Johan van Veen wrote:

>Entremont most definitely doesn't use period instruments.  The fact that Mr
>Draper wrote "pianoforte" is perhaps due to the fact that in some languages
>(like Italian) "pianoforte" is the common word for "piano".  If a recording
>is made on a period instrument the commonly used word is "fortepiano" (also
>in Italian recordings).  There are hardly recordings on fortepiano. There
>is one (of Concerto nr 11) by Jorg Demus and the Collegium aureum (deutsche
>harm.  mundi) and by Jorg Ewald Dahler (on Claves - I have no further
>details).

I'm sure I read somewhere that period instruments were used.  Could be my
memory playing tricks here.

The sleeve notes don't help.  There aren't any.  On the original disk there
was a booklet which I read but can't remember.  On the reissue all one gets
is track times.

To try to ascertain whether this is an authentic performance or not I've
just listened to some of it.  Then I compared it to the following discs:

1.  Haydn's 7 last words piano version played by Y Le Gaillard on a
Broadwood circa 1818

2.  Haydn sonata No 8 played by Christine Faron on a facsimile of a circa
1788 John Andreas Stein.

3.  CPE Bach Fantasie WQ67 played by Andreas Staier using a copy of a Anton
Walter circa 1791.

4.  CPE Bach Rondo in E major played by P.  De Silva on a copy of an
instrument by Johann Schantz circa 1790.

I find very little difference between the piano sound of 1 and the
Entremont.  But, that could be because the sound of a Broadwood is much
closer to a modern piano. There is definately a largish difference between
this and the 1790 instruments which, makes me wonder why Gaillard chose it.

I find it fascinating that there should be a variation in sound also
between instruments 2..4.

The Entremont is small scale, sympathetic Haydn compared to (for erxample)
some of the recordings of Dorati.  However, it probably isn't 'authentic'.
Sorry if I mislead you in the original posting.

Bob Draper
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