Looking for recommendations of baroque pieces for solo instruments

[J.A.W.]

I wasn't impressed by some of the more uptempo tracks, they sounded congested, as if she had to catch the 4:50 from Paddington...

The tempo choices of recent recordings are very adequate - the pioneers of period instrument playing tended to choose tempos as told by 20th century teachings, but research has shown the palette of tempos was much wider, and some were indeed fast and furious. Couperin had a virtuoso side to his playing, too.

This is also supported by research on the titles of Couperin pieces and the meanings and persons they refer to:

amazon link - see also on Jane Clark's site janiculum

Yes, I know, and I wasn't referring to the choice of tempi; what I meant was that the sound tended to be congested in the fast pieces on that particular recording, as if her trying to get somewhere in a hurry (hence the Paddington remark) was making the sound muddy and opaque. I don't know if the instrument is to "blame" or if it's an engineering thing, but I didn't like what I heard, at least not in the faster pieces; I didn't like the piece where Hantaï joins in at all.

Edited August 14, 2012 by J.A.W.

[mikeweil]

Sound samples are never reliable with harpsichord music - in my experience it takes an excellent sound system to cope with all those overtones. I never trust the sound of these samples - Violaine Cochards second disc, e.g., sounds not as good as the first, although it's the same instrument (a fantastic reconstruction from a fragmented instrument built by Laurent Soumagnac: click here)

[J.A.W.]

Sound samples are never reliable with harpsichord music - in my experience it takes an excellent sound system to cope with all those overtones. I never trust the sound of these samples - Violaine Cochards second disc, e.g., sounds not as good as the first, although it's the same instrument (a fantastic reconstruction from a fragmented instrument built by Laurent Soumagnac: click here)

You're right about sound samples, but one has to start somewhere; I can't afford to get all the stuff I'm interested in and it's a way to make a selection. I am fortunate enough to have a sound system (Mark Levinson front end and amplification, Quad electrostatics) that can cope with harpsichord music; a good and well-recorded instrument sounds great, a good, well-recorded and well-played instrument better still .

Edited August 14, 2012 by J.A.W.

[J.A.W.]

How's this Blandine Verlet François Couperin 2CD-set:

Amazon (it's much cheaper in Europe)

Anyone?

[J.A.W.]

Sound samples are never reliable with harpsichord music - in my experience it takes an excellent sound system to cope with all those overtones. I never trust the sound of these samples - Violaine Cochards second disc, e.g., sounds not as good as the first, although it's the same instrument (a fantastic reconstruction from a fragmented instrument built by Laurent Soumagnac: click here)

Just listened to sound samples of her earlier set and it does indeed sound a lot better, much more transparent than the later one and not as congested/dense. On first hearing and on the very limited basis of sound samples I like her playing better than Blandine Rannou's in Couperin.

Edited August 14, 2012 by J.A.W.

[J.A.W.]

Has anyone heard these interpretations of François Couperin's Pièces de clavecin (Livres I-IV) by Frédérick Haas - I've read a less than favourable review ("quirky playing" was one of the comments), but I haven't had a chance to listen to them:

Edited August 15, 2012 by J.A.W.

[J.A.W.]

Am now listening to Céline Frisch's interpretation of the Goldberg Variations; so far it's great, an excellent MomsMobley recommendation!

[mikeweil]

Has anyone heard these interpretations of François Couperin's Pièces de clavecin (Livres I-IV) by Frédérick Haas - I've read a less than favourable review ("quirky playing" was one of the comments), but I haven't had a chance to listen to them:

Frederick Haas has beautiful sounding instruments at his disposal, and they are well recorded, but his timing is a bit uneven, rhythmical coordination between both hands is not very precise. Perhaps that is what that critic meant to say with "quirky" ... his choice of tempos generates a certain superficial sameness.

Violaine Cochard is much more compelling in comparison, more precise without being stiff.

Céline Frisch's Goldberg disc is a very nice rendition, indeed.

the most fascinating Bach disc I have heard in years, btw, is Violaine Cochard's latest on the new Agogique label:

[J.A.W.]

Thanks for your response, Mike. I'll pass on the Haas discs. Cochard's François Couperin - the earlier disc - is indeed wonderful.

Edited August 23, 2012 by J.A.W.

[MomsMobley]

I must disagree with my esteemed colleague of the clavecin, Herr Weil. I recently picked up Haas books 3 & 4 on Alpha and think this it's some marvelous Couperin playing--

Time for Larry to retire or supplement those old Kenneth Gilbert lps! (I think I'm remembering that right.)

Thanks for your response, Mike. I'll pass on the Haas discs. Cochard's François Couperin - the earlier disc - is indeed wonderful.

Edited September 21, 2012 by MomsMobley