Hi Claudio and all!

Really liked your post, Claudio!

I for one would love to see more discussion about how does one play,
both specific for a particular piece, and in general --

Sure, it's great to be able to listen to youtube videos and buy as
many cds or individual tracks as you can -- but that's not enough.

You can get hints on fingerings, from a tiny percent of videos, but
not from most --
and you can get hints on fingerings from listening,
but it's really helpful to get some printed stuff that lays out "here
are X systems of old fingerings", "here is printed some old scores
that included fingering notations", etc.

I think it'd be so neat if harpsichordists would comment on how they
played a piece, e.g.
"for the first 10 years I played it with modern fingering, then I
started trying old fingering and it all changed"  and give some
details.

Looking at archive dot org --
http://www.saladelcembalo.org/instruments/haney1968-74.html

scanned issues of Harpsichord magazine (you also put links to the
issues in the above article):
https://archive.org/search.php?query=harpsichord+haney&and%5b%5d=creator%3A%22hal+haney%22&sort=date

running around getting ready for a reunion gig (Hammond B3)

Gesine

ps Claudio, I just got your fingering pdf book


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>> Let us check 1 vs 2: I prefer a stylish performer on a 2nd rate harpsichord
>> that a performer who disregards the composer's style yet plays on an
>> excellent instrument.
>>
>> As for 2 vs 3 it should also be obvious. What sounds best: a very good
>> harpsichord tuned to a temperament that is not the best choice for the
>> music, or a poor harpsichord with the perfect temperament choice?
>>
>> So I have always been perplexed by the fact that this list discusses mostly
>> Making, less so Temperaments and even less so Playing.
>>
>> Until recently my impression was that simply many of our fellow members were
>> Makers, and therefore the priority makes sense for them.
>>
>> Then I enrolled in the Harpsichord ... Facebook group and, to my surprise,
>> Making is also prevalent by an huge margin.
>>
>> Again, this may be subjective: perhaps makers are much more interested in
>> having their wares showing in lists than players!
>>
>> I have yet a THIRD statistics. My books. The one on Temperaments (the most
>> expensive one) outsells all the others put together. Well, maybe this book
>> is good and the others are bad, or perhaps it is more unique and the others
>> have more competitors?
>>
>> However, I have yet a FOURTH statistics. From my "Academia.edu" list of
>> about 30 papers of mine, which I mostly uploaded during the first few months
>> of 2016. People browsing the web go there for the paper's title, and
>> therefore the number of "hits" is unrelated to the paper's quality or the
>> final opinion of the reader. The number just shows how much the average
>> harpsichordist browising the web is interested in different harpsichord
>> topics. I find the numbers  VERY surprising:
>>
>> - Temperament: A paper of mine about Vallotti's temperament (essentially
>> just showing that Vallotti is a good average of Werckmeister's circular
>> temperaments) in its original English version has had dozens of readers, and
>> the Italian version has had several hundred readers. Other papers of mine on
>> temperament and stringing also have good hit statistics.
>>
>> - My papers on playing style fare consistently worse, much worse! For
>> example one in Italian about "L'Art de Toucher le Clavecin" and its
>> implications when performing F. Couperin, uploaded last November and
>> referred to by the organisers of the Italy-wide "300 years of L'Art de
>> Toucher" macro-event (with scores of recitals and conferences all around
>> Italy but hardly any paper published), in four months got only 8 hits.
>>
>> - My selection from Haney's "Harpsichord" magazine, advertised here in
>> HPSCHD-L, got just ONE hit!
>>
>> From the above, needless to say, we cannot infer that harpsichord players
>> are more interested in harpsichord making and tuning than in playing: this
>> is highly unlikely.
>>
>> My conclusion is simply that harpsichordists are not much interested in
>> reading at all. And indeed I have already commented this alarming trend I
>> see among young harpsichordists: they play baroque keyboard music on the
>> harpsichord just because they like the instrument's sound, but to follow the
>> historical style (articulation, ornamentation, rhythmic alterations and so
>> on) is very low on their priorities.
>>
>> I hope to be wrong somewhere, because so far my impression is that, lately
>> we seem to have lost sight of the most important matter in the harpsichord
>> revival: how we play it.
>>
>> Best Regards
>> CDV

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