Hello. Gods greatest gift to man kind............ J S Bach....... please keep up your downloads... what a treasure you are during our Lock downs here in Victoria Australia.. molta grazi. please stay safe
locked up in our domicile due to that horrible wuhan virus YOU positively lighten our spirits . thank you> this is absolute BLISS to our mind and senses..God Bless YOU
I feel like I’ve known her for years despite the fact that I live in all the way in Texas. One of my biggest inspirations for learning keyboard was watching her play k.517 by Domenico Scarlatti when I was 17 on RU-vid. I’m 24 now and can play that piece(not nearly as fast as her though). I’ve taken up organ and recently got access to an old sabathil and son harpsichord at the church I practice organ at. Every time I see a video of hers, it truly brightens up my day.
Whenever I look at you playing & talking I always think you're like 55-60 years old. You speak like a more modern person in general, and the fact that you can still play a keyboard instrument at this age (76 years old) amazes me even more. I'm 16 years old by the way and I play piano every day ;-)
That's great that you play every day! Looking young for our age runs in my family. Perhaps the involvement with music keeps us young, but I also believe the genes have a lot to do with it.
Thicc Phil Swift Lol sorry then, I thought you only came here to look at the ultra good comment section, and I didn't know that there are "meme" guys that enjoy such great music...
Each instrument is beautiful, each in its own way with a unique voice. Works of art in themselves. But they come alive in your hands, and watching your hands as I listen, is a master class in polyphony for an avid listener. Listening and watching, even on RU-vid, is a rare pleasure. I can only wonder at the joy of inhabiting these masterworks.
I admire her very much lady Elena, is a teacher in every sense of the word, and seen his videos from a young age are a lover of Baroque music and classical music in general. Greetings from Nayarit, Mexico.
Very inspiring!! I wish I had come across this video sooner. The harpsichord really does have a really pretty sound. I hope to learn how to play one sometime soon. Thank you for making such a wonderful video!
This is true musicianship-the fruit of a lifetime of dedication and study of that most magnificent of stringed keyboard instruments. Listen to the way Miss Comparone shapes the phrase, and to the round tone she draws from her instruments.
Dear Miss Comparone, I could never find your responses 'long winded'! I consider it a privilege to communicate with you at all! It is not every day that somebody like me gets to 'talk' with such a world class musician as yourself. I am grateful. For those interested, the John Williams transcription/recording of Couperin's 'Les Baricades misterieuses (VI eme ordre) can be found on his album entitled 'The Baroque Album'. He also performs 'Les Moissonneurs (VI eme ordre) on this collection. For Les Bari... he transcribed and transposed this rondo into the key of C major with the bass strings tuned (dropped) to C and G to enable the suspensions. This is why my transcriptions of this piece in 'standard tuning' were so bland and ineffective lol. But that is off topic. Mr. Williams collection of Baroque music in the above mentioned album includes 5 selections by D Scarlatti and a harpsichord transcription of a Bourre by G. F. Telemann, also selections by Bach, Roncalli, and Weiss. This collection is highly recommended, even to those who don't particularly like classical guitar music. Much love -Robert.
Thanks so much for all this music info! I appreciate it!! I love classical guitar sound. The harpsichord is the closest sound to guitar, but doesn't quite get there! If I didn't grow up playing keyboard, and had the opportunity to learn guitar, I would have. Not a choice in my particular family though. Thanks again Robert!!
Elaine Comparone, Ton Koopman, Zuzana Růžičková and Karl Richter: The four best harpsichordists ever. Thank you Ms. Comparone for your wonderful videos and performances.
And now I think we must add Jean Rondeau, young as he is. Some have criticized his interpretations, but with playing at this level there is no better or worse, only examples. The young man is also helping to dust off the harpsichord from its long obscurity; he is on fire, and should play as long as he burns.
A jewel shines regardless of its setting! Yet when set appropriately, magic occurs. Maestras interpretation of pieces coupled with an unmatched technical skill give us just that. Magic!
I havent watch your videos in a long time its good to come back to them, and your vibrancy and passion for the music and history puts a smile on my face. I hope youre doing well.
That's a lovely thing to say! Thank you!! As a matter of fact, I'm working on uploading Rameau's gorgeous A minor suite. So keep posted. It'll probably take us a couple of months to get it up.
Your video is just beautiful, I absolutely love it! The first videos of yours I saw here were pieces of Scarlatti, a couple of years ago. It's great you're still practising, playing and sharing your music here. I never played the harpsichord (only piano and organ), but I love the sound of all of your instruments and hope to be able to play on the harpsichord in the future too. By the way, I love your trill in Les Barricades at the beginning.Thanks a lot and greetings from the middle of Germany :)
The 92'nd Street Y concert. My father was sitting next to Bill Buckley (I may not agree with his politics) but he was a lover of music and Bach and things grand and beautiful and celebratory, and he and my father swayed and moved to your playing as if transfixed. They both knew each note intimately, and where it lived, and where it led to... ...and that concert was transfixatory, and I've admired and loved you ever since! Really, none compare, and I love, Kipnis, Malcolm, and Kirkpatrick but you transcend them all. My apologies but I have to add this: Gould who the hell is he? Glenn Gould, yeah NO!
Hermosa interpretación señora Elaine, una gran maestra del harpsichord, talentosa sin igual, muchos saludos desde Trelew, Argentina, Querida Elaine!!! :-)
@@elainecomparone9586 very lucky student! I'm going to attempt to build a small Flemish since the covid 19 isolation gives me time. I'm glad to have heard the specs on this one and will look into the design more.
@@elainecomparone9586 I really appreciate it! Thank you. I'm excited. One of my good friends is a carpenter so between the both of us I think it can be done.
Its soothing to listen to your articulated voice. By the way, nice playing. Those instruments are..too beautiful. They are dreamy and that "muted" mode is also nice. But your voice takes the prize. Cheers from Santiago, Chile. Stay strong.
Glad you like it. Seems like it fits with the aesthetic of the piece. Also, it makes you play it a little slower than what I hear from most interpretations.
@@ElaineComparoneThank you, my friend is interested in Scarlatti's music & the complexity of it. It's new to her, how on earth do you learn it she would like to know?
@@photo3642u Did she mean "how does one learn it" or "how do I learn it"? A lot of practice. It's not as complex as a lot of JS Bach's music, and can be learned more easily, mind-wise, maybe.
My untrained ears are not ver helpful, but the instrument built from kit is favourite. I really appreciate the fact that I am able to listen to you playing on any of these wonderful instruments.
@@carloscarlos7855 Thanks Carlos!! I can't travel yet because my dog and cat are still with me and healthy. They're not young, which is why I will not leave them. And they won't leave me either. Nice to have your message though!!
Thanks for another wonderful video, Elaine! I don't know if I have a favourite. The green kit harpsichord sounds a little more plain and old fashioned, but all 3 have a nice sound. As far as looks go, my favourite is definitely the Frank Hubbard with that beautiful black and white wallpaper decoration and the red.
Unfortunately, we don't know you very much in France, but I love how you play and your vision of the works you play. Is there a particular reason to play the harpsichord while standing up ? Does it help you to release some tension in the body? Merci beaucoup pour votre réponse. Thank you for posting this marvellous video.
I do appreciate your response, especially since you hear so much harpsichord in France. Thank you! As to the standing, that came about because I played with a string and wind group and everybody wanted to stand while playing. They all claimed they could play better standing. Then I noticed a painting by Vermeer where the lady stood at her virginals. It occurred to me that I could have a stand made to elevate my own harpsichord. So I approached the harpsichord builders and commissioned Hendrick Broekman of Hubbard Harpsichords to build one. He explained that for something so long to be so high, the stand would have to be very heavy, so he made it from oak. The advantages were obvious. Now I could stand with the group (I have a number of videos where you can see all of us.) The disadvantage was that the stand was extremely heavy and even taking it apart, I needed two people to carry it and set it up. But it was good when we had time in the concert space. I travelled with that stand for a number of years, along with the instruments, of course. Thank you again for your interest!
I am very interested in the performing capabilities of the instruments. I like the contrasts with the lute stops best. I know Bach actually owned a lute harpsichord as well as a pedal harpsichord...which have a lower register. By the way, I am fairly certain I have heard Ms Comparone performing live on WBAI way Way back in the past when I was first learning about this instrument and Bach. I learned a lot back then. Keep making videos.
Thanks Jeffrey!! Yes , I remember those WBAI performances in that east side church. A long time ago!! And we're still here!! Congrats to you and to me!!~
My friend Harold Meth, who built the instrument, is a talented painter. He painted the flowers on the soundboard before attaching the strings. In the old days, the harpsichord builders frequently decorated their instruments. I suspect that not every harpsichord builder was as talented a painter as Harold and so they commissioned artists to decorate the instruments they built.
Hello Miss C (again). I hope I'm not bothering you, but I have a question. You opened this video with Couperin's Mysterious Barricades (I forgot how to spell it in French lol). Anywho, I am a classical guitarist (amateur classical music enthusiast who got introduced to harpsichord through D Scarlatti's transcriptions for guitar). My question is about 'tempo' of Mys. Bar.. My favorite interpretation of this glorious piece is by the great guitarist John Williams, who plays it at the same tempo as you do in this vid. I have heard others do it at a 'rushed' or 'hurried' tempo which I think ruins or steals the charm from this wonderful miniature. What do you think was the intended tempo of the composer? Thoughts? Thanks in advance -I play your music all the time. -Love Robert...
Hi Robert, We can never know what the composer really thought. Even in closer to modern times, when metronome markings were given by composers, so much affects how the music sounds in a given tempo , most of all the instrument, it seems to me. A lot of contemporary harpsichordists (even some recently dead) may have been playing instruments with a light action and very soft sound. Maybe that's why they play the piece so quickly. I've always favored a strong pluck and the sound that comes from it. I can't believe that in the old days there were not many ways to voice an instrument----that is, how strong you make the pluck---and consequently, there were probably different types of sound )and playing resulting from it) that affected the tempi musicians chose. Very interesting that John Williams chose a slower tempo. Thanks for telling me! I'll try to find it. I just find a medium tempo for this piece more pleasurable to play than a speedy, rushed approach. Especially, in the last sections where he employs such delicious (and sad-sounding to me) harmonies. Also, how "mysterious" can a piece be , if you zip through it? Stay healthy! Love, "Miss C" PS Sorry to be so long-winded!
@@ElaineComparone 🎶 We can never know what the composer really thought🎶In essence I agree.Basically I guess the "philologically correct" attitude can,in some respects, turn into a mental cage.Hence,I like better owning several recordings of,let's say,the Goldberg Variations and enjoy each rendition,as peculiar as it can be,by various soloists.Thanks for sharing your playing with us 💐
This diserve much more views. And would like to thank you, you gave me the (bad) idea to try myself at the first counterpoint from die kunst der fugue on the guitar (kinda of a teenage dream/fantasy) when I heard your first harpsichord with really interesting tone (around 06:00) I thought "Well, maybe I could try to...". After a few measure, I already understand it's a bad idea, but so satisfying, voice independance will be challenging. I wish you the best.
In spite of my own last name, I confess: I don't really speak much German either. Which is why whenever anyone asks me: "Sprechen Sie Deutsch?" I always say: " 9 . . . only because that coincidentally is a number . . . " Usually followed by cricket noises. I teach math. No one likes my jokes.
Am I correct in assuming the D Scarlatti would have composed most of his music on the 'Flemish' (the first harpsichord we were introduced to in this vid) ? History tells us that the maestro Domenico Scarlatti's most prolific period was in the early 1730's to about 1737 (I think). I always get conflicting opinions about this. BTW, buff stop - the world needs more buff stop. I can never find recordings that use it. If someone out there in Utube land can enlighten me (and everyone who reads this post), I would totally be OK with that. And as far as Miss C goes -just plain fabulous. I love it!
You might be right about the Flemish. I'd have to look up all that stuff. I personally think he and others at that time who played and knew harpsichords would of course use the buff stop more than some of us players do today, Remember , they were probably playing in front of people (royalty and servants) who might be talking during the music. The lute stop is soft. I just recorded a Rameau suite and I used the lute stop twice during 40 minutes of music. It really makes you prick up your ears, when that moment comes.
Do you have any tips for a young composer who want to compose some songs for a harpsichord? I've made some simple things but I lack knowledge and experience on this instrument to make more advanced stuff. Thanks in advance!
I think if you're working with a piano but want your music to sound good on a harpsichord, you should play and compose without using the damper pedal. For example, you might not want to make very large leaps and expect the lower note to continue sounding. Also, very long, slow notes are not the best for the instrument. Using broken chords can sound very nice. If you can pretend it's a guitar or a harp, that can stimulate your imagination. Moving lines are the best. I hope that's somewhat helpful.
Kiete van der Laan I'm a former student of Elaine, a harpsichord builder, and someone who listens to a lot of early music. Over the past 20 years, I have attended concerts where modern composers have composed music for harpsichord along with other instruments as varied as the sitar. Although I do give great credit to the creativity of the composers, I have often left feeling that the composer didn't understand what makes the harpsichord shine when played with other instruments. If you are composing for harpsichord and other instruments, I would suggest you listen to a lot of early compositions and hear how the harpsichord is used. The harpsichord was very often used to set the cadence/rhythm of pieces; it was often the harpsichordist who conducted, and in many pieces, you can hear the harpsichord filling in the blanks left by other instruments while strongly being the heartbeat of the composition. In some regards, it reminds me of how we use drums today. In my opinion, when a modern composer composes for harpsichord and other instruments, they don't use it for rhythm rather they play abstract music, often with single notes. Of course, if you are composing only for the harpsichord, you have freedom to do whatever you want; well, you have that freedom no matter what you compose for :-)
Gerry Kaplan, thank you for the extensive answer! I have listened to a lot of harpsichord music, and I have studied the sheet music of some of those songs as well. I'm very intrigued by the rhythm (the "beat") of older songs with a harpsichord.
Gerry"s reply is quite brilliant, Kiete. In order to compose for the instrument, it is best to do that at the keyboard, so you can hear what's possible. That's the only way.
You, in my opinion, are the greatest interpreter of "Les Baricades Misterieuses" EVER since you uploaded the video more than 14 years ago. I've listened to your version for many years. You just GET the piece. Other interpretations are almost unlistenable. That musical intro ended almost too son hahaha. And that harpsichord you use at the intro sounds like it was made to play pieces like that since the piece itself doesn't really have high notes and has that warm, calming atmosphere. That harpsichord has a very warm and calming sound too, with strong bass and lower mid sound frequencies that don't overpower the rest of the sound. I'm sure many pieces from the neoclassical period would sound wonderful on it, like JS Bach's sons' or Mozart's. Would it be too much to ask if I asked you to upload a video of yourself playing "Les Baricades Misterieuses" but with that specific harpsichord? You'd give me (and i'm sure many people more) a gift for the rest of my life and I will happily share it with anyone I know with an interest in harpsichord music.
What a lovely comment! Thank you!! So glad you like the sound of that first harpsichord. Unfortunately, I can't make another recording with that instrument since I just gave it to a student of mine from Adelphi University upon his graduation. I've got the two others still. I'm planning to give them to a couple of friends since I want to be sure they're taken care of properly when I croak! Not that I'm about to leave this life soon, but I want to make sure the instruments I love are taken care of, cherished and enjoyed by people I know will take care of them. All my best wishes to you!!!!
P. S. I made a recording of "Les Barricade Misterieuses" on at least one of my other instruments. They're somewhere up here on RU-vid, so if you feel like it, you could look for them! Thanks again!!
Clearly, playing a double-manual harpsichord with her usual full registration choices, Elaine has no option but to engage arm involvement (weight?) more appropriate to modern piano playing. This may also demonstrate that her pianistic background has not allowed the discovery of the tactile subtilties which playing early keyboard instruments beckon. Maybe, I am wrong!
I rather like the Hubbard instrument. The late Anthony Jennings (Auckland Civic Organist) brought a Hubbard harpsichord after Pascal Taskin, to New Zealand in the early 1980s. It sounded beautiful in the spacious acoustics of the old wooden cathedral. He told us during a recital that it had cost $NZ30 000, a large sum at the time. Tony made a number of recordings with it before he died prematurely.
Thanks for sharing with me your preference and details about Anthony Jennings. I'm happy the Hubbard harpsichord survived the long trip to New Zealand and still sounded beautiful. it's not easy to sell a harpsichord these days. Everybody wants a new one. I hope to find good homes for mine before I get too old to hear them!!
@@elainecomparone9586 :-) I would have thought a used instrument to be better! Tony told us during the recital that it would take time for the "bloom" to settle and the harpsichord assume its fully mature tone/ambience or whatever the term is.
Not since Landowska! I heard you play in 1980 in N.Y. There is no god (lower case g on purpose) in heaven who created such beauty! I'm not even halfway through this and I have the sense that you have a certain partiality for the Dowd. I may be wrong. I certainly have a particular love for the Dowd moi meme. They're all lovely instruments. The Hubbard is classic, the Meth I can't be sure as I'm only an unwashed amateur but I think it's more along the lines of the instrument Bach created his exercises for (The Well Tempered Clavier) but bless my soul, the DOWD! For me the Dowd gives full expression to what Bach created/intended! Between the right and left hands, the uninhibited flights of fantasy especially the Prelude and Fugue in C, my soul flew out into the ether with your playing on the Dowd. I may return to comment as I'm not even halfway through this. Elaine: La Maestra senza equali, J'adore! Ok, now I'm 30 seconds past this comment. You're playing the Down and I SEE your body language, your passion. It's the Dowd isn't it? They're all magnificent instruments but the Dowd makes your heart SING, yes?
I'm envious. I've never played a harpsichord. I'm curious about something. How do these three beautiful works of art compare under the fingertips? Is the action similar between each instrument or are they very different?
Thanks for your interest! The action depends on how many sets of strings you engage. A single set feels different than when it's coupled or when all three registers are engaged. I like to feel the pluck. A lot of players don't. They prefer the action to be extremely light. I don't mind resistance or weight. I think I'm in the minority on this. Also, each instrument has its own feel, just like a piano or any other instrument.
@@ElaineComparone Thank you, I'd not considered that. Another question then arises. I've heard that when you play a harpsichord a slow key press will give a noticeable gap when two registers are engaged, so you'd hear and presumably feel two distinct strings being plucked as the key travels downward & the plectra hit each string. If you have three registers engaged is this more noticeable and does it results in a sound and feel of three strings plucking in rapid succession? As for the weight of an action I don't know which I'd prefer. I think a light response would feel less tiring & make ornaments easier to execute, but then I'm also intrigued by how it would feel if there was more resistance, if it was more "crunchy" as I've heard it described occasionally. I think the feel of each note positively engaging, each one "clicking" potentially multiple times, could be a uniquely tactile experience.
@@bikkies In a well-voiced instrument, the gap between each register being plucked when you press a note should not be noticeable unless you depress the key very, very slowly. If the process were happening in slow=motion, you'd never make it through a piece, or even a scale!
I think my favorite instrument is the harpsichord made by William Dowd, but all of them are beautiful. Have you ever played some of Nobuo Uematsus pieces? I would love to hear you play one of his compositions. Greetings from Germany! :)
I'm glad you like the harpsichords. I'm not familiar with the composer you mention, but I will look him/her up. Thanks for selecting a favorite instrument, and greetings from NYC!
I've come back. For the Well-Tempered Clavier pieces, I prefer the Flemish Hubbard kit. The rest, the Hubbard and Dowd are so close though I find the Dowd to be more voluptuous.
Miss comporone what would your advice be for a young learning pianist who wants to learn how to play the harpsichord, who is completely inlove with the instrument but has no access to one nor a teacher?
I suggest that you should not accept the fact that you have no access to a harpsichord. Let us know on this page where you live, and perhaps someone in your area would see your post and have a suggestion. There might be someone down the street who has one-----perhaps a church nearby? The important thing is to reach out to the world at large. You might be surprised what you will find.
I'm selling my harpsichord (a virginal Zuckermann), G/B to E... non-transposing (a good range of notes to play almost every kind of music, except french baroque late repertory). Please contact me at psic.carlos.o@gmail.com
@@ElaineComparone I appreciate your words madame, I'm all the way in Southern Africa. And from the music teachers association for SA there are only 2 harpsichordists who are members(baroque music is not a "thing" where I'm from, not to mention the harpsichord!) . But alas. My love for the harpsichord and it's music grows each and every day,how I yearn for it the keyboard of the harpsichord.
@@ElaineComparone ms. Comporone. You won't believe it but I have found a harpsichordist with international education and will be starting lessons next year, however I will have to be somewhat of an organist and practice daily at a nearby university. So happy that my musical career with the harpsichord can finally begin!
Thank you for your request and suggestion! I haven't played any Czerny since I was very young. With the limited time I have left on earth, I will probably concentrate on Orlando Gibbons, whose complete works I have just acquired. But I promise to look at the Czerny you have suggested!
Thanks for answering. Here you have a video on my RU-vid channel with a sample of what Czerny was able to do when he made baroque music ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-UBYKTa2ZV5M.html Czerny has more than 10,000 works of all shapes and difficulties
