For some reason, many people tend to dislike any harpsichord having more than the boring 2x8‘ 1x4’ configuration (maybe due to the horrible 16’ registers present in early revival instruments) but personally, I love these more feature rich instruments and when the additional registers are used wisely, they add a lot to the music!
Who says 16' registers on revival instruments are horrible? Some of the revival harpsichords had some engineering problems, and some of them do also have defects in sound (Neupert, I'm looking at you), but some of them (even some of the fairly early ones, like Pleyel) sound pretty good (especially Eric Herz, Sperrhake, and another type with a similar name that I can't remember off the top of my head). And then of course we have the Hieronymus Albrecht Hass ancestors of the revival harpsichords, and I've heard recordings of triple manual instruments of this type, and they are magnificent, and this video is one of them.
@@Lucius_Chiaraviglio Yes, there are indeed revival harpsichords that sound quite nice (owning a revival spinett myself) also with decent 16‘ registers. However, adding a 16‘ register was a popular attempt of adding richness to a weak and tinny sounding instrument which in that case just creates a blurry, muffly mess. I think that when people think of 16‘ registers, they think of these instruments and come to the conclusion that 16‘s always sound bad, which is of course not correct.
@@BB-xm8jc Not all of them -- Even the old Pleyel I have heard on a video floating somewhere around here was not too shabby, and Eric Herz, Sperrhake, and another one with a similar name that I can't remember the name of sound pretty good. And Francis Poulenc wrote his Concert Champêtre specifically for that type of harpsichord (specifically, Pleyel being available at the time). Although I do admit that I would like to hear Trevor Pinnock's recording of this on its spiritual ancestor, the magnificent triple manual harpsichord of Hieronymous Albrecht Hass (actually a replica thereof), which I have heard used for other music, but not yet for that.
Großartige Aufnahme! Unglaublich energetisierend. So fesselnd, dass ich augenblicklich in dieser Musik abtauchen kann, selbst wenn ich gerade mit was anderem beschäftigt war und nur zufällig den Hinweis auf Ihre neue Aufnahme fand. Das geht mir bei fast all Ihren Aufnahmen so.
Thank you, Diego, this is truly fine Harpsichord playing! This instrument seems to have the ability to allow different intensity of tone depending on firmness of key-strike. This is a very clear audio and fine video recording, thank you! Greetings, from Canada.
And I’m used to hearing this piece (365) played much faster (for example Scott Ross). Playing it slower brings out an extra beauty that I wasn’t even aware of. Thank you.
How do we decide on tempi in this music. A harpsichordust dismissed my k.411 because she said t he music was not meant to be fast and pisno recordings were not a judge or rule. Tradition ? Gilels plays all of them too slow. Bartok records them and is really sensutive to their features. Landowska as in almost everything she touches is thoughtfully insincere and wronggeaded like that other popular nut GlennGould(Strauss Burleske:wrong!BeethovensonatasWrong!!the ugliest Mozart ever recordedlike ChickCorea. IngridHaebler should have Gould arrested!
Il suono di questo clavicembalo ha la capacità di trasportarti lontano e avvolgerti con un turbinio di note che ti fanno vibrare l'anima. Grazie Diego.....è bellissimo!
This video is an excellent demonstration that a harpsichord of Hieronymus Albrecht Hass (or a replica thereof) can make small sounds as well as big ones. These are magnificent instruments.
Muy interesante. Quizá hubiera sido mejor que los claves hubiesen seguido su evolución organológica claramente abierta a principios del siglo XX y que luego fue cerrada a cal y canto con la corriente historicista. El clave es un instrumento que creo que puede y debe evolucionar. Enhorabuena y muchas gracias por este gran trabajo.
¡¡¡¡Bravísimo!!!!...
¡Por Dios, cuánta belleza!...
¡Qué magnífico instrumento, qué maravilloso!...
¡Una interpretación impecable!
👍👍👍👌👌👌👏👏👏👏👏👏🌹🌹🌹🌻🌻🌻🌷🌷🌷💐💐💐
For some reason, many people tend to dislike any harpsichord having more than the boring 2x8‘ 1x4’ configuration (maybe due to the horrible 16’ registers present in early revival instruments) but personally, I love these more feature rich instruments and when the additional registers are used wisely, they add a lot to the music!
Who says 16' registers on revival instruments are horrible? Some of the revival harpsichords had some engineering problems, and some of them do also have defects in sound (Neupert, I'm looking at you), but some of them (even some of the fairly early ones, like Pleyel) sound pretty good (especially Eric Herz, Sperrhake, and another type with a similar name that I can't remember off the top of my head). And then of course we have the Hieronymus Albrecht Hass ancestors of the revival harpsichords, and I've heard recordings of triple manual instruments of this type, and they are magnificent, and this video is one of them.
@@Lucius_Chiaraviglio
Yes, there are indeed revival harpsichords that sound quite nice (owning a revival spinett myself) also with decent 16‘ registers. However, adding a 16‘ register was a popular attempt of adding richness to a weak and tinny sounding instrument which in that case just creates a blurry, muffly mess. I think that when people think of 16‘ registers, they think of these instruments and come to the conclusion that 16‘s always sound bad, which is of course not correct.
@@Lucius_ChiaraviglioThose old revivals sound horrible...
@@BB-xm8jc Not all of them -- Even the old Pleyel I have heard on a video floating somewhere around here was not too shabby, and Eric Herz, Sperrhake, and another one with a similar name that I can't remember the name of sound pretty good. And Francis Poulenc wrote his Concert Champêtre specifically for that type of harpsichord (specifically, Pleyel being available at the time).
Although I do admit that I would like to hear Trevor Pinnock's recording of this on its spiritual ancestor, the magnificent triple manual harpsichord of Hieronymous Albrecht Hass (actually a replica thereof), which I have heard used for other music, but not yet for that.
Großartige Aufnahme! Unglaublich energetisierend. So fesselnd, dass ich augenblicklich in dieser Musik abtauchen kann, selbst wenn ich gerade mit was anderem beschäftigt war und nur zufällig den Hinweis auf Ihre neue Aufnahme fand. Das geht mir bei fast all Ihren Aufnahmen so.
Thank you, Diego, this is truly fine Harpsichord playing! This instrument seems to have the ability to allow different intensity of tone depending on firmness of key-strike. This is a very clear audio and fine video recording, thank you! Greetings, from Canada.
Beautiful colours.I never heard better. Thankyou!
Como siempre excelso, grandioso, excepcional!!
Muchas Gracias!!
Amazing! 👏👏👏👏👏👏
And I’m used to hearing this piece (365) played much faster (for example Scott Ross). Playing it slower brings out an extra beauty that I wasn’t even aware of. Thank you.
How do we decide on tempi in this music. A harpsichordust dismissed my k.411 because she said t he music was not meant to be fast and pisno recordings were not a judge or rule. Tradition ? Gilels plays all of them too slow. Bartok records them and is really sensutive to their features. Landowska as in almost everything she touches is thoughtfully insincere and wronggeaded like that other popular nut GlennGould(Strauss Burleske:wrong!BeethovensonatasWrong!!the ugliest Mozart ever recordedlike ChickCorea. IngridHaebler should have Gould arrested!
Il suono di questo clavicembalo ha la capacità di trasportarti lontano e avvolgerti con un turbinio di note che ti fanno vibrare l'anima.
Grazie Diego.....è bellissimo!
¡Qué alegría escuchar vuestras grabaciones! Gracias por darnos tanta música.
This video is an excellent demonstration that a harpsichord of Hieronymus Albrecht Hass (or a replica thereof) can make small sounds as well as big ones. These are magnificent instruments.
Gorgeous playing and instrument.
Beautiful, as usual!
Muy interesante. Quizá hubiera sido mejor que los claves hubiesen seguido su evolución organológica claramente abierta a principios del siglo XX y que luego fue cerrada a cal y canto con la corriente historicista. El clave es un instrumento que creo que puede y debe evolucionar.
Enhorabuena y muchas gracias por este gran trabajo.
Meraviglioso
Incredible... 😲
¡¡¡Le ponen esta música a un Vermeer y se convierte en un Velázquez!!!
The jumping of the camera every 2 seconds is enervating and makes it impossible to watch. You must change the director of photography.