Published 1969 by Philips order number 802898 LY
Mr. Puyana wishes to express his gratitude to the Comtesse de Chambure and the Musée Instrumental of the Paris Conservatorium, who placed the Ruckers-Taskin, Faby da Bologna, and Destruisseaux harpsichords at his disposal, and to M. le Comte Xavier d’Annoville, in whose house the recordings were made.
Colour photographs on cover from: Robert Joly, Paris

Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection. (all tracks from his vinyl recording except for Zipoli’s Preludio (Largo) which is inserted from my own vinyl recording).

side 1 / face 1 / Seite 1:
00:00 Joanambrosio Dalza (?-?) * Pavana alia Veneziana in D major Molto moderato (well-tempered tuning)
01:13 Andrea Gabrieli (1520- 1586) *** Canzon francese detta Petit Jacquet in G minor (mean-tone)
03:21 Girolamo Frescobaldi (1583- 1643) * Canzona quarta in F major
07:00 Azzolino Bemardino della Ciaia (1671 – 1755) **** Toccata in G major Largo sostenuto (mean-tone)
10:53 Domenico Cimarosa (1749-1801) * Sonala in G minor Largo
13:37 Domenico Cimarosa * Sonata in G major Allegro
Giovanni Benedetto Platti (+1700- 1763) ***** Sonata VIII in C minor (well-tempered)
15:25 Fantasia (Allegro)
18:27 Andante
21:26 Allegro
22:58 Presto

side 2 / face 2/ Seite 2:
Girolamo Frescobaldi **** Partite sopra l’Aria di Fiorenza in G major
26:33 1a Partita (Moderato)
27:26 2a Partita (L’istesso tempo),
28:16 3a Partita (Allegro molto),
29:24 Girolamo Frescobaldi ** Aria detta Balletto in C major (mean-tone)
36:46 Luigi de Rossi (1598-1653) ** Passacaglia in A minor Lento
39:22 Bernardo Pasquini (1637-1710) * Toccata con lo Scherzo del Cuculo in A major
Domenico Zipoli (1668- 1726) * Suite in G minor
43:30 Preludio (Largo)
46:57 Corrente (Allegro)
48:51 Sarabanda (Largo)
52:10 Giga (Allegro)

The harpsichords (more in the rest of the documentation)
The old harpsichords used on this recording show a wide variety in sound, while many similarities appear at the same time. They are all very outspoken, clear, and with a well-defined attack on each note, which is accentuated even more as one progresses from the Flemish, through the French, and finally to the two Italian instruments. They point to one trend in building, through three centuries: the search for an extremely personalised and clear-cut sound. In restoration, all later additions have been removed, to bring them back to what is the closest to the original state. Some of them, as will be noticeable, have been tuned in mean-tone, to accentuate their qualities, as was done in past centuries.

* Ruckers-Taskin (1646 and 1780) This harpsichord bears on the name batten, above the keyboards, the inscription: “Andreas Ruckers me fecit Antwerpiae Anno 1646.” It was built by. the second son of Hans Ruckers who was the first to establish the reputation of this family
throughout Europe.

** Destruisseaux (1675?) This is the only surviving instrument by this builder, and one of the very few examples of French seventeenth-century harpsichords.It is believed to have been built about 1675 in Paris.

*** Faby da Bologna (1677) This elaborate instrument was built for the godson of Louis XIV, Count Ercole Pepoli, in Bologna.

**** Baffo-Batt (1579) The harpsichord used here is a strict copy of the original, which is in the Musée Instrumental of the Paris Conservatoire.

***** The modern Goble double-manual harpsichord used was specially made for Mr. Puyana in 1968 by Robert Goble and Son, of Oxford,. England.

#RobertGoble #Ruckers #Taskin #FabyDaBologna #PietroFaby #Destruisseaux #Baffo-Batt #GiovanniBaffo #RafaelPuyana