Mr. Kipnis’s harpsichord was built for him in New York in
1961 by Rutkowski and Robinette and closely resembles in
both sound and appearance the large, standard French
harpsichord of the second half of the 18th century. It has
the following disposition: Lower Manual-8′ leather (Peau
de buffle), 8′ quill, harp (buff stop; on both 8’s, 4′ quill;
Upper Manual-8′ quill; Manual coupler.
The clavichord used on this recording, also built by Rutkowski
and Robinette (New York, 1963), has the unusually wide
dynamic range and full tone that are characteristic of the
largest German clavichords of the second half of the 18th
century. It has a range of five octaves, is double strung
and fret free.

Released (1973 ?) Epic BC 1332 (USA)
Also released 1973 as Columbia, M 30231 (USA)
Also released 1973 as CBS 61214 (UK)
Also released 1973 as CBS 76.068 (France)

Side A
Italian Concerto In F major (Harpsichord) 12’12
00:00 01 Allegro 3’53
03:54 02 Andante 4’38
08:35 03 Presto 3’41

Twelve “little” Preludes (Clavichord) 15’15
12:24 04 Prelude in C major BWV 924
13:36 05 Prelude in C major BWV 939
14:10 06 Prelude in c minor BWV 999
15:27 07 Prelude in D major BWV 925
16:30 08 Prelude in d minor BWV 926
17:56 09 Prelude in d minor BWV 940
18:47 10 Prelude in e minor BWV 941
19:25 11 Prelude in F major BWV 927
19:56 12 Prelude in F major BWV 928
21:40 13 Prelude in g minor BWV 929
24:34 14 Prelude in g minor BWV 930
26:57 15 Prelude in a minor BWV 942

27:49 16 Adagio In C major (Clavichord) 5’12

Side B
English Suite Nº 2 In A Minor (Harpsichord)
33:03 01 Prelude 4’34
37:37 02 Allemande 3’35
41:10 03 Courante 1’57
43:08 04 Sarabande and Double 3’42
46:45 05 Bourrée I – 48:57 Bourrée II 4’19
51:04 06 Gigue 3’38

54:46 07 Prélude and 56:14 Fughetta In C major 2’54 (Clavichord)
57:49 8 Fantasia In a minor 7’46 (Clavichord)

The young American harpsichordist Igor Kipnis (his father is
the famous basso Alexander Kipnis) has appeared in concerts
and lecture recitals throughout the United States and
has been a music reviewer for the New York Herald Tribune,
the New York Post, the American Record Guide, and Hi-Fi/
Stereo Review. He is currently chairman of the Baroque
Department at the Berkshire Music Center at Tanglewood,
where he gives instruction in harpsichord and baroque stylistic
practices.

The dynamic ranges of the harpsichord and the clavichord
are such that an absolutely true recording of each instrument
would do justice to neither, making the harpsichord
seem somewhat “soft” and the clavicord almost inaudible.
Therefore, to obtain a fa vorable balance between the two
instruments, it has been necessary slightly to increase the
volume of the clavichord over its normal level of sound. For
those seeking a “pure” clavichord sound, a slight reduction
in phonograph volume is recommended.
Paul Myers

Other recordings on Epic by Mr. Kipnis are “French Baroque
Music for Harpsichord” (LC 3889/ BC 1289*), “English
Harpsichord Music” (LC 3898/ BC 1298*), and “Italian
Baroque Music for Harpsichord” (LC 3911/ BC 1311 *).
*stereo

#RutkowskiAndRobinette #IgorKipnis