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RAFAEL PUYANA (HARPSICHORD) ----- THE GOLDEN AGE OF HARPSICHORD MUSIC ----- ORIGINAL SPEAKERS CORNER REISSUE ----- PURE ANALOGUE, AUDIOPHILE MASTERING FROM THE ORIGINAL MASTER TAPES ----- 180GRAM HIGH QUALITY VINYL PRESSING BY PALLAS IN GERMANY ----- LIMITED EDITION ----- OUT OF PRINT ----- ( ....... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!...... AUDIOPHILE REISSUE-LP/RECORD GERMANY 2008 / ...... ORIGINAL SPEAKERS CORNER REISSUE GERMANY / ......180g HEAVY VINYL / ...... HIGH QUALITY PRESSING IN GERMANY /.....AUDIOPHILE MASTERING /......ORIGINAL STEREO AUFNAHMEN 1962 BY MERCURY RECORDS IN USA / ..... ORIGINAL STEREO RECORDING 1962 BY MERCURY RECORDS IN USA / ....... MERCURY-LIVING PRESENCE - RECORDS /..... LIMITED EDITION ...... OUT OF PRINT ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN, GEPFLEGTEN, AUDIOPHILEN LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE LP/RECORD-COLLECTION (ONE EXEMPLARY !!) ..... DIESE AUDIOPHILE LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED !!......)

************************************************************************************************* The Golden Age Of Harpsichord Music (Vinyl, LP, Remastered) album cover Rafael Puyana ‎– The Golden Age Of Harpsichord Music Label: Mercury ‎– SR90304, Speakers Corner Records ‎– 90304 Format: Vinyl, LP, Remastered, 180g Country: Germany Released: 20 Aug 2008 Genre: Classical Style: Renaissance, Baroque Tracklist Show Credits A1 1. Branle Gay 1:36 A2 Tombeau De M.de Blancrocher 3:53 A3 Branle De Montirandé 2:08 Concerto In D Minor, After Alessandro Marcello A4a 1. Allegro 2:53 A4b 2. Andante 3:31 A4c 3. Presto 4:16 A6 Sonata In A Major 2:18 A7 Sonata In D Major 3:09 B1 My Lady Carey's Dompe 1:22 B2 Les Buffons 3:40 B3 The Primerose 2:50 B4 La Volta 2:25 B5 The Fall Of The Leafe 2:14 B6 Pavana Dolorosa 6:33 B7 Galiarda Dolorosa 3:48 B8 The King's Hunt 5:00 Companies, etc. Phonographic Copyright (p) – Mercury Manufactured By – Speakers Corner Records Credits Art Direction – Ton Friesen Engineer [Chief], Technician [Technical Supervisor] – C. Robert Fine* Liner Notes [Editor] – Sedgwick Clark Liner Notes, Harpsichord – Rafael Puyana Mastered By – Andrew Nicholas Photography By [Cover] – Peter Fink (2) Producer [For Cd] – Wilma Cozart Fine* Recording Supervisor [Recording Director] – Wilma Cozart Supervised By [Musical Supervision] – Harold Lawrence Notes Original Mercury LP released 1962 Barcode and Other Identifiers Barcode: 4260019713100 *********************************************************************************************** "The Golden Age of Harpsichord Music" Werke von Besard, Couperin, Francisque, Scarlatti, Freixanet, Bach, Bull, Byrd, Philips, Peerson und Albéniz - Rafael Puyana (harpsichord) ............................. Aufnahme: April und Mai 1962 im Ballroom Studio A von Fine Recording, New York City, von C. Robert Fine und Robert Eberenz Produktion: Wilma Cozart-Fine und Harold Lawrence................................ Das Cembalo, manchmal auch despektierlich als Zupfinstrument mit Tasten charakterisiert, prägte die musikalische Sprache des Barock wie kein anderes Instrument. Ob begleitend als Basso continuo in zarter Kammermusik und bei rauschendem Freiluftkonzert oder als Soloinstrument wurde sein heller obertonreicher Klang von allen bedeutenden Komponisten und Musikern der Epoche geschätzt. Aus der Not, dem Instrument konstruktionsbedingt keine abgestuften Lautstärken entlocken zu können, machten die Interpreten eine Tugend, indem sie ihr Spiel auf pointierte Interpretation bei spannungsvoller Phrasierung und wohlbedachter Registerwahl konzentrierten. Die vorliegende Aufnahme mit dem zweimanualigen Pleyel-Cembalo eröffnet ein breites Sichtfeld auf die Vielfalt der Tastenmusik Europas im 17. und 18. Jahrhundert. Neben stilprägenden Kompositionen von Louis Couperin und Domenico Scarlatti rücken mit John Bull, William Byrd und Peter Philipps englische Stücke aus der berühmtesten Sammlung des Barock, dem "Fitzwilliam Virginal Book", in den Mittelpunkt dieser Einspielung. Kurze Erläuterungen auf der Cover-Rückseite erleichtern das Einordnen der Kompositionen in ihren historischen Kontext. ************************************************************************************************** Werke von Besard, Couperin, Francisque, Scarlatti, Freixanet, Bach, Bull, Byrd, Philips, Peerson und Albniz Rafael Puyana - harpsichord Aufnahmen April und Mai 1962 im Ballroom Studio A, New York City. Das Cembalo prägte die musikalische Sprache des Barock wie kein anderes Instrument. Ob begleitend als Basso continuo in zarter Kammermusik und bei rauschendem Freiluftkonzert oder als Soloinstrument wurde sein heller obertonreicher Klang von allen bedeutenden Komponisten und Musikern der Epoche geschätzt. Aus der Not, dem Instrument konstruktionsbedingt keine abgestuften Lautstärken entlocken zu können, machten die Interpreten eine Tugend, indem sie ihr Spiel auf pointierte Interpretation bei spannungsvoller Phrasierung und wohlbedachter Registerwahl konzentrierten. Die vorliegende Aufnahme mit dem zweimanualigen Pleyel-Cembalo eröffnet ein breites Sichtfeld auf die Vielfalt der Tastenmusik Europas im 17. und 18. Jahrhundert. Neben stilprägenden Kompositionen von Louis Couperin und Domenico Scarlatti rücken mit John Bull, William Byrd und Peter Philipps englische Stücke aus der berühmtesten Sammlung des Barock, dem "Fitzwilliam Virginal Book", in den Mittelpunkt dieser Einspielung. Kurze Erläuterungen auf der Cover-Rückseite erleichtern das Einordnen der Kompositionen in ihren historischen Kontext. ************************************************************************************************ Rezension: Es war Wanda Landowska gewesen, die Pionierin des Cembalos, die die Klaviermusik der vorklassischen Zeit zurück auf das ihr zugedachte Instrument gebracht hatte. Der 1931 geborene Kolumbianer Rafael Puyana studierte acht Jahre (bis zu ihrem Tod) bei der großen alten Dame und war wohl ihr bedeutendster Schüler – als Interpret ebenso wie als Weitergeber ihres Wissens über alte Musik, denn er unterrichtete später selbst – Christopher Hogwood etwa zählt zu seinen Schülern. „The Golden Age Of Harpsichord Music“ ist ein von ihm selbst zusammengestelltes (und im Covertext profund kommentiertes) Programm, das die Glanzzeit des Instruments (bzw. seiner nahen Verwandten) vom frühen 16. bis zum späten 18. Jahrhundert umreißt: Werke aus anonymen Sammlungen, von William Byrd und John Bull, Louis Couperin, Domenico Scarlatti und anderen, bis zur spanischen Cembalo-Schule, hier durch Mateo Albéniz (1760 - 1831) vertreten. Ein musikalisches Dokument ersten Ranges, und unter dem Repertoire-Aspekt fraglos zu den bedeutendsten LPs im Mercury-Katalog zählend – obendrein in klanglicher Hinsicht immer wieder beeindruckend! Die Speakers Corner-Wiederauflage steht selbst einem Mono-Original in Sachen Klangfülle und Dynamik in nichts nach, im Gegenteil… (1962/2008) ************************************************************************************************* Speakers Corner / Mercury - SR90304 - 180 Gram Virgin Vinyl - 4260019713100 AAA 100% Analogue - Pure Analogue Audiophile Mastering - Pressed at Pallas Sound 5/5 Audiophile Audition The Golden Age of Harpsichord Music" Works by Besard, Couperin, Francisque, Scarlatti, Freixanet, Bach, Bull, Byrd, Philips, Peerson, and Albéniz - Rafael Puyana (har) The harpsichord, sometimes disrespectfully referred to as a plucked instrument with keys, left its stamp on the musical language of the Baroque as no other. Whether employed as a continuous bass to accompany delicate chamber music, or heard in heady open-air concerts, or just as a solo instrument, its bright sound, rich in overtones, was highly esteemed by all important composers and musicians of the era. Due to the construction of the instrument it is not possible to play with a differentiated volume of sound, so performers made a virtue of necessity in that they concentrated upon lively phrasing and a well-considered choice of register. In the present recording Rafael Puyana plays a two-manual Pleyel harpsichord and interprets a wide and varied range of European keyboard works from the 17th and 18th centuries. Along with compositions by Louis Couperin and Domenico Scarlatti’s, both of whom had a great influence on style in their day, this compilation has at its heart works by the English composers John Bull, William Byrd and Peter Philips, which are taken from the most famous collection of all Baroque compositions, the "Fitzwilliam Virginal Book". Short notes on the back cover provide useful information on the works’ historical context. Aufnahme: April und Mai 1962 im Ballroom Studio A von Fine Recording, New York City, von C. Robert Fine und Robert Eberenz Many harpsichord aficionados and musicologists may turn up their noses at this fine recording due to the Pleyel two-manual concert harpsichord employed by Puyana – who was the last long-standing pupil of the great Wanda Landowska, who also performed on a Pleyel. With its metal frame, the Pleyel is considered by the experts more of a piano than a harpsichord, and responsible for the disrespect the instrument has received from many. (Recall Beecham’s quip about it sounding “like two skeletons copulating on a tin roof.”) Today’s harpsichords are built closely to 17th and 18th century originals and have a more subtle, richer and less clangy sound. However, my contention is that the reason Landowska’s recording all sound rather painful is the primitive recording technology used and her performing style rather than her instrument. After all, most of her recordings were made at her home on poorer portable equipment that RCA Victor brought in so she wouldn’t have to go to their NYC studios. While the Puyana recordings are forceful and less subtle, I find them light years better than Landowska’s.- 5/5 AudiophileAudition Review Produktion: Wilma Cozart-Fine und Harold Lawrence Born in Bogota, Columbia, Puyana was the most important pupil of the great Wanda Landowska, who was single-handedly responsible for the modern revival of the harpsichord. Unerring rhythmic vitality, penetrating scholarship and imposing technical mastery are the characteristics of Puyana's playing. Stokowski wrote to him, "I think you have explored every possibility of the harpsichord, revealing potentialities which no other performer I know has discovered until now." Harpsichordist Rafael Pyuana performs Concerto No. 3 by J.S. Bach. Musicians: Rafael Pyuana, harpsichord Selections: Jean Baptiste Besard (c.1567-1625) 1. Branle Gay Louis Couperin (c.1626-1661) 2. Tombeau de M. de Blancrocher Antoine Francisque (c.1570-1605) 3. Branle de Montirande Domenico Scarlatti (1685-1757) 4. Sonata in E major, K. 381 Freixanet (c.1730-?) 5. Sonata in A major J. S. Bach (1685-1750) 6. Concerto in D minor John Bull (c.1563-1628) 7. Les Buffons (ms. 23623 British Museum) William Byrd (1543-1623) 8. La Volta Peter Philips ( c.1563-1628) 9. Pavana Dolorosa-Galiarda Dolorosa Anonymous (circa 1500) 10. My Lady Carey's Dompe Martin Peerson (c.1580-1650) 11. The Primerose-The Fall of the Leafe John Bull (c.1562-1628) 12. The King's Hunt Mateo Albeniz (1760-1831) 13. Sonata in D major The Golden Age of Harpsichord Music : Rafael Puyana - 180g LP ********************************************************************************************** SPEAKERS CORNER 20 Years pure Analogue Are your records completely analogue? Yes! This we guarantee! As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time Are your records cut from the original masters? In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us. Who cuts the records? In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few. At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers. PALLAS Audiophile Vinyl - Made in Germany For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! *************************************************************************************************

Zustand121: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ORIGINAL SPEAKERS CORNER REISSUE ----- PURE ANALOGUE, AUDIOPHILE MASTERING FROM THE ORIGINAL MASTER TAPES ----- 180GRAM HIGH QUALITY VINYL PRESSING BY PALLAS IN GERMANY ----- LIMITED EDITION ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN, GEPFLEGTEN, AUDIOPHILEN LP/RECORD-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE LP/RECORD-COLLECTION (ONE EXEMPLARY !!)...... SIEHE XXL-FOTOS(LOOK AT THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN (CLICK THE XXL-PICTURES !!) ..... )

Best.-Nr.: MERCURY SR 90304 ---- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!) ----- SPEAKERS CORNER GERMANY -----

Preis: EUR 49,99 Euro (zuzüglich der Versandkosten / plus shipping costs)