Pierre Hantaï

The astonishing technical variety and wide emotional range contained in Domenico Scarlatti’s keyboard sonatas make each and every encounter a rewarding adventure in which the listener is seldom left untouched. This is Pierre Hantaï’s third solo disc of Scarlatti’s sonatas though only the second in his current series for the Mirare label. It contains several pieces less frequently performed than others and with which many readers may find themselves unfamiliar. The first item, in fact, is one of only seven sonatas of Scarlatti’s that is a straightforward fugue. It is an uncharacteristically didactic piece, even a shade austere compared to the rest of Hantaï’s recital which contains a kaleidoscope of colourful images. What Hantaï seems to be emphasising in his choice is that elusive, somewhat abstracted improvisatory quality present in so many of the pieces and of which the Sonata in E major K 215 provides a well-sustained example. Generally speaking, Hantaï follows Ralph Kirkpatrick’s suggestion that Scarlatti probably intended to group his sonatas into pairs or occasionally threes according to key.

Bach’s Goldberg Variations have played a central role in harpsichordist Pierre Hantai’s musical life since his early youth. At 28 he recorded the work for the Opus 111 label (now available on Naïve), a highly acclaimed release that stands among the work’s choice versions. Over the past 11 years Hantai evidently has rethought and refined his interpretation, as revealed in this 2003 remake. There’s greater rhythmic freedom and variety of articulation, plus a more subjective approach to ornaments and agogics, especially in the repeats (he observes all but those in Variation 15, 25, and the Aria Da Capo; the 1992 recording honors all repeats save for Variation 25). Variations previously characterized through Hantai’s seamless legato technique (Nos. 3, 6, 8, 11, 17, and 18, for example) are further enlivened by detaché finger strokes and more inflected phrasings. The latter infuse Variations 7, 10, and 16 with greater resilience and rhythmic verve than their earlier counterparts.

What makes Hantaï so thrilling is his insatiable curiosity for ever newer and bolder effects, a ringmaster's sense for giving an audience more than one show at a time. Topping it all is a bubbling youthful zeal, though zeal doesn't do Hantaï's energy level justice - his variety and his recklessness are amazing, he takes tremendous chances, and hits some unbelieveable speeds. Every possible color of the instrument he uses is toyed with and brought out, sometimes tenderly, but more often with elan, panache, brio, gusto - whatever, Hantaï's loaded with the stuff!

There is nothing left wanting in these performances. Hantaï and Verzier both display adroit virtuosity, possess warm tones but distinctive approaches, and share a telepathic sense of interplay, all excellent qualities in these intimate chamber works. Brother Pierre Hantaï on the keyboard sticks with them throughout, following them even in the most tempo rubato-saturated Sarabande. The lion's share of the pieces here are in the standard stylized Baroque dance forms, but Marais' expressive melodies, pungent harmonies, and highly individual take on the forms make each piece unique.

This double-album budget set collects Bach recordings made by French harpsichordist Pierre Hantaï in 1997 and 1998, about halfway between his two celebrated versions of the Goldberg Variations, BWV 988. If you like the engineering – close-up and intense, but not oversaturated with ambient noise – these are excellent picks for some of Bach's lesser-known early keyboard pieces. The star attraction is very strong as well: the extreme Chromatic Fantasy and Fugue, BWV 903, comes out spectacularly on Hantaï's harpsichord, a copy by Dutch builder Joel Katzman of a Flemish Ruckers instrument of the 17th century.

After having already released the solo harpsichord concertos, which received several awards, Aapo Hakkinen and the Helsinki Baroque Orchestra go on with the concertos for two harpsichords, together with renowned French harpsichord player Pierre Hantaï. The sonata for two harpsichords by the oldest Bach son Wilhelm Friedemann is a welcome addition. The French harpsichordist, Pierre Hantaï, became passionately attached to the music of Bach around the age of ten.

Pierre Hantai has been studying the harpsichord from the age of about eleven. His early teacher was Arthur Haas, under whose guidance he learned the instrument, and then he formed an ensemble with his brothers. During this time he won several international awards for his playing. He then spent two years studying with Gustav Leonhart, after which he was asked to perform under his direction. In addition he has performed with many of today's period performance experts such as Philippe Herreweghe, Sigiswald Kujiken and Jordi Savall. His pedigree is therefore well established and it shows in these performances.

The numerous instrumental pieces or 'Symphonies' found in the dramatic works of Rameau are remarkably effective on the harpsichord: the composer himself, with his transcription of 'Les Indes Galantes' invited other musicians to continue this tradition.
Seizing on the formidable array of material available in his operas: Platée, Zoroastre, Dardanus, Les Paladins, Pygmalion… Pierre Hantai and Skip Sempé, our finest exponents of this repertoire, take obvious pleasure in revealing, through the two harpsichords, the immense richness of this music, full of surprises and imagination.