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Joseph Haydn - The Virtual Haydn [Blu-ray] 
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Disc 4 is a documentary film titled: 'Playing the Room: The Making of the Virtual Haydn'. It also contains a gallery of photos of instruments and rooms.
Joseph Haydn's complete works for solo keyboard, as performed by Tom Beghin on seven historical keyboards in nine virtual rooms.
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Now that I have the gripes out of the way let me concentrate on the good points. Firstly, the very fact that these works are performed on copies of instruments that Haydn would have known gives us a wonderful insight into the music, all too often pianists opt to play the music in a style and on an instrument which is just too big for the music. Here the instruments range from copies of a Leydecker harpsichord to a copy of the early grand piano of the Holywell Music Room in Oxford, taking on board the developments of keyboard technology of Haydn's day. As such I do not think that this set would eclipse anyone's favourite recordings of Haydn's music, the lightness of touch that McCabe employs on his modern grand is still way ahead in my affection, but as a historical document, this set certainly takes some beating.
As to the performances, I greatly enjoyed the playing of Tom Beghin, overall his tempos are a little quicker than one is used to, more akin to those of Buchbinder than of Brendel, but these are tempos which Haydn would recognise, tempos unaffected by romantic sensibilities. Also, the 96 page book which accompanies this set need mention, this lavishly illustrated book, containing Beghin's historically informed essay, itself breathes new life and insight into the music, and is a perfect accompaniment to the set
So, if you are looking for a set of the keyboard music which asks as many questions this is the set for you, however, I would tend to see the set as a historically informed accompaniment to the long cherished recordings of any Haydn enthusiast rather than a first choice for the works. Yes, I gained enjoyment from the set, and I imagine I will gain even more in the future, but will it ever replace McCabe's stunning set, I don't think so, and as for someone coming new to the works, they may find the thought of 18 hours of music performed on harpsichords and early fortepianos somewhat daunting!
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The previous reviewer mentions that there are times that he would like to be able to listen without waiting for the Blu-Ray to load the menus. While he is correct you will have to wait for the menu, there are no copyright notices etc. like with movies so the wait isn't too bad. And that's a small price to pay for full HD surround sound. And the advantage of the menu is you can call it up while the music is playing to see exactly what is playing; or to easily navigate to another piece.
The previous reviewer also mentions he would like two-channel versions for playing with an iPod etc. As mentioned above, the disc does include two-channel LPCM mixes of all pieces on the disc so one could easily use "audio capture" software (not "ripping") on their computer to capture the two-channel mix to play on their iPod.
The decision to release the 17 hours of material on Blu-ray makes for a much more compact package and allows the use of 5.1 surround audio, and video features and documentaries. But it also limits the ability to enjoy the music beyond the confines of a home entertainment center. The Blu-ray load time gets old fast if one wants to listen to one or two cuts. Many of us would like to be able to live with the music in the car or the iPod as well. And a great many people who would savor this work simply do not possess the technology.
Another disappointment came when watching the various recitals. No performer was filmed. It was like three audio disc without any visible action. The fourth disc consisted of a discussion among several people of where to record, one notable example, so that the ambient sound might match the actual solons (rooms) where Haydn performed. All talk and no filmed performance. Just my opinion, but still I cannot recommend this collection.
Haydn's music can be performed on the pianoforte nowadays, a rather remarkable instrument with a reputable range, and not a series of unattractive, historical instruments conjured up from long, long ago.