L'enfant terrible de l'orgue plays Bach, Frescobaldi, Vivaldi, Messiaen on harpsichord, organ, clavichord.
The recordings are raw, unedited and unpolished.
They capture all the flaw of a live performance, and 80 years worth of craftsmanship.
Each piece is hammered out after months of arguing with Peter Krams, her husband, over the right interpretation of every note.
Hear the opening statement where Peter Krams plays the basso ostinato notes on the organ, whilst Rosalinde Haas is attacking the clavichord, in Frescobaldi's Toccata dal codice Chigiano (Biblioteca Vaticana) [Clavichord "Claviorganum"], as if there was no tomorrow.
“At my age I no longer need to care about what the critics think, I can just do what's right.”
Rosalinde Haas revisits her memories of Maestro Germani's lessons on Frescobaldi, using the notes she made 60 years ago in Germani's own edition of Frescobaldi's music, on how to approach this extraordinary music.
These unique recordings were made on three instrument: a Johannes Klais organ built in 1962, a Sperrhake pedal harpsichord built in 1963 and a Sperrhake clavichord built in 1984.
Both Sperrhake instruments were built by the same craftsman, Herr Dorsch, to unusual user requirements: the clavichord is one of a kind: it has a range of six octaves, with only one string per note, so that you can modulate the sound maximally, and the ability to dampen the lower and/or upper part of the range, to produce a lute like sound.
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