Catalina Vicens - Harpsichord (Italy, ca. 1590) / Picchi - 'Toccata' 

The crisp & piquant tone of a 400 years old instrument; the ultimate musical experience!

" One Word: Magnificent..."

Una interpretació brilliant ! Moltes gràcies 👏

Such beautiful, elegant playing! The delights of this music are brought to life through your touch, and in the way you reveal the many different moods and affekts as they intersect with the temperament (tuning system), which itself reveals so much about this music.

i find, for italian harpsichords atleast there are very few replications that even come close to teh qaulity of the orginal insturemnts, they always tend to be buzzy and uncfomritable

Très belle danse sur ces cordes sensibles. Merci !

Your performance is so powerful. It’s like being hit with a wonderful surprise.

О, моя любимая токката, спасибо.

We are thrilled and looking forward for your performance in Cyprus! Wishing you the very best for ever.

Faultless tuning on a noble instrument, through the hands of a most enlightened player!

Catalina Vicens rightly deserves all the accolades and awards given to her in Medieval and Renaissance music. She tempers the expansive passion of Claudio Arrau with the subtle precision of Glenn Gould in her keyboard interpretations.

Such beautiful and sensitive playing!

Beautiful :) Expressive!!!

I love both your sensitive performance and the sound of this wonderful instrument. Thanks!🙏

Belleza en estado puro!!

Lucky harpsichord to have your fingers touching it! But I guess it deserves it, it's tone is so rich and warm. Bellissima!

Parabéns lindo você tocando piano 👏👏👏👏👏👏

Very nice harpsichord indeed please some more on this wonderful instrument

Greatly enjoyed it. Bravo!

Fenton House in London is well worth a visit. Several playable original harpsichords and public recitals.

Everything in this video is beautiful!

Wonderful, thank you.

Hermoso!

molto bello e ciao da aus

Inspiring!

Hi Catalina! Just seeing this very nice video of you years later. Beautiful. I'm convinced, however, that the text at the end of the piece is corrupt, the left hand should shift to a D final, not remain on the G that in the Tregian manuscript is held to the end, creating harmonic absurdity, a d minor toccata ending with a G major finalis. Crazy! If in the penultimate measure you move to D/A/D, the work then ends, as it began, in D. The finalis would then be F#/A/D. Great to hear you, as always! Here it is with the text corrected, played by Timothy Roberts. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2nMnRQnM8hM.html

shouldn't that be a D# there? even the Victorians thought so. what does the original manuscript say?