The Secret Händel (Works for Clavichord)
ฝัง
- เผยแพร่เมื่อ 19 มิ.ย. 2024
- 00:00 Suite III in D minor, HWV 428 (version by Gottlieb Muffat, 1690-1770):
Prélude (Presto) - Allegro - Allemande - Courante - Air (with variations) - Presto*
26:20 Aria & variations in G major, HWV 430/4a*
31:23 Fugue in C minor, HWV 610*
35:23 Suite for two keyboards in C minor, HWV 446: Allemande - Courante - Sarabande - Chaconne (Derek Adlam, clavichord II; 1982 copy of Hass, 1763)*
48:15 Three minuets in A major (HWV 545, 547, 546)+
51:33 Air in F major (Water Music), HWV464+
53:12 Bourrée & Hornpipe in F major (Water Music), HWV deest+
55:01 Aria & variations in B flat major (Johann Philipp Krieger, 1649-1725)+
1:06:10 Air in B flat major, HWV 469+
1:08:15 Concerto in G major, HWV 487#
1:09:48 Air (Lentement), HWV 467#
1:12:12 Andante in G major, HWV 487#
1:13:59 Allemande in B minor, HWV 479+
1:17:59 Courante in B minor, HWV 489+
1:19:49 Sarabande in B minor (Friedrich Wilhelm Zachow, 1663-1712)+
1:21:24 Gigue in B minor (Zachow)+
1:23:13 Chorale ¨Jesu meine Freude¨, HWV 480+
1:24:57 Chaconne in G major, HWV 435*
Christopher Hogwood,
* Johann Albrecht Hass clavichord, Hamburg 1761
+ Johann Jacob Bodechtel clavichord, Nüremberg c1790
Johann Heinrich Gräbner clavichord, Dresden 1761
Recorded in Potton Hall, Suffolk in August 2002
Handel's attraction to the clavichord is well documented in 18th-century sources; the first biography of Handel (and in fact the first biography of any composer) written by John Mainwaring begins with a description of his famous obstinacy and his first clavichord:
“From his very childhood HANDEL had discovered such a strong propensity to Music, that his father, who always intended him for the study of the Civil Law, had reason to be alarmed. Perceiving that this inclination still increased, he took every method to oppose it. He strictly forbad him to meddle with any musical instrument; nothing of that kind was suffered to remain in the house, nor was he ever permitted to go to any other, where such kind of furniture was in use. All this caution and art, instead of restraining, did but augment his passion. He had found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep. He had made some progress before Music had been prohibited, and by his assiduous practice at the hours of rest, had made such farther advances, as, tho not attended to at that time, were no slight prognostications of his future greatness”. (Memoirs of the Life of the Late George Frederic Handel, 1760, pp. 4-6). Although this story was later embellished, it stemmed from conversations with Handel's assistant, J C Smith, who presumably had it from the composer himself.
Information on what music the young Handel performed comes from another 18th-century source; William Coxe in 1799 described a manuscript keyboard book from Handel's early schooling with Zachow: “it contains various airs, choruses, capricios, fugues, and other pieces of music, with the names of contemporary musicians, such as Zackau, Alberti, Frobergher, Krieger, Kerl, Ebner, Strunch. They were probably exercises adopted at pleasure, or dictated for him to work upon, by his master, The composition is uncommonly scientific, and contains the seeds of many of his subsequent performances”. (Anecdotes of George Frederick Handel and John Christopher Smith (London, 1799), p. 6n. Although this keyboard book was lost in the 19th century, both Zachow and Krieger are represented on this recording with musical ideas that Handel later “borrowed” and which could well stem from items included in that manuscript.
One of Handel's closest friends, Bernard Granville, made a note on Krieger's Anmuthige Clavier-Übung: “The printed book is by one of the celebrated organ players of Germany; Mr Handel in his youth formed himself a good deal on his plan, and said that Krieger was one of the best writers of his time for the organ, and, to form a good player, but the Clavichord must be made use of by a beginner, instead of Organ or Harpsichord”. (British Library Dept. of MSS; P.R.2.D.15. (7))
Contrary to traditional thinking, the clavichord was far from unknown in England; while there may have been few builders there were many imports, as Mattheson noted (Critica Musica, 1722): “When it is said that clavichords are to be found nowhere but in Germany, and then, that a clavichord has been heard in England in the home of a German organist [?Handel], then [one must conclude that] there must be clavichords in England, at least among the Germans there (of which there are quite a few now). There are people living here in Hamburg who each year send as many clavichords as they can make to England, Spain, Holland, etc. So where are [these clavichords]?” (Translation by Greg Crowell from Clavichord International, November 1999 p. 48, which also includes the German text). Mrs Delaney (sister of Bernard Granville and neighbour of Handel) wrote in 1756 that her niece, about ten years old, “is now practising the clavichord, which I have got in the dining-room that I may hear her practise in my leisure moments...” So the profile of a regular domestic instrument is as clear in Handel's England as it was in Bach's Germany.
The repertoire presented here, however, covers a larger geographical spread than with Bach; Handel was an international artist and an inveterate borrower of musical ideas, who, like Mendelssohn after him, suffered from “Revisionskrankheit” - a chronic need to revise and rewrite his own (and, in Handel's case, other people's) music. On its publication in 1739, one of his favoured sources was the set of keyboard suites, Componimenti musicali, by Gottlieb Muflat, which provided the basic themes for several movements in the Song for St Cecilia's Day and other works. What is less noted is that this admiration was reciprocated; Muffat had already taken Handel's first set of eight keyboard suites and in 1736 made a heavily decorated manuscript version “mises dans une autre applicature pour la facilité de la main”. These provide an astonishingly rich quarry for elaborated keyboard performance as well as source of alternative readings (and will be published by Ut Orpheus Edizioni in 2006, edited by the present writer).
For Suite III in D minor Muffat supplies, for instance, the missing bass-note at the beginning of the Prélude, adds ornaments and refines the division of the hands in the arpeggio sections. The rhythms of the following Fugue are carefully overhauled, liberal ornaments added to the subject and some awkwardness of part-writing improved. The very detailed signs used by Muffat, not only for ornaments, but also for arpeggiation, “super-legato” and articulation are here used more liberally for the repeats of each section of the harmonically erudite Allemande (One perceptive French musician in the 18th century wrote on his copy of this movement: “Ce morçeau est un chef d'oeuvre de Modulation Sçavante”). The Courante shows similar additions, plus a clarification of suitable adaptations for first and second-time endings which were left by Handel to the imagination of the player.
The Air, already well ornamented in Handel's printed version is worked over by Muffat and given extra flourishes and a fuller internal harmony. The additions to the Variations are in a similar lavish mode, and the running trills proposed for Variation 4 suggest a more moderated than Handel's original version would have needed. The concluding Presto also exists in a version for solo keyboard and orchestra by Handel, and possibly with this in mind Muffat fleshes out the “tutti” ritornelli with the fullest possible chords, and the “solo” sections with trills and mordents; in bars 51-4 and similar places he adds a left-hand part to Handel's right-hand scales.
Many of Handel's best-loved pieces exist in earlier versions, and the Air and Variations that later formed part of Suite V in E major (and gathered the nickname of The Harmonious Blacksmith) is found in G major in several earlier sources. The unpublished version offered here is taken from a MS collection at present held by the Museum of Fine Arts in Boston, with the title Aria Chaconne; it is without the mysterious opening bass note of the familiar setting, and offers different ornaments and figuration, especially at cadences. It remains a moot point whether the theme was original to Handel or borrowed, but in either case it is unlikely to have been a vocal piece.
The Six Fugues or Voluntarys were published by Walsh in 1735, possibly stirred by the success of a similar set by Thomas Roseingrave in 1728, the first complete set of fugues published by an English composer. Handel's autographs suggest that he kept a random collection of such pieces for inclusion in orchestral works; certainly they do not all fit ideally on the keyboard, but are not to be over-penalized for that in comparison to Bach. Samuel Butler, the arch-Handelian, even claimed that “Bach was fugue-ridden; Handel wrote fugues. Fugues were Handel's servants and Bach's masters” (Further Extracts from the Notebooks, p. 253). The final Fugue in C minor, masterly both in keyboard idiom and chromatic tension, was christened by Butler “the “Old man fugue", the subject is like an old man's epitaph on himself, and life, and things” (ibid. p. 97).
Baroque music for two keyboards is rare enough to cause extra regret that of the early Suite in C minor only the first keyboard part survives (oddly, in some nine copies); several movements were once accepted as being solo pieces, and the Sarabande is almost self-sufficient without a second keyboard, which only plays in the repeats in this recording. Donald Burrows has suggested that Clavier II may in fact never have been fully written out, but improvised by Handel in performance, and this policy has been followed here. The final Chaconne, written in white notation, ends rather abruptly, and a short da capo has been added here.
Nearly a hundred separate minuets listed in Handel's output are a reminder that we should not underestimate his contribution to public entertainments. Clearly there was a greater appetite for this dance then than now, but we appear to relish the sequences of Minuets that appear fully orchestrated, for instance in the Music for the Royal Fireworks and Water Music suites, but shun their keyboard originals. Others never made it into orchestral clothing but display equally attractive melodic ideas; the first of these three examples later became a song-tune, the others are clearcousins of Water Music movements. The famous Air in F (marked Presto in some sources) exists in Handel's own autograph keyboard version, while the Bourrée and Hornpipe are contemporary keyboard transcriptions, carefully published with “correct bases”.
“Handel the Borrower” is a favourite topos for musicology, although the differences between a “borrowing”, a half-memory and a commonplace of the music language are hard to define. Certainly for Handel such a stimulus was a part of his musical upbringing, when every German keyboard player would have created impromptu variations on chorale or aria melodies. The distance travelled by the Air of Krieger's variations is sufficient proof of 'recreation'; it may have formed part of the young Handel's lost keyboard-book, but to us it is the germ theme of several later orchestral movements from Handel, culminating in the “super-orchestral” scoring of the Fireworks Music - a far cry from the sound of a clavichord. The formulas of figuration heard in this selection from Krieger's variations also bear fruit in the keyboard show of Handel's later Chaconne. This sequence of pieces on the fretted clavichord is rounded off with Handel's boisterous Air in B flat, his own keyboard version of music used in an orchestral Sinfonia (HWV 347).
A small travelling clavichord by Ugo Annibale Traeri dated 1726 now in Maidstone Museum is inscribed: “This Clavichord belonged to Handel, who used it in composition when travelling; it subsequently came into the possession of my Father, George James Cholmondeley, Esqre, who died in 1830... Frances Sophia Buchanan Riddell, Harrietsham Rectory, Maidstone”. Although this instrument is no longer playable, it is in form very like the Gräbner instrument recorded here, which sounds a fifth higher than normal pitch. While the tone may be rather “short wave”, it exemplifies the sounds that many international keyboard players would have been familiar with “on the road” in the 18th century. It is best suíted to miniatures: a Concerto experience contained in sixty seconds of music, complete with repeats and extended sequences worthy of a full orchestral work, an expressive G minor Air (Lentement), reworking yet again one of Handel's favourite vocal openings, and an Andante in minuet style (a movement which is actually contained on one of the two surviving musical clocks by Charles Clay, complete with ornamentation adopted here).
Unattached movements are a bane of Handel's legacy, the more so when their quality demands performance, as with the extraordinarily Bach-like Allemande in the unusual tonality of B minor. This is found in Handel's autograph in the British Library, and a MS in the Earl of Malmesbury's collection extends it with a lithe Courante; however, in 18th-century terms this is seriously incomplete, and, in the absence of any other suitable movements by Handel in this key, the “suite” is completed with two movements by Handel's teacher Friedrich Zachow, a melancholy Sarabande, close to the manner of Buxtehude or even Froberger, and a Fuga finalis (a zig-zag gigue) which Handel appropriately borrowed as the final movement of the final concerto of his Op. 6. An intimate setting of the Chorale “Jesu meine Freude”, with the melody in the alto part, reminds us that even when established in London Handel had not forgotten his Lutheran musical pedigree.
The concluding great Chaconne in G is well-known in corrupt versions, but less frequently played according to the texts from the hand of Handel's own copyists. Some of these contain differing variations, helpful fingering and optional octave doubling, showing that the whole piece was essentially an organic rendering of what must have been one of Handel's most impressive germ ideas for continuous improvisation and keyboard showmanship. A certain obstinacy and stamina connect us to the child Handel here, plus the wrenching melancholy of the minore sections and the sheer bravura of the keyboard display.
Christopher Hogwood
Instruments used in this recording
Notes by Derek Adlam and Christopher Nobbs
1 Johann Albrecht Hass, fl.1740-68, died c.1776; a member of a distinguished dynasty of Hamburg harpsichord, clavichord and organ builders. Signed and dated 1761 on the soundboard. Compass FF-f3. Unfretted and strung in brass, this clavichord has additional octave strings from FF-c, giving extra brillianoe and clarity to the bass. The soundboard is painted with flowers, and magnificent chinoiserie decorations on red lacquer cover the inside of the lid. Olive wood veneers line the key-well and the outside of the case is painted in simulated tortoiseshell. Clavichords such as this were prominent and important possessions in cultivated households. The clavichord played by Derek Adlam is his own 1982 copy of a similar J. A. Hass clavichord dated 1763 in the Russell Collection, St Cecilia's Hall, Edinburgh.
Pitch A = 390
The long treble string scaling dictates the use of a low pitch and the unequal temperament used was a sixth-comma system (Young II). This temperament permits complete freedom of modulation but also possesses a clear sense of individual key and chord colour.
2 Johann Jacob Bodechtel, Nuremberg; maker of organs and other keyboard instruments. Circa 1790. Compass C-f3, fretted, brass strung. Plain painted pine case, the lid lined with printed paper. Typical of simple double fretted clavichords found throughout the German-speaking world during the eighteenth century.
Pitch A =415
3 Johann Heinrich Gräbner, Dresden, 1761. A small, “travelling”, fretted clavichord, less than one metre long, strung in brass at quint pitch - a fifth above a = 392Hz - with a compass from C to e3. The oak casework is of very refined workmanship with the baseboard moulding forming the front of a full-wideh concealed drawer below the instrument. Printed buntpapier decorates the inner rim and there are large brass flap-hinges on the lid. Most unusually the tuning-pins are also of brass. The Gräbners were an important family of Dresden organ and harpsichord builders in the seventeenth and eighteenth centuries. Only two Gräbner clavichords appear to survive, both small travelling instruments. This one is signed and dated on the underside of soundboard, and is also marked ¨Num 100¨.
Both fretted instruments are tuned in unequal temperaments based on Werkmeister III.
Just leaving a comment so the youtube algorithm recommends more of these works.
The clavichord is such a lovely and expressive instrument! It deserves more love!
Love is an overused word.
31:24 This fugue gives me goosebumps. I love Handel's harpsichord works. They are very dramatic
This is clavichord
Wow. That painting is fantastic too.
The painting depicts an anecdote from Handel's childhood. His father, a well-to-do barber and surgeon, refused to allow his son to study music, a frivolous pursuit according to the pater familias. So, with the help of a family friend, young Handel snuck a small clavichord into the family home's attic. Despite the instrument's soft tone, eventually the family did hear Handel playing and angrily stormed into the attic room. The story is probably apocryphal, but charming nonetheless.
@@Divergent_Integral Nice. Thanks.
@@Divergent_Integral - Imagine the joy little Georg Friedrich would have felt if his father would have punished him by locking him up in that same attic! Sadly, we'll never know if any of this ever happened.
@@Divergent_Integral Such great portrayal of emotion. They all just bumble through the door and witness him there.. "THE FUCK ARE YOU DOING IN HERE, BOY! GET OUT"
Imagine if they were able to comprehend that their little kid’s music would be cherished for generations to come..
This is an absolute joy to listen too! I love the clavicord and harpsichord ! Thanks for posting such wonderful music. Such a great alternative to regular Christmas music when preparing for Christmas or anytime.....Thanks for posting ❤
I heard an angel in the house, I got up and I saw without believing, with amazement; it is you my son, this angel!
I think Handel as a composer was an Innovative genius . Goodnight
The painter should have used a clavichord which was so quiet that Little Georg could practice at night without being heard.
БЛАГОДАРЮ!
Музыка заполняет Душу от повседневной жизни, музыка это ЕДИНСТВЕННЫЙ ВСЕМИРНЫЙ ЯЗЫК, И ЕГО НЕ НАДО ПЕРЕВОДИТЬ
Handel's clavichord envelops me with a sense of calm and peace.😍
Harpsichord? Are you referring to the instrument being played in the video? It's a clavichord.
@@matteomagurno3068 Thanks 👍
@ Happy to help!
Thank you for posting this wonderful collection and performance of Handel's glorious music!
thanks for this beautiful video!
What a joy! And what very different characters each of the instruments has. Thank you for sharing this. I will now buy the CD (which I wasn't aware of).
🍒fantastic …an Handel appetizer instead of a main course 🥰tres grand merci 💖✨
Thanks you. I miss "The Gravicembalo" channel
musik ist die Sprache Gottes _________________________
Wonderful
Marvellous ‼️
Beyond description ‼️
Amazing ‼️
Unimaginable ‼️
Immeasurable ‼️
Shortly speaking ,
Handel's capacity is unfathomable
🌻 Thank you! 🌻
Thank you.
Thank you!
Very nice. TY
i've got a Liszt of great composer puns that's Haydn in my closet somewhere...
i could look Bach there and read it to you, but i don't think you could Handel it.
Great Handel!
good stuff
wow!
it's near impossible to find clavicord music that's copyright free
why is that?
The club can’t Händel this music.
I like Georg Friedrich Händel very much.
It's interesting to know the
different type of Clavichord's
sound. I enjoyed a lot.
Thanks for sharing.
His music is very friendly for me .
Some of them I've played
on the piano and enjoyed
a lot.
@@user-mz5bu3se8c さま
法華経の三界は火宅を調べ、天津兎耳子さまの対応に学びました。
『三界とは、欲界（よっかい）・色界（しきかい）・無色界（むしきかい）の三つをいう。 欲望につながれて苦しみ迷うものを欲界の衆生といい、美しい形にとらわれているものを色界の衆生といい、美しさへのとらわれは超えているが、なお迷っているものを無色界の衆生という。』
森鴎外も僕と同じ、火宅の衆生でした。
宮沢賢治もまた、火宅の衆生です。
三界とは、三面阿修羅の火宅で等しい世界です。
ロビンZ‹欲界›＝森鴎外‹色界›＝宮沢賢治‹無色界›
天台の訓えは空間です。
真言の訓えは時間です。
ルービックキューブを動かし、空間の意味が理解できました。
金剛界曼荼羅は、思索手順書です。理想理念です。
胎蔵界曼荼羅は、完成図です。思想思念です。
理趣曼荼羅は、時空の統一なんです。108の煩悩です。
苫米地英人先生に、般若心経の空観を教えて貰いました
色即是空・空包摂是色 という上位概念です。
天台密教もあります。
これが
色即是空・空即是色の時間論です。
三界は火宅に於いて等価です。
衆生と菩薩と如来は、等価です。
欲即是菩薩・欲即是如来
菩薩即是衆生・如来即是衆生
天津兎耳子さまの対応から学んだことです。
森鴎外より自由になれました。
アザミとカイトをトミコが統一するのです。
@@user-oj5et7hr1c さま
＂そふぃーの神語り＂31
「ほんなら連れておいで」のazamiの了解で始まった
夏休みの帰省旅行。
入学以来、音楽科の友達や
部活の先輩情報は折に触れ
手紙で知らせていましたから、azamiや🪁もそふぃーの
交友範囲は大まかに知って
いました。
そんな社交的でもない
そふぃーですから、
たかが知れています。
今回同行した鈴木さんが、
気軽に話していた先輩の
久辺さんは男子です。
入部以来、怖い印象があり、
ほとんど直に話した事が
ありませんでした。
何かの講義で見かけても、
中国文学のS先生のお宅で
誰かと議論するのを見かけ
ても、圧倒的な知識と自信で
誰かを言い負かせている感じ。
唯一、そふぃーが部活に
出入りする自称指揮者の、
音楽科の先輩と腰巾着みたいに
連れ立って歩いていた頃、
「アイツは悪い奴だから」
と注意を促されたのが、
面と向かっての会話です。
会話と言っても、自分が何と
答えたかも覚えていませんが
やたら恥ずかしかった気が
して、余計に煙たい
印象がつきまとっていたの
でした。
その久辺さんの鈴木さんと
立ち話する様子や、
「帰省するんだったら
ついてっていい？」と
覗き込まれた調子があまりに
屈託なくというより図々しい
のに拍子抜けしたのでした。
それぞれが北陸旅行をして
みたいと思ってた、という
アバウトな依頼でしたが、
三人の道中なら間が持つかな
と、azamiに了解をもらった
のでした。
azamiたちが把握している
そふぃーの周りの男子は、
E先輩
高校の先輩で入試から
合格発表、下宿探しで
お世話になった人。
🪁とも親しく会話
できる大人な所も。
S先生宅へも出入。
宮田くん
音楽科同級生。
少女漫画みたいな展開で
ご家族の理解の元、
途中から下宿先で同居人。
そふぃーの家族とも面識
あり。チェロ専門。
現代音楽作曲家を目指す。
どこまでも温厚ながら
自信に溢れている。
川内くん
宮田くんとは同じ高校
出身。凸凹コンビの巨漢
で自信過剰な俺様気質。
フルート専門。
そふぃーは伴奏を
頼まれるも、余り
お役に立てず。
宮田くんと現代音楽の
会を運営。
自称指揮者
そふぃーを最初に部活に
誘った先輩。
「君の唇はトランペット
に向いているね」が殺し
文句。ここまでは
手紙で親に知らせている。
音楽科から何故か
吹奏楽部へ指揮しに
出入りするが、
別の意味で俺様でキザ。
今いち謎。
久辺先輩
学年は違うけれど
宮田くん、川内くんと
同じ高校出身。
部活では、トロンボーン
担当だが、どの楽器にも
精通していて、編曲、
スコアやパート譜書きも
一手に引き受けている。
S先生宅へも出入り、
奥さんからも
一目置かれる存在。
とにかく勉強家。
これくらいの情報や、
出身地、家のお仕事等は
既に両親は知っていました。
多分、高校時代も登校拒否
したり難しい子のそふぃー
だったので、誰か友だちを
連れて来ること自体が、
親には興味深々だったと
思います。
それは男女問わずで、宮田
くんの家に下宿し、その
ご家族との交流もあった
azamiや🪁には、
久辺さんが登場しても特に
ハードルは高くなかったはず
です。
だから、
「ほんなら連れておいで」に
なったのでしょう。
長い列車の旅。
久辺さんの、普段聞けない
お話にも接する良い機会となり
鈴木さんと感心したり、
笑い転げたりのそふぃーです。
事の語りごとも此をば
↑
設定次第で無限に在るという
時間軸のパッケージの一つ？
と思います。
その中を生きるそふぃーと、
未来からそれを観る🐰や🐦。
時空曼荼羅のライダーですね。
@@user-mz5bu3se8c さま
如何に、垣根が低くフラットな態度で、対応していたか。
そふぃーの魅力全開だね。
森鴎外に対する瞋りが融けたのも、そふぃーのおかげだよ。
@@user-oj5et7hr1c さま
そふぃーの神語り：番外編
＂なぜあなたは金沢を
出たの？＂が、そふぃーの
通奏低音だった気がします。
そう感じたもう一人の
タイムライダーを見つけま
した。
その方の
＂なぜ貴方は金沢へ来たの？"
の問いかけに答える旅を
ご一緒しましょう。
「2001年宇宙の旅」に
まつわるもう一つの旅です。
4043【07 新♪M】
Class Reunion Party,
Kanazawa Univ.
30分位の内容。
夜になって見つけた、
はやし先生のコンテンツです
朝、Diaryでご友人の訃報に
とても悲しまれておられた
のでしたが、その方に
捧げるものとしてでした。
在学中の金沢大学や、
街の様子がまとめてふんだ
んに見られます。
旧制四高寮歌のBGMも
懐かしさをかき立てます。
pinoはある時期、確かに
はやし先生と同じ宇宙ソラ
の下にいたと実感しました
はやし先生の卒業アルバム
が物語りの始まりです。
若者だった先生と、卒業後
31年後の先生、同窓会の
集いの中の先生、友人の
一人を失われた現在の先生
が、タイムパッケージの中
で重ね合わせられています
keywordの2001年宇宙の旅
は、🐦さまや🐰にもずっと
前から縁があったので、
はやし先生のタイムライド
にはとても臨場感を感じ、
まるでもう一つの映画を
観ているようでした。
Could this be very early works? The style seems earlier than most Händel music, we know.
They're catalogued and known works.
55:01 I can't find the other recording...
Handel - the Hendrix of his day.
Well they did live in the same house ! (Not at the same time of course.)
@@theodosios2615 no but he also licked the instruments
@@baronmeduse any source for that?
@@tedgunderson4130 I just checked it out. The two houses are now combined into the Handel Museum, but were once just adjacent houses. Jimi lived at 23, Handel in 25. en.wikipedia.org/wiki/Handel_%26_Hendrix_in_London
@@baronmeduse thanks thats strange but cool stuf
¿Puedes decirme quien es el pintor de esta entrada?
Margaret Isabel Dicksee: The Child Handel (1893)
I know it works for clavichord but does it work for piano?
Mmmm I think it wouldn't work as well. The "clank" sound of the clavichord works so well with the notes being played here (in my opinion). It would'nt be the first time something from the Baroque is played on a piano, though.
@@DemonJaden you get the joke dude?
@@gord.w.p oh, I thought you where asking for real. If that was intended to be a joke... Well. Wasn't a very good one honestly
@@DemonJaden wasn't supposed to be mate
Suite in d-moll is not a secret work.
in the description: 0:00 Suite in D Major, and first stroke....c minor lol
TOO MANY RUINOUS COMMERCIALS.
I suggest to everyone to use AdBlock. No more commercials.
Pourquoi ces stupides publicités qui gâchent l'écoute ????
we prefer this suites played on a piano - and we are sure that Handel himself would also like a piano if this instrument was available in his time.....listening to the clavichord is maybe a pleasure for ten minuts but no longer....
well, that was the only thing available at the time, so this anachronistic view of "play it on the piano" while Handel himself didn't even know of the instruments existence is a tad bit arrogant, even if the piano does sound better.
Your preference only highlights your taste, you absolutely can't speak for Handel. And yes, Handel played a Cristofori's fortepiano at Charles Jennens' house. Yet, there is no record of Handel choosing the instrument for his continuo playing, even for his late oratorios such as Jephtha.
I won't speak for Händel, but personally I feel that these pieces sounds better in Harpsichords, I think that the harsh and decisive sound of the instrument evoques perfectly the character of his pieces, something I feel the piano doesn't achieve. Of course I don't say it shouldn't be played on piano (Or that it sounds bad) by contrary, it actually sounds good...
I just simply prefer a lot more to be played on Harpsichord rather than Piano
@@vinniecoelho exactly, but the music is sublime either way.
Thanks for clearing that up. Now I know I shouldn't have been enjoying these performances. I'm so glad you enlightened me.