Did the two keyboard virtuosi ever get together long enough to tune two harpsichords to each other (not for the faint-hearted) and play duets? Or were they condemned always to the polarities of the harpsichordist; that is, the lofty, but lonely, prominence of the soloist, or the supportive, self-effacing role of the continuo player? History (like our news media) tends to concentrate on incidents charged with dramatic conflict, so we must become historical novelists to picture happy afternoons with Handel and Scarlatti entertaining a few choice friends and patrons with the bristling excitement that can only be generated by two harpsichords exchanging tunes.

Napa Valley, California, 1993. Enter Katherine Westine and Phebe Craig, beside themselves with a shared vision to breathe new life into a genre both delicate and robust. Phebe Craig and Katherine Westine not only recreate old treasures, but also apply their baroque sensibilities to the works of modern composers. Armed with two Italian and two French harpsichords, Westine and Craig explore the acoustics of a converted 19th century winery (complete with bats). On this recording you will hear the Italian harpsichords for the music of J.S. Bach and Scott Joplin, and the French harpsichords for the remaining selections. The astute listener will quickly notice the distinct character of each instrument, a property of harpsichords which, in contrast to modern keyboard instruments, provides enormous satisfaction to the connoisseur. The musical selections. In 1789, Charles Burney wrote that Wilhelm Friedemann Bach (1710-1784) 'was the best organist in Germany, in style, fancy and knowledge of harmony...particularly in the use of pedals.' Apparently W.F. Bach was not widely recognized as a composer in his own time, but his surviving music demonstrates a unique personality. This son of the great J.S. Bach seemed to enjoy straddling the esthetic fence between baroque and rococo, especially in the Concerto in F Major for Two Harpsichords. The first movement is a fine example of early classical sonata form, while the second and third movements make a comfortable return to baroque concerto style.

Absorption of local color into formal music is also a feature of Antonio Soler (1729-1783), in the tradition of his teacher, Domenico Scarlatti. Soler wrote six concerti for two organs 'for the diversion' of his young pupil, 'the most Serene Infante Don Gabriel de Borbon,' favorite son of Carlos III. It is likely that these concerti were written for performance on two small, similar organs which stood in the little theater at El Escorial. The Concierto II heard on this recording is saturated with Spanish flavor (saffron, pimiento, sangria, sherry) and the listener can easily discern a Spanish guitar style in the energetic plucking of the two harpsichords. Impressionable listeners might detect the fragrance of a rose on a sultry evening.

A master of the French baroque style, Francois Couperin (1668-1733) shared the enthusiasm of his contemporaries for the folk dance tunes and rhythms associated with bagpipe and hurdy-gurdy music. Numerous stage productions of this period feature musetes complete with singing, dancing, and orchestra enhanced by specialized instruments. With his Musetes de Choisi et de Taverni, Couperin reaches back to his family roots and refashions folk music from the towns of Choisi and Taverny to chamber music for the court of Louis XIV, the Sun King.

Johann Sebastian Bach (1685-1750) was frequently inspired to create extravagantly tuneful works for multiple harpsichords, occasionally transforming music from other sources to endow them with new expression on plucked keyboards. J. S. Bach's concerti were often performed at Zimmermann's coffee house in Leipzig, often with the participation of his sons Carl Philipp Emanuel and Wilhelm Friedemann. (We are not aware of any scholarly studies associating the high energy of the Bach family concerti with the influence of coffee.) The Concerto in C Major for Two Harpsichords is an outstanding example of the mature baroque concerto; while conforming to a standard three-movement concerto structure, its polyphonic richness goes far beyond the formulas of a mere occasional concerto.

With the Stoptime Rag of Scott Joplin (1868-1917). Westine and Craig present a significant historical event: the first interactive harpsichord CD. In the original publication of this charming dance, the composer annotated the downbeats with the word 'Stamp' to indicate that this piece is not complete without some percussive footwork. Gentle listener, kindly stamp one of your feet with your heel to propel this tuneful ditty on its way. Improvised toe-tapping may be added to taste.

1. Wilhelm Friedemann Bach- Concerto in F Major for 2 Harpsichords (Allegro moderato)
2. Wilhelm Friedemann Bach- Concerto in F Major for 2 Harpsichords (Andante)
3. Wilhelm Friedemann Bach- Concerto in F Major for 2 Harpsichords (Presto)
4. Antonio Soler- Conceierto II in a minor (Andante)
5. Antonio Soler- Conceierto II in a minor (Allegro)
6. Antonio Soler- Conceierto II in a minor (Tempo de Minue)
7. Francois Couperin- Musetes de Choisi et de Taverni
8. Johann Sebastian Bach- Concerto in C Major for 2 Harpsichords (Allegro moderato)
9. Johann Sebastian Bach- Concerto in C Major for 2 Harpsichords (Adagio ovvero Largo)
10. Johann Sebastian Bach- Concerto in C Major for 2 Harpsichords (Allegro)
11. Scott Joplin- Stoptime Rag

Listen to: the entire album.

Release date: 10/5/2004
Phebe Craig and Katherine Westine lives in California USA

Tagged as: Classical, Chamber Music, Baroque, Classical Period, Instrumental, Composer: Antonio Soler, Composer: Francois Couperin, Composer: Johann Sebastian Bach, Composer: Wilhelm Friedemann Bach, Harpsichord

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