Trevor Pinnock Interview Series

[MRC01]

I just found this series of brief interviews of one of my favorite musicians. I hope you enjoy it as much as I do.

I found this while researching his latest recording of The Well Tempered Clavier, which is a joy to listen to.

 

[MRC01]

BTW, I liked this so much on Idagio that I bought the recording, which has absolutely fantastic sonics. I have several harpsichord recordings in my collection, some very good, but this one is in a whole different league of naturalism and realism. It has extended HF but is not bright at all, capturing the warmth of the delicate timbre, and the bass!?!? Yes though it's naturally quite attenuated, it still has clear, musical, tight articulate bass. Also with the plucky transients so fast and light without the artificial emphasis most other recordings have. It has that elusive combination of softness, yet high resolution, of natural live musical sound. Some tracks a slightly different sonic character, so I'm guessing this was recorded in at least 2 different sessions. Pinnock is not a heavy breather but you can hear him take a breath occasionally, plus you can of course hear the instrument action. Not in your face, but subtle. DG is not usually my favorite label when it comes to sound quality but they've outdone themselves with this one. Just wow.

Musically, it's quite distinct. Not rushed or frenetic like Gould can be, but a wide range of tempos. Even when he slows down he keeps the drive and reveals the often playful melodic interaction of the hands. He takes full artistic advantage of the harpsichord's left hand being crisp and articulate to bring out this interplay, where on piano that can get lost. Overall the style reminds me of his 1980s Goldberg Variations on Archiv, which is one of my favorites.

 

[REK2575]

This is just my own personal taste, of course, but there's something about the harpsichord -- its monotonous timbre, its lack of dynamic range -- that just makes it impossible for me to enjoy. Harpsichord music is where I draw the line at the 'original instruments' movement, which overall has done so much to revivify Bach and Handel but also Mozart and others. I could never listen to Klemperer or Karajan's recordings of the Bach passions now, and I'd take Gardiner's or Rene Jacob's recordings of Mozart's operas over most others. But the harpsichord or clavichord... there's simply no way I'd rather listen to a period instruments recording of The Well-Tempered Clavier over modern piano, even if the performer is someone as intelligent and sensitive as Trevor Pinnock. (Fortepiano is another story; I'll happily listen to Mozart or Beethoven performed on Fortepiano.)

Not meant as a blanket criticism, let me be clear! Pinnock is wonderful and I treasure his recordings of the Haydn symphonies in particular. But the clip you posted just made me confront again what for me is the bugbear of Baroque music... the dreaded Harpsichord : )

 

[Zog]

This is just my own personal taste, of course, but there's something about the harpsichord -- its monotonous timbre, its lack of dynamic range -- that just makes it impossible for me to enjoy. Harpsichord music is where I draw the line at the 'original instruments' movement, which overall has done so much to revivify Bach and Handel but also Mozart and others. I could never listen to Klemperer or Karajan's recordings of the Bach passions now, and I'd take Gardiner's or Rene Jacob's recordings of Mozart's operas over most others. But the harpsichord or clavichord... there's simply no way I'd rather listen to a period instruments recording of The Well-Tempered Clavier over modern piano, even if the performer is someone as intelligent and sensitive as Trevor Pinnock. (Fortepiano is another story; I'll happily listen to Mozart or Beethoven performed on Fortepiano.)

Not meant as a blanket criticism, let me be clear! Pinnock is wonderful and I treasure his recordings of the Haydn symphonies in particular. But the clip you posted just made me confront again what for me is the bugbear of Baroque music... the dreaded Harpsichord : )

I could not have put it better myself. As a keyboard instrument there is no reason not to take the advantages of a piano. As a plucked instrument the guitar or harp are more pleasant sounding. The reason I have not taken to such instruments with a sledgehammer is I understand that historical nerds (I know I am one) have their place in our society. Some like vintage cars. Heaven's above I use fountain pens, have a non quartz watch, and run a couple of turntables!

 

[MRC01]

... As a keyboard instrument there is no reason not to take the advantages of a piano. ...

I felt the same years ago. That changed when first I heard the Goldbergs performed on harpsichord. The L hand was so much more articulate than piano, it makes the L and R equal melodic partners which brings a new dimension to the music. I had heard that music many times on piano but hearing it on harpsichord was revelatory.

 

[gene_stl]

Look up and listen to Trevor playing the 5th Brandenburg and then tell me you don't like the harpsichord.

Then look up Gustav Leonhardt playing the Bach Prelude Fuge and Allegro (Bwv 998)

then listen GL playing Capriccio on the departure of his beloved brother. (BWV 992)

The above link is just one movement you have to hear the whole thing.

Finally there is THIS:

Somehow I made it to age 68 without ever hearing this.
The other movements are also online without the video.

Oh and don't forget the various fandangos for harpsichord like Scarlatti Soler Boccherini and others

and , and .....

oh yeah find somebody playing "La Frescobalda" by Girolamo Frescobaldi

 

[REK2575]

I felt the same years ago. That changed when first I heard the Goldbergs performed on harpsichord. The L hand was so much more articulate than piano, it makes the L and R equal melodic partners which brings a new dimension to the music. I had heard that music many times on piano but hearing it on harpsichord was revelatory.

Despite my criticisms, you're right to remind us that there are aspects of the music that cannot be fully captured on the modern piano.

It sometimes feels like Bach's keyboard (non-organ) music -- and I'd include Handel's sublime keyboard suites as well -- were written for some transcendent instrument that doesn't exist -- one that would combine the precision and distinctness and rapid action of the harpsichord with the sonorousness and flexibility of tone and phrasing of the modern piano. I do think Gould in particular was trying to achieve a tone like that, but I've grown very disenchanted with Gould over the years, after idolizing him in my youth. For the most part, I really can't abide his recordings of the 2 books of the Well-Tempered Clavier. I'd take the recordings of Andras Schiff or Angela Hewitt any day of the week over them. His Partitas and the 1980 recording of the Goldberg Variations still seem wonderful to me, though.

@gene_stl -- I can take the harpsichord as a continuo instrument -- it's as a solo instrument that I struggle with listening to it --