M. Weckmann - Toccata in d

Rassegna Cembalistica "Young Harpsichordists" 2008. June 29th 2008 at Palazzo Annibaldeschi - Monte Compatri (Rome). In collaboration with Mitzi Meyerson's class of harpsichord of the University of the Arts - Berlin. JIA LIM-harpsichord. RAHEL BADER-cello.

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Category:

Music

Tags:

• weckmann
• toccata
• harpsichord

[1401JSC]

Nobody seems to have noticed the great quality of this instrument. Singing, lasting bass notes, well harmonised, in sympathy with the room.

One of the best (and rich) sounds I've come across.

[romeoamkj]

Thank you, the instrument is made by Claudio Tuzzi, it is a copy of a last french harpsichord made by P. Taskin, conserved in Versailles...

[NaitsabesWinklersson]

Jesus is she good... how old is this girl?

[romeoamkj]

Thank you! I think she has the same age of you probably

[laoong]

OK. I've heard only two other performances of this toccata (Leonhardt and Henstra) and they, in my opinion, are nowhere near to this one. Splendid!

[TheStraubeCode]

Weckman is not Bach, and not Couperin. This musician uses the body to achieve the right timings. Nothing wrong with that, on the contrary. Beautiful performance, good expression. Nothing disturbing in it.

[tuxedomoon]

Yeas maybe Couperin was after Weckman but the stance of showing no movement and the hands and head still was also applied by Johann Sebastian Bach perhaps some of us may reconsider it.

Also Couperin and Bach shared many common thoughts ,they wrote letters to each other

[macanudo1808]

es un clavicembalo frances, por el sonido.

[eameece]

I doubt Couperin had seen Ray Charles or Stevie Wonder. ;-)

[1401JSC]

1. Try turning off the picture and listen to the music. Does she sound as if she's obstructing the way between written notes and the public?

2. I'm pretty sure that Couperin (L'art de toucher le clavecin) didn't forbid the performer to FEEL the music.

3. Couperin was born shortly before Weckmann's death. The École Française in 1710 and (Colbert's) efforts to systematise every aspect of the state don't have much to do with performance in 1650 Hamburg.

3. Timing at the fingertips, I agree.

[FernandRaynaud]

Wow, doesn't ANYBODY read Couperin any more? He held that swaying and grimacing, and the like, have no place at the harpsichord. One is supposed to sit properly, slightly facing to the listeners (the right), and NOT make like Ray Charles or Stevie Wonder. Besides, all Pianisms, like leaning into notes for emphasis, are absurd on an instrument in which timing, at the fingertips, and not force at the wrist, is the controller. I'm partly joking, but note how such mannerisms detract from the music.