You don't address the piano v harpsichord question. It's possible that there is little or nothing new to say about it...but the overwhelming ratio of piano to harpsichord recordings means that it is still relevant.
On that score listening to your Aria and First Set of 3 v Egarr's is useful. I think you are less afraid of the pile up of sound that the Harpsichord can cause, and that's for the better (his Aria just drags). It also allows you to emphasize the dance qualities and rhythmic features whereas he focuses more on the paragraph and rhetorical structure. The left hand lines also come through more clearly on yours. They can also have a rock bass guitar quality (Var 1).
The harpsichord will require more 'air' to let the music breathe a bit...so the shaping of the pieces becomes important (and playing the whole thing at one time seems a bit silly). The role of ornamentation is also clearer.
But maybe you were going to talk about this kind of thing in later episodes....
You don't address the piano v harpsichord question. It's possible that there is little or nothing new to say about it...but the overwhelming ratio of piano to harpsichord recordings means that it is still relevant.
On that score listening to your Aria and First Set of 3 v Egarr's is useful. I think you are less afraid of the pile up of sound that the Harpsichord can cause, and that's for the better (his Aria just drags). It also allows you to emphasize the dance qualities and rhythmic features whereas he focuses more on the paragraph and rhetorical structure. The left hand lines also come through more clearly on yours. They can also have a rock bass guitar quality (Var 1).
The harpsichord will require more 'air' to let the music breathe a bit...so the shaping of the pieces becomes important (and playing the whole thing at one time seems a bit silly). The role of ornamentation is also clearer.
But maybe you were going to talk about this kind of thing in later episodes....
Expect it with Gould talk—8.5k words was enough for one post!