Tilmam writes:



>>>* Peter Watchorn writes in his _Isolde Ahlgrimm, Vienna and the Early Music Revival_, p 118 that Leonhardt's Art of the Fugue was also recorded on an Ammer. No way for me to find out which is which...is Peter on this list? perhaps he recalls...



I have just listened to two LPs sides from the 1952 Leonhardt 1080.  It is rather hard to tell from this old mono recording but I would put my money on the Ammer, but not bet my life on it.  To my ears it has more of the "qualities" of an Ammer compared to the distinctive Neupert sound.  That said, I would not be too surprised to be proven wrong. It did happen once before! Obviously the sounds are similar and the recording is not up to modern standards, and the harpsichord, while clearly Germanic and Serien in nature, is not that distinct.  It is particularly ambiguous when just one 8' stop is played.  The single 8s were not particularly distinctive (or distinguished).  The sound is just boring and bad.  The instruments really came into their own when stops were mixed up to tutti, where the sonic differences are more evident.  Based on this inexact science, I believe it was the Ammer.  (I have not listened to all sides; I suppose there is a possibility that more than one instrument was used.)



I looked for the early  988 and was rather amazed to be unable to locate it.  I probably loaned it to someone one time and it never came back.  (Or, it could be hiding in any of the various large piles of junk strewn about here).  I was anxious to give a good listen to side-by-side compare the sound, bur, without the other, I am unable to do so without resorting to mp3s on UT.



I must say, I am enjoying the performance anyway.  It is stately, elegant, and on the slow side (which suits the music),  Far from the brash stuff youngsters are putting out today.- in their bare feet no less!



dk



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