We know that defalla had the pleyel in his ear and Landowska in mind. He wrote it as a thank you to her after she played Master Peters puppet show.
I like hearing it on a good Dowd or other more historic instrument though it calls for pedals. If we want to be true to its original colors then pleyel and modern instruments.
Sent from my iPhone, forgive typos!
On May 14, 2016, at 6:21 AM, Ibo Ortgies <[log in to unmask]> wrote:
>> Am 13.05.2016 um 20:49 schrieb Kelzenberg, David C <[log in to unmask]>:
>>
>> But isn't this akin to asking, "Is there a good recording, on a good modern piano, not Leonhardt's dry old historical plucked skeleton with hideous sound, of the Frescobaldi toccatas?" Sorry, but if we think the sound intended by the composer is important, it applies to Falla and Poulenc too.
>>
>> dk
>
>
> The first sentence of the "Note relative à l’éxécution" in the de-Falla-score states "Le clavecin doit ètre aussi sonore que possible."
> If I understand that right, it means:
>
> The harpsichord must be as sonorous as possible.
>
> Wouldn’t any harpsichord (type) fit the bill, that is experienced (by whom?) as more sonorous than a Pleyel?
>
>
> Kind regards
>
> Ibo
>
>
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