Discoveries
The discovery of not one or two, but six Spanish 17th-century harpsichords is detailed in Andreas Beurmann's lavishly illustrated article for Early Music (May 1999). Concentrating his instrument-collecting efforts for the past decade on the Iberian peninsula, Beurmann found, and now owns, the six oldest surviving Spanish harpsichords: a double-manual instrument by Fray Raymundo et Fray Antonio, 1624; a double-manual by Fray Pedro Luis de Begaños, 1629; a single-manual by Ludovicus Muñoz, 1644; a double-manual by Fray Bartomeu Angel Risueño, 1664; a single-manual by Domingo de Carvaleda, 1676; and the only known surviving "vis-à-vis" harpsichord (two equal instruments, soundboard nestled to soundboard, in a single rectangular case) by Roque Blasco, 1691. Previously there were no known examples of 17th-century Spanish harpsichords in any collection, so this assemblage is not only unique and astonishing, but enlightening in terms of the sophistication of instrument-making in the Iberian peninsula.
Harvard University musicologist Christoph Wolff maintains his position as the Sherlock Holmes of Bach scholarship with the recent discovery, in the Ukraine, of a collection of manuscripts from the estate of C. P. E. Bach. An article by Sarah Boxer in The New York Times (August 16) details the involved sleuthing required to uncover this international "who-stole-it." Moved from Berlin to safeguard them from destruction during World War II are several scores by J. S. Bach, unpublished manuscripts by his two elder sons C. P. E. and Wilhelm Friedemann, and a large number of works in manuscript by earlier Bach family members. Authorities in Kiev have agreed orally to let Harvard and the Ukrainian Research Institute microfilm the collection. The ultimate disposition of the originals, property of the Berlin Singakademie, remains uncertain--another hostage to the unstable political situation in the former Soviet Union.
Landowska and the Media
I hope that many of you saw the PBS showings in July of Landowska: Uncommon Visionary, a documentary about the great harpsichordist. Producers Barbara Attie, Janet Goldwater, and Diane Pontius spent several years making this feature, which includes much of John Pfeiffer's 1953 television interview with Landowska, as well as recent comments from her companion Denise Restout; long-time friend, singer Doda Conrad; Pfeiffer; biographers Alice Cash and Larry Palmer; harpsichord maker Willard Martin; harpsichordist Skip Sempé; and others. For the countless devotees of the unforgettable artist, this is a powerful reminder of her unique gifts. For those who know her only through recordings, this film offers an unequalled opportunity to complement the aural experience with a visual one.
And then there was the front cover of The New Yorker (May 31)--"Lost Times Square" by artist Bruce McCall. A bevy of billboards proclaiming "Escar-to-Go," Rolls Royce, G. B. Shaw Tonite, and right there in the center: "World's Hottest Harpsichordist!! Wanda Landowska." Yet another reminder that, to much of the public she is THE symbol as well as THE sound of the 20th-century harpsichord revival!
Bach on the Clavichord
For the Bach recording of the month I nominate J. S. Bach: The Six Partitas played on a Ronald Haas clavichord by Richard Troeger (Lyrichord Discs LEMS 8038). The artist, author of Technique and Interpretation on the Harpsichord and Clavichord (Indiana University Press, 1987), plays with conviction and vigor, giving exciting and forward-moving performances of these deservedly-popular keyboard works. And how well they are served by the dynamic range of the clavichord! Listen to the rollicking Gigue of the first Partita (B-flat): the melody created by the hand-crossings sings forth, as it rarely does on the harpsichord. Or sample the rhetorical flair Troeger brings to the sometimes-stodgy Praeambulum of the fifth Partita (G Major). The confrontation of the loud cadential chords proclaims "No wimpy, retiring instrument here."
Dance movements are both stylish and interesting: Troeger takes all the repeats, but provides them with tasteful and stylistic ornamentation, often based directly on similar doubles by Bach himself (as in the English Suites, for example). This was precisely the formula suggested by Isolde Ahlgrimm, the fine Viennese harpsichordist and Bach specialist, who suggested jotting down written-out ornamental figurations when they were noted in various Bach works and then using these as sterling models for one's own added ornaments.
The accompanying notes indicate that this is the first recording of the complete Partitas at the clavichord. It is a splendid marriage of music, instrument, and artist.
Features and news items are welcome for these columns. Send them to Dr. Larry Palmer, Division of Music, Southern Methodist University, Dallas, TX 75275, or, via E-mail: <[email protected]
