• Rameau Harpsichord Rare Guitar

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Authenticity, but within reasonThough he sought an intelligent and rigorous interpretation, he nonetheless shunned musicologically-researched authenticity: “ where does one stop?” As suggested by Gustave Leonhardt, one cannot be authentic and convincing at the same time. However, despite this rather open-minded approach, this did not prevent Ross from criticising his contemporaries for their styles of performance, including Horowitz, Landowska, Maria Tipo, and even Gould (“ he understood nothing about Bach”).“ One cannot say “I don’t like the harpsichord” or “it’s too limited”.

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It’s ridiculous! It is important to identify Bach’s creative process, and this is only possible through the harpsichord”. For Scott Ross, perfect authenticity may have been unattainable, but understanding the instruments for which the composers wrote their music was not only feasible, but of the utmost importance., © Getty / JACQUES SARRATPoorly-tempered harpsichordistThe rebellious look may have been a front, but the attitude was certainly authentic. On one occasion, nowhere to be found minutes before the start of a concert, Scott Ross arrived tardily but no less casually through the public entrance, walked onto the stage and sat at his harpsichord, almost as a calculated display of impertinence, baiting his audience.In 1985 at the Aix en Provence festival, when given a simple wooden chair rather than an adjustable stool such as those given to the pianists, he simply sat and waited until a stool was found. Why should he settle for less simply because his instrument was a harpsichord? Perhaps, but Ross fought long and hard for a respect that he felt not only he deserved, but more importantly his instrument deserved. Why should he settle for less simply because his instrument was a harpsichord?

Rameau Harpsichord Rare Guitar

Scott Ross would forever fight to be respected., © Getty / JACQUES SARRATScott Ross, to the rescueOne of the first to choose and dedicate himself exclusively to the harpsichord, Ross became its greatest defender. Most insulting of all was the notion that any mediocre pianist could become a good harpsichordist. Ross sought to protect this beautiful, living, and subtle instrument, often unjustly portrayed in a world where ' we are assaulted by the sirens of police cars and violinists saw their instruments in half It is certain that the harpsichord’s subtlety is more anachronistic than ever.'

Worse yet, those composers writing for the baroque instrument clearly incapable of telling the difference between a harpsichord and a “ diesel engine”, as Scott Ross so eloquently put it. Forced to perform the (sometimes questionable) works of composers during his studies at the Nice and Paris Conservatoires, he became aware of the current state of the harpsichord. Its standing amongst contemporary composers and performers was a subject of great despair for Ross, resentful of the fact that modern harpsichordists were forced to become pedagogues or musicologists in order to earn a living, unable to exploit freely their instrument and its repertoire.

“ I am somewhat an exception, because I perform many concerts and have little need for money.”. A man of many passionsScott Ross was a man of varied passions and simple taste “ I do not live for music”, he once declared. His home in Assas resembled not that of a dedicated baroque musician, the harpsichord often found shut and buried under a pile of more recent interests.