So do I!!!

-----Original Message-----
From:   Edward L. Kottick [SMTP:[log in to unmask]]
Sent:   Wednesday, October 06, 1999 11:46 AM
To:     [log in to unmask]
Subject:        Re: Paul Simmonds/pedal clavichord/detachement

Wish I could be there!

Ed



>First, a reminder about Paul Simmonds' pedal clavichord recital for the
>British Clavichord Society, which has already been mentioned here (and on
>the clavichord list):
>
>3pm, Saturday 9 October, at the Art Workers' Guild, 6 Queen Square, London
>WC1 (nearest Underground station Russell Square; or a short walk northwards
>from Holborn Station)
>
>Programme: J. Pachelbel (a Fantasie in G minor, a Fugue in C major and the
>F minor Ciacona), J. G. Walther's chorale variations on_Nun komm, der
>Heiden Heiland_ and two of the 'Grosse Praeludien', in F minor and C minor,
>by  J. C. Kittel. Then works by or attributed to J. S. Bach: his chorale
>variations on_Sei gegrüsset, Jesu gütig_and the famous, or rather infamous,
>Toccata in D minor.
>
>Instruments: Paul's Karin Richter (made in 1986 after the 1771 Hubert in
>Nuremberg), in conjunction with his new pedal clavichord, made this year by
>Benedikt Claas of Northeim, Germany, to his own 'ingenious design' (Paul's
>words, not Benedikt's). This made a brief debut at Magnano last month;
>Saturday's recital is, we believe, the first-ever recital in England on any
>pedal clavichord. (No, 'England' isn't a mistake for 'Britain': the
>Gerstenberg copy by John Barnes and Joel Speerstra was made and played in
>Scotland.)
>
>Secondly, may I return to one of last week's threads and recommend Paul's
>1997 Magnano  paper, 'Abstossen, Schleifen and das algemeine Forgehen -
>thoughts on clavichord touch'. It's published in *De Clavicordio III*
>(still available; www.biella.alpcom.it/mam). This includes an excellent
>account of sources, some of which weren't mentioned here, I believe: Tomas
>de Santa Maria, Diruta, E. W. Wolf, Tu:rk.
> Then Paul picks up the words of F. W. Marpurg (1765), 'The normal way of
>playing is in contrast to legato as well as the de/tache/ way of playing,
>and means that, just before one plays the next note, one lifts the finger
>from the preceding note'. Paul asks: 'So how much is "just before" the next
>note?'  I find the couple of pages in which he answers that question really
>helpful; and to my ears the ease and artistry with which he can achieve a
>minute separation between notes - and his use of  the other types of touch
>too - are outstanding. Do come and hear him if you can.
>
>More details about the concert: there are still tickets available, so it
>should be safe to turn up at the door, as early as you can: but contact me
>if you'd like to reserve a ticket or are not absolutely sure how to find
>the Art Workers' Guild. That's an excusable state, given the various
>versions that have appeared in the UK press: let me confirm that the
>concert is not in QueenS Square, still less in Queen's Street, and even
>less at my house ... it is at Queen Square (one Queen), WC1, to the east of
>Southampton Row. Dr  Burney once lived there - but this is too long
>already...
>
>Best wishes to all,
>Judith Wardman
>Tel. and fax +44 (0)181 341 4700
>26A Church Lane, London N8 7BU
>
>