Journey: Two Hundred Years of Harpsichord Music
View record and artist detailsRecord and Artist Details
Composer or Director: Girolamo Frescobaldi, William Byrd, Johann Sebastian Bach, John Bull, Thomas Tallis, Antonio de Cabezón, Domenico Scarlatti, Jan Pieterszoon Sweelinck, George Frideric Handel
Genre:
Instrumental
Label: Linn
Magazine Review Date: 03/2016
Media Format: Super Audio CD
Media Runtime: 68
Catalogue Number: CKD570

Tracks:
Composition | Artist Credit |
---|---|
(6) French Suites, Movement: No. 6 in E, BWV817 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Trevor Pinnock, Harpsichord |
(The) King's Hunt |
John Bull, Composer
John Bull, Composer Trevor Pinnock, Harpsichord |
(The) Carman's Whistle |
William Byrd, Composer
Trevor Pinnock, Harpsichord William Byrd, Composer |
Differencias sombre canto del Cavallero |
Antonio de Cabezón, Composer
Antonio de Cabezón, Composer Trevor Pinnock, Harpsichord |
Balletto primo e seconda |
Girolamo Frescobaldi, Composer
Girolamo Frescobaldi, Composer Trevor Pinnock, Harpsichord |
Toccata IX |
Girolamo Frescobaldi, Composer
Girolamo Frescobaldi, Composer Trevor Pinnock, Harpsichord |
Chaconne |
George Frideric Handel, Composer
George Frideric Handel, Composer Trevor Pinnock, Harpsichord |
Sonatas for Keyboard Nos. 1-555, Movement: D (L206) |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer Trevor Pinnock, Harpsichord |
Sonatas for Keyboard Nos. 1-555, Movement: D (L164) |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer Trevor Pinnock, Harpsichord |
Sonatas for Keyboard Nos. 1-555, Movement: D (L14) |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer Trevor Pinnock, Harpsichord |
Mein junges Leben hat ein End' |
Jan Pieterszoon Sweelinck, Composer
Jan Pieterszoon Sweelinck, Composer Trevor Pinnock, Harpsichord |
O ye tender babes |
Thomas Tallis, Composer
Thomas Tallis, Composer Trevor Pinnock, Harpsichord |
Author: 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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