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Well, we've got plenty of evidence for 18th century trills being either gradually sped up or "broken" according to a ribattuta type; the longer the note, the more a long trill sounds like a dental drill...

@@amotisaviCould you just tell me just a few evidence of the trills in the 18th century? I’m now just about to write something about it. Thanks ❤

I hope the reason is enthusiasm or some other excitement!

Probably just for this demo. The recording will be different

thank you!

never thought of any kind of fruit, but thank you for the comparison!

Spot on! I promised my muselaar complete restringing if she (it's a she) stays alive for the whole duration of a 70' recital; she did, so now she gets a new live indeed

It's not signed anywhere, and I have no information on its history, as the previous owner didn't know much either.

Sadly, this little extra effect is neither intentional nor easily blamed on the instrument. It's a wrong note. That being said, muselars are tricky little creatures (which has been a subject dwelt on in the past), and this one in particular tends to refuse cooperation from time to time. Any slip of the finger might result in a buzz. All the player may hope for is that such an involuntary accident creates a new inventive embellishment...

​@@amotisavi ah, thanks for the explanation. Wonderful playing, nonetheless!

Personally I don't have favourites, but this one was my first ever played. Great memories of the first encounter!

Thanks! Short octave, a typical C/E, which here in the galliard required one note change in the third last bar.

Still in the processing process...

and this one: th-cam.com/video/5fmp_DQGN-8/w-d-xo.html Cheers!

Très 🆒!!

Thanks! It's J. Klinkhamer's copy after Claude Labreche (1998 I think?). Not sure which temperament we used for the concert, but most probably something mild, perhaps Young or Sorge's inequalis (the latter one is my usual choice).

@@amotisavi Thank you for the information on Temperament, I will have to check out Sorge… This brings to mind C P E Bach’s 14th Paragraph from his Introduction to Pt 1 of his Essay on the True Art of Keyboard Playing 1753, in which he wrote make most (meisten) 5ths slightly impure, with the logical interpretation that a minority of 5ths were pure (as described in Werkmeister’s book J S Bach catalogued in his possession). Kudos for using an unequal, Wohl, or circulating (whatever the current buzzword is now in fashion). Nothing against Young other than it’s 50 years too late for J S Bach and also after C P E Bach deaths. Vallotti temperament’s complete instruction publication wasn’t until 1958 and what passes as Vallotti is a variant by another published in the 1980’s. The above you are already aware, I write this when your video receives the number of views it so richly deserves, others not so well versed on the subject will take pause when they read C P E and J S Bach used Equal Temperament.

@@amotisavi Claude Labreche, the signed and the one attributed to him (Hubbard) and now accepted, interesting instruments. The originals were unique in 17th Century French Harpsichords, 4' only on the upper manual (dogleg jack), no coupler, lower manual 8 ' and 4' (dogleg jack for the upper 4') and box slides. Unique examples of a tradition from a builder not from Lyon or Paris. After typing my response, I remembered that Sorge's temperament borrowed heavily from Neihardt's writing on the subject, but their's an interesting connection to J S Bach, both belonged to Corresponding Society of Musical Sciences in 1747. And apparently friends as three Fugues once thought to be by J S Bach (on the subject of B A C H in the BWV Anhang are now attibuted as being by Georg Andreas Sorge, another capable musician from Thuringia.

Greetings back to Cambridge (MA) from Cracow!