Returning to this -

D'Anglebert remains absolutely singular for me among early keyboard composers, though this isn't a claim about his brilliance or originality so much as the particular historical moment during which he published - so what we end up with is a book of pieces in an insular, close-listening-oriented style, WITH detailed enough notation that contemporary keyboard players don't necessarily end up sounding awkward and reductive.

Arnaud Pumir's D'Anglebert CD from 1996 is far and away my favorite recording of these pieces. He just brings a level of depth that's unmatched, as far as I'm concerned. https://www.youtube.com/watch?v=f0XUrr7Bm08&list=OLAK5uy_miHif2kOQuj7-xnGdEVSO6-_9qiljR-Dw&index=8

At first I thought this was Pumir's only solo recording, but it turns out he took a break from building harpsichords to record again in 2004. https://www.discogs.com/release/14014134-Arnaud-Pumir-Suites If anyone has any leads on where to get this audio please let me know!

Gaspard Le Roux wrote later than D'Anglebert and his suites are already more boisterous and extrovert, but still to me have the same magic. Bibiane Lapointe & Thierry Maeder do incredible, at times almost insane-sounding things with Le Roux's suites for two harpsichords. https://www.youtube.com/watch?v=kwcnHrOudXY&list=OLAK5uy_ldHUZKRPDa_sze3260f-4FrnKTsliTsn8&index=26

François Couperin is the real cut-off for me, the tools of French baroque harpsichord style turned towards entirely other ends. It's shallower and less re-listenable but often enough you do still get a really juicy texture or a truly lovely melody. Mostly I listen to Couperin because Davitt Moroney, who is in my mind pretty much the best early keyboard specialist out there, has recently recorded all four books. https://www.youtube.com/watch?v=o7AHW4PqaNI&list=OLAK5uy_mcgUd0F6eJdWjhwPPAKnbrRGqVFhcN0Q0&index=1

I've also become extremely interested in Renaissance and early-Baroque Spanish keyboard music, something very very special and, as in France, extremely improvisational and kind of an aesthetic cul-de-sac in the face of later-predominant German and Italian styles. But unlike France I guess Spain these days doesn't fund this kind of research very strongly, so there are vastly fewer recordings...

On Saturday, February 10, 2024 at 4:27:09 AM UTC, cheregi wrote:
> Returning to this -
>
> D'Anglebert remains absolutely singular for me among early keyboard composers, though this isn't a claim about his brilliance or originality so much as the particular historical moment during which he published - so what we end up with is a book of pieces in an insular, close-listening-oriented style, WITH detailed enough notation that contemporary keyboard players don't necessarily end up sounding awkward and reductive.
>
> Arnaud Pumir's D'Anglebert CD from 1996 is far and away my favorite recording of these pieces. He just brings a level of depth that's unmatched, as far as I'm concerned. https://www.youtube.com/watch?v=f0XUrr7Bm08&list=OLAK5uy_miHif2kOQuj7-xnGdEVSO6-_9qiljR-Dw&index=8
>
> At first I thought this was Pumir's only solo recording, but it turns out he took a break from building harpsichords to record again in 2004. https://www.discogs.com/release/14014134-Arnaud-Pumir-Suites If anyone has any leads on where to get this audio please let me know!
>
> Gaspard Le Roux wrote later than D'Anglebert and his suites are already more boisterous and extrovert, but still to me have the same magic. Bibiane Lapointe & Thierry Maeder do incredible, at times almost insane-sounding things with Le Roux's suites for two harpsichords. https://www.youtube.com/watch?v=kwcnHrOudXY&list=OLAK5uy_ldHUZKRPDa_sze3260f-4FrnKTsliTsn8&index=26
>
> François Couperin is the real cut-off for me, the tools of French baroque harpsichord style turned towards entirely other ends. It's shallower and less re-listenable but often enough you do still get a really juicy texture or a truly lovely melody. Mostly I listen to Couperin because Davitt Moroney, who is in my mind pretty much the best early keyboard specialist out there, has recently recorded all four books. https://www.youtube.com/watch?v=o7AHW4PqaNI&list=OLAK5uy_mcgUd0F6eJdWjhwPPAKnbrRGqVFhcN0Q0&index=1
>
> I've also become extremely interested in Renaissance and early-Baroque Spanish keyboard music, something very very special and, as in France, extremely improvisational and kind of an aesthetic cul-de-sac in the face of later-predominant German and Italian styles. But unlike France I guess Spain these days doesn't fund this kind of research very strongly, so there are vastly fewer recordings...

Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.

There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.

On Saturday, February 10, 2024 at 9:23:14 AM UTC, Mandryka wrote:
> On Saturday, February 10, 2024 at 4:27:09 AM UTC, cheregi wrote:
> > Returning to this -
> >
> > D'Anglebert remains absolutely singular for me among early keyboard composers, though this isn't a claim about his brilliance or originality so much as the particular historical moment during which he published - so what we end up with is a book of pieces in an insular, close-listening-oriented style, WITH detailed enough notation that contemporary keyboard players don't necessarily end up sounding awkward and reductive.
> >
> > Arnaud Pumir's D'Anglebert CD from 1996 is far and away my favorite recording of these pieces. He just brings a level of depth that's unmatched, as far as I'm concerned. https://www.youtube.com/watch?v=f0XUrr7Bm08&list=OLAK5uy_miHif2kOQuj7-xnGdEVSO6-_9qiljR-Dw&index=8
> >
> > At first I thought this was Pumir's only solo recording, but it turns out he took a break from building harpsichords to record again in 2004. https://www.discogs.com/release/14014134-Arnaud-Pumir-Suites If anyone has any leads on where to get this audio please let me know!
> >
> > Gaspard Le Roux wrote later than D'Anglebert and his suites are already more boisterous and extrovert, but still to me have the same magic. Bibiane Lapointe & Thierry Maeder do incredible, at times almost insane-sounding things with Le Roux's suites for two harpsichords. https://www.youtube.com/watch?v=kwcnHrOudXY&list=OLAK5uy_ldHUZKRPDa_sze3260f-4FrnKTsliTsn8&index=26
> >
> > François Couperin is the real cut-off for me, the tools of French baroque harpsichord style turned towards entirely other ends. It's shallower and less re-listenable but often enough you do still get a really juicy texture or a truly lovely melody. Mostly I listen to Couperin because Davitt Moroney, who is in my mind pretty much the best early keyboard specialist out there, has recently recorded all four books. https://www.youtube.com/watch?v=o7AHW4PqaNI&list=OLAK5uy_mcgUd0F6eJdWjhwPPAKnbrRGqVFhcN0Q0&index=1
> >
> > I've also become extremely interested in Renaissance and early-Baroque Spanish keyboard music, something very very special and, as in France, extremely improvisational and kind of an aesthetic cul-de-sac in the face of later-predominant German and Italian styles. But unlike France I guess Spain these days doesn't fund this kind of research very strongly, so there are vastly fewer recordings...
> Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
>
> There is a lovely clavichord recording of Spanish music by Ilton Wjuniski.. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.

And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.

By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.

On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert..
> >
> > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
>
> By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.

I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.

When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes...

On Monday, February 12, 2024 at 10:20:47 AM UTC, cheregi wrote:
> On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
> > >
> > > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> > And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
> >
> > By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.
> I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.
>
> When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes....

"Improvised" may not be the proper word. Have a look at Glen Wilson's note here

https://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.557884&catnum=557884&filetype=AboutThisRecording&language=English

(It's getting too difficult to post on rmcr, for some reason the editors don't fit properly on my computers, either Windows or Apple. Anyway, you can always get in touch via gmg -- but I wish you well if that doesn't happen.)

On Monday, February 12, 2024 at 10:20:47 AM UTC, cheregi wrote:
> On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
> > >
> > > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> > And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
> >
> > By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.
> I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.
>
> When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes....

Here's the scans from Lapointe Maeder Le Roux

https://drive.google.com/file/d/1xJfes8OlIpso_NbItbslLVLlDUkcTcOm/view?usp=sharing

On Tuesday, February 13, 2024 at 7:25:35 PM UTC+8, Mandryka wrote:
> On Monday, February 12, 2024 at 10:20:47 AM UTC, cheregi wrote:
> > On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > > > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
> > > >
> > > > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> > > And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
> > >
> > > By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.
> > I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.
> >
> > When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes....
> Here's the scans from Lapointe Maeder Le Roux
>
> https://drive.google.com/file/d/1xJfes8OlIpso_NbItbslLVLlDUkcTcOm/view?usp=sharing

Oh I somehow almost missed this, thanks. I can't believe you just had that lying around, it genuinely was not what I was imagining when I said 'damn, I sure wish I had those liner notes'...

On Monday, February 12, 2024 at 6:52:28 PM UTC+8, Mandryka wrote:
> (It's getting too difficult to post on rmcr, for some reason the editors don't fit properly on my computers, either Windows or Apple. Anyway, you can always get in touch via gmg -- but I wish you well if that doesn't happen..)

Thank you and likewise, take care and see you around!

On Monday, February 12, 2024 at 10:20:47 AM UTC, cheregi wrote:
> On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
> > >
> > > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> > And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
> >
> > By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.
> I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.
>
> When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes....

Did you try Véronique Musson-Gonneaud's Cabezon?

On Sunday, February 18, 2024 at 4:39:22 AM UTC+8, Mandryka wrote:
> On Monday, February 12, 2024 at 10:20:47 AM UTC, cheregi wrote:
> > On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > > > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
> > > >
> > > > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> > > And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
> > >
> > > By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.
> > I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.
> >
> > When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes....
> Did you try Véronique Musson-Gonneaud's Cabezon?

Just the 30-second samples, didn't feel compelled to investigate further...

On Monday, February 19, 2024 at 10:18:18 AM UTC, cheregi wrote:
> On Sunday, February 18, 2024 at 4:39:22 AM UTC+8, Mandryka wrote:
> > On Monday, February 12, 2024 at 10:20:47 AM UTC, cheregi wrote:
> > > On Saturday, February 10, 2024 at 8:54:16 PM UTC+8, Mandryka wrote:
> > > > > Don't forget D'anglebert's transcriptions - he made harpsichord transcriptions of lute music and theatrical music by Lully. Names to check are Brigitt Tramier, Paola Erdas, Arthur Haas, Christophe Rousset, Kenneth Gilbert.
> > > > >
> > > > > There is a lovely clavichord recording of Spanish music by Ilton Wjuniski. There's also a gorgeous CD of Spanish music on harpsichord called Follias, by Lydia Maria Blank.
> > > > And Paola Erdas's wonderful Cabezon CD. Glen Wilson also did some spanish harpsichord CDs - Cabezon.
> > > >
> > > > By the way, I forgot to mention that in the Le Roux four handers, one of the parts can be improvised.
> > > I'm not nearly as interested in D'Anglebert's transcriptions, and I don't really like any of the recordings you mention - either of those transcriptions or the Spaniards. I've sampled them all largely thanks to your posting on good-music-guide. One disc you recommended there which I absolutely loved was Miguel del Barco Díaz playing Heredia. And some names I do appreciate which I didn't mention in my other post include Françoise Lengellé's 2004 Chambonnieres CD, and Noelle Spieth in Rameau, on the rare occasion I actually want to listen to Rameau.
> > >
> > > When you say one of the parts in Le Roux can be improvised - what do you mean by 'can be'? Like there's a written-out part for the second harpsichord, but performers are invited to ignore it? Or like the second harpsichord pretty much JUST improvises? I wish I had the Lapointe/Maeder liner notes...
> > Did you try Véronique Musson-Gonneaud's Cabezon?
> Just the 30-second samples, didn't feel compelled to investigate further....

Well I think it's rather wonderful. I love the way it comes off less severe on a harp than it does on an organ or harpsichord, at least as most keyboard players play it. Cabezón designated the music as "para tecla, arpa y vihuela." I'd like to hear it on a lute type instrument,

In article <53c64a30-5690-403f-9f8b-0d0c8730fe54n@googlegroups.com>,
cheregi <elirkerry@gmail.com> wrote:
>On Sunday, February 18, 2024 at 4:39:22 AM UTC+8, Mandryka wrote:
>> Did you try Véronique Musson-Gonneaud's Cabezon?
>Just the 30-second samples, didn't feel compelled to investigate
>further...

I'm listening to this now, and enjoying it, including for the variety
of sounds she gets from the double harp over different tracks.

I must not have noticed when it appeared....

Although it's generally thought that Cabezon's son included "harp"
in his publication title more as an afterthought -- as mentioned
in the notes to this Brilliant Classics release -- I'm enjoying
this reading. At first I was thinking it lacked some rhythmic
articulation, but it's got a more open sense of tempo that I'm
enjoying....

The performer also emphasized the importance of trying out the music
on different instruments, and not just sticking with reading scores
& building instruments. I would describe rediscovering these
repertories as a cumulative art, and as I've mentioned, I think
players usually do themselves a disservice (in terms of discovering
everything in the music) if they don't listen to others....

On Tuesday, February 20, 2024 at 12:42:05 AM UTC, Todd M. McComb wrote:
> In article <53c64a30-5690-403f...@googlegroups.com>,
> cheregi <elir...@gmail.com> wrote:
> >On Sunday, February 18, 2024 at 4:39:22 AM UTC+8, Mandryka wrote:
> >> Did you try Véronique Musson-Gonneaud's Cabezon?
> >Just the 30-second samples, didn't feel compelled to investigate
> >further...
> I'm listening to this now, and enjoying it, including for the variety
> of sounds she gets from the double harp over different tracks.
>
> I must not have noticed when it appeared....
>
> Although it's generally thought that Cabezon's son included "harp"
> in his publication title more as an afterthought -- as mentioned
> in the notes to this Brilliant Classics release -- I'm enjoying
> this reading. At first I was thinking it lacked some rhythmic
> articulation, but it's got a more open sense of tempo that I'm
> enjoying....
>
> The performer also emphasized the importance of trying out the music
> on different instruments, and not just sticking with reading scores
> & building instruments. I would describe rediscovering these
> repertories as a cumulative art, and as I've mentioned, I think
> players usually do themselves a disservice (in terms of discovering
> everything in the music) if they don't listen to others....

She asserts (without offering justification) that Mudarra wrote "the closest thing we have to genuine 16th-century harp music" - but as far as I can see no one has recorded any of his music on a harp.

On Tuesday, February 20, 2024 at 9:28:20 AM UTC, Mandryka wrote:
> On Tuesday, February 20, 2024 at 12:42:05 AM UTC, Todd M. McComb wrote:
> > In article <53c64a30-5690-403f...@googlegroups.com>,
> > cheregi <elir...@gmail.com> wrote:
> > >On Sunday, February 18, 2024 at 4:39:22 AM UTC+8, Mandryka wrote:
> > >> Did you try Véronique Musson-Gonneaud's Cabezon?
> > >Just the 30-second samples, didn't feel compelled to investigate
> > >further...
> > I'm listening to this now, and enjoying it, including for the variety
> > of sounds she gets from the double harp over different tracks.
> >
> > I must not have noticed when it appeared....
> >
> > Although it's generally thought that Cabezon's son included "harp"
> > in his publication title more as an afterthought -- as mentioned
> > in the notes to this Brilliant Classics release -- I'm enjoying
> > this reading. At first I was thinking it lacked some rhythmic
> > articulation, but it's got a more open sense of tempo that I'm
> > enjoying....
> >
> > The performer also emphasized the importance of trying out the music
> > on different instruments, and not just sticking with reading scores
> > & building instruments. I would describe rediscovering these
> > repertories as a cumulative art, and as I've mentioned, I think
> > players usually do themselves a disservice (in terms of discovering
> > everything in the music) if they don't listen to others....
> She asserts (without offering justification) that Mudarra wrote "the closest thing we have to genuine 16th-century harp music" - but as far as I can see no one has recorded any of his music on a harp.
I know there's the Fantasia que contrahaze la harpa en la manera de Ludovico - but that's for vihuela.

In article <08555ed2-90df-4088-bd53-198482c7b6d5n@googlegroups.com>,
Mandryka <howie.stone01@gmail.com> wrote:
>She asserts (without offering justification) that Mudarra wrote "the
>closest thing we have to genuine 16th-century harp music" - but as far
>as I can see no one has recorded any of his music on a harp.

You mean besides the Mudarra Tiento on the album?

On Tuesday, February 20, 2024 at 6:10:09 PM UTC, Todd M. McComb wrote:
> In article <08555ed2-90df-4088...@googlegroups.com>,
> Mandryka <howie....@gmail.com> wrote:
> >She asserts (without offering justification) that Mudarra wrote "the
> >closest thing we have to genuine 16th-century harp music" - but as far
> >as I can see no one has recorded any of his music on a harp.
> You mean besides the Mudarra Tiento on the album?

Yes. Someone just told that by around 1600 in Spain the harp had become the instrument of choice for itinerant professional virtuosos and accompanists, and was considered absolutely necessary in large cathedrals and churches because of its resonant sound. Moreover, the instrumental pieces in the vihuela books, as well as those in other collections, were composed for performance on all the polyphonic instruments, whether vihuelas, harps, or keyboard instruments such as the organ, harpsichord and clavichord. He cited James Haar's European Music 1520-1640, which I don't own (yet)

In article <c2e98647-411d-415d-82f1-9550dc97aa04n@googlegroups.com>,
Mandryka <howie.stone01@gmail.com> wrote:
>Moreover, the instrumental pieces in the vihuela books, as well
>as those in other collections, were composed for performance on
>all the polyphonic instruments, whether vihuelas, harps, or keyboard
>instruments such as the organ, harpsichord and clavichord.

Well yes, that's what the titles state. The question is more what
people actually did & had in mind, versus just adding possibilities
to help sales.

On Tuesday, February 20, 2024 at 9:06:33 PM UTC, Todd M. McComb wrote:
> In article <c2e98647-411d-415d...@googlegroups.com>,
> Mandryka <howie....@gmail.com> wrote:
> >Moreover, the instrumental pieces in the vihuela books, as well
> >as those in other collections, were composed for performance on
> >all the polyphonic instruments, whether vihuelas, harps, or keyboard
> >instruments such as the organ, harpsichord and clavichord.
> Well yes, that's what the titles state. The question is more what
> people actually did & had in mind, versus just adding possibilities
> to help sales.
Here's a good find -- a revelation

https://www.youtube.com/watch?v=fLcvmswgqog&ab_channel=StripedGazelleMusic

I don't know who's playing -- the uploader's bandcamp page looks promising

https://stripedgazelle.bandcamp.com/

On Thu, 22 Feb 2024 04:43:49 -0800 (PST), Mandryka wrote:

> On Tuesday, February 20, 2024 at 9:06:33 PM UTC, Todd M. McComb wrote:
>> In article <c2e98647-411d-415d...@googlegroups.com>,
>> Mandryka <howie....@gmail.com> wrote:
>> >Moreover, the instrumental pieces in the vihuela books, as well as
>> >those in other collections, were composed for performance on all the
>> >polyphonic instruments, whether vihuelas, harps, or keyboard
>> >instruments such as the organ, harpsichord and clavichord.
>> Well yes, that's what the titles state. The question is more what
>> people actually did & had in mind, versus just adding possibilities to
>> help sales.
> Here's a good find -- a revelation
>
> https://www.youtube.com/watch?
v=fLcvmswgqog&ab_channel=StripedGazelleMusic
>
> I don't know who's playing -- the uploader's bandcamp page looks
> promising
>
> https://stripedgazelle.bandcamp.com/

Man how do you even find these people???

On Thu, 7 Mar 2024 06:34:02 -0000 (UTC), cdroms wrote:

> On Thu, 22 Feb 2024 04:43:49 -0800 (PST), Mandryka wrote:
>
>> On Tuesday, February 20, 2024 at 9:06:33 PM UTC, Todd M. McComb wrote:
>>> In article <c2e98647-411d-415d...@googlegroups.com>,
>>> Mandryka <howie....@gmail.com> wrote:
>>> >Moreover, the instrumental pieces in the vihuela books, as well as
>>> >those in other collections, were composed for performance on all the
>>> >polyphonic instruments, whether vihuelas, harps, or keyboard
>>> >instruments such as the organ, harpsichord and clavichord.
>>> Well yes, that's what the titles state. The question is more what
>>> people actually did & had in mind, versus just adding possibilities to
>>> help sales.
>> Here's a good find -- a revelation
>>
>> https://www.youtube.com/watch?
> v=fLcvmswgqog&ab_channel=StripedGazelleMusic
>>
>> I don't know who's playing -- the uploader's bandcamp page looks
>> promising
>>
>> https://stripedgazelle.bandcamp.com/
>
> Man how do you even find these people???

This is cheregi/Ellie by the way. But I might switch from here to novabbs

An interesting piano and harpsichord live recital of Scarlatti and modern Spanish works:

https://www.bbc.co.uk/sounds/play/m001wqyg