When The Diapason published an overview of "Harpsichord and Organ Duos" by Bruce Gustafson and Arthur Lawrence (April, 1974), the authors noted "Unfortunately . . . this ensemble has not yet attracted many 20th-century composers. . ." but they were able to cite four works specifically composed for two harpsichords.
In Harpsichord and Clavichord Music of the 20th Century (Berkeley: Fallen Leaf Press, 1993), author Frances Bedford included 59 compositions in her listing of works for 2-6 harpsichords (of which five were composed specifically for the Gustafson/
Lawrence harpsichord duo). Bedford lists an unpublished Sonata (1948) by Dorothy Dushkin, composed for America's first harpsichord duo, Philip Manuel and Gavin Williamson of Chicago, a reminder that harpsichordists playing concerts together dates back at least to the 1920s.
The earliest recordings of multiple harpsichords are those by Manuel and Williamson, four albums issued by Musicraft Records. There have been other notable examples of this genre since then, including several marvelous excursions into the older repertoire by harpsichordists William Christie and Christophe Rousset (François Couperin: L'Apothéose de Lulli, L'Apothéose de Corelli; and their rousing pairing of Boccherini's six Quartets with his Fandango--both discs recorded by Harmonia Mundi in the 1980s).
Pour 2 Clavecins--Old and New Music for Two Harpsichords is the recent compact disc by duo harpsichordists Vera Kochanowsky and Thomas MacCracken issued on Titanic Records (TI-256). Playing fine two-manual harpsichords by John Phillips (1991, after Ruckers) and Willard Martin (1981, after Blanchet), the artists utilize instruments which are similar enough to blend well but with enough difference to be heard individually.
From the arresting first notes of Bartok's Dance in Bulgarian Rhythm (Mikrokosmos, Book VI) to the exciting conclusion of Peter Planyavsky's Caprice fugée (Quatre pièces pour 2 clavecins, 1978) this CD offers the pleasure of hearing a fresh and unfamiliar repertoire. If one harpsichord and harpsichordist is appealing, two making music together more than doubles that appeal!
First recordings of the Planyavsky work as well as of The Elements (1986), an engrossing 131/2-minute suite by San Francisco composer Léonie Jenkins, make this recording especially valuable. The composer writes, "The five Chinese elements [Earth, Metal, Water, Wood, Fire] form a continuum: from each the next is created, while each created element carries the seeds of destruction of another. The whole represents the universe, stemming from the void [the first movement], and at the end, falling back into the void." Jenkins's musical representations of these elements are strikingly characteristic: slow-moving and static for the void, hammering and repetitive for metal, a flowing 6/8 for water, pyrotechnics (!) for fire.
Three works from the earlier golden age of the harsichord complete a varied program: the Suite in F by Gaspard Le Roux (arranged for two harpsichords as the composer suggested in the preface to his Pièces de Clavessin, 1705); Concerto in D Major by Georg Philipp Telemann (from Six Concerts, 1734, a publication in which the composer offered varied possibilities for performance, although this arrangement for two keyboards is the work of the present performers); and Quintet in D Major (1774, originally for Flute, Oboe, Violin, Viola and Continuo) by Johann Christian Bach, in an arrangement for two keyboard instruments from an only-slightly-later manuscript now found in the Saxon State Library.
The striking cover features harpsichord lids decorated in chinoisserie and modern decor, photographed from above; the booklet offers excellent program notes by the two players; and the playing documents vibrant performances on superb instruments (with appropriate tunings by Barbara Wolf). Highly recommended.
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]>.
