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Harpsichord News

September 2, 2003
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Larry Palmer is a contributing editor of THE DIAPASON.

A Harpsichordist's Magazine Rack

Recent issues of Early Music, the sumptuously-produced quarterly journal from Oxford University Press, have had little of specific interest to harpsichordists. In the issue for August 1998 (XXVI/3) Simon McVeigh reviewed recent recordings of works by the Bach boys--C.P.E., W. F., and J. C. plus a disc devoted to Johannes Schobert. In the November 1998 issue (XXVI/4) Warwick Cole reviews the publication Keyboard Music of Georg Benda (edited by Christopher Hogwood), and reports by Howard Schott (Domenico Scarlatti Festival in Boston) and Virginia Pleasants (Bruges Keyboard Competitions) were included.

Of special note is Pleasants' report of Davitt Maroney's recital of hitherto-unknown harpsichord works from a manuscript attributed to Marc Roger Normand (1663-1734), son of Louis Couperin's sister Elizabeth! Discovered in Italy (where the composer had been employed in Turin), the Normand manuscript, containing 60 keyboard pieces, has been published recently in facsimile by Minkoff of Geneva. One tantalizing page is included as an illustration.

For the same issue Charles Mould wrote an obituary of John Barnes, the British maker of harpsichords and clavichords and Curator since 1968 of the Russell Collection at the University of Edinburgh (Scotland), who died in March 1998.

Early Music for February 1999 (XXVII/1) contains David Ledbetter's insightful review of the New Bach Reader, revised and considerably enlarged by Christoph Wolff, published by Norton in 1998.

Full color photographs of handsomely-decorated instruments from the workshop of D. Jacques Way and Marc Ducornet make for visual delights on the inside front covers of these magazines, while French harpsichordist Christophe Rousset graces the inside back covers.

Compact Discs to Delight

A souvenir from the past, Variations for Harpsichord played by Isolde Ahlgrimm, has been reissued as a compact disc (Berlin Classics Eterna 0031682BC). The program, recorded on an unidentified German harpsichord (Ammer?), was first issued in 1972. This cherished Viennese harpsichordist (whose 85th birthday would have been July 31) includes wo4rks by Cabezon (Diferencias sobre el canto llano del Caballero), Byrd (John come kisse me now), Frescobaldi (Romanesca Variations), Poglietti (Aria Allemagna), François Couperin (Les Folies françoises, ou les Dominos), Handel (Chaconne in G), and C. P. E. Bach (Les Folies d'Espagne).

For those who knew Ahlgrimm this recital serves as a wonderful reminder of her luminous artistry at the keyboard. For those who are not aware of the sterling gifts of this harpsichordist, the stylistically apt and musically rewarding qualities of her playing will serve to document that she was one of the leading artists of the harpsichord revival. Celebrate Ahlgrimm's birthday by listening to her infectious rhythm and musical good humor in the Poglietti and the perfect coupling of beautiful ornaments and forward-driving momentum in her reading of the Handel!

The best keyboard players try to imitate that most perfect of musical instruments, the human voice. Teachers repeatedly instruct students to "sing the phrase" or "imitate the articulation of a good singer." One of the best examples for emulation now on records is countertenor David Daniels, whose debut disc for Virgin Veritas (CDC 7243 5 45326 2 7) presents a ravishing program of Handel operatic arias. I have not been so moved by a new singer since first hearing Joan Sutherland's trills in the early 1960s. In less than the four minutes of the first track (Recitative "Frondi tenere," Aria "Ombra mai fu"--the celebrated "Largo" from Serse [Xerxes]) I was totally captivated by Daniels, who has everything--a powerful, beautiful and compelling voice; projection and sensitive understanding of the text; seemingly inexhaustible breath support; and an overall ability to program and perform music with style and musicality. Daniels is ably supported by the period instrument Orchestra of the Age of Enlightenment, conducted by Sir Roger Norrington. The fine harpsichord continuo is provided by John Toll.

Daniels made his debut this spring at the Metropolitan Opera in Handel's Giulio Cesare. An interesting and instructive dialogue between Daniels and the legendary countertenor Russell Oberlin appeared in Opera News for April 1999.

Harpsichordist Edward Parmentier traverses Seventeenth Century German Harpsichord Music (The Stylus Phantasticus) in his new CD for Wildboar (WLBR 9202). Playing Keith Hill's fine-sounding copy of a 1640 two-manual Hans Ruckers harpsichord, Parmentier offers superb readings of this exciting repertoire. Works by Kerll, Schildt, Scheidemann, Weckmann, Krieger, and the better-known Buxtehude and Böhm fill this fascinating disc.

Parmentier will offer his insights into this same repertoire during the first of his 1999 harpsichord workshops at the University of Michigan (Ann Arbor): German harpsichord music before Bach is his topic (July 5-9), while all four parts of Bach's Clavierübung may well fill July 12-16. For a brochure or further information, contact Professor Parmentier ([email protected]; or 734/ 665-2217 [home] or 734/ 764-2506 [studio]).

From the Harpsichord Editor

A letter from reader Thomas Orr of Columbus, GA, lamenting the lack of harpsichord news for a substantial period was a welcome indication that we have been missed! Excuses are probably not needed; suffice it to say that I have been exceedingly occupied with new career duties at SMU, and mentally exhausted by program chair responsiblities for last year's Texas gathering of SEHKS and MHKS.

It is gratifying, however, to be reminded that The Diapason has served, and should continue to be a national sounding board for harpsichord news and articles of interest to harpsichord aficianados. To that end, I hope readers will contact me with suggestions and ideas for topics to be included. We will do our utmost to publish something at least in alternate months. Communication is easier than ever: utilize my university e-mail: [email protected], or the traditional route for written documents: Dr. Larry Palmer, Division of Music, Meadows School of the Arts, Southern Methodist University, Dallas TX 75275.

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