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Thanks 🙂

Thank you 🙂

Thanks! There are others on youtube, not videos but as part of recorded albums.. fast and furious 🚀

Thank you!

I am actually still confused by that first part of the piece 😂 the second part is much more like a common Sarabande. I am sure I have seen other English Sarabands with that notation though. I wonder if it should be played more inegale, like a dotted note pattern. I need to experiment more. Or Sarabandes were conceived differently in England at the time. Or someone made a 'collage' between two pieces. I need to investigate. I think that a lot of people didn't really care about spelling back in the day, they just wrote it like it felt like. It could be a typo, or at some point a typo started the whole SarabRand thing.. quite a few of them around.. just like some 'Almonds' 😂

Thanks Glenn :-)

Those metronome numbers of the 19th century are a great objective reference to work our way back to this earlier music. We might get it wrong, but we won't get it THAT wrong.. which is irrelevant anyway. What hooks me into this way of playing is the fact that the music assumes that rhetorical quality of speech with all notes becoming like syllables to be pronounced clearly.

Once I played a short recital to a mixed audience, some people were familiar with 'harpsichord music', some were not. Some, at the end, came to tell me that for the first time they really liked the harpsichord! I played well enough but far from my best. I believe that my tempo choice allowed the music to speak for itself, even with the odd wrong note! That day I played, amongst other pieces, an Allegro by Galuppi, unknown to most, even the connoisseurs, which at my tempo would have been classified by modern standards an Allegretto at the most, but more towards Andante. That piece generated an enthusiasm that even to me was surprising! Obviously because of not knowing the piece, there was nothing to compare it with. I do think we are only the beginning of a big musical revolution :-)

The only one that I could find with this sonata, Schott, Galuppi 10 Sonatas. There are a few mistakes. Bar 9 shows a trill on a' and g' which does not appear in any of the 18th century manuscripts I could find on IMSLP. Those trills are awkward because they come after a trill of a lower note, from which one then needs to jump up to trill again.. I have not played them, only the trills on the lower notes (minute 1:06). Then bar 13 has a d in the Alberti bass that is obviously supposed to be a c# (minute 1:45), given that the previous bar has the same notes in both hands, with the correct c#. Then in the succession of trills at the end.. the edition has all the dotted notes with a trill, the 18th century manuscripts exclude the trill from the first dotted note of the groups in both bars 42 and 43 and so I played it (minute 5:45). Which edition do you play from?

@ i play from a 20th century edition which is full of problems… I may make an edition myself based on the manuscripts if the complete sonata is available

Looking forward to your post-exam recording :-)

Stainer & Bell, William Croft Complete harpsichord works in two volumes. This Prelude is in the second volume with some suites and other short pieces stainer.co.uk/shop/k31/ I am not sure whether it is in IMSLP, but you can dig in there and see if you find it.

@theclavierist thanks!!! (Pd. I love your english harpshichord)

@@ana-ch3ie Thanks! It is a nice instrument :-)

Prefiro essa musica sem firula :-)

@@theclavierist cuidado pra essa pureza nao virar purismo hahah

Thanks :-) If someone requests something I can never promise to do it and if I say yes it might take a long time. It is just because harmonising 'one video a week' with the rest of life can be a tricky thing to do logistically, at least for me at the moment. I often (if not always) need to compromise between time required to learn a piece, time required/available to record it and time to dedicate to my 'behind the scenes' musical practice. It also depends on the complexity of the request. I had requests in the past to which I did not say no but postponed to an unknown future time and they exist in a list. In summary, taking into consideration all of the above, I am happy to hear requests :-)

@@theclavierist could you possibly perform Michelangelo Rossi’s toccata VII? It’s a peculiar piece I enjoy. Would it also be possible if you could learn a piece that I composed? If you can’t do either that’s totally okey.

Rossi's toccatas, in general, have been in my radar for a while. Number VII has that jazzy section towards the end :-) the 'stylus phantasticus' is however a keyboard language that I have just started to approach in playing. I have been looking at Frescobaldi's Toccata III. So, yes.. at some point (it might take months) I will put out my interpretation of Rossi's music, but you might hear the Frescobaldi first. My concept of that music is totally different from what one hears in pretty much all the recordings that I know.. but that is usually the case with whatever I play anyway. For each style or 'era' I take time to find my own connection with it. Send me an email to theclavierist@gmail.com with your composition. I will have a look to see if I can do it.

@@theclavierist I emailed you my score. Sorry for the delay.

It was a pleasure to dedicate time to this piece of yours at the clavichord :-) thank YOU!

@@theclavierist I think it sound perfect on the clavichord. One day maybe I'll have one of my own!

@@musicalintentions check out the website of the Boston Clavichord Society, it has a list of builders based in the United States. Also you can keep an eye on the Harpsichord Clearing House website (also US based), even though you are unlikely to find a bargain there, but one never knows!

Thank you for the nice words ❤️

Me too! It might just not be easy to keep it up right now.. but I will do my best :-)

Vielen dank :-)

Something light is good sometimes!

Nice and easy on the ear :-)

Thank you for listening! The drawer is literally a drawer. I keep felt and wedges for tuning in it.

@@theclavierist So cool! Thank you for sharing the secrets of the clavichord, and for sharing your talent on youtube.

Yes it is. Can you play it this slow? I can play it faster. A bit too slow is a subjective judgement anyway, but from the point of view of a 21st century human it is understandable. A bit too slow compared to what? To what the best harpsichordists and professors of today (and all of the previous century) might say is the correct tempo? Music in the past was played slower. I am not saying that I know the correct tempi but I am certainly not afraid of experimenting with slow speeds and to do it for long enough to retune my brain into a frequency other than our frenetic, almost hysterical 21st century one. You should look into the work of Wim Winters, Authentic Sound on youtube. It is focused on the early 19th century but obviously it has consequences that go beyond that period. The evidence is overwhelming and so far the counterarguments I have seen are all irrational or ignore important pieces of information. Fundamentally, I think people should play music however they want, as beauty can be found and be created in everything, but in the past they played music slower than what we mostly hear today. It is a fact.

Vielen Dank :-)

Thank you!

Thank you Riva :-)

Thank you 🙂