A German keyboard compendium
2011; Oxford University Press; Volume: 39; Issue: 1 Linguagem: Inglês
10.1093/em/caq126
ISSN1741-7260
Autores Tópico(s)Music Technology and Sound Studies
ResumoThe seven recordings here have a strong German accent. Four are devoted exclusively to solo harpsichord music by German composers; the other three are anthologies with mixed repertories. In two of these, German themes clearly predominate, the third having a mixture of two-harpsichord music by German, French and Spanish composers. The composers represented span two centuries, from Jan Pieterszoon Sweelinck (1562–1621) and Heinrich Scheidemann (c.1595–1663) to Johann Schobert (c.1735–67) and Mozart (1756–91). Three of the albums are arguably premières; two feature obscure composers, Scheidemann and Gottlieb Muffat (1690–1770), and one an obscure instrument, the psalterion. Collectively, this set of discs makes excellent use of both original instruments and modern replicas. They embrace a variety of approaches that breathe unpredictable life into the written scores. Rarely do we witness such outstanding scholarship and performance concentrated in the work of one individual. Pieter Dirksen's Heinrich Scheidemann: Harpsichord music (Et’cetera KTC 1311, rec 2001, 69′) was recorded one year after his edition of Scheidemann's Complete Harpsichord Works (Wiesbaden, 2000) and six years before his book on the composer (Aldershot, 2007), favourably reviewed by David J. Smith (Early Music, xxxiv/4 (2006), pp.687–9). The album, labelled a ‘World Premiere Recording’, features a fine 1996 harpsichord crafted by Sebastián Núñez, with a characteristically nasal and grainy sound. It was modelled on a 1636 instrument made by Johannes Ruckers, albeit with a slightly expanded compass but with no alteration of the original's dimensions, effectively a petit ravalement.
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