Parallel-
Interpretation

In the sound of the 18th and 21st century

The sound of an instruments from the time for which a composer created his music can be very helpful in bringing us closer to the composer's musical imagination.
The sound of historical music on a good modern instrument can help to bring the musical meaning of this music closer to our own musical imagination.
That is why the works of the harpsichordist Jaques Duphly are presented here both in the sound of a historical harpsichord and of a modern grand piano.

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Jaques Duphly
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French Harpsichord

Pascal Joseph Taskin (Paris 1787)

Pascal Joseph Taskin was one of the last important harpsichord makers. He enriched the tonally static plucking mechanics of the instrument and even surpassed the example of Flemish harpsichords in the tonal possibilities and range of the various registers and lute slides as well as in the playability. A knee lever made it possible to change the register while playing. A technique that was also used in early pianofortes. In addition to highly developed harpsichords, Taskin's workshop also built the first touch-sensitive pianofortes. Here you can hear an unpublished sample set of a Instruments from the Beuermann Collection in the Hamburg Museum of Art and Industry in the original van Delfft 1 tuning.

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Grandpiano

Steinway  (Hamburg)

The touch dynamics of the modern concert grand piano give the performer a wide range of tonal nuances of the tone. The grand pianos from the Steinway are so musically convincing in every sound intensity, that their sound has already significantly influenced the listener's expectations of a good piano sound. The instrument is tuned equally. Here is used an "Ivory3" sample set that was kindly provided to me fromSynthogy (USA/Massachustes)