I've only got Angela Hewitt, but I'm happy with her. In general I prefer Bach on piano, because given the length of the pieces it's easier on the ears, and the piano has more dramatic expressive possibilities. On the other hand, I prefer Scarlatti on harpsichord, because his pieces are short and more percussive.
I do agree that extended listening to piano is much easier on the ears.
Generally agree on Scarlatti (esp. Hantai's recordings), but I also loved Lucas Debargue's Scarlatti collection on piano from a few years ago. And Horowitz played them very well too.
On the subject of listening to Nazis, I'd like to recommend, if you haven't read it, Claire Dederer's book, "Monsters: A Fan's Dilemma" - no answers there, but certainly many ways we can all think about the problem of monsters in art and how we respond to them and their work. Also, I had a chance last year to see Andras Schiff in concert - what a delight. And he does in fact use the pedal (carefully, judiciously) when he plays Bach.
The excerpt of Suite #4’s Sarabande quotes (or vice versa) the c-minor lute suite’s Sarabande melody, a motto also featured in the St Matthew Passion’s very last number (for chorus, “Wir setzen uns”).
Clearly the theme had special meaning (and suggested varied treatments) for Bach, imo.
I've only got Angela Hewitt, but I'm happy with her. In general I prefer Bach on piano, because given the length of the pieces it's easier on the ears, and the piano has more dramatic expressive possibilities. On the other hand, I prefer Scarlatti on harpsichord, because his pieces are short and more percussive.
Throughout this project I've become more open to harpsichord. More in this post:
https://yearofbach.substack.com/p/may-6-the-inventions-and-sinfonias
and this one:
https://yearofbach.substack.com/p/july-17-the-well-tempered-clavier
I do agree that extended listening to piano is much easier on the ears.
Generally agree on Scarlatti (esp. Hantai's recordings), but I also loved Lucas Debargue's Scarlatti collection on piano from a few years ago. And Horowitz played them very well too.
On the subject of listening to Nazis, I'd like to recommend, if you haven't read it, Claire Dederer's book, "Monsters: A Fan's Dilemma" - no answers there, but certainly many ways we can all think about the problem of monsters in art and how we respond to them and their work. Also, I had a chance last year to see Andras Schiff in concert - what a delight. And he does in fact use the pedal (carefully, judiciously) when he plays Bach.
I’ll check out that book. think I’m going to feature Karajan’s Mass in B minor… that guy was held in the worlds esteem through the end of the 1980s!
Argerich and Richter. What more could I ask for?
The excerpt of Suite #4’s Sarabande quotes (or vice versa) the c-minor lute suite’s Sarabande melody, a motto also featured in the St Matthew Passion’s very last number (for chorus, “Wir setzen uns”).
Clearly the theme had special meaning (and suggested varied treatments) for Bach, imo.
Listening, a question came to mind. When did all this diatonic music begin? Who is chiefly responsible? Corelli? Purcell?