Відео

I think it's a mixture of Mr Bellicanta's touch and the instrument itself. It produces such a sweet sound.

Thank you! I did have to concentrate a lot to do it in one shot 😅 without hitting any wrong notes or too badly played ones, or messing up the trills, all easily done on the harpsichord! It was also beyond my bed time 😴 I did sleep well that night!

Thank you Riva! I am with you. I break the synchronicity between the two hands more than what I would like with the purpose of softening the sound. It works better like this on my harpsichord. Otherwise it can sound harsh with a continuous simultaneous attack. I find that if a harpsichord is voiced softly and in quill I naturally do less de-synchronization. Eventually I will quill my harpsichord with crow, just need to collect enough feathers and face the task!

Não vendo, simplesmente tenho um piano, um clavicórdio e um cravo. Aonde moras? Seria mais facil conseguir um instrumento nos Estados Unidos ou na Europa. Dependendo do país existem diferentes paginas para consultar.

You are welcome Mr Fischer :-)

Cheers!

Only trying to know! I think that the harpsichord is a 'living room' instrument though. Small halls or small churches would work well for it. Even the most sonorous harpsichord would suffer in a too big space, could do the job depending on the specific space, but would suffer.

Thanks! It does have an interesting turn before going back to repeating the first theme.

Thank you! Your comment means a lot to me :-)

Thank you for the kind words. I had to work a bit on how to render it on my harpsichord specifically, I am glad you liked the result!

Gracias por escuchar 🙂

Thank you 🙂

The Allemande is coming soon :-)

Another episode in John Marsh's diaries relates how a person went to visit him in Salisbury and simply walked 20 miles from Shaftesbury. It was another perception of the world.

@@theclavierist Very interesting! I hope to read "John Marsh's Diaries."

@@danawinsor1380 the tittle is 'Thr John Marsh Journals' there is a scanned version online here archive.org/details/johnmarshjournal0000mars

Thank you for listening!

🙂

Grazie!

Thanks 🙂

How so? Expand on the nuances

@@gabrielaguilera4960 Well it's complicated, but you have to have a very delicate touch. Too hard and makes a brash sound, too soft and it doesn't sound at all. That's just one thing tho

​@@Stonmann Thankyou I enjoyed that, it looks very difficult to play, you can sense the effort made to learn the technique and style. Bravo Thankyou

Thank you 🙂

Thanks! There are others on youtube, not videos but as part of recorded albums.. fast and furious 🚀

Thank you!

I am actually still confused by that first part of the piece 😂 the second part is much more like a common Sarabande. I am sure I have seen other English Sarabands with that notation though. I wonder if it should be played more inegale, like a dotted note pattern. I need to experiment more. Or Sarabandes were conceived differently in England at the time. Or someone made a 'collage' between two pieces. I need to investigate. I think that a lot of people didn't really care about spelling back in the day, they just wrote it like it felt like. It could be a typo, or at some point a typo started the whole SarabRand thing.. quite a few of them around.. just like some 'Almonds' 😂

Thanks Glenn :-)

Those metronome numbers of the 19th century are a great objective reference to work our way back to this earlier music. We might get it wrong, but we won't get it THAT wrong.. which is irrelevant anyway. What hooks me into this way of playing is the fact that the music assumes that rhetorical quality of speech with all notes becoming like syllables to be pronounced clearly.

Once I played a short recital to a mixed audience, some people were familiar with 'harpsichord music', some were not. Some, at the end, came to tell me that for the first time they really liked the harpsichord! I played well enough but far from my best. I believe that my tempo choice allowed the music to speak for itself, even with the odd wrong note! That day I played, amongst other pieces, an Allegro by Galuppi, unknown to most, even the connoisseurs, which at my tempo would have been classified by modern standards an Allegretto at the most, but more towards Andante. That piece generated an enthusiasm that even to me was surprising! Obviously because of not knowing the piece, there was nothing to compare it with. I do think we are only the beginning of a big musical revolution :-)

The only one that I could find with this sonata, Schott, Galuppi 10 Sonatas. There are a few mistakes. Bar 9 shows a trill on a' and g' which does not appear in any of the 18th century manuscripts I could find on IMSLP. Those trills are awkward because they come after a trill of a lower note, from which one then needs to jump up to trill again.. I have not played them, only the trills on the lower notes (minute 1:06). Then bar 13 has a d in the Alberti bass that is obviously supposed to be a c# (minute 1:45), given that the previous bar has the same notes in both hands, with the correct c#. Then in the succession of trills at the end.. the edition has all the dotted notes with a trill, the 18th century manuscripts exclude the trill from the first dotted note of the groups in both bars 42 and 43 and so I played it (minute 5:45). Which edition do you play from?

@ i play from a 20th century edition which is full of problems… I may make an edition myself based on the manuscripts if the complete sonata is available

Looking forward to your post-exam recording :-)