I agree--the idea here is to recreate the sound that one hears in the front row, and the church--it is a church of course--is very live. So one could use spot mics to dry it out a bit, but then it is an ideal sound as opposed to a real sound. But absolutely, very live sound, and maybe I should have put the main pair a bit closer.

Yes--I agree the spot mics are more revealing--and you can hear some detail that might be difficult to hear otherwise. It is an aesthetic dilemma. For example, in a museum, when you look at a painting sometimes they will show a photo of a detail next to the painting, and sometimes they will supply a magnifying glass. Here, the visual analogy to spot mics would be lots of little magnifying glasses on the surface of the painting. But there is no question that people like this effect for sound, and that we accept it on some level, and enjoy the details. But to my ear it always sounds like little magnifying glasses. I could go either way, and some of these--like the Brandenburg Concerto series, have some spot mics taped to the back of the music stands since they are also for commercial release as "albums", or soundtracks. For concerts, I usually forgo the spots, and one reason is that I do not want the musicians to have a mic in front of them, I don't want the mics in the closeups, and I don't want the audience to see a bunch of mics in front of the musicians. But, like you say, you would certainly get some fine detail, and we used spots for the Brandenburgs and they sound good and are very revealing.

Here is a harpsichord as you request recorded in a controlled studio environment for contrast--using exactly the same mics that were used in the live recording above, but positioned differently.

This is a baroque-style harpsichord, a double manual French harpsichord by Joop Klinkhamer, after the original Ruckers-Goujon instrument in Neuchâtel, Switzerland. The pitch of the instrument is A=392 Hz, which is a full tone lower than modern pitch. The strings are made of a special kind of wire which is drawn according to the formula used by string makers in the 18th century: this wire produces an overtone series that is stronger in the fundamental range and so has less of the high, bright harmonics usually associated with harpsichord. In this acoustically damped room, some reverb had to be added as the sound was very dry in the room.