Miguel Muelle writes:

>I had always assumed that one could not discuss harpsichord and piano
>versions in the same thought, but that is obviously wrong.  Is this
>particular to Bach?

Not at all.  I feel they can be discussed in the same conversation no
matter who is the composer.  For example, Angela Hewitt has now recorded
on piano two volumes of the harpsichord music of Francois Couperin, and
using harpsichord versions for comparison is quite valid and might even
be necessary due to the dearth of "Couperin on Piano" recordings.  The
same applies to Scarlatti and all the composers of the high-baroque
period.  For earlier periods, it might not be a great idea because of
the greater prevalence of severity of that music such as from Buxtehude,
Froberger, etc.

Another way to look at it concerns market forces.  For potential buyers
of a set of the Well Tempered Clavier who have no sets at all and also
have no preference concerning instrumentation, the entire field is within
the market.  I remember doing a review project on recordings of the Art
of Fugue - used piano, harpsichord, clavichord, recorders, string quartet,
consort group, chamber ensembles with brass, etc.  It was a great
experience (for me anyways).

Don Satz
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