MB: "...Why is it all or Nothing Theodore? I LOVE the sound of a
historically
copied harpsichord, and the infinite challenge of playing expressively on
one..."

That to me, Michael, is a much more nuanced statement than your previous
one, if I may say so?

The heart of the matter is that it is extremely difficult to combine an
historically responsible approach with real emotional impact, and very few
achieve this. It is the challenge of every harpsichordist who is serious.

YouTube and the download sites are filled with hundreds of abominable
harpsichords, played 'historically' and boringly, and often enough in the
wrong temperament for the music concerned. No-one needs that kind of
historic approach, which is often nothing more than an excuse for a lack of
musicality.

We also forget that in her time and place, Landowska was also very
'historic', and oftentimes espoused by the public because of that, in prose
analogous to that used by many in the 21st century who dislike historical
practices or keyboards. Sir Thomas Beecham's quote sums the majority view
back then: "The sound of a harpsichord is like two skeletons copulating on
a tin roof in a thunderstorm."

I would say that it is lack of intellectual vigor today, where everyone
imitates the latest recording, that has led to a vacuous
copy/paste dead-end style in purist harpsichord performances. Blaming
historical practice itself is just shooting the messenger.
Regards,
Theodore

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