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for harpsichord.
I immediately went to the Bibliothèque Nationale
in Paris to find this transcription by Perrine
of music by Denis and Ennemond Gaultier, dating
from 1680, and this became the first book I edited
and also the first CD I recorded. I can certainly
say that this disc changed my life!
When I began to consider what music I could record
for Arcana, d'Anglebert was the most obvious choice:
music for harpsichord, but also for lute, the
link between my two favourite instruments. The
Pièces de Clavessin en Manuscrits is undoubtedly
one of the most precious treasures of the seventeenth
century, which contains pieces by the greatest
harpsichordists like d'Anglebert, Louis Couperin
and Chambonnieres, but also by the greatest lutenists
like Pinel, Mezangeau, Gaultier.
Scott
Ross, Gustav Leonhardt, Céline Frisch, Kristian
Nyquist, etc. are amongst harpsichord players
who have recorded works by d'Anglebert. Has the
approach by one of them impressed you more than
another?
Paola Erdas: I know all their fine recordings
well, but, to tell the truth, my approach to d'Anglebert
is filtered, as I was saying, through the lute
and not solely through the harpsichord. Speaking
of individual recordings I should mention again
that of Ennemond Gautier by Smith, and also that
of Manuscrit Barbe by Rolf Lislevand.
You
say on your website that "the harpsichord is
a living thing, which moves and feels time and
emotions". How
would you describe the sensation of playing on
a Louis Denis harpsichord of 1658 for your new
recording?
Paola Erdas:
From the outset a feeling of something marvellous.
Then of absolute ease as much physical as musical.
Its keyboard, with its tiny keys, is perfect for
my small hands. It was a real pleasure to sink
my fingers into the keys, as if they were a soft
and precious material. As for the sound, it was
also perfect: clear, with just a hint of Italian
sound, but also with the softness and sumptuousness
of the French sound. I was very happy, and can
never thank M. François Badoud enough, for allowing
me to use this treasure of his. But I also thank
Michele Gaggia, my friend and sound engineer,
who reproduced the sound of the Denis in all its
splendour.
Can
you speak about your choice of harpsichords for
your recordings?
Paola Erdas: I have always been lucky to be
able to use quite special harpsichords. Perrine,
my first CD, was perfect on the Albert Delin 1680
in the Gilbert collection: a rather late instrument
but with the right archaic sound to match the
music of the two Gautiers.
For the Libro de Cifra Nueva of Venegas
de Henestrosa it was the Italian harpsichord F.A.1677,
again from the collection of Kenneth Gilbert,
which made me want to be even more expressive
in bringing to life the Siglo de Oro repertoire,
with its precise and extremely noble sound. For
Il Cembalo intorno a Gesualdo the 1699
De Quoco was a perfect match, a very ancient sound,
almost rough but extremely expressive. The disc
devoted to Nicolas-Antoine Lebègue has been the
only CD recorded on a copy, a Hemsch build by
Augusto Bonza, which is the "elder brother" of
my own instrument at home, so wonderful that I
never regret not having used an original.
What
are the three last CDs you bought (new releases
or oldies)?
Paola Erdas: In direzione ostinata e contraria
by Fabrizio de Andrè, a posthumous tribute to
my all-time favorite Italian chansonnier. Guldasta
(A bouquet of flowers) by the sarod player Amjad
Ali Khan, which I bought at the same time as my
purchases of materials from the incredible ateliers
of the new Indian designers in New Delhi. And
a few days ago in Paris Les Pieces de Clavecin
en concert by Rameau with Christophe Rousset,
because I couldn't lay my hands on my original
copy!
What
are your future projects (recordings and concerts)?
Paola Erdas: My next recording will be devoted
to Antonio de Cabezón. A return to my second great
passion: early Iberian music. It might be because
I was born in Sardinia which was for four hundred
years under Spanish rule, but also because I am
strongly attracted to Iberian art.
The concerts are divided between chamber music
with my two ensembles, Hermosuras and Quadro Janas,
and recitals of the Pièces en Manuscrits. I am
always happy to play solo in order to share with
the audience the passion of this great music,
but I also adore playing with my friends, which
is always a great pleasure and great fun!
When
you're not playing or listening to music, what
do you love to do?
Paola Erdas: I was born near the sea, and
I adore diving in order to see the beauty, which
is hidden underwater. I also love fishing, and
eating seafoods. I love reading books and cooking
for my friends, and I also enjoy sewing. I believe
that, if I were not a musician, I would really
like to become a historian. My sister is a researcher
in Ancient Greek history. Evidently a love for
the wonders of the past seems to be a characteristic
of our family!
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