When They Had Pedals, Vol. 1 - The Pleyel

When They Had Pedals, Vol. 1 - The Pleyel

When They Had Pedals, Vol. 1 - The Pleyel
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Composer: Girolamo Frescobaldi
Composer: Anonymous
Composer: Richard [1] Edwards
Composer: William Mundy
Composer: John Redford
Composer: William Blitheman
Composer: Anthony [16th cent. composer] Newman
Composer: Thomas [Composer] Tallis
Composer: Mulliner Book Anonymous
Composer: Thomas Tomkins
Composer: John Bull
Composer: William [Composer] Byrd
Performer: Paul Wolfe
Edition: Music CD
CD Release Date: 1998-10-20
Music Label: Lyrichord Discs Inc.
Soundtracks:
Music CD 1
  1. Three Gailards (Nos. 1, 2 & 3)
  2. Partite 12 Sopra L'Aria di Ruggiero
  3. Canzona Seconda
  4. Partite 6 Sopra L'Aria Di Follia
  5. Canzona Quarta
  6. Four Correnti
  7. Canzona Prima
  8. Partite 11 Sopra L'Aria Di Monicha
Music CD 2
  1. a) O Ye Happy Dames
  2. b) When Griping Griefs
  3. c) Tres Partes In Una
  4. a) Christe Qui Lux With A Meane
  5. b) Christe Qui Lux
  6. c) Eterne Rex Altissime
  7. a) Gloria Tibi Trinitas iii
  8. b) Gloria Tibi Trinitas iv
  9. a) Pavan
  10. b) A Fansye
  11. a) Ex More Docti Mistico
  12. b) O Ye Tender Babes
  13. c) Natus Est Nobis
  14. Galliard
  15. The Perpetual Round
  16. In Nomine
  17. Ut Be My Fa Sol La
  18. Fortune My Foe

Music reviews of When They Had Pedals, Vol. 1 - The Pleyel

Music Review: "If it SOUNDS Right, it IS Right"
Rating: 5 Stars

These works were recorded in the late 1950's on a 1907 striped zebra wood double manual Pleyel Harpsichord with six pedals, exactly like the one Wanda Landowska played(This Pleyel however, I believe, did not have a 16')The brilliant Paul Wolfe was himself a student of Wanda Landowska in Lakeville,CT,and had an illustrious recording career, which incudes, amongst others, The Complete Handel Suites.
What I love so much about this recording, as well as all of Mr. Wolfe's recordings, is that the music LIVES. Until hearing these recordings, I had only heard Frescoboldi and early English viriginalist music on "historical" instruments, and was bored to tears. But here, because of the MEDIUM and the creative, imaginitive and liberated artist playing them , this music sounds electrifying!
The early music movement has become a boring box of rules. If you can't defend the way your're playing something with historical data(treatises,accounts of composers and their contemporaries) then you're wrong and uninformed and undisciplined. Well that's a lot of crap and that's why early music is dying. Noone really cares if you're playing a harpsichord Bach would have played or playing Bach or Frescobaldi that thunders in a manner like Beethoven! All an audience really cares about is that you did something beautiful and moving with the music-something that this young writer feels that 99% of harpsichordists today DON'T DO. O yes, today's harpsichordists do a great job of playing out of time all over the place, playing Bach as though it's Couperin because, "Historically,The French infuence on the Germans was so acute," sitting on the downbeats,breaking the line constantly so they can "speak" the music rather than play it, as they put it. But there's very little moving,beautiful harpsichord playing going on.
I myself am a young(19 years old), studying harpsichordist and have had it with the dusty old early music movement and their treatises and their historical performance practice.I am out readying to buy myself a harpsichord complete with a 16' stop and pedals!
And a word on those kinds of instrumnets: It IS arrogant to be of the opinion,"O well we know better today than to play those kinds of instruments and in THAT manner." Do you really know better, those of you who say that, hm? If you knew better, then early music departments in colleges all over the world wouldn't be closing down. If you knew better, the harpsichord would still be readily known by most people. If you knew better, the harpsichord would still be thought of as a hot-fired,hot-blooded, romantic SOLO instrument, the way it was when Landowska was running the show and calling the shots.
But not anymore, thanks to you boring,dusty, musicological-"truth"-seekers. Nope, now the harpsichord is this NICE instrument, that NICE people play NICE music on. It's the instrument you sit in the back of the orchestra and strum! It is now a "proper" instrument.Landowska would spit upon such an idea and is probably rolling over in her grave, poor girl, to see the damage the purist twits running things now, have done.
I am so thankful then for recordings like Paul Wolfe's, who abides by something Landowska once told him in a lesson: "...If it SOUNDS right, then it IS right!" This is a recording this young listener is time and time again floored by, looks up to and aspires to! The Old School Shall Live Again! If you want to help it do so, you may email me at UUguy16@aol.com
More When They Had Pedals, Vol. 1 - The Pleyel free music reviews:
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