped quite a bit here since their release. Perhaps you will be able to find them in England at a better price and then when you leave you can submit the form to recoup the VAT.

I am very interested in Rannou's recordings of the suites. They have received a rather annoying review from Gramophone whose critic also deemed the Rousset suites disappointing because they were "too superficial" (how Gramophone defines depth is a mystery to me!), and guarded praise from Jed Distler (who loved Joyce Hatto). With encomiums such as that, the sets must surely be on the "must buy" list.

 

[Masolino]

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif I actually think the Mortensen concertos are about the most extroverted version of those works that I have.

Well, if he does such a terrific backup for Brautigam in the BIS Haydn
concerto disc, I wouldn't be surprised that he is just as good for his
own outings on Bach.

Quote:

I recently received Hantaï's recording of the harpsichord concerti. On the cd that I have, the harpsichord sounds a bit recessed, especially at the beginning. Perhaps it was not as closely miked as it usually is in an attempt to make the sound closer to what you might hear in a recital. I don't know if I'm completely satisfied with that type of sound as it does take a little getting used to, so I wouldn't recommend it to newbies to Bach. Of course, my cd may be a dud (as they call them) with some sort of defect, so let me know if this is to be expected.

I doubt that you had a dud, but you may simply dislike a smallish harpsichord sound. I remember when Hantai's disc first came out (years ago!) it drew some pretty dismissive review from the Gramo critic, saying it had fanatically fast speeds, clipped phrasings, and puny sound among a plethora of other vices. I could see where he had it coming, but really I didn't (and still don't) mind one bit - the harpsichord has a very sweet sound and Hantai plays it really well, giving out a snappy, dashing interpretation. Yes the balance between Hantai's hpsd and the string quintet that accompanies him could be more realistic with a fuller ambience (which I do find in the WTC selections on the same disc) but then nothing is perfect.

 

[eyeteeth]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Strange I never find Trevor Pinnock's Bach (at least in its pre-2000 phase) to be that extroverted or overt compared to pretty much everything else Bunnyears quoted above, from AAM Berlin, I Barocchisti etc. Nowadays I revisit Pinnock only when I want a break from more rigorous or "rugged" Bach performances, for something sane and smooth. Is that what rock 'n roll sounds like?

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif Masolino,I had been tempted to write that I had found the Pinnock harpsichord concertos rather English -- ie. straight forward and restrained rather than extroverted, spontaneous, and exuberant.

I guess "rock 'n roll" doesn't convey to others what I meant. Bunny comes closest with "straight forward". I think the pop genre serves up its virtues (or lack of, depending) in an unmissable way. That which appeals to me gets served up by Pinnock where another artist requires me to lean in and focus more intently. Yeah I'm lazy.

Sorry I didn't make myself more clearly understood; I can only put in about ten minutes daily into message boards (*big yawn*) and am too hasty sometimes.

 

[Masolino]

Quote:

Originally Posted by eyeteeth /img/forum/go_quote.gif I guess "rock 'n roll" doesn't convey to others what I meant. Bunny comes closest with "straight forward". I think the pop genre serves up its virtues (or lack of, depending) in an unmissable way. That which appeals to me gets served up by Pinnock where another artist requires me to lean in and focus more intently. Yeah I'm lazy. Sorry I didn't make myself more clearly understood; I can only put in about ten minutes daily into message boards (*big yawn*) and am too hasty sometimes.

I see. Then definitely stick with Pinnock in Bach (the Hanssler advice still applies). For better sound, Kenneth Gilbert (you would have recognized him as a partner of Pinnock throughout the concerti set) would be a good bet, too, from the "sane" Bach camp. But I haven't heard Gilbert for years, so maybe Bunnyears can confrim this if she also happen to have some of his recordings. No one has mentioned the name of Gustav Leonhardt yet because his Bach can be quite severe and CHILLY listening for some, but for me the lyricism (of the chilly kind

) is felt only gradually after one "tunes in" with his wavelength. Kirkpatrick, Walcha, Karl Richter, Raphael Puyana (who is still alive and playing...incredible) - I find these people's Bach even more straight-laced than Pinnock's and won''t comment further but they may appeal to you! I recently got Puyana's recording of English virginals music recorded in 2003. This guy has not changed his way of playing significantly in c. 35 years!




The DG Archiv Kirckpatrick box, which contains most Bach recordings this respectable harpsichordist did for the label apart from the Well-tempered Clavier Books (concerti, partitas, suites, goldberg variations)

 

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Well, if he does such a terrific backup for Brautigam in the BIS Haydn concerto disc, I wouldn't be surprised that he is just as good for his own outings on Bach.

Actually, vol 2 of the Mortensen concerti is judged to be better than vol. 1, but I love them both and don't really understand why 1 is slighted (although SQ is a bit better on vol. 2). Mortensen does a fine job directing the ensemble in support as well as taking on the harpsichord solos. It's become my reference version of the concerti so far, but I found a copy of the Bach harpsichord concerti (BWV 1052 and 1044) performed by Christine Schornsheim with the AAMB at the NY Public Library. The recording includes a harpsichord concerto by Johann Gottfried Muthel so my hunger for the obscure is also satisfied.

Btw, I do recommend this recording as well, especially for the terribly under-appreciated soloist, Shornsheim who I find myself appreciating more and more. In fact, I have already ordered her Goldberg Variations (not yet arrived) and the CPE Bach Harpsichord Concerti (also with the AAMB).

Quote:

I doubt that you had a dud, but you may simply dislike a smallish harpsichord sound. I remember when Hantai's disc first came out (years ago!) it drew some pretty dismissive review from the Gramo critic, saying it had fanatically fast speeds, clipped phrasings, and puny sound among a plethora of other vices. I could see where he had it coming, but really I didn't (and still don't) mind one bit - the harpsichord has a very sweet sound and Hantai plays it really well, giving out a snappy, dashing interpretation. Yes the balance between Hantai's hpsd and the string quintet that accompanies him could be more realistic with a fuller ambience (which I do find in the WTC selections on the same disc) but then nothing is perfect.

I am getting used to the sound quality of that recording, but I still think that they could have done a bit better balancing the quintet against the harpsichord. However, it's a lovely performance with great style and pizazz. It's a lot more Rock n' Roll to my ears than the Pinnock which puts me more in mind of 1950-60s Sinatra than Elvis. (not dissing Sinatra who I also love.

)

Wow! I suppose it's time for Gramophone to re-evaluate all those reviews that are so slanted in favor of British artists and labels as well as by that so English taste. One of the problem that I have always found with the Gramophone reviews as well as the magazine is that it's slant is so insular that over time the reviews lose relevance. That's only one of the reasons I let the subscription lapse. The other reason is that I don't care to have a podcast given as the "free music" especially when I can download the podcast from their website. I now read the magazine at my local Barnes and Noble while drinking a cup of espresso and eating a brownie. It costs me nothing for the magazine, and I have my ipod to listen to the clips of relevant music that the articles refer to.

 

[Bunnyears]

I have to make a clarification as to the performances on the AAMB Harpsichord Concerti cd. One of the problems with getting a recording from the library is that sometimes you don't get the liner notes with it. The harpsichord on this recording is not played by Shornsheim but by Rafael Alpermann. Shornsheim plays fortepiano on the Müthel concerto. The Triple concerto lists Alpermann on harpsichord (continuo) and Zvi Meniker on fortepiano (soloist). I'm still trying to find out information about the fortepiano used, but that's harder to find on the internet. Unfortunately HM, unlike some other cd companies does not publish their liner notes on the internet.

 

[Masolino]

Hi Bunnyears

Schornsheim recorded a 14-disc set of complete Haydn sonatas and keyboard pieces on Capriccio. It's very affordable and I recall having mentioned it here at headfi. Are you aware of its existence?

 

[Bunnyears]

I do know about that and eventually (sooner rather than later) it will find its way into my shopping basket.

 

[scompton]

Sorry to hijack the thread but I thought an article in the Washington Post Magazine would interest you. The Post had Josha Bell busk at a Metro stop during morning rush hour. Very few people stopped to listen, only 1 person recognized him, and he got $32 in donations.

The first piece he played was the Chaconne from the Partita No. 2 in D minor. I don't have a copy of the partitas and I was wondering if someone could suggest a version. I have been thinking of buying the Grumaix for a while but haven't gotten around to it.

 

[adhoc]

Quote:

Originally Posted by scompton /img/forum/go_quote.gif ...Joshua Bell busk at a Metro stop during morning rush hour. Very few people stopped to listen, only 1 person recognized him, and he got $32 in donations.

Oooh... Rush hour? That's hardly fair!

Anyway, anyone have a recommendation for a recording of the Six Partitas for the keyboard? (Klavier Ubung BWV 825-830) It would be great if someone could give me some recommendations for both piano and harpsichord versions.

Finally, I had a listen to Klemperer's B minor Mass last night - Janet Baker's voice is divine. I wonder how my Richter will stack up.

 

[Masolino]

Gould's is actually the Partitas on piano that I have heard most often
recommended. I have many many more favorite recordings on
the harpsichord, but sticking with an American artist, I will say
Edward Parmentier on Wildboar (should be still in print). No,
not even remotely in the same camp as Richter or Klemperer
(Ralph Kirkpatrick or Helmut Walcha for that? It's been ages
since I listened to either.) but it's ulta-stylish yet unfussy playing
recorded spectacularly.

 

[Masolino]

Follow-up: I heard Alexis Weissenberg's Partitas are very good also - I have not heard them personally.

For me, Kirkpatrick and Walcha are sort of equivalents of Klemperer on the harpsichord. One probably expect to hear very balanced and lucid performance from them. (Extermely so in the case of Walcha.) Karl Richter has actually recorded the Partitas early on his career as well, before his style became increasingly "monumental." They were released with the Goldberg on a double disc set from Teldec (Richter allowed no repeats in all instances) for a very short time and then disappeared before I could get myself a copy. Those who heard it said it was very good. Oh well.

The best sound would be from the Parmentier recording (very easy on the ear yet crystal clear) among those I have mentioned above.

 

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Follow-up: I heard Alexis Weissenberg's Partitas are very good also - I have not heard them personally.

I have a few of Weissenberg's recordings; his fingers are as fast as lightening. He uses more pianistic color than Gould, but I wouldn't know who to put my money on if they were in a race to the finish.

 

[Masolino]

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif I have a few of Weissenberg's recordings; his fingers are as fast as lightening. He uses more pianistic color than Gould, but I wouldn't know who to put my money on if they were in a race to the finish.

Sounds interesting!

 

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Sounds interesting!

Actually it is very interesting. I just find that sometimes the fingers are so fast and the note decay from the pedal is so slow, that some things happen in a speed blur. I don't recommend his Beethoven pcs, though, but that's as much a reflection of the Karajan aesthetic which is just too ott in those.