Hi Claudio and all others
> Am 09.02.2017 um 23:19 schrieb J. Claudio Di Veroli <[log in to unmask]>:
> Famous players in some areas seem to "come in waves".
It seems like that , but i never experienced that. Of course there is a certain media distortion.
Shouldn’t it be taken into account that the “harpsichord market” was much more compartmentalized until ca 1980? Many European players were well known within there sphere, sometimes famous only in their respective language area (German, French, English).
And, which I find striking, where is the very strong and beneficial input women always had on the history of 20th century harpsichord playing and still have!
It was one of few areas in which for some time there was some form of artistic gender equality even by sheer numbers!
At least you don’t mention any female artist except Landowska. I will list a few influential ones.
> Before WWII it looked as if the only harpsichordist worldwide was Wanda
> Landowska (there were many others, some students of her, others not, many as
> good or better but were seldom heard of).
There were many, that were heard of regularly, just one here:
Eta Harich-Schneider– very well known still today 8there is even a She was a fully fledged professional pianist and discovered the harpsichord in her 20s. Since she wanted to immerse herself deeply she became a student of Landowska for a rather short time . I knew her and many other and most often female harpsichordists long before i heard of Landowska.
Harich-Schneider has certainly the most interesting bio of all 20th century harpsichordists and she was not only an authority on the harpsichord but an estimated author of a then influential book about clavichord playing! She emigrated in the late 1930s from Nazi-Germany to Japan (of all places), traveling from Hitler’s Berlin, through Stalin’ Soviet realm by way of the Transsiberian Railway to Korea and taking the ship to Yokohama.
In Japan, she learned one of the most difficult languages in the world, Japanese, in no time (what a wonderful brain!). She had a steaming relationship with the famous double spy Richard Sorge (who told the Soviets that the Germans would attack the Soviet Union – which Stalin did not believe [Stalin was wrong as so often. That mistake cost legions of lives extra]. Sorge was caught and hanged by the Japanese Dictatorship – Eta H-S didn’t know about it for a long time!).
Harch-Schneider presented the clavichord to the Imperial Japanese court, meeting the present emperor when he was a boy! After the capitulation of the Japanese, she moved to the US, and got a doctoral degree in musicology with a great comprehensive study of Japanese Court Music (gagaku), which today is still one of the fundamental achievements in this field. Then she moved back to Europe, taking up a long and successful career as harpsichord professor in Vienna. She died in 1978.
> In the 1960's when Leonhardt
> ushered in some new approaches, for many years it looked as if he was the
> only good harpsichordist worldwide,
no, by far not the only:
There were also, and well known (I knew most before I heard of Leonhardt)
Rafael Puyana (his incredible Soler Fandango on the incredible Hass),
Huguette Dreyfus, not a Landowska student,
Sylvia Marlowe <https://en.wikipedia.org/wiki/Sylvia_Marlowe> (not a Landowska student)
Raymond Leppard <https://en.wikipedia.org/wiki/Raymond_Leppard>
Hedwig Bilgram (1933), not a Landowska student
Alan Curtis <https://en.wikipedia.org/wiki/Alan_Curtis_(American_harpsichordist_and_conductor)>
Zuzana Růžičková, quite influential as a teacher.
Elzbieta Chojnacka (modern harpsichord music, very influential)
Eva Nordwall (modern harpsichord music)
János Sebestyén (modern harpsichord, but some of his recordings were great like Prokofiev’s “Vision fugitives”)
Kenneth Gilbert <https://en.wikipedia.org/wiki/Kenneth_Gilbert>
> in the 1970's it was Scott Ross, quite
1970s and 1980s
and well known
Bob van Asperen,
Colin Tilney <https://en.wikipedia.org/wiki/Colin_Tilney>
Anthony Newman <https://en.wikipedia.org/wiki/Anthony_Newman_(musician)>
Blandine Verlet (one of my big favourites!)
Hendrik Bouman <https://en.wikipedia.org/wiki/Hendrik_Bouman>
Skip Sempé <https://en.wikipedia.org/wiki/Skip_Semp%C3%A9>
Ton Koopman <https://en.wikipedia.org/wiki/Ton_Koopman>
Rinaldo Alessandrini <https://en.wikipedia.org/wiki/Rinaldo_Alessandrini>
Ketil Haugsan <https://en.wikipedia.org/wiki/Ketil_Haugsand>d
Trevor Pinnock <https://en.wikipedia.org/wiki/Trevor_Pinnock>
Robert Hill <https://en.wikipedia.org/wiki/Robert_Hill_(musician)>
Scott Ross <https://en.wikipedia.org/wiki/Scott_Ross_(harpsichordist)>
Jos van Immerseel <https://en.wikipedia.org/wiki/Jos_van_Immerseel>
Masaaki Suzuki <https://en.wikipedia.org/wiki/Masaaki_Suzuki>
and a bit before
Bernhard Klapprott (as Leonhardt once said [I heard over]: A player of a quality which is hardly ever found in five decades).
Barbara Maria Willi
Lorenzo Ghielmi <https://en.wikipedia.org/wiki/Lorenzo_Ghielmi>
> Mahan Esfahani, now it is Hantai everywhere, shortly to be
> forgotten and replaced by who knows …
> Again, these have been, and are, great masters certainly, but there is a
> worrying tendency here. I find that more opportunities (to show and to earn)
> should be given to the many other players, in many countries all around the
> world, both young and old, that are IMNSHO similarly good, but are rarely
> allowed to convey their artistry to significant audiences.
Of course it should.
But as demonstrated there were more top players, and well known ones, and I certainly missed some (without intending).
I could count easily 20 more great harpsichordist, some within a limited repertoire, which are great players and get always a good audience.
Some of which do not venture much into public by Cd or other ways of recordings like the already mentioned Bernhard Klapprott or Mikhail Yarzhembovskiy, both in Weimar. They concentrate more on teaching...
> Yes, I know, this problem is by no means restricted to the harpsichord.
> When I was a young man studying in London, about half the top organ recitals
> were by Lionel Rogg
Lionel Rogg was for me a record company name. Not much to do with any “historically informed” playing.
I never found his recordings special (they are good as organ mainstream, but that’s it, for me not interesting).
> and Daniel Chorzempa.
One great Widor 5 recording.
Virtuosic player – a virtue in itself –, the rest of what I have heard is fine, but not interesting enough to me. Not much to do with any “historically informed” playing.
Neither Rogg or Chorzempa were in the programs of the concert series of countless historical organs of Northern Germany resp. in ca 900 organ concerts and presentations I attended at the best North German organs ca 1980-1991.
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