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Reviewer: Lindsay Kemp
The music covers the two centuries
of the harpsichord’s heyday, and the cosy sense of Pinnock roaming among some of
his favourites is heightened by the fact that he uses the same instrument
throughout, his own beloved and elegantly voiced David Jacques Way copy of a
French-style double manual. Nor does he make a great deal of obvious distinction
in the way that he plays them, although such is his playing that we can hardly
complain. His is the fast-fingered but also beautifully controlled touch of a
true harpsichordist, producing a rich sprung tone, exquisitely turned ornaments
that seem to be both nimble and unhurried at the same time, and (as the flowing
lines of the Bach best reveal) faultless legato. Pinnock cites Malcolm,
Landowska, Leonhardt and Puyana as his early heroes, and you can hear echoes of
them all in the way he doesn’t try to impose too much on the music but just lets
his subtle keyboard skills and inborn musicianly wisdom give it the best
possible chance to do its own talking. Not, however, that there isn’t a sure
hand in the way he shapes longer pieces such as the Sweelinck and the Handel;
and though you might prefer a touch more drama in Frescobaldi and fire in
Scarlatti, it remains a warming pleasure to listen to music hand-picked and
performed by one of the finest harpsichordists of our time. |
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