A performance from Belgium.
Quite nice playing methinks. Quite good audio too I may add.
Our colleagues learned in matters of fingering will doubtless have much to say.
Recording, editing & mastering: Korneel Bernolet
He was on the Jury at the most recent Bruges competition.
Yes, truly. And with no grimaces, no eyes-to-the-sky, no funny “expressive” faces.
By the same two, this is also very nice:
Virginal (muselar, 6 foot), collection Korneel Bernolet, by Walter Maene
(1976) after Joannes Couchet (Antwerp, 1650)
Indeed, an excellent performance, without any of the present-day fashionable “stay in a note forever”, “legato throughout”, “continuous rubato”, “arpeggio any time you can”. Also excellent the fingering. Only, typical of present-day Italian school, traditional pairwise fingering is performed only with the “hand shifting” method. This precludes legato and, besides, it can be shown that “finger crossing” is not only depicted in well-known paintings but also carefully described in Renaissance texts.
Remarkably, I am told that Emilia Fadini, the originator of the present-day very welcome Italian return to historical fingerings, prescribed “hand shifting” as “the way”. Which is puzzling indeed, because in the treatise IL CLAVICEMBALO, Parte Quarta, Fadini quotes the sources describing precisely the finger crossing. Anyway, better to do it with “hand shifting” than using modern fingerings!
Claudio, just to say that, notwithstanding the italian-sounding name, Mario Sarrechia is not Italian, he is a Belgian and has studied in North Europe, out of Italian paedagogy influence.
As for Emilia Fadini, I’ve never met her but studied with one of her preferred pupils, Enrico Baiano, who had taught me and all his other pupils both hand shifting and finger crossing.
Thanks for the clarification Domenico!
Of course, Baiano is a great master of ancient techniques and surely went beyond what Fadini taught.