Jay McCarty
Fort Worth, TX
..... [This] is a recording which [...] combines (with Peter [Nothnagle]'s always impeccable engineering) the talents of Ed Parmentier with a most remarkable instrument: the Portuguese fortepiano of Manuel Antunes, built in 1767.
[...] Ed's usual mix of stylishness and quirkiness [...] combine to make [him] one of our most interesting and satisfying performers. While we are sometimes surprised by the way he turns a phrase, there is always a sense of grace and style in the playing. The result is always delightful--our interest is maintained by the unpredictability of the music-making, imparting to each hearing a new sense of adventure, but all is underpinned by an innate musical sense, so that the music remains tasteful and stylish.
The instrument[...] has a warm, mellow, singing tone, rich in all registers. The tuning--sometimes a real problem in recordings of antique pianos--is perfect, which contributes greatly to the overall effect. I must confess I had expected a more frail sound, weak in the treble and "rattly." My preconception couldn't have been further from the truth. It is truly a find!
The repertoire is primarily Iberian, with Soler, Scarlatti, and Seixas. It is a perfect program to demonstrate the unique characteristics of the instrument.
Kudos to Peter, Ed, and Joseph (and Manuel, of course!). This is a great production start to finish. Enjoy!
David Kelzenberg, Iowa City <dkelzenb@blue.weeg.uiowa.edu>
Paul Gunzelmann. Columbus, Ohio.
D'Anglebert: Pièces de Clavecin Arthur
Haas. WLBR 8802
The D'Anglebert recording by Arthur Haas is absolutely striking. Not only are the tuning and idiomatic characteristics of the instrument at Vermillion truly beautiful, focused and brilliantly captured, but of course Haas' playing displays his usual imagination and subtleties of form that remain more admirable than ever.
The hint of the "ictus" that remains in the recording was beautifully captured by your engineer Peter Nothnagle, and the sound is absolutely three-dimensional. Bravo on a great release! If I had Arthur Haas' e-mail address, I would certainly add my two cents to his in box!!!
By way of background - for what it's worth - I should tell you I've built over 30 harpsichords and have been the recording engineer of record for the Yale Collection of Musical Instruments for over 12 years - so I've worked on, voiced, regulated, tuned, and recorded a fairly decent number of instruments - both old and new...!
You know how it is, when you've seen and heard a fair amount, it takes something quite special to reach that "critical mass" that makes something truly exciting. Great that you and your efforts can achieve that. You must love what you do, and it's evident in your release - a blessing indeed!
Yves Albert Feder
w1eox@ix.netcom.com
Harpsichord Workshops and Recording Studios
Music as Befitts a Quene- English Virginal Music 1570-1650 Edward Parmentier WLBR 9102
"Of all the Parmentier discs, this one's my favorite. Well-recorded, splendid performances, imaginative program, fantastic tuning: They're all here."
Robert John Utterback (harpsichordist)
Scarlatti: Fugue and Ten Sonatas-- Edward Parmentier
Joseph --
Thank you SO much for ... the Parmentier recordings. [This morning
I heard] the Scarlatti disc for the first time. It literally took my breath
away and I could not leave the room as long as the music was playing. My
22 yr. old son has been learning about harpsichord music as I have immersed
myself in the [harpsichord] building project the last few months (and I
of course can't keep quiet about it), and he also noticed how strikingly
unusual this recording is. We both had our jaws dropping open!
What a treat! It's amazing how some performances are so powerful that
they truly are transcendent. Of course that wouldn't come across without
the equally shimmering production, and thank you for that.
I can't wait to hear the French music. I'm taking the 2 discs with
me to share with my parents on this weekend's visit -- they didn't really
know what a harpsichord was when I told them I am building one.
Happy New Year!
Richard Lyles
Scarlatti: Fugue and Ten Sonatas-- Edward Parmentier
...Most recordings I have heard of Scarlatti I have found frenetic and
tiring to listen to after a while (e.g., Kipnis, The Virtuoso Scarlatti).
That's why I found the Parmentier so refreshing and wonderful, it seems
calmer and the interpretation seems so fresh and wonderful. I realize it
was recorded some time ago, but it's new to me. And the programming of
the album is such a wonderful mix, thank you for that.
Richard Lyles
Seventeenth Century French Harpsichord Music, Edward Parmentier. WLBR 8502.
A new POEM FROM IRELAND:
I'm listening to that fine french-written muse
performed upon a keyboard played so fine
and with precision. One cannot confine
such music within a vocabulary. Confuse
same with those few words which theorise
the qualities of the sounds which through our ears
make us relax; forget our woes and tears.
Yet not those it may bring to our eyes
for a different reason. What a find
this recording is, a joy to hear,
and such a pleasant sound upon the ear.
It makes one think, though life may be a grind:
Arise! Give ear to art as it finds you.
Enjoy life as if it is the last thing you do!
Malachi O'Sullivan
Seventeenth Century French Harpsichord Music, Edward Parmentier. WLBR 8502.
Dear Joseph--
Last msg. I had not yet listened to the 17th C. French Parmentier recording.
The differences in temperaments are new to me, I read the notes and wondered
if I would notice the difference from the Valotti (lush and soothing) to
the meantone .....
Zing! Kapow! Shudder!
It took several listenings to adjust to; one wonders what else we have
left behind in a rush toward "modernity" !!! Fer sure, a pianer it ain't
!
I'm starting to see that the deeper one wades into the early music
waters the more wonders begin to emerge..... there are doors into whole
'forgotten' realms of human sensibilities. I have explored for years an
esoteric pre-industrial world of ancient textiles -- history and production
-- now it's going to be interesting to do some spinning and listen to that
music at the same time.
Thank you!!
Richard Lyles
Seventeenth Century French Harpsichord Music, Edward Parmentier. WLBR 8502.
Joseph Spencer is to be commended for his careful setting of the temperament
on this disc. It's hard enough to get the fifths rolling just right in
quarter-comma meantone, not to mention 1/3! (For an example of a poorly
set meantone, check out Ursula Deutschler's otherwise fine disc of Byrd
on Claves, specifically the Fantasia in C.) Perhaps he's willing to share
some of his wisdom with us mortals. Joseph, how DO you temper your fifths
so smoothly?
Rob Utterback (harpsichordist)
I recently got a copy of the Wildboar LP of Ed
Parmentier playing early Italian harpsichord music... I like the music
and the playing, but I am particularly impressed with the quality of the
recording - the harpsichord sound is more "immediate" (the best word I
can come up with) than I think any other harpsichord recording I have listened
to recently. What is going on here?* Was there something unusual about
the miking, or (perish the thought) do LPs really sound better than CDs,
as some fanatics have been claiming all along? Or is a Grimaldi somehow
easier to record than other instruments?
Jim Bunch
[*the answer: hard work.]
This LP, WLBR 8000, recorded in 1980, is still available by request.
I have a few copies. Price is $15, plus shipping, if applicable. I still
regard it as one of the best recordings we've made so far. - Joseph
Elisabeth-Claude Jacquet de la Guerre: Sonates pour le Violon (1707) Ingrid Matthews, violin; Byron Schenkman, harpsichord; Margriet Tindemans, viola da gamba. WLBR 9601
Greetings from a musician and fan of your Jacquet CD! I am a professor
of music at Saddleback College, pianist and performer/researcher of women
composers. [...] They are such wonderful pieces and you do them so well...
Rebecca Rollins
While at Tower I found and purchased your 'Splendor
of the Harpsichord' CD. [WLBR 9606] It's playing as I write.
This is the first Wildboar CD I've come across. My compliments on the
quality of your recording; it is as good as any I've heard. Ed Parmentier's
playing is also appreciated...
Regards to you, and continue your fine recordings,
Tom Phinney
Dear Joseph,
I received the CDs you sent yesterday. Many thanks for all your efforts.
Many thanks also for the Jacquet de la Guerre [WLBR 9601] (of which I have
listened only to the first track so far).
The Handel disc [WLBR 9604] is fantastic - I am a big fan of Ellen
Hargis, but on this disc she managed to delight me as if I had heard her
for the first time. The orchestra is also rather good! I hope more things
are planned with these artists.
I am also delighted with the Royal Pleasures CD [WLBR 8601]- the lute
contreparties in the Hardel are ravishing and Ms Burman-Hall is a great
harpsichordist.
Regards
Christopher Price
[Handel Dramatic Cantatas, Ellen Hargis with Seattle Baroque, WLBR 9604]
Joseph, I began to listen to the Handel disk yesterday in my car. I'm blown away by
the music !
the performance
the production qualities
the singing
Thanks, and highest congratulations!
They do some rather brave things. They don't always bring off what
they're doing, somewhat close to the edge. But I admire very much the pushing!
Paul Vorwerk
California Institute of the Arts
[Handel Dramatic Cantatas, Ellen Hargis with Seattle Baroque, WLBR 9604]
Dear Joseph,
I love it! What a great CD! You have done it again. I never thought
you'd get much past the solo harpsichord stage but here is a Wildboar release
to stand with any...........
A pleasure to listen to. I love the chaconne in B flat major. Just
had to say how much fun it is to hear and it's too late to call. As always
something you can be justly proud of. Merry Christmas, bah humbug, etc.
Much more love than usual,
(Eugene Finley, film producer)
Bolinas, California
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Joseph Spencer