Hi Andrew,

I found the 1953 recording on my shelf and I am playing it now. Not having listened to it for some considerable time, I am startled at how fantastic the playing is, but more, at how good the instrument really does sound. Now I confess that I have what would be regared as an audiophile class system, with glorious 6 foot ribbon speakers, so I am hearing everything well. Note that ribbon speakers do not beautify a signal, but render it with exceptional transparency. Lesser hifi systems may well do a lesser job of reproducing this sound which has difficult fast transient attacks and complex overtone decay structure, so it may sound worse on a computer or mini system. But overall, the instrument sounds terrific! Note that if you are listening to this recording in MP3 format, the MP3 specification compresses high spectral information as exemplified by the harpsichord particulary badly, and it will probably sound rotten (in my experience).

I note the recording was made in the Vienne Konzethaus. Perhaps it was the resident instrument.

As to Leonhardt’s instruments, here is an interesting article about his meeting with Skowroneck:

http://www.semibrevity.com/2014/04/gustav-leonhardt-martin-skowroneck-making-harpsichord-history/

At the end of this article is a request for information about what instruments Leonhardt owned over time. Does anybody know more about this (e.g. did he own the Ammer in 1953?)


Andrew



On 5/03/2016, 04:43, "Harpsichords and Related Topics on behalf of Andrew Makuch" <[log in to unmask] on behalf of [log in to unmask]> wrote:

   Hi, I am puzzled why Gustav Leonhardt chose this revival instrument. Is it better than other revival cembali?  andrew makuch


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