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It should be remembered that in the Barock age, the most important thing was the music itself, the instrument on which it was performed on was a secondary consideration. Bach's Passacaglia for instance, was written for performance on either the pedal harpsichord or the organ, although performance on the latter of course is infinately more satisfactory as it can provide far greater differences in dynamics and registration for each variation.Gottfried Silbermann's organs sound just as well in a 'dry' acoustic as in a 'wet' one. Go and listen to the small organ in Pfaffroda (built 1715) whose sound is perfectly suited to this small church. (although when I played it a few years ago the 16ft Pedal Posaune was suffering from a bad cough!) Another important point, not well known by many is that Gottfried Silbermann was almost single-handedly responsible for the development of the early piano in Germany. He called it 'Cembalo d'Amour' and three examples of his pianos were owned by Frederick the Great which Bach himself performed on them for him at Potsdam in 1748, the result of which was "The Musical Offering' (BWV 1079) Two of these pianos are still there and although I have seen them, I had no chance to play them at the time but hopefully that can be remedied sometime in the future.
Just for the sake of pedantry... ...I would recommend a visit to the splendid Georgian theatre at Richmond, in what was (quite rightly) North Yorkshire rather than the absurdly small and absurdly constituted county of Richmond.
Dear MMI had the privilege today of tuning for another concert of the Maestro today on a Grotrian Steinweg, as far removed from harpsichord as one can get.He performed again the Scarlatti and perhaps the recording I made may be good enough for YouTube in due course but he introduced the sonatas making a significant point that Scarlatti's father was a composer and arguably the originator of opera buffa . . . . an artform in which feeling and expression exceeded the capability of the harpsichord. In transcribing the idiom of the guitar for the harpsichord, the harpsichord is inferior to the powers of expression of the guitar. So in this case the expressive qualities of the piano may be more appropriate. . . . and certainly audiences are enjoying his more expressive performances afforded by the capabilities of the piano . . . Perhaps other examples of early composers may be more arguable?Best wishesDavid P