# Mathias Weckmann (1616 - 1674)



## Taggart

Weckmann 's musical training took place in Dresden, as a chorister at the Dresden court chapel where he was a pupil of Heinrich Schütz and studied organ and singing.

He was organist at Dresden for 1637 - 1642. In 1642 he moved to Denmark, following Schütz, and was organist there until 1647 when he returned to Dresden. He was organist at Dresden from 1649 - 1655 when he moved to Hamburg as organist at Saint James church where he spent the rest of his life. He is buried in a family grave in St. James's Church beneath the organ.

Weckmann composed sacred concertos, songs, various sonatas for 3-4 instruments, sacred and secular keyboard works. He composed, for the organ, choral variations and chorale preludes, for the harpsichord, pieces that mix Italian and French influences as well as orchestral and vocal sacred music. Stylistically, he mostly followed the progressive tendencies of Heinrich Schütz, including the concertato idiom and the trend to increasing chromaticism and contrapuntal and motivic complexity; in this regard he went against the prevailing trends of the time towards simplification. He would have been lost to history had it not been for the 19th century interest in researching the predecessors of J.S. Bach.


----------



## Bulldog

I have greatly enjoyed Weckmann's organ works for many years. My favorite work is Ach wir amen Sunder. The discs I have that are devoted to his organ works are two volumes on Naxos performed by Wolfgang Zerer and a 2-disc set on Motette played by Hans Davidsson; both are excellent. Davidsson has the better sound quality and more vibrant interpretations. Zerer offers greater poignancy and lower price.


----------



## Mandryka

Strangely enough I've been listening to a lot of Weckmann recently, organ music. I like very much the recordings by Foccroulle and by Siegbert Rampe, and Hans Davidsson's first recording. Especially Rampe, because I love the Tangermünde Scherer that he uses, and I love the way the colours melt into each other. He's fabulous in the penultimate verset of O Lux Beata.

Foccroulle's Weckmann is IMO one of his very best recordings -- wonderful range of organs used. In particular the Scherer at Katharinenkirche Hamburg, which has just been renovated, is fabulous to hear in this music. Objectively it's probably better than the one by Rampe but I've got a soft spot for Rampe. It's certainly better recorded, less reverberantly recorded, than Rampe. 



Weckmann's (or is it Weckman's?) organ music is so fun because of the extraordinary scale of the two big choral fantasies. They music be the biggest musical frescoes of the baroque organ repertoire. 

It's ages since I heard his harpsichord music but this thread will prompt me to go back to it soon. I recall from years ago a super recording by Noelle Spieth.


----------



## Ariasexta

I am more familiar with his harpsihord music and other keyboard works played on the harpsichord, his harpsichord suites are close competitor to that of Johann Froberger, showing influences of both Frescobaldi and Sweelinck, while retaining more imitative style of Sweelinck, I always have thought that Froberger must have inspired Weckmann`s harpsichord suites if not al of his keyboard works, at least in italianate genres and suites. In fact, it is not comparison made by me but the composers themself, both was engaged in a harpsichord competition in Dresden, and both became good friends afterwar, the competition has become a musical legend by its own and their works also make interesting contrast between their highly stylistic writings of the suites, and the italanate genres like toccatas and canzons. There is definitely an important similarity between the two, the melancholic lyricism, which Johann must have infected Matthias. However, Matthias shows his staunch tradition of the North by holding to the rhythmic clarity, but Johann Froberger shows more ingenuity in structural beauty, in others words, Johann wins by a small margin. Matthias is an exceptional musician, he has sensitivity to the texture, therefore his music is more readily beautiful to the ears. Matthias also wrote more vocal music, his vocal music is also different from his collegues, showing more dramatic senses which most composers of the time avoided.


----------



## Guest

I can't say that I have much music of Mathias Weckmann .Yesterday I found this cd with a piece by Weckmann,I am very happy with it and I like to thank Mandryka for his welcome advice


----------



## Mandryka

Very noble and coherent performance there of the magnificat by Leonhardt. The opening verset is unforgettable, it's taken so tenderly and phrased so naturally I could hardly recognise it. No one else comes close in that first verse that I remember. In the two central verses there's a recording by Bernard Winsemius which is very different from Leonhardt's, more poingnant maybe, and which I like as much as Leonhardt's.

I've just ordered this Leonhardt organ CD, which contains a little bit more of Weckmann









I'm looking forward to hearing what he does with the Strungk.


----------



## Mandryka

Ariasexta said:


> I am more familiar with his harpsihord music and other keyboard works played on the harpsichord, his harpsichord suites are close competitor to that of Johann Froberger, showing influences of both Frescobaldi and Sweelinck, while retaining more imitative style of Sweelinck, I always have thought that Froberger must have inspired Weckmann`s harpsichord suites if not al of his keyboard works, at least in italianate genres and suites. In fact, it is not comparison made by me but the composers themself, both was engaged in a harpsichord competition in Dresden, and both became good friends afterwar, the competition has become a musical legend by its own and their works also make interesting contrast between their highly stylistic writings of the suites, and the italanate genres like toccatas and canzons. There is definitely an important similarity between the two, the melancholic lyricism, which Johann must have infected Matthias. However, Matthias shows his staunch tradition of the North by holding to the rhythmic clarity, but Johann Froberger shows more ingenuity in structural beauty, in others words, Johann wins by a small margin. Matthias is an exceptional musician, he has sensitivity to the texture, therefore his music is more readily beautiful to the ears. Matthias also wrote more vocal music, his vocal music is also different from his collegues, showing more dramatic senses which most composers of the time avoided.


Very interesting post. Leonhardt of course brought Weckmann and Froberger together - just as he later on brought Louis Couperin and Frescobaldi together. I didn't know that Weckmann and Froberger knew each other. In the Weckmann/Froberger CD, did he write an essay for the booklet? I only have it as a download, and no booklet.

(I note, for further thought, that Froberger's organ music seems very different from Weckmann's. I could be wrong about that.)

It would be interesting to compare all three recordings by Leonhardt which figure a major Froberger contribution. I know you and premont love the first, I'm not at all sure which one I like the most.


----------



## premont

Mandryka said:


> Very interesting post. Leonhardt of course brought Weckmann and Froberger together - just as he later on brought Louis Couperin and Frescobaldi together. It would be interesting to compare all three recordings by Leonhardt which figure a major Froberger contribution. I know you and premont love the first, I'm not at all sure which one I like the most.


Leonhardts Froberger CDs

1) https://www.discogs.com/Gustav-Leonhardt-Froberger-Keyboard-Works/release/10058356

2) https://www.amazon.in/Froberger-Harpsichord-Works-Gustav-Leonhardt/dp/B0009W4M3U

3) https://www.discogs.com/Johann-J-Froberger-Gustav-Leonhardt-Werke-Für-Cembalo/release/3223441

4) https://www.discogs.com/Weckman-Froberger-Gustav-Leonhardt-Toccatas-Suites/release/8078560

It is the second (DHM 1962) which is so special.


----------



## Mandryka

premont said:


> Leonhardts Froberger CDs
> 
> 1) https://www.discogs.com/Gustav-Leonhardt-Froberger-Keyboard-Works/release/10058356
> 
> 2) https://www.amazon.in/Froberger-Harpsichord-Works-Gustav-Leonhardt/dp/B0009W4M3U
> 
> 3) https://www.discogs.com/Johann-J-Froberger-Gustav-Leonhardt-Werke-Für-Cembalo/release/3223441
> 
> 4) https://www.discogs.com/Weckman-Froberger-Gustav-Leonhardt-Toccatas-Suites/release/8078560
> 
> It is the second (DHM 1962) which is so special.


Ah yes, I didn't count the Weckmann. The 1962 has been commercially released again as a download, and is available on Qobuz, at least in the UK. I have an amateur transfer from LP which I'm happy to share with anyone who wants it. The sound perspective on the Qobuz is closer and the reverberation has been cleaned up. It is probably more in line with modern expectations. It sounds to me less introspective, the pauses sound less pregnant, the contrasts are more in-your-face dramatic, but less profound.

The LP is IMO more plangent than the new transfer. Much of the magic seems to me to have been lost.

By the way I listened to Jan Katzschke playing Weckmann last night and thought it was really outstanding and imaginative.


----------



## Marc

There´s also a 3-cd reissue of 2015, with Leonhardt playing (some) Weckmann and (quite a lot of) Froberger.
Of the latter, this could include the 1962 recital...










https://www.amazon.com/Selection-Diapason-Gustav-Leonhardt/dp/B00Y3VYPAS
https://www.amazon.co.uk/Selection-Diapason-Gustav-Leonhardt/dp/B00Y3VYPAS
https://www.amazon.de/Selection-Diapason-Gustav-Leonhardt/dp/B00Y3VYPAS


----------



## Marc

For those who want to listen to Weckman's surviving output, here's a nice Ricercar boxset, including the above praised Foccroulle organ recordings:










https://www.amazon.com/Intégrale-loeuvre-Matthias-Weckmann/dp/B01COI9E70
https://www.prestoclassical.co.uk/classical/products/8113365--matthias-weckmann-complete-works

Review:
http://www.musicweb-international.com/classrev/2016/Dec/Weckmann_complete_RIC369.htm


----------



## premont

Marc said:


> There´s also a 3-cd reissue of 2015, with Leonhardt playing (some) Weckmann and (quite a lot of) Froberger.
> Of the latter, this could include the 1962 recital...


Yes, it seems to include the entire 1962 recital

https://www.jpc.de/jpcng/classic/detail/-/art/la-selection-dia/hnum/7733032


----------



## Mandryka

Some conjectures for your refutation.

Leonhardt rerecorded The Lamentation for Ferdinand in 1962 and 1990. The former makes the music an expression of sorrow. The latter is more abstracted from earthly considerations. 

The lamentation was recorded earlier than 1962 by Thurston Dart, in what may have been the first LP dedicated to Froberger. His account is more like a celebration of the life of the king than an outpouring of grief or an abstract study in how long to hold a pause. I mention it to show that it's really Dart who was the Froberger pioneer. 

What I think we see with the four Froberger recordings which GL made is a trajectory which culminates in the synthesis of the sentimental and the eternal, a synthesis of the humane and the abstract, a way of playing the music which is free from self, but is nonetheless expressive. The culmination is in the recording with Weckmann of 1996. 

One place this reveals itself is in The Tombeau for Blancrocher, which he recorded in both 1996 and in 1990 for DHM. I'll just mention here that I've come to love the last one. 

I wouldn't want to suggest that the last recording is "the best", just that it's the end of the road for Leonhardt and Froberger. I like very much the one he made for Teldec in 1979.


----------



## Ariasexta

> Leonhardt rerecorded The Lamentation for Ferdinand in 1962 and 1990. The former makes the music an expression of sorrow. The latter is more abstracted from earthly considerations.


I am moved by this thread to listen to Weckmann`s organi music, they are interesting works I will talk about later after more listening.

Have you gotten the Sony DHM box of 80th anniversary for G.Leonhardt, the booklet contains an interview that Leonhardt says he wanted to play more precisely at the beginning, and later he would want to play anew in a freer style. The freer style, I may assume to be fusing the interpreters personality into the works. If you compared the 1962 Froberger with 1989 Froberger, the latter is faster in the Toccatas and Fantasia, and more imaginative in the suites, while the former would sound like "let music speak for herself" kind of discretion.


----------



## Ariasexta

Mandryka said:


> Very interesting post. Leonhardt of course brought Weckmann and Froberger together - just as he later on brought Louis Couperin and Frescobaldi together. I didn't know that Weckmann and Froberger knew each other. In the Weckmann/Froberger CD, did he write an essay for the booklet? I only have it as a download, and no booklet.
> 
> (I note, for further thought, that Froberger's organ music seems very different from Weckmann's. I could be wrong about that.)
> 
> It would be interesting to compare all three recordings by Leonhardt which figure a major Froberger contribution. I know you and premont love the first, I'm not at all sure which one I like the most.


Thanks for your kind comment, Yes,you can trust your seasoned ears, Froberger` organ music (italianate genres like toccatas, canzons, capriccios, fantasias etc)is indeed more different to that of Weckmann than his suites. Lets separate suites from other genres because of their strictly harpsichord designation, Weckmann`s italianate genres are a bit reminiscent of Sweelinck, or even Scheidemann, you just need to listen to Sweelinck`s toccatas and Sweelinck`s pupils works.

Froberger`s italianate genres are more complex, a bit song like but more dotted in the rhythm, that is the point, where you can recall Frescobaldi`s works.


----------



## Ariasexta

The italian toccatas show influences from madrigals, inconstant tempo, dotted rhythms etc, while Sweelinck and dutch school toccatas show Palestrinian standard polyphonic influences, smooth counterpoint and tempo, fast passages etc, this is the major difference between the North German and South German school.:tiphat: This is all I get, I am not going to delve into technicals too soon, it will spoil the fun of listening, I would just discuss as far as the booklets allow.


----------



## Guest

I just purchased this box for 20 euros shipment included,it's a good buy I guess


----------



## Ariasexta

> There is a box with the complete works by Weckmann,is there anyone familiar with it to give some advice? It is much cheaper to purchase it as a complete box.


The box worths the money to me, if you do not have Weckmann disc so far. Ricercar mastering is rich and fine, the discs are quality made. There could be some better renditions of the vocal works and keyboard works, these would not be bad too, in terms of instrumental music, I have the complete chamber music and non-organ keyboard music copies, I think they are very fine except for that Henestra uses too often clavichord, the sound of it is too weak to appreciate. I have the Naxos organ works, which are very good, I do no have the box because I already have the chamber music parts from it and the complete organ works from Naxos.


----------



## premont

Traverso said:


> I just purchased this box for 20 euros shipment included,*it's a good buy I guess*


It certainly is.


----------



## Josquin13

Jan Katzschke's CPO recording of of Weckmann's works for harpsichord is excellent (and one of the best sound recordings of a harpsichord I've ever heard)--unfortunately, it appears to be out of print, except as a download:









https://www.amazon.com/Works-Harpscichord-M-Weckmann/dp/B000H4VZ6W/ref=wl_mb_wl_huc_clickstream_3_dp


----------



## Guest

This is a fine example played by Robert Hill


----------



## Mandryka

Traverso said:


> I just purchased this box for 20 euros shipment included,it's a good buy I guess


Yes, and unlike Ariasexta I think Henstra's contribution is specially valuable for the handful of pieces where he used a clavichord - a rather nice clavichord and well recorded to boot.


----------



## Marc

Traverso said:


> I just purchased this box for 20 euros shipment included,it's a good buy I guess


Congrats!
For that price, it's most certainly a gem.


----------



## Mandryka

Traverso said:


> This is a fine example played by Robert Hill


It's effective on lute harpsichord -- some nice lute effects. Thanks. Hill's youtube uploads are really very valuable. And that lautenwerk, presumably by Peter Hill, sounds different from Rubsam's.


----------



## Guest

*Weckmannn*

Maybe interesting for other members . 
http://www.priceminister.com/offer/buy/1149348247/integrale-de-l-oeuvre-matthias-weckmann.html


----------



## premont

Mandryka said:


> It's effective on lute harpsichord -- some nice lute effects. Thanks. Hill's youtube uploads are really very valuable. And that lautenwerk, presumably by Peter Hill, sounds different from Rubsam's.


Keith Hill writes on Rübsam's homepage about the different lute-harpsichords, he has built:

https://www.wolfgangrubsam.com/the-lautenwerk


----------



## premont

Marc said:


> Congrats!
> For that price, it's most certainly a gem.


Most of us probably paid more than three times as much for it . So did I and still consider it a gem.


----------



## premont

Ariasexta said:


> The italian toccatas show influences from madrigals, inconstant tempo, dotted rhythms etc, while Sweelinck and dutch school toccatas show Palestrinian standard polyphonic influences, smooth counterpoint and tempo, fast passages etc, this is the major difference between the North German and South German school.


I do not really get this. Would you mind to elaborate?


----------



## Ariasexta

CPO has a box of 2 cdset of Froberger played by Ludger Remy, I would like to recommend it to everyone here. I had it since 2004, it is always one of my favorite harpsichord recordings. The harpsichord used is a rare opus made by Martin Skowroneck after a 1616 original Ruckers double in a Parisian private collection. CPO is an excellent label with quality mastering as always. 








BTW, the reviewer for this item Craig on american Amazon page was me:tiphat:


----------



## Ariasexta

premont said:


> I do not really get this. Would you mind to elaborate?


I must assume you listen often enough to Frescobaldi, Froberger, Weckmann or italian madrigals? If you rarely listen to or never before asking me like that, I am not obliged to answer.


----------



## premont

Ariasexta said:


> I must assume you listen often enough to Frescobaldi, Froberger, Weckmann or italian madrigals? If you rarely listen to or never before asking me like that, I am not obliged to answer.


I listen very often to these composers, but of course you are not obliged to answer.

What I didn't get was your connection of South German organ school to Sweelinck and Palestrina. What about Pachelbel and Kerll? Or did I get you wrong?


----------



## Ariasexta

premont said:


> I listen very often to these composers, but of course you are not obliged to answer.
> 
> What I didn't get was your connection of South German organ school to Sweelinck and Palestrina. What about Pachelbel and Kerll? Or did I get you wrong?


Where did you see I connect them? South to the Sweelinck????????????

I do not think you listen often though.


----------



## premont

Ariasexta said:


> Where did you see I connect them? South to the Sweelinck????????????
> 
> I do not think you listen often though.


Please do not be condescending.

This:



Ariasexta said:


> The italian toccatas show influences from madrigals, inconstant tempo, dotted rhythms etc, while Sweelinck and dutch school toccatas show Palestrinian standard polyphonic influences, smooth counterpoint and tempo, fast passages etc, this is the major difference between the North German and South German school..


is not easy to understand, and this was why I asked you to elaborate.


----------



## Ariasexta

premont said:


> What about Pachelbel and Kerll? Or did I get you wrong?


Yes, you did not read more carefully, and I am sure those who listen oftenn will understand me well.

Pachelbel and Kerll are not in the same generation, Kerll belongs to that of Froberger and Pachelbel to that of Muffat and Biber.

Kerll is typically southern but not much of a prolific composer like Froberger at the keyboards. Just look at the keyboard genres he focused on. Chorale for organ was more popular in the north but slowly spread toward the south under the influences of Reincken and Buxtehude, Pachelbel knew Buxtehude`s works, and both were friends too.


----------



## premont

I would rather say that the Italian toccata (until about 1700 with a few exceptions e.g. Della Ciaja) and as well as all the North German toccatas and some south German toccatas are permeated by Stylus Phantasticus, while another more regular kind of toccata (Sweelinck type?) maybe eventually gave rise to the Perpetuum mobile
toccata in the course of the later Baroque age. I would consider e.g. Bach's BWV 538 and 540 as well as some D Scarlatti sonatas to belong to this kind of toccata.


----------



## premont

Ariasexta said:


> Yes, you did not read more carefully, and I am sure those who listen oftenn will understand me well.
> 
> Pachelbel and Kerll are not in the same generation, Kerll belongs to that of Froberger and Pachelbel to that of Muffat and Biber.
> Kerll is typical southern but not much of a genius like Froberger at the keyboards. Chorale for organ was more popular in the north but slowly spread toward the south under the influence of Reincken and Buxtehude, Pachelbel knew Buxtehude`s works, and both were friends too.


I read very carefully, but the post makes not enough sense to me, and I think I asked you politely to elaborate. One of the problems is, that you do not define what you mean with North German and South German. We are here talking about toccatas and chorale free preludes in toccata style and not about chorales - these are quite another matter. Quite a lot of Pachelbel's toccatas or preludes are written in clear Stylus Phantasticus, but I admit that there are some in Perpetuum mobile style too, while Kerll and Speth e.g. repesent the more regular kind of toccata. So this is probably what you call South German, derived from the style of Sweelinck and Palestrina.


----------



## premont

Ariasexta said:


> ??????????????????
> 
> People often forget the one who purposefully incites ad hominem flamewar. I am done with you, get lost.


I repete, that I politely asked you to elaborate, but got an unexpected impolite answer from you, this:



Ariasexta said:


> I must assume you listen often enough to Frescobaldi, Froberger, Weckmann or italian madrigals? If you rarely listen to or never before asking me like that,* I am not obliged to answer.*


----------



## Ariasexta

premont said:


> I read very carefully, but the post makes not enough sense to me, and I think I asked you politely to elaborate. One of the problems is, that you do not define what you mean with North German and South German. We are here talking about toccatas and chorale free preludes in toccata style and not about chorales - these are quite another matter. Quite a lot of Pachelbel's toccatas or preludes are written in clear Stylus Phantasticus, but I admit that there are some in Perpetuum mobile style too, while Kerll and Speth e.g. repesent the more regular kind of toccata. So this is probably what you call South German, derived from the style of Sweelinck and Palestrina.


There is no need to make discrete distinction between chorale preludes and chorale variations here, they all belong to the northern tradition. You are playing word-game with me, as if it is a grammatic class. Your insistance on the non-existent South-Sweelinck organ school claim by me is a certificate of a mock escalating into an indirect insult, I still had the patience to answer on the Pachelbel and Kerll question. Now it is over, I am not going to play Captain-Obvious game, my posts throughout the thread themself have elaborated clearly, all the points I wanted to make.


----------



## premont

Ariasexta said:


> You are playing word-game with me, as if it is a grammatic class.


Not at all, I have no interest in that. I just try to express myself as clearly as possible.



Ariasexta said:


> Your insistance on the non-existent South-Sweelinck organ school claim by me is a certificate of a mock escalating into an indirect insult,


Maybe I got that impression, because I got your post wrong - and I admitted that very soon -, but you refused to elaborate. Elaboration would be the usual way to clear misunderstandings.

But I understand, that you post here exclusively upon your own premises, so this is my ultimate post to you.


----------



## Ariasexta

premont said:


> Please do not be condescending.
> 
> This:
> 
> is not easy to understand, and this was why I asked you to elaborate.


All I am trying is to call people to listen more. a listener of romantic music, only by a few times of listening to Weckmann and Froberger will feel their difference.

Careful listening is what all it takes to feel the difference, I wish you listen first, I know when people listened by their comments, listen and come back and write whatever comments you can. I will know, any verbal explanation will ruin the joy OK. Listen first, this is the point.


----------



## Ariasexta

premont said:


> Not at all, I have no interest in that. I just try to express myself as clearly as possible.
> 
> Maybe I got that impression, because I got your post wrong - and I admitted that very soon -, but you refused to elaborate. Elaboration would be the usual way to clear misunderstandings.
> 
> But I understand, that you post here exclusively upon your own premises, so this is my ultimate post to you.


Once you have admitted, I forgive you. It was not easy for me to appreciate these genres, I took 14 years. I do not want to ruin the joy by going to deep into the details. It is necessary to Take interests in the history and related legends first and then listen, read the booklets, do not hurry for musicological technics too soon. My posts look technical but in fact they are historical and literary.

Madrigals-->Italian toccatas.
Motets.Chansons--->Sweelinck chorales and toccatas.

It will need to take a lot of time to listen. This is all I can say.


----------



## premont

Ariasexta said:


> All I am trying is to call people to listen more. a listener of romantic music, only by a few times of listening to Weckmann and Froberger will feel their difference.
> 
> Careful listening is what all it takes to feel the difference, I wish you listen first, I know when people listened by their comments, listen and come back and write whatever comments you can. I will know, any verbal explanation will ruin the joy OK. Listen first, this is the point.


I do not listen much to romantic music and only rarely to 20th century music. It does not do that much for me, but I do not detest it in the way you seem to do - judged from your first posts in another thread. On the contrary I have listened all my life to Early music, Baroque harpsichord and organ music in particular. My first encounter f.i. with Weckmann's keyboard music was when I (14 years old) borrowed the sheet music to his toccatas at the public library. I fell in love with them at once. To day everything is available in recordings, but this was not the case, when I was young. If I wanted to widen my horizon and get to know the music, I had to get hold of the sheet music and read it or play it from the scores. I have also read a lot about the topic, and I have experienced, that reading scores and having some theoretical knowledge about the music enhances the listening experience - also the emotional part of it - even for an amateur like me.


----------



## Ariasexta

premont said:


> I do not listen much to romantic music and only rarely to 20th century music. It does not do that much for me, but I do not detest it in the way you seem to do - judged from your first posts in another thread. On the contrary I have listened all my life to Early music, Baroque harpsichord and organ music in particular. My first encounter f.i. with Weckmann's keyboard music was when I (14 years old) borrowed the sheet music to his toccatas at the public library. I fell in love with them at once. To day everything is available in recordings, but this was not the case, when I was young. If I wanted to widen my horizon and get to know the music, I had to get hold of the sheet music and read it or play it from the scores. I have also read a lot about the topic, and I have experienced, that reading scores and having some theoretical knowledge about the music enhances the listening experience - also the emotional part of it - even for an amateur like me.


I may still need more time to listen to his organ works. For budget being limited to vocal and harpsichord music, I have far fewer recordings of organ music. I will give organ music a more share soon.

Weckmann`s music is worthy of lifelong interest, the appreciation grows steadily through time, just like some professionals record the same piece several times. I can recommend to start the vocal music from H.Purcell, Handel, JS Bach. If you can play Weckmann on harpsichord, it will be very nice, maybe spinet is good for crowded neighborhood. Recordings can shed more light on the music, we are still not sure about how to play old music precisely, while most people just accept G.Leonhardt as paragon, including me, the playing style can still develop more.


----------



## Guest

The way we play music is always developing otherwise it wood be a dead thing.

Quote leonhardt:

"By only striving for authenticity one can not convince, by convincing you leave an authentic impression. "


----------



## Mandryka

Josquin13 said:


> Jan Katzschke's CPO recording of of Weckmann's works for harpsichord is excellent


Yes, this is rapidly becoming my favourite Weckmann harpsichord CD. What I really like is that sometimes in the suites he almost makes the music sound like style brisé, with notes spread across different registers rather than played simultaneousl, like an arpeggio. This is the lway some lutenists play Denis Gaultier.


----------



## Guest

I am still waiting for the Weckmann box, probably lost during the shipment.


----------



## premont

Traverso said:


> I am still waiting for the Weckmann box, probably lost during the shipment.


Hopefully not. Where did you order it from?


----------



## Guest

I ordered it here.Fortunately they is a sort of garantee when a package is lost.

http://www.priceminister.com/s/weckmann?nav=Musique_CD#xtatc=INT-601


----------



## Mandryka

Posted in the wrong forum.


----------



## joen_cph

I only know Weckmann from this Classico CD, but liked it immediately, and noted that his music was attractive, with often quite catchy themes, further promoted by her playing.

https://www.amazon.com/Weckmann-Mus.../ref=tmm_msc_swatch_0?_encoding=UTF8&qid=&sr=


----------

