Wanda Landowska - Scarlatti   (2-Pearl 0106)
Item# P0018
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Product Description

Wanda Landowska - Scarlatti   (2-Pearl 0106)
P0018. WANDA LANDOWSKA: Scarlatti, Handel & J. S. Bach, recorded 1923-46; w.Adolf Kodolfsky Cond.: Concerto in D (C. P. E. Bach), CBC Broadcast Performance, 25 April, 1943, Toronto. (England) 2-Pearl 0106. Transfers by Seth B. Winner. Very long out-of-print, Final ever-so-slightly used copy! - 727031010623


"Seth, Denise, and I have collaborated on yet another Wanda Landowska reissue for Pearl, this time a two CD album that contains all of Mme. Landowska's recordings of Sonatas by Domingo Scarlatti, her first recording of the Bach Fantasia in C Minor, BWV 906, the 'Air and Variations' from the Handel Suite in B Flat Major (#1 from the 1733 collection), and the 1943 broadcast performance of the Carl Philipp Emanuel Bach Concerto in D Major for Harpsichord and Strings."

- Teri Noel Towe, Bach Cantatas Website

"Landowska toured European museums inspecting period harpsichords and trying them out, then bought old instruments and had Pleyel make her large touring harpsichord. The most controversial aspect of this instrument was its 16-foot stop, an octave below normal pitch, which gave her instrument a deeper, richer sound than any other....in the early 21st century, that Landowska had been right all along when she said to Pablo Casals, 'You play Bach your way and I’ll play him his way'....She was the Goddess of the Harpsichord, the woman who single-handedly revived interest in the harpsichord and made it a mainstream instrument. By the time she died there were also Ralph Kirkpatrick, Sylvia Marlowe and a few others, all inspired by Landowska and following in her footsteps, but it was pretty much accepted that Landowska was Mount Everest and the others were the Blue Ridge Mountains, at best.

Dressed in a plain black dress with a shawl, her hair pulled back in a bun, her beaklike nose pointed towards the keyboard, she was almost like a ‘character’ created for the occasion, a real-life 18th-century woman somehow transported to the 20th….her severe dress and hair style were all part of her presentation. In concert she would have the house lights dimmed slowly until all was in darkness, somehow find her way from the wings to her harpsichord, then have the house lights suddenly turned up to reveal her already seated and starting to play. She usually had a candelabrum on her instrument as well. To a certain extent, then, her act was as much a theatrical presentation….”

- Lynn René Bayley, Art Music Lounge, 25 Aug., 2016