Byron Schenkman | The Art of the Harpsichord

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Classical: Early Music Classical: Keyboard Music Moods: Instrumental
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The Art of the Harpsichord

by Byron Schenkman

Listen to eight historical harpsichords played in the same room, with the same recording engineer and same musician to hear how the instrument developed and changed through the years and in various countries.
Genre: Classical: Early Music
Release Date: 

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  Song Share Time Download
clip
1. Diferencias sobre "El canto llano del caballero"
2:29 album only
clip
2. Il Ballo dell'Intorcia
1:36 album only
clip
3. Chi No Crede
1:12 album only
clip
4. Toccata I
3:35 album only
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5. Passacaglia
5:43 album only
clip
6. Ayre
0:44 album only
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7. A New Irish Tune
1:03 album only
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8. Toccata di Passacaglia
5:59 album only
clip
9. Keyboard Sonata in G Minor, K. 426
4:07 album only
clip
10. Keyboard Sonata in G Major, K. 427
2:50 album only
clip
11. Keyboard Sonata in B Minor, K. 27
3:01 album only
clip
12. Le Moulinet
2:46 album only
clip
13. Keyboard Sonata II in F Major, Wq. 56/4: I. Andantino
3:54 album only
clip
14. Keyboard Sonata II in F Major, Wq. 56/4: II. Presto
2:22 album only
clip
15. La Pothoüin
5:05 album only
clip
16. Les Étoiles
2:24 album only
clip
17. Variations On "Mio caro adone", K. 180/173c
4:22 album only
clip
18. Keyboard Sonata in D Major, Hob. XVI:24: I. Allegro
5:10 album only
clip
19. Keyboard Sonata in D Major, Hob. XVI:24: II. Adagio
2:57 album only
clip
20. Keyboard Sonata in D Major, Hob. XVI:24: III. Finale. Presto
1:56 album only
clip
21. Minuet in G Minor, G. 242
1:59 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The National Music Museum in Vermillion, South Dakota, is one of the world’s best musical instrument collections and holds a very special place in my heart. I first performed and recorded there with violinist Ingrid Matthews in 1995 (back when it was known as “The Shrine to Music Museum”) and I have enjoyed many return visits since. It is rare to find so many great examples of early keyboard instruments kept in beautiful playing condition and I am very grateful to the museum for allowing these instruments to be played and heard.

This recording project has been a vision of mine for many years. Although there are other recordings of historical harpsichords available, including some of the instruments heard here, I wanted to provide a means to hear all these instruments side by side with as much kept constant as possible: the same harpsichordist, same engineer, and same room. All these factors make such a difference in how an instrument sounds. I also wanted to fit the repertoire as closely as possible to each instrument. For example, the pieces by Henry Purcell were published in the same year and the same city in which the Charles Haward spinet was built, and the Mozart variations were published in Paris just a few years before the Jacques Germain harpsichord was built there. John Koster offered valuable guidance in choosing repertoire for some of the instruments, pointing out the connection with the print by Andrea Antico for example (see notes), and sending me a copy of the charming piece by Johann Heinrich Silbermann – a rare chance to hear an original composition by the harpsichord builder himself! At the same time I chose pieces that I found musically rewarding, striving to make an enjoyable listening experience as well as an informative survey.

The week I spent in Vermillion recording the music for this CD was one of the happiest of my life. I hope you will experience some of that joy in listening to it!

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