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(and it is of course miles better than the namby-pamby Hewitt.)
I've been too reticent to criticise St Angela .... but I have never enjoyed her playing either.
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
According to Presto's blurb: "In an interesting variation in performance practice, Konstantin Lifschitz combines the two books of the Well-Tempered Clavier by following each prelude and fugue from Book I with the corresponding prelude and fugue from Book II, thus keeping the key signatures together and creating a steady progression through the scale to the end of the series"
Am I alone in being surprised and intrigued by this?
No, you're not! It sounds like a Heston Blumenthal recipe: seems revolting when you first hear about it, then so intriguing you want to try it! It might just work, but I imagine it'll be very odd not hearing the c minor Preludes following the C major Fugues.
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
The sound quality on the Fellner YouTube video is a bit ropey. I have found this often happens with uploads - I expect people try to tweak the levels and boost the volume. I would hope the ECM disc is much higher quality.
ECM CDs are mostly excellent. I've just received Lubimov's discs of the Debussy Preludes, played on a 1925 Bechstein and a 1913 Steinway. It received good reviews, so I'm looking forward to exploring the set.
If, like me, you long believed yourself to be allergic to harpsichords, I would recommend giving Luc Beausejour's Book One a try on Naxos. I've been enjoying it so much on Qobuz that I just ordered it for the bargain price of £1 from the Amazon Marketplace.
A lovely sound and delightful playing. His Goldberg Variations are equally warm-toned and not at all skeletally plinkified.
Another recommendation for harpsichordphobes from me would be the latest release from Christophe Rousset of pièces de claveçin by Duphly. The instrument (Christian Kroll), the music and the playing are gorgeous.
If, like me, you long believed yourself to be allergic to harpsichords, I would recommend giving Luc Beausejour's Book One a try on Naxos. I've been enjoying it so much on Qobuz that I just ordered it for the bargain price of £1 from the Amazon Marketplace.
A lovely sound and delightful playing. His Goldberg Variations are equally warm-toned and not at all skeletally plinkified.
Thanks for that. I really must try and overcome my allergies; not too much of a hardship at that price!
My life, each morning when I dress, is four and twenty hours less. (J Richardson)
Another recommendation for harpsichordphobes from me would be the latest release from Christophe Rousset of pièces de claveçin by Duphly. The instrument (Christian Kroll), the music and the playing are gorgeous.
Christophe Rousset's new(ish) Louis Couperin discs are miraculous in playing, sumptuous in sound (harpsichord Louis Denis 1658 restored by Reinhard von Nagel 2004-5) http://www.prestoclassical.co.uk/r/A...5C3%25A9/AP006
I heard on Essential Classics while in the car a couple of weeks ago a Gary Cooper (I think...it was near noon though) on harpsichord playing the D Major from Bk 1, with delightful freedom and character, I thought. Anyone know this player and his recordings?
I heard on Essential Classics while in the car a couple of weeks ago a Gary Cooper (I think...it was near noon though) on harpsichord playing the D Major from Bk 1, with delightful freedom and character, I thought. Anyone know this player and his recordings?
Yes indeed - among his many accomplishments, Rachel Podger's partner on her excellent complete Mozart keyboard and violin sonatas on Channel Classics.
I heard on Essential Classics while in the car a couple of weeks ago a Gary Cooper (I think...it was near noon though) on harpsichord playing the D Major from Bk 1, with delightful freedom and character, I thought. Anyone know this player and his recordings?
I have his Beethoven Op. 120 and find it much to my taste. I do not (yet) know his 48. Anybody here know what tuning he used?
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