evcd074 Aya Hamada

Recorded at

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 

Jacques Duphly:
Pièces de clavecin

Recorded at
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"


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."


Bradley Lehman,

American Record Guide

(November-December, 2015)

"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."

Donald Rosenberg

The Magazine of Early Music America 

(Fall 2015)

"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

(November/December 2015)

"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."

Tilman Skowroneck, 

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."

Larry Palmer,

The Diapason Magazine

(May 2016)