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mikeweil

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  6. Harpsichords! Favorite Players, Recordings, Styles . . .

    in Classical Discussion

    Posted · Edited by mikeweil

    On 2/4/2024 at 12:52 AM, Д.Д. said:

    Yeah, van Asperen recorded four CDs of Louis Couperin music for Aeolus. I have Vol. 1, it's excellent (thank to mikeweil's recommendation). All four can be obtained as a bundle direct from the label: https://www.aeolus-music.com/Alle-Tontraeger/Bundles/AE80013-Louis-Couperin-Complete-works-for-harpsichord  

    Van Asperen's recordings of Louis Couperin and Johann Jakob Froberger on Aeolus are indeed the best one can buy right now of the music of these masters. Fantastic historic harpsichords, excellent playing and comments and perfect sound.

  9. Harpsichords! Favorite Players, Recordings, Styles . . .

    in Classical Discussion

    Posted

    Listening to the samples reminds me  of the reasons why I skipped this when it was released - I don't like her agogics. In Bach's music it is all there, you don't have to manipulate tone durations too much, which she does. Just let it flow. That's what his son Carl Philip Emanuel told us.

    For the Goldbergs I would recommend someone using a German type harpsichord, like Luca Guglielmi, Andreas Staier, Ottavio Dantone. 

  14. Harpsichords! Favorite Players, Recordings, Styles . . .

    in Classical Discussion

    Posted · Edited by mikeweil

    Knowledge about instruments and their construction has increased enormously over the last decades. The harpsichords Landowska used were made by piano builders trying to use methods of piano construction, which in the end did not yield satisfying results. (These instruments mockingly were described as "egg slicers" in Germany) It has a lot to do with string tension and tuning pitch, as well as soundboard construction, housings and pinboards.  Only in the 1960's did builders start to study and meticulously copy historic harpsichords, and they learned a lot in that process. They now are on the same level as the great instrument makers in the 17th and 18th centuries. And they now know the differences between different historic workshops and regional styles etc. The sound of Landowska's or Ruzickova's harpschords has a lot to do with this. (I just got a 10 CD box with remastered Landowska recordings but still have to listen to it.)

    Plus, most engineers and record producers stll have to learn how to record these instruments properly. They love the sound ambience of churches, but harpsichords are not suppoosed to sound good in there. Saloons, private apartments, much smaller rooms with little reverb, and intimate acoustics are appropriate. Many of Gustav Leonhardt's best recordings were made at his house in Amsterdam. 

    Overtones are very important, for the timbre. Church reverb absorbs these. 

    As I said, a very complex subject.

  23. BFT 238 Reveal

    in Blindfold Test

    Posted

    5 minutes ago, Dan Gould said:

    Thanks Al!

    I truly feel like the Charles Williams is at the top of the great Mapleshade list.  He didn't get the attention he deserved.

    Just put it in the player! And ordered a copy of the Norris Turney a few minutes ago. 

  24. BFT 238 Reveal

    in Blindfold Test

    Posted

    Oh well ..... two albums I actually have. That I did not recognize Poindexter is a big shame, having researched his discography. 

    I bought the Charles Williams because I love Larry Willis and the way Pierre Sprey's recordings sound. Will have to pull this out. That series on Mapleshade is a treasure trove.

    Thanks, Dan!

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