Johann Jacob Froberger: Suite XVIII in g-minor Ketil Haugsand 2020-05-04 | Johann Jacob Froberger's beautiful and sad Suite XVIII in g-minor.A typical Froberger 'statement' of the usual four dance movements, developed on the same harmonic pattern - a Suite Variée, if you will.Allemande - Gigue - Courante - Sarabande. - The Allemande Grave - in typical 'stile brisée;- The Gigue, that can be played in binary, as well as ternary subdivision: This rendition offers three versions: 'as notated', with the dactyle figurations; in French, ternary , but dotted figures; in Italian, with quick 'triplet' texture.- The Courante - a typical French, 'deliberately hanging' and inégale.- The Sarabande Grave - 'pathos and dramma' - consoling, but no happy end.Ketil Haugsand plays his double manual harpsichord, built in 'Late-Flemish Style', in Oslo, 1971. French pitch (ca. 392Hz) - unequal temperament.Video: Recorded on a Leica M240P with Summilux Aspherical 1,4/35 @1,4Audio: Zoom H6 - standard microphone - tweaked for reverb in Audacity.Lighting: Three candles, only.This is an informal recording - at home, in living-room conditions - with no pretension of studio quality standards.
Johann Sebastian Bach: The mirrored Fugue - Cp. 19, from Die Kunst der Fuge, BWV 1080 - in HD Ketil Haugsand 2026-03-28 | DUoÆ - Yuko Inoue and Ketil Haugsand, harpsichord duo.The Contrapunctus 19 from "Die Kunst der Fuge" BWV 1080 shows counterpoint of the most exquisite nature possible: The fugue is repeated in mirrored form - a feat no-one had done before Bach - or afterwards. Although there is a version for "two hands", it is clear that the composer wanted this to be performed on two harpsichords - as hinted in the ms as "a 2 Clav." - hence this "arrangement" - This must be the ultimate musical joke, as well - at its most intelligent! An item we have wanted to share for a long time!Instruments:Martin Skowroneck Bremen, 1985 - German, after Mietcke and ZellKetil Haugsand, Oslo, 1971 - late Flemish typeTuning pitch 396 Hz - Temperament "Jaegermeister 3,5" Recorded at home - video on a Leica Digilux - audio on a Zoom H6 No broadcast quality pretended.
Johann Sebastian Bach: The mirrored Fugue - Cp. 19, from Die Kunst der Fuge, BWV 1080 Ketil Haugsand 2026-03-27 | DUoÆ - Yuko Inoue and Ketil Haugsand, harpsichord duo.The Contrapunctus 19 from "Die Kunst der Fuge" BWV 1080 shows counterpoint of the most exquisite nature possible: The fugue is repeated in mirrored form - a feat no-one had done before Bach - or afterwards. Although there is a version for "two hands", it is clear that the composer wanted this to be performed on two harpsichords - as hinted in the ms as "a 2 Clav." - hence this "arrangement" - This must be the ultimate musical joke, as well - at its most intelligent! An item we have wanted to share for a long time!Instruments:- Martin Skowroneck Bremen, 1985 - German, after Mietcke and Zell- Ketil Haugsand, Oslo, 1971 - late Flemish typeTuning pitch 396 Hz - Temperament "Jaegermeister 3,5" Recorded at home - video on a Leica Digilux - audio on a Zoom H6 No broadcast quality pretended.
Johann Jacob Froberger: Suite XX Ketil Haugsand 2025-11-30 | Johann Jacob Froberger's Suite in D-Major - "Meditation sur ma Mort future" - counts as one of the most beautiful and profoundly soul-searching of his compositions - Perhaps more than ever in need to be shared in our own, current times (!!) Recorded late November, 2025 - The "late-flemish" type harpsichord was built by me, in Oslo, 1971Tuning pitch is a' 394 Hz The temperament is a slightly tweaked "Jaegermeister 3,5" Video on a Leica M240P - with a Summilux 35 'AA' Audio with a Zoom H6 Mixed in Audacity and iMovieNo so-called "broadcast" quality pretended.
Fantasia & fuga a moll, BWV 904 - Ketil Haugsand, harpsichord Ketil Haugsand 2025-10-08 | Fantasia & fuga a moll, BWV 904 Leipzig ca. 1725 - Bach's compelling counter-point in a truly profound workKetil Haugsand playing the newly restored harpsichord he built 1972, for the late Anneke Uittenbosch of Amsterdam. The instrument - a late-Flemish double manual with a compass FF - g''' - has four registers, 8 - 4 - 8 - Lute-stop - Soundboard decoration by Rigmor HaugsandVideo created on Oct., 8th, 2025 - in Köln Westhoven on a Leica M240P with a Summilux 1,4/35 'AA'Audio through a Zoom H6 - mixed in Audacity and iMovieAn ad hoc, home recording - No broadcast quality attempted -
Johann Sebastian Bach: Toccata e Moll, BWV 914 - Ketil Haugsand, harpsichord Ketil Haugsand 2025-10-01 | Johann Sebastian Bach's Toccata e Moll, composed ca. 1710 - Ketil Haugsand playing the newly restored harpsichord he built 1972, for the late Anneke Uittenbosch of Amsterdam. The instrument - a late-Flemish double manual with a compass FF - g''' - has four registers, 8 - 4- 8 - Lute-stop - Soundboard decoration by Rigmor HaugsandVideo created on Oct., 1st, 2025 - in Köln Westhoven on a Leica M240P with a Summilux 1,4/35 'AA'Audio through a Zoom H4 - mixed in Audacity and iMovieAn ad hoc, home recording - No broadcast quality attempted -
Johann Sebastian Bach Komm Gott, Schöpfer, Heiliger Geist - BWV 667 - non pleno Ketil Haugsand 2023-05-31 | Komm Gott, Schöpfer, Heiliger Geist - BWV 667 - "non pleno"Here is a rendering without the rather sharp Mixture... We hear the ornamentation better here - although the "Storm is less windy" -The wonderful polyphonic texture in the second half of this, from Das Orgelbüchlein "upgraded", choral prelude, deserves clarity - both from the player & learner, but also for the audience. The Orgelbüchlein 'shortie' is Early Bach at it's best - but his later 'doubling down' must have been on his mind for some time - with the Canto Fermo in the pedal giving a solid base for the lofty "up & down' scales, symbolising the Holy Spirit taking hold of the happy and surprised disciples in Jerusalem!Recorded on the wonderful, thirteen-stop, Bernhardt Edskes organ in the Friedenskirche, Köln Urbach on May 30th - with a Leica M240P and a Summilux 'AA' - audio on a Zoom device - mixed on a Mac.For the 'noisier version: youtu.be/I9he0r6edJQ
Johann Sebastian Bach: Komm Gott Schöpfer, Heiliger Geist - BWV 667 Ketil Haugsand 2023-05-30 | "Komm Gott Schöpfer, Heiliger Geist" - in organo pleno - BWV 667From the collection of eighteen choral preludes "for diverse use", composed in Leipzig - or "Achtzehn Choräle von verschiedener Art"The Orgelbüchlein 'shortie' is Early Bach at it's best - but his later 'doubling down' must have been on his mind for some time - with the Canto Fermo in the pedal giving a solid base for the lofty "up & down' scales, symbolising the Holy Spirit taking hold of the happy and surprised disciples in Jerusalem!Recorded on the wonderful, thirteen-stop, Bernhardt Edskes organ in the Friedenskirche, Köln Urbach on May 30th - with a Leica M240P and a Summilux 'AA' - audio on a Zoom device - mixed on a Mac.For a 'non pleno', Mixture-less version: youtu.be/QebixYIarrY
Louis Couperin: Prelude en Fa Majeur Ketil Haugsand 2022-02-05 | The unmeasured prelude that everyone want to play - for good reasons, i.e., musical accessibility, a clear tonal lay-out and a 'non-weirdness' of ambiguities that plague other in the book. It also incorporates a 'ca. one bar' from a Froberger Toccata per Elevazione - most endearing indeed!Played on a double-manual instrument in 'Late-Flemish' style built by Ketil Haugsand in Oslo, 1971. Unequal temperaments - tuning pitch 394Hz.The recording took place at home, in Cologne - No studio or 'professional', broadcast video or audio has been or could be pretended.Video recorded on a Leica M240P with a Summilux 1,4/35 'AA' lens;Audio on a Zoom H6 with standard stereo microphone;Audio mix in Audacity - Video edit in iMovie.Production: Ketil Haugsand, 2022 - All rights reserved.
Louis Marchand - Suite sol mineur Ketil Haugsand 2021-12-03 | Louis Marchand's Suite in g-minor was published in 1703 as the "Livre Second". Of Marchand's two published suites, this is 'evidently' the shorter one, compared to his first suite, in d-minor, published the year before.It has a 'true non-mesure' prelude, the Allemande is rather more an Allemande legér - otherwise, the dance movements are laid out much according to the genre and tradition of the generation. Louis Marchand's two publications for clavecin came rather early in his life - and it might be speculated that he and the even younger Rameau were 'competing for fame' - the beginning of the 18th century in Paris was musically, thankfully lively and people like Clérambault. Rameau and Marchand - not to mention, François Couperin - were 'moving in the wings' in this, quasi 'post d'Anglebert' era.The print suggests that the Gavotte and the Minuets are to be miscellaneous, ad libitum, as the gigue precede them in the book. Prelude 0:00Allemande 1:53Courante 3:58Sarabande 5:21Gavotte 7:34Minuets 9:09Gigue 11:40 This video was recorded for the 2021 edition of the Bucharest Early Music Festival - for web streaming, substituting a presence, concert hall performance, in lieu of the still threatening Covid-19 pandemic.Played on a double-manual instrument in 'Late-Flemish' style built by Ketil Haugsand in Oslo, 1971. Unequal temperaments - tuning pitch 394Hz.The recording took place at home, in Cologne - No studio or 'professional', broadcast video or audio has been or could be pretended.Video recorded on a Leica M240P with a Summilux 1,4/35 'AA' lens;Audio on a Zoom H6 with standard stereo microphone;Audio mix in Audacity - Video edit in iMovie.Production: Ketil Haugsand, 2021 - All rights reserved.
François Couperin 8ême Ordre Ketil Haugsand 2021-11-28 | From his Seconde Livre, ca. 1717, the Eighth Ordre, in b-minor, represents the very best of a composer who bears the predicate "Le Grand" - most deservedly - no questions asked! One can speculate about the 'motivation' and sentiment behind his Huitiême Ordre - this music is serious, sounds like having something to do with grief, sorrow and tragedy - even personal, perhaps, who knows? The disposition of movements is rich, grandiose and profound: Two Allemandes, representing an exquisite French 'gravement' and an Italian 'legére' - actually mocking the Ausoniéne for a certain shallowness, despite the dark tessitura - willfully 'wrongly written' articulations and ditto cumbersome ornamentation. The two Courantes, not lacking anything - just perfect - segway into a truly unique Sarabande grave, by the same name.The two 'autres gallanteries' - a sad Gavotte, tendrement and a spirited Minuet-en-Rondeau, gayement - leads into the intricate and pointed Gigue. From then on, the heavy, 'marqué' and relentless Passacaille leads us to a destiny-laden, tragic climax. What do we make of the quasi resigned, final 'Gigue' under the name La Morinéte? It ends in a literal nothing - as it 'could have had' a final note that it didn't get. François Couperin's music is painstakingly notated, exactly as the composer intends it to be played - full of tiny, but essential details that cannot be overlooked. We players are obliged to understand his intentions - not only in these carefully crafted details, but also very much in the feel and the hue of his style, the Zeitgeist and 'what is going on' in French music of that time - so much more than a mere inégale.Time-stamps:Prelude 0:00 La Raphaéle 1:54Allemande l'Ausoniéne 7:18Courante 9:40Seconde Courante 11:22Sarabande L'Vnique 13:50Gavotte, tendrement 16:20Rondeau, gayement 18:10Gigue 19:42Passacaille 22:00La Morinéte 28:32Acknowledgements 30:44This video was recorded for the 2021 edition of the Bucharest Early Music Festival - for web streaming, substituting a presence, concert hall performance, in lieu of the still threatening Covid-19 pandemic.Played on a double-manual instrument in 'Late-Flemish' style built by Ketil Haugsand in Oslo, 1971. Unequal temperaments - tuning pitch 394Hz.The recording took place at home, in Cologne - No studio or 'professional', broadcast video or audio has been or could be pretended.This is by no means a "TV show", either! Video recorded on a Leica M240P with a Summilux 1,4/35 'AA' lens;Audio on a Zoom H6 with standard stereo microphone;Audio mix in Audacity - Video edit in iMovie.Production: Ketil Haugsand, 2021 - All rights reserved.
Louis Couperin - Suite Fa Majeur Ketil Haugsand 2021-11-26 | Louis Couperin's beloved suite in F-Major. THE unmeasured prelude that everyone want to play - for good reasons, i.e., musical accessibility, a clear tonal lay-out and a 'non-weirdness' of ambiguities that plague other in the book. It also incorporates a 'few bars' from a Froberger Toccata per Elevazione - most endearing indeed!The selection of movements is straightforward - as Alan Curtis' 1970 edition gave us a viable group of 'suites' with relatable harmonic structures and progressions. Prelude 0:00Allemande Grave 3:52Courante 6:56Branle du Basque 8:08Sarabande 8:49Gaillarde 11:20Chaconne 12:44This video was recorded for the 2021 edition of the Bucharest Early Music Festival - for web streaming, substituting a presence, concert hall performance, in lieu of the still threatening Covid-19 pandemic.Played on a double-manual instrument in 'Late-Flemish' style built by Ketil Haugsand in Oslo, 1971. Unequal temperaments - tuning pitch 394Hz.The recording took place at home, in Cologne - No studio or 'professional', broadcast video or audio has been or could be pretended.Video recorded on a Leica M240P with a Summilux 1,4/35 'AA' lens;Audio on a Zoom H6 with standard stereo microphone;Audio mix in Audacity - Video edit in iMovie.Production: Ketil Haugsand, 2021 - All rights reserved.
Gavotte - Ketil Haugsand 2021-11-19 | The sad-but-consoling & tres tendrement Gavotte from François Couperin's Huitiême Ordre (Seconde Livre, ca. 1717) - Here as part of a 'trilogy' of French suites for the 2021 edition of the Bucharest Early Music Festival.Recorded on the blue harpsichord - celebrating our fifty years together.
J.S.Bach: Aria mit verschiedenen Veränderungen, BWV 988 Ketil Haugsand 2021-06-12 | ClavierUbung, bestehend in einer Aria mit verschiedenen Verænderungen. Vors Clavecimbal mit 2 Manualen. *) Denen Liebhabern zur Gemüths Ergetzung verfertiget von Johann Sebastian Bach Ketil Haugsand, cembalo - harpsichord.Aria 0:11Var. 1 4:39 Var. 11 21:14 Var. 21 44:31 Var. 2 7:04 Var. 12 23:24 Var. 22 46:54Var. 3 8:38 Var. 13 25:56 Var. 23 48:05Var. 4 10:09 Var. 14 29:46 Var. 24 49:23Var. 5 11:15 Var. 15 31:41 Var. 25 52:03Var. 6 12:46 Var. 16 35:22 Var. 26 58:50Var. 7 14:23 Var. 17 38:21 Var. 27 1:00:54Var. 8 15:53 Var. 18 40:06 Var. 28 1:02:01Var. 9 17:54 Var. 19 41:31 Var. 29 1:03:27Var. 10 19:33 Var. 20 42:35 Var. 30 1:05:12 Aria d.c. 1:06:40Acknowledgements 1:09:21 This video was recorded for the 2021 edition of the Krakow Bach Festival, „25 dni Bachowskie“ - for web streaming, substituting a presence concert hall performance, in lieu of the Covid-19 pandemic. Played on a double-manual instrument in 'Late-Flemish' style built by Ketil Haugsand in Oslo, 1971. Unequal temperament - tuning pitch 396Hz. The recording took place at home, in Cologne - No studio or 'professional', broadcast video or audio has been or could be pretended. Video recorded on a Leica M240P with a Summilux 1,4/35 'AA' lens; Audio on a Zoom H6 with standard stereo microphone; Audio mix in Audacity - Video edit in iMovie. *) AKA "The Goldberg Variations"Production: Ketil Haugsand, 2021 - All rights reserved.
The one with and the one without - Couperins No. 3 with and without the infamous misprint. Ketil Haugsand 2021-04-28 | Here is Couperin's Prelude No. 3 - from l'Art de toucher le Clavecin with and without the infamous "misprint" - the B-flat that does not correspond with normal sequence treatment - and, what "everyone, with expected musicality" would hasten to correct to a c at the point-in-case. Well - probably - it is a misprint indeed - it 'ought to be'a c - and that our 'still modern' ears still find the B-flat 'striking' and beautiful, is a 'modern handicap'...But - it does remind both quite striking - and, quite beautiful in my opinion.You'll be the judge..! :-))))This little video-snippet is meant as a complement to the video of all the preludes - you'll find them here:youtube.com/watch?v=5FV-UctnFZc
François Couperin: The Eight Preludes From LArt de toucher le Clavecin Ketil Haugsand 2021-04-28 | Here are the eight preludes crowning François Couperin's essential and rightfully famous book, with the 'appetizing' title "L'Art de toucher le Clavecin", It is a subtle title - hinting more how to 'touch' the instrument - rather than 'just playing' it. Equally subtle and expressive are these short preludes - concise in form and yet, delightfully free and agreeable - with unending inspiring to young and old!The book was first published in 1717 - also as a handy 'compendium' to his first two Livres of harpsichord pieces.I have been wanting to do this video for a long time - to share this breathtakingly beautiful & tender music with you all - and wish for us all to delight in François Couperin's world of non-compromised beauty!As for the instrument:This is the FF - g''' double that I built (..from scratch), in Oslo, back in 1971 - in a 'late-Flemish style' - exceedingly inspired by Martin Skowroneck.For this recording, it was tuned in an agreeable unequal temperament, giving enough room to perifere keys, without unduly compromising the more central. The tuning pitch is 396Hz - where the instrument sounds the most balanced.As for the video:Recorded 'at home' on 27th of April 2021 - with my Leica M240P - with three lenses: a Super-Elmar 21 ASPH, the classic Canon 2,8/28 (LTM) and the truly unique Summilux 35 ASPHERICAL ('AA'). Audio went through a Zoom H6 with it's built in microphone - and was tweaked in Audacity - and all mixed in iMovie on my MacBook Pro.This video recording pretends, by no means, a broadcast quality - and is also not a 'TV-program' as such - but is an honest sharing of some of the finest music I know!PS....As there is some discussion about the alleged "misprint" in no. 3 - please go for both versions here: youtube.com/watch?v=-Jcn4mRnDfM
Jean-Henry dAnglebert - Suite d moll (1689) Ketil Haugsand 2021-04-19 | Jean-Henry d'Anglebert (1629 - 1691) - the great 17th. century claveciniste - the profound poet with a truly nimble hand for unending strings of ornaments and never-ending beauty in his expression!!Probably quite a humble 'court harpsichordist', Lully's chief continuo player was nevertheless given the Privilege Royal to publish a Livre of Pieces de Clavecin, in 1689 - dedicated "A son Altesse Serenissime Madame la Princeße de Conty, Fille du Roy" - This was great honour for the elderly musician - in a time, when young 'upstarts' a la François Couperin were breathing in the neck the ailing and visually challenged colleague. It is clear that d'Anglebert was highly appreciated - and, although his music was technically challenging, he saw well to it to sprinkle in a befitting collection of Lully opera movement, as well as 'air ancien' arrangements with his own pieces.The four present suites in the 1689 Livre represent the ultimate within the genre - and (honestly), hardly surpassed by far more ambitious men a short generation later.Time stamps:0:09 Prelude05:46 Allemande09:36 Courante10:59 Double de la Courante12:26 (Seconde) Courante14:32 Sarabande grave, Lentement17:16 (2e) Sarabande, Lentement20:18 Gaillarde Lentement25:00 Gavotte26:33 Menuet27:44 Gigue30:18 Acknowledgements As for the instrument:This is the FF - g''' double that I built (..from scratch), in Oslo, back in 1971 - in a 'late-Flemish style' - exceedingly inspired by Martin Skowroneck.For this recording, it was tuned in an agreeable 'almost mean-tone' temperament to suit a late 17th cent. d-minor environment.The tuning pitch is 396Hz - where the instrument sounds the most balanced.As for the video:Recorded 'at home' on 18th of April 2021 - with my Leica M240P - with two lenses: an Elmarit 24 ASPH and the classic, eight-element Summicron 35. Audio went through a Zoom H6 with it's built in microphone - and was tweaked in Audacity - and all mixed in iMovie on my MacBook Pro.This video recording pretends, by no means, a broadcast quality - and is also not a 'TV-program' as such - but is an honest sharing of some of the finest music I know!
How to make a harpsichord string eye Ketil Haugsand 2021-04-12 | This will show you in a straightforward way how to make the 'eye' or the 'hook' of a harpsichord string - literally 'in a pinch'... You will need a 'hook-of-sorts' - the tuning hammers with hooks are ideal - a pair of pliers, a wire cutter - and patience.
Johann Sebastian Bach: Christ lag in Todesbanden Ketil Haugsand 2021-04-04 | Happy Easter!! Recorded in the Friedenskirche, Köln Urbach
The Reflecting Evening Canon Ketil Haugsand 2021-03-21 | In Bach's "Aria mit verschiedenen Verænderungen" are two mirrored canons, no. 12 and no. 15 - the former, extroverted and the latter, introverted. I chose to muse further on the "Stimmung" and call no. 15 the "Evening Canon". Being serious and rather somewhat severe, it still confirms that "what is going down, will still have to come up"-Counterpoint like this is absolutely unique! Only Johann Sebastian Bach could accomplish this.
No 13 Ketil Haugsand 2021-03-17 | Sheer poetry in a single Variatio.- JSB going "slightly sentimental" in the midst of his "verschiedenen Verænderungen" - aka the so-called "Goldberg Variations"
Das alte Jahr vergangen ist Ketil Haugsand 2021-01-08 | - And so - 2020 went. We can only hope for a 'better' 2021 - Let us do a good world together!"Das alte Jahr vergangen ist" - Bachs colorized meditation - with it's three-hundred and sixty-five notes (...plus some - in generous ornamentation).Principal 8', Nazard 3' - Gedakt 8' - Sbb. 16' - cpl II-ped - TremulantBernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - Manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - Manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
C Ph E Bach: Württembergische Sonate Wq 49, Nr 3 Ketil Haugsand 2020-12-25 | "Sturm und Drang" - "Hope and Destiny" - all this, in Carl Philipp Emanuel Bach's epic sonata in e-minor - composed in Teplice, 1743 - the third of six in the œuvre dedicated to the duke Carl Eugen von Württemberg.Video presented for the Bucharest Early Music Festival, 2020 - in a streamed, online recital in November.Recorded 'at home' - on a German harpsichord by Martin Skowroneck -
Jean Henry dAnglebert - Prélude sol mineur Ketil Haugsand 2020-08-08 | Jean Henry d'Anglebert's deep-going, poetic Prèlude sol mineur.Definitely, one of the most profoundly loved composers, d'Anglebert never cease to challenge artistic creativity and a deeper seeking for his unending beauty!Videoed at home - on the 1971 'late-Flemish' double - With a Leica M240P / ultra-classic Summicron 35 (1964)Audio through Zoom H6 - mixed in Audacity - Edited in iMovie on the MacBook Pro
Eine Kölsche Forlana Ketil Haugsand 2020-06-25 | Through the house and garden... from the street to the river - that's it (!!)- With a nice piece of music by JSB...- played by The Norwegian Baroque Orchestra - from the LINN CD (2000) - lead by 'Your's Truly'..
Louis Marchand, Suite ré mineur (1702) Ketil Haugsand 2020-05-11 | Louis Marchand's exceedingly expressive epic from the Premiere Livre de Pièces de Clavecin, dedicated "Au Roy" - published in Paris, 1702.The truly grand-scale laid-out suite has nine movements:Prèlude - in free style, however set in measures - in 'C'Allemande - typical Allemande grave - in 'C'Courante I - in 3Courante II - in 3Sarabande - typical Sarabande grave - in 3Gavotte en Rondeau - in 'C - cut time' - with three coupletsMinuet - in 3 Gigue - 'heavy, French' - in 6/4Chaconne - en Rondeau, with four couplets - in 3Ketil Haugsand plays his double manual harpsichord, built in 'Late-Flemish Style', in Oslo, 1971. French pitch (ca. 397Hz) - unequal temperament.Video: Recorded on a Leica M240P with Summilux Aspherical 1,4/35 @2,8Camera 2: Leica Digilux (Typ 109) - auto settings. Incoming, natural light.Audio: Zoom H6 - standard microphone - tweaked for reverb in Audacity.Edited on a MacBook Pro - in the standard iMovie application.This is an informal recording - at home, in living-room conditions - with no pretension of studio quality standards.
Liebster Jesu, wir sind hier Ketil Haugsand 2020-04-28 | Johann Sebastian Bach's Intimate and loving renditions of a truly beautiful Glaubens-lied (Hymn of faith) - for all the year around. Principal 8' - Sbb. 16', Oct. 8' - TremulantBernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - Manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - Manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
Herr Jesu Christ, dich zu uns wend Ketil Haugsand 2020-04-26 | Another of Johann Sebastian Bach's solid & loving, 'walking-bass' & 'Figuren-lehre', Orgelbüchlein renditions of one of these 'comforting' Glaubenslieder (Hymns of faith) - for all the year around. A 'small plenum':Prp.8, Oct 4, S-oct 2' - Ged 8', Rfl 4', Qt 3' - Sbb 16', Oct 8' - coupledBernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - Manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - Manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
Christ lag in Todesbanden Ketil Haugsand 2020-04-12 | Johann Sebastian Bach's compelling & dramatic Orgelbüchlein rendition of a 'Mother' of Lutheran Easter hymns!In organo pleno -Prp.8, Oct 4, S-oct2. mixt - Ged 8, Rfl 4, Qt 3 - Sbb 16, Oct 8, Trp. 8 - coupledBernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
Erschienen ist der herrliche Tag Ketil Haugsand 2020-04-12 | Johann Sebastian Bach's complex & tricky 'a 2 clav., in canone alla ottava' & 'Figuren-lehre', Orgelbüchlein rendition of a 'very much' Easter hymn.A typical sesquialtera mix - with reed-in-bass:Prp.8, Oct 4, S-oct 2 - Ged 8, Rfl 4, Qt 3, Gemsh. 2,Terz - Sbb 16, Oct 8, Trp 8Bernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
Es ist das Heil uns kommen her Ketil Haugsand 2020-04-12 | Johann Sebastian Bach's solid, 'walking-bass' and 'Figuren-lehre', Orgelbüchlein rendition of a 'comforting' hymn indeed - for all the year around - including, very much, Easter!A 'small plenum':Prp.8, Oct 4, S-oct2 - Ged 8, Rfl 4, Qt 3 - Sbb 16, Oct 8 - coupledBernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
Herzlich tut mich verlangen Ketil Haugsand 2020-04-10 | Johann Sebastian Bach's pious and introverted 'colorisation' in passion times.Ketil Haugsand - Recorded for Good Friday 2020 at the Bernhardt Edskes organ of the Friedenskirche in Köln-Urbach.
O Mensch, bewein dein Sünde Groß Ketil Haugsand 2020-04-10 | Johann Sebastian Bach's Heart-wrenching choral prelude of The Mother of all passion hymns. Bernhardt Edskes' exquisite work from 1997 - in the Friedenskirche, Köln-Urbach. 13 stops - 2 manual / pedal - 'Vorderlade - Hinterlade' - Vorderlade - manual 1- Principal 8'- Oktav 4'- Nasard 2 2/3'- Superoktave 2'- Mixtur IIIHinterlade - manual 2- Gedakt 8'- Rohrflöte 4'- Quint 2 2/3'- Gemshorn 2'- Terz 1 3/5'Pedal- Subbass 16'- Oktav 8'- Trompete 8'TremulantManual-koppel, II - I, II - Ped, I - PedUnequal temperament
Evening River Ketil Haugsand 2020-04-04 | Our river flowing - serene and majestic - Last light of an enchanting April evening. The Adagio from J.S. Bach's Sonata In C Major BWV 1033 -Peter Holtslag - Traverso,Ketil Haugsand - Harpsichord
Couperin: Prèlude in F Ketil Haugsand 2020-04-03 | "A view to a prelude" An informal recording of François Couperin's fourth prelude - in the "l'Art de toucher de clavecin" - Subtleties in French music are almost unlimited - and certainly impossible to write down.Enjoy the 'early ports-des-voix' and other, sumptuous 'French lyrics' - ! Ketil Haugsand - Harpsichord, after 'late-Flemish ideas', 1971Recorded on a Leica m240 - with a Voigtländer Ultron 1,8/21 - Audio on a Zoom H6
Vater unser im Himmelreich Ketil Haugsand 2020-03-28 | Johann Sebastian Bach's "own prayer" - from the Orgelbüchlein. A piece that all organists are so familiar with - but a simple and honest composition that we all can fully relate to - on all levels!A totally unpretentious recording on Berhardt Edskes magnificent "Dorforgel", after Schnitger - in the Friedenskirche, Köln-Urbach. Enjoy the Prinzipal - Ketil Haugsand
Louis Couperin - Pavane Ketil Haugsand 2020-03-22 | The truly profound Pavane in f-sharp minor by Louis Couperin is one of the most beautiful, but heart-wrenching tragic compositions ever written for the harpsichord. This informal recording emerged in a time when the world held its breath in the uncertainty of pandemics and dark unrest. Ketil Haugsand, on his Late-Flemish style harpsichord, built in 1971
Jean-Philippe Rameau: Les Triolets (1728) Ketil Haugsand 2019-11-06 | One of Rameau's most expressive pieces - and a definite personal favourite!! As a video - this might be 'nice' for people that like to see the player's hands during a performance - which can also give some insight in 'personal technique' on harpsichord playing, if you want. But music is foremost to be heard and not seen - per se - and Rameau is a true delight for our ears - so, forget the 'staffage' Recorded very much "zuhause" - on my 'blue' harpsichord from 1971 - an instrument very much inspired by Martin Skowroneck and Johann Daniel Dulcken - with a Leica D-Luxe (Typ 109) - with audio through a Zoom H6 and some reverb tweak to get away from the 'bony dry', otherwise resulting from recording in a small working space at home.
Andante Ketil Haugsand 2019-08-21 | From J.S, Bach's d-minor sonata - the third movement.Live - from the recital at the Oslo Chamber Music Festival, in August 2019. Totally ad hoc, of course - my daughter caught it with her hand-held iPhone. -
The Beginning Ketil Haugsand 2019-01-17 | The Dramatic opening bars of Beethoven's Variations, op. 35.A 'Mini Trailer' from Yuko Inoue's new CD - played on an anonymous instrument from ca. 1785
The Adagio Ketil Haugsand 2019-01-16 | The most profound Adagio ever written for the harpsichord - Variatio 25 - from Bach's immortal 'Aria mit verschiedenen Veränderungen', ca. 1740 -This is by no means pretending to be a 'professional' recording - it was done in good will, during practicing, in the living-room - with a Leica M240P and Summilux 1,4/35 Aspherical -
Das alte Jahr vergangen ist Ketil Haugsand 2015-01-04 | Bachs beautiful choral prelude from the Orgelbüchlein - played on the truly wonderful Bernhardt Edskes organ in the Friedenskirche in Köln - Porz Urbach
J.S. Bach: Wenn wir in höchsten Nöten sind - BWV 641 Ketil Haugsand 2014-06-28 | Ketil Haugsand plays this wonderful choral prelude in a totally informal recording - at the Bernhardt Edskes organ of the Friedenskirche in Köln Urbach
Marchand - Sarabande sol mineur Ketil Haugsand 2014-01-09 | Denne videoen handler om Marchand - Sarabande sol mineur
Jean-Henry dAnglebert - Tombeau de Mr. de Chambonnieres Ketil Haugsand 2012-07-09 | Ketil Haugsand recorded in a live performance at the opening concert "A Harpsichord Love Fest" - in Cincinnati, March, 20th, 2012The harpsichord is built by Willard Martin, after German traditions, i.e., Mietcke, Zell - strung in brass - pitch a' = 415
Jean Henry dAnglebert - Prèlude re mineur Ketil Haugsand 2010-12-20 | d'Anglebert's d minor prèlude is in my opinion 'The Mother' of all unmeasured preludes - and my very favorite piéce of the genre! Again - please don't expect impeccable audio from an iPhone 4 recording like this, even if the 720 lines HD video is very impressive with such a neat little gadget!
Haugsand tuning - part two Ketil Haugsand 2010-03-03 | Now - here is what it all ends up with...!!You might perhaps have some hick-up's at first - tuning narrow fifth's wide, &c., but you will hear this instantly, because central keys will not sound properly and pure enough!Take also a look at the attributed Facebook groups on the matter:Anti Vallotti: http://www.facebook.com/group.php?gid=2388607311HARPSICHORD - CEMBALO - CLAVECIN - KLAVECYMBEL: http://www.facebook.com/group.php?gid=2386034163Have fun!!
Haugsand tuning - Part one Ketil Haugsand 2010-03-03 | This is Ketil Haugsand setting up the tuning - sometimes referred to, as 'Jaegermeister III' or 'Haugsand 3,5' - In any case - a healthy antidote to Vallotti..! First part, here, deals with the set-up of the temperament. The second part - which you should definitely watch - will give sonorous examples of how it sounds and works! Enjoy - and remember, that the best tuning device is up in your own head!!
