Bach: Clavier-Übung II, Chaconne
Musée d'art et d'histoire de Neuchâtel, Switzerland
12-14 November, 2020
Harpsichord: Ioannes Ruckers (1632/1745)
Artistic Director: Olivier Fortin
Sound Engineer: Nicolas Bartholomée
Sound Engineer, Editing & Mastering: Ignace Hauville
Tuning: Pierre-Laurent Haesler
"The Japanese harpsichordist knows how to do many things, starting with magnifying the sonorities of the superb Neuchâtel Ruckers: all its registers are magnificently exploited, from the impetuous roar to the most refined shimmering reflections. "
5 DIAPASONS, January 2022
Loïc Chahine, Diapason Magazine
"The profusion of lines, the high virtuosity of the ensemble, the slightly heroic eloquence that must be put into it, everything is there, and reveals a harpsichordist of the first class, who sets this fabulous transcription on fire."
December 4, 2021
Jean-Charles Hoffelé, ARTAMAG'
"The Chaconne ends the recital in a magnificent fashion. Hamada creates a fine sense of buildup, provides lovely shifts of color, particularly in the major section, and carefully paces the tempo to never lose the basic meter. This is spectacular playing of an incredibly difficult and virtuosic transcription. Hamada’s Bach is simply captivating."
★★★★ May/June 2022
Scott Noriega, Fanfare Magazine
"Harpsichordist Aya Hamada’s new recording of Bach works, primarily from the Klavierubung, is for passionate fans who expect performers to embrace all the color, and humor, and kaleidoscopic wizardry in the composer’s work. It satisfies on all counts.
November 28, 2021
delarue, Lucid Culture
"This simply titled, one-word album Bach belies the complexity and enduring charm of the baroque composer’s contrapuntal masterpieces, brought to life by harpsichordist Aya Hamada. "
★★★★ November 18, 2021
Holly Harris , Winnipegg Press
"She conveys joy, elegance and clear sense of dance...Everything sounds terrific."
Bradley Lehman, American Record Guide
"The sumptuous Ruckers, a sound recording up to the mark and a remarkable interpretation make for a very good moment of music.. "
February 20, 2022
Jean-Marc Warszawski, Musicologie.org
Pièces de clavecin
Chapelle de l'Hôpital Notre-Dame de Bon Secours
Paris, 2-4 April 2014
‘Nicholas Lefebvre 1755’ / Martin Skowroneck 1984
(ex-collection Gustav Leonhard)
Artistic Director: Olivier Fortin
Balance Engineer & Digital Editing: Hugues Deschaux
Assistant Engineer: Olivier Rosset
Tuning & Temperament: Edgardo Campos
"This is a harpsichord recording to treasure. Aya Hamada's playing is not only technically immaculate, but musically very stimulating.... the kind of stylish and vibrantly lively set of performances I could spin all day without fatigue.
Aya Hamada's recording is simply the best"
RECORDING OF THE MONTH, July 2015
Dominy Clements, MusicWeb International
"This is a terrific solo debut... Her control of touch and dramatic delivery are both extraordinary. Her expressiveness in the slow pieces is especially noteworthy. Her expert playing holds my interest in every phrase."
CRITICS' CHOICE: BEST OF 2015
American Record Guide
"Hamada sounds as if she's captivated by every note Duphly set to staff paper. She brings crisp rhythmic profile and acrobatic finesse.... and she is as adept at dramatic gestures as she is conveying the elegance."
The Magazine of Early Music America
"This is an excellent recording that not only allows for the re-emergence of Skowroneck's wonderful instrument but also sensitive and dramatic interpretations by Hamada."
Bertil van Boer, Fanfare Magazine
"Hamada’s technique appears to be situated at the flexible-yet-energetic end of the spectrum, which allows her to produce passagework, note repetitions, and trills of astonishing speed and accuracy without ever compromising her tone and without producing much."
Keyboard Perspectives VIII (2015)
The Westfield Center for
Historical Keyboard Studies
"Hamada does well at capturing the music’s possibilities through her interpretive decisions. She’s assuredly a polished player who exudes ample confidence."
John Hendron, Baroque Review
(June 19, 2015)
"Hamada’s recording rewards the listener with fine examples of Duphly’s oeuvre. The playing is stylish and satisfying, the sound of the instrument resonant and exciting."
The Diapason Magazine