Dear Andrew,
In 1959 as a GI chaplain's ass't in Germany I was walking down a street in
Wiesbaden when I saw a small Sperrhake in the window of Piano Haus Schulz,
learned to tune equal from a tuning fork A, and had a wonderful time with
it including playing continuo in Brandenburg 4 with the touring 7th Army
Symphony. That was just the beginning. There have been a number of instruments
since, including a Philip Tyre German double with a push-up organ
pedalboard; you haven't heard the Preludes and Fugues until you've heard them on
the harpsichord. This week I was able to buy a Peter Fisk double after Mietke.
Henson Markham
In a message dated 12/2/2017 5:45:04 P.M. Eastern Standard Time,
[log in to unmask] writes:
Hi David, As a GI in post war Germany, I was enthralled by Neupert's
Couperin in a piano shop in Frankfurt, later in Nurnberg.
this model is available in Canada for $3000.00 plus. I do not like the
pejorative tone of "revival instrument" - but somewhat the oprobium skips the
Pleyels, in spite of Ladowska's 16ft register - her "original sin". We
must remember that great harpsichord recodings were made on "plucked pianos" -
Bach Landowska 48, Valenti - Scarlatti on a Challis and Ruggero Gerlin
complete Couperin on a Pleyel'.
Eta Harich Schneider never told her students which cembalo to buy or play.
My favorite example of revival excellence is Ruth Dietz recording of
Vincent Lubeck and Pachelbel on Cantate LP, played on a humble Sperrhake. Please
listen to it and admire the "discreet charm" of revival insruments. Andrew
Makuch, owner of a vintage Chalis. PS And let's remember that Gustav
Lenonhard's "Goldbergs" were recorded on an Ammer, made in Easter Germany.
----- Original Message -----
From: Kelzenberg, David C<mailto:[log in to unmask]>
To: [log in to unmask]<mailto:[log in to unmask]>
Sent: Saturday, December 02, 2017 3:04 PM
Subject: Re: harpsichord/clavichord for a budget?
David wrote:
>>>In case you don't know what Dongsok meant when he spoke of "revival"
harpsichords: in the 1950s and early 60s, some folks began building
harpsichords, which had not really been done for more than a century
David, you must be a lot younger than I am! "Revival" harpsichords go way
back beyond the 1950s. Try the turn of the 20th century. Landowska's
famous new "model" from Pleyel was introduced in 1912. In fact, the later
1950s and early 1960s witnessed the seeds and early shoots of the "historical"
harpsichord movement.
dk
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