> Dear All,
>
> Just a few comments:
>
>
>
> I think it is probably wrong to assume that Julian Bream or Wanda
> Landowska were louder than their modern counterparts - in fact it
> seems
> to me that with both lutes and harpsichords, as modern makers have got
> closer to historical models and methods (and as players have developed
> better techniques) the instruments have sounded louder and fuller,
> with
> lots of overtones which the mid-20th C instruments lacked.
>
Martin
I had never actually heard either Bream or Landowska in concert,
but loudness, particularly in the case of Wanda Landowska's
harpsichord, is what strikes me in recordings. Perhaps, it is not
loudness but "clankiness " or possibly a lack of an impression of
intensity variation.
You are obviously right in that the remarkable right-hand technique
of J.H. allows him to project far beyond the range of earlier
players, such as Hoppy. However, I had the impression that there has
been two stages in the evolution to lighter instruments. The first,
where lutists such as Hoppy played more quietly than J.Bream,
followed by a second phase, in which younger players such as
J.Heringman rediscovered the renaissance right-hand techniques that
would allow them to project far beyond that of Hoppy, and probably
also that of J.B.
I was greatly impressed by Jacob's projection in his consert a year
ago at Caen.
However, I think David v. O. may have been right, in differentiating
loudness and projection.
The heavier instruments may have been rather loud but lacking in
projection.
Best regards
Anthony
>
> Oh, and I must mention the splendid part-concert (about 30 minutes)
> which Jacob Heringman gave at the weekend. All Bakfark, played
> standing
> up, with ravishing sound, including a seven minute fantasia which had
> the audience spellbound. And not a Pyramid string in sight.
>
> Best wishes,
>
> Martin
>
>
>
>
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