Discography and editions


Discography


  • The Renaissance Clavichord Titanic Records, Ti-10 (LP)
  • The Renaissance Clavichord II Titanic Records, Ti-27 (LP)
  • Keyboard Sonatas of Padre Antonio Soler [clavicorde] Titanic Records, Ti-42 (LP)
  • Keyboard Sonatas of Carlos Seixas [clavicorde] EMI 11C 077-40569 (LP)
  • 18th-Century Basque Keyboard Music [clavicorde] IZ Records, 262 D (LP)
  • 18th-Century Portuguese Keyboard Music [clavicorde] EMI 7497331 (LP)
  • Antonio Soler - Six Concertos for Two Keyboard Instruments [clavicorde, clavecin, orgue] (con Esteban Elizondo) Titanic Records, Ti-152 (CD)
  • The Organ of Evora Cathedral Titanic Records, Ti-154 (CD)
  • 18th-Century Music for Two Keyboard Instruments [clavicorde, clavecin] (avec Esteban Elizondo) Titanic Records, Ti-185 (CD)
  • Keyboard Works of Carl Philip Emmanuel Bach [clavicorde] Titanic Records, Ti-186 (CD)
  • The 1794 Giovanni Bruna Organ of Magnano, Italy Titanic Records, Ti-196 (CD)
  • Carlos Seixas, Keyboard Sonatas [clavicorde] Stradivarius STR 33544 (CD)
  • The Organ of the Temple of San Cayetano La Valenciana, Guanajuato, Mexico MAM – CD 1 (CD)
  • Wolfgang Amadeus Mozart, The Nannerl's Notebook [clavicorde, piano carré] Stradivarius – STR 33547 (CD)
  • Maestri Biellesi dell’Organaria [orgue] Progetto Musica, Musica e Musicisti Biellesi – MMB 03-02 (CD)
  • The Italian Organ in the Eighteenth and Nineteenth Centuries MAM - CD2 (CD)
  • Música Portuguesa para Teclado dos Séculos XVI e XVII [clavicorde] DIALOGOS (DARGIL) D100001 2 (CD)
  • ANTONIO DE CABEZÒN and his Contemporaries [Clavicorde] MAM - CD 3 (CD)

Editions


  • Franz Seydelmann, Solo Keyboard Works, Music Archive Publications, Harwood Academic Publishers, 1997.
  • Franz Seydelmann, Six Sonatas for Two Persons at One Keyboard, Music Archive Publications, Harwood Academic Publishers, 1997.

Records reviews


“This is in all ways a splendid disc. On comparison, I found the Fantasia freer and more expressive than Gustav Leonhardt’s version, the Variations richer and more convoluted than Andreas Staier’s version, and the Prussian Sonata more cohesive than A. Uittenbosch’s version. The other pieces were just as fine, and throughout I admired Brauchli’s sensitive use of his difficult instrument.”

Fanfare Magazine, William Youngren
(Keyboard Works of C. P. E. Bach)

“At times passionate, at times discreet, in harmony with his instrument, the performer meticulously unveils before us the secrets of this music. His touch refines the sounds of the clavichord, creating a plenitude of emotions which would capture and move the most insensitive auditor.”

Schweizerische Musikzeitung, Victor Wirthner
(Sonatas of Antonio Soler)

“By his reserve and complete control of the different tone qualities Brauchli makes us forget the anachronism of playing such music on this instrument. It is agreeable to hear how different the music of Soler can sound with Brauchli from the brutal interpretations of many others; sensitive, clear and with a refined, growing tension between expression and the reserve of an inner grandeur.”

DISK, Amsterdam, Ben van der Kleij
(Renaissance Clavichord II & Antonio Soler)

“Bernard Brauchli captured all the poetry, sensitivity and restrained emotion in these soft sonorities [of the clavichord]. Here is a rare recording in all respects. Once heard, one never again forgets the uncommon accents which are its charm.”

Revue Musicale de la Suisse Romande, Jacques Viret
(Keyboard Works of C. P. E. Bach)

“Brauchli has the sensitivity of touch necessary to play this understated instrument; even more, he has the capacity to make the clavichord sigh and sing. The whole of this album rewards repeated listening. One can only wish, upon hearing such a recording, for more; let us all hope that Brauchli returns to C. P. E. Bach’s clavichord soon.”

Boston Early Music News
(Keyboard Works of C. P. E. Bach)

“As a guide to the special world of the clavichord there is none better than Bernard Brauchli. To say that he is one of the best clavichordist of our time seems faint praise, since the field is so small. But although it is small, it is elite. His phrases have fine rhythmic and dynamic shape. And the liberties he takes with the music have not only historical propriety, but style and wit. He is an altogether admirable musician.”

The Musical Quarterly, Owen Jander
(The Renaissance Clavichord I)