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Jan-Maat wrote: "Yes?
Sometimes I feel that the dry sound of the harpsichord is better for baroque music, the piano is too much , doesn't it's greater potentiallties encourage performers into over interpretation?"
Yes, just a general personal preference, Jan-Maat.
Naturally, the harpsichord (and clavichord) suit Baroque music exceptionally well as the music was composed with their capabilities and limitations in mind and I tend to seek out either a harpsichord or a Gould piano recording when first listening to a Bach keyboard piece purely for the clarity that they offer for multi-part pieces. Harpsichord recordings are invaluable when learning how to properly articulate and ornament Baroque music too. I've been watching some videos of this nature from Magdalena Stern-Baczewska and she's great to watch on the harpsichord.
Afterwards though, I almost always seek something out with a slightly more lyrical quality, which might be considered under the umbrella of over-interpretation, as you say, but Bach explicitly stated that his instrumental music should be played in a "cantabile" style and this, I think, is achieved most effectively on a piano-forte.
If a pianist can achieve clarity without sounding mechanical and lyricism without muddying the different parts, then I tend to enjoy it... I acknowledge that this is easier said than done though 😁
A funny description of the sound of the harpsichord is attributed to Sir Thomas Beecham: "The sound of a harpsichord – two skeletons copulating on a tin roof in a thunderstorm. " 😉
Gary wrote: "A funny description of the sound of the harpsichord is attributed to Sir Thomas Beecham: "The sound of a harpsichord – two skeletons copulating on a tin roof in a thunderstorm. " 😉"
Yes, I've heard that one, Gary 😆. Though, I must admit, I'd forgotten that it'd been during a thunderstorm! 😁
Jonathan, I recall hearing the quote many years ago without the thunderstorm. I looked it up and found both versions, with and without thunderstorm. Anyway, the storm implies a harpsichord crescendo that was definitely too molto. 😊
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Jan-Maat wrote: "Yes?Sometimes I feel that the dry sound of the harpsichord is better for baroque music, the piano is too much , doesn't it's greater potentiallties encourage performers into over interpretation?"
Yes, just a general personal preference, Jan-Maat.
Naturally, the harpsichord (and clavichord) suit Baroque music exceptionally well as the music was composed with their capabilities and limitations in mind and I tend to seek out either a harpsichord or a Gould piano recording when first listening to a Bach keyboard piece purely for the clarity that they offer for multi-part pieces. Harpsichord recordings are invaluable when learning how to properly articulate and ornament Baroque music too. I've been watching some videos of this nature from Magdalena Stern-Baczewska and she's great to watch on the harpsichord.
Afterwards though, I almost always seek something out with a slightly more lyrical quality, which might be considered under the umbrella of over-interpretation, as you say, but Bach explicitly stated that his instrumental music should be played in a "cantabile" style and this, I think, is achieved most effectively on a piano-forte.
If a pianist can achieve clarity without sounding mechanical and lyricism without muddying the different parts, then I tend to enjoy it... I acknowledge that this is easier said than done though 😁
A funny description of the sound of the harpsichord is attributed to Sir Thomas Beecham: "The sound of a harpsichord – two skeletons copulating on a tin roof in a thunderstorm. " 😉
Gary wrote: "A funny description of the sound of the harpsichord is attributed to Sir Thomas Beecham: "The sound of a harpsichord – two skeletons copulating on a tin roof in a thunderstorm. " 😉"Yes, I've heard that one, Gary 😆. Though, I must admit, I'd forgotten that it'd been during a thunderstorm! 😁
Jonathan, I recall hearing the quote many years ago without the thunderstorm. I looked it up and found both versions, with and without thunderstorm. Anyway, the storm implies a harpsichord crescendo that was definitely too molto. 😊
Sometimes I feel that the dry sound of the harpsichord is better for baroque music, the piano is too much , doesn't it's greater potentiallties encourage performers into over interpretation?