In response to Donsuk's question as to whether Leonhard recorded the Goldberg Variations outside of the 3 recordings he listed, I'll point out that these are the only 3 by him listed in Diapason's Guide de la Musique Ancienne et Baroque (1993). Ray
On Friday, March 4, 2016 8:30 PM, Dongsok Shin <[log in to unmask]> wrote:
I wasn't home when I wrote my previous response. But clearly Gustav was to the Goldbergs what Herbert vK was to the Beethoven Symphonies. He kept on re-recording them! ;-)
In addition to the 1953 Ammer recording, there is a 1965 recording on a Skowroneck Dulcken (I think this was his first of many recordings on the Skowroneck), and then a 1976 recording on a Dowd. Anyone know if he recorded them yet again another time?
Dongsok
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> On Mar 4, 2016, at 7:48 PM, Andrew Bernard <[log in to unmask]> wrote:
>
> Hi Andrew,
>
> There seems to be an assumption here that he could choose from a vast set of instruments, and selected this as the finest. I hardly think that is the case. Also, it was 1953, remember, and the current prejudice and dislike of such intruments had not yet arisen. As to whether he owned this partiucuar instrument or not I do not know. Others more learned than I will say. Perhaps the recording studio owned it. If you go to DGG to record piano today, you are pretty likely to have to use thier own Steinway, setup and tuned and regulated by them, rather than bringing in your own Fazioli. Perhaps the same applied then.
>
> 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?
>
>
>
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