Balbastre

Composer Claude-Bénigne Balbastre came at the end of the French Baroque keyboard tradition that produced François Couperin and Jean-Philippe Rameau. Composed in 1759, these pieces look back toward the tradition of French harpsichord music, with its individual piece titles designating various members of the French nobility and their individual personalities. Thirty years after Couperin announced the reunification of French and Italian tastes, they show only light influence of Italian style; the clearly diatonic, periodic Allegro tune of "La Laporte," track 16, is the exception. Nor does Balbastre attempt to take after the intellectual density and harmonic complexity of Rameau's keyboard music. Instead his little musical portraits have a mostly pleasant, pastoral mien, with harmonic touches that are unusual and evocative rather than difficult.

Gustav Leonhardt (30 May 1928 – 16 January 2012) was a Dutch keyboard player, conductor, musicologist, teacher and editor. He was a leading figure in the movement to perform music on period instruments. Leonhardt professionally played many instruments, including the harpsichord, pipe organ, claviorganum (a combination of harpsichord and organ), clavichord, fortepiano and piano. He also conducted orchestras and choruses.

Alexandre Tharaud pays tribute to composers associated with the courts of the French kings Louis XIV, XV and XVI. Lully, Rameau, Charpentier and François Couperin stand beside lesser-known masters: d’Anglebert, Forqueray, Royer, Duphly and Balbastre. “I’ve always been attracted by French music of this period,” says Tharaud, adding that when he plays the album’s initial Rameau prelude, “It’s like being alone at Versailles, opening the doors and entering those huge, imposing rooms.”

The harpsichord music of Claude-Bénigne Balbastre may be considered the final flowering of the late Baroque in France. Celebrated across Europe as a virtuoso harpsichordist and organist, Balbastre enjoyed the support of the royal court of Louis XVI and Marie Antoinette (who was also his harpsichord student), and he even survived the French Revolution on the strength of his musicianship. Influenced by the innovative keyboard suites of François Couperin and Jean-Philippe Rameau, his mentor, Balbastre composed suites of character pieces, in contrast to the late-17th century preference for collections of dances.

Claude Balbastre (1724-1799) est une figure notoire parmi les organistes, notamment pour avoir été le premier musicien à composer des concertos pour orgue en France et pour ses travaux sur le piano-forte. L'ouvrage présente son oeuvre, une musique gracieuse et plaisante qui représente la sensibilité musicale du XVIIIe siècle. …

Trevor Pinnock is one of the world's leading exponents of historical performance practice, and this collection of Baroque keyboard favorites is one of his most successful attempts to communicate his musical values to a broad audience. These popular works are often anthologized, but seldom have they sounded as fresh and exciting as they do here. Handel's Harmonious Blacksmith and Bach's Italian Concerto are the best known of these selections, though Pinnock's playing liberates them from their use as flashy encore pieces and instead treats them as more intimate entertainments. François Couperin's magical Les baricades mistérieuses and Rameau's Gavotte Variations are also well known, and their inclusion on any disc of the harpsichord's "greatest hits" is de rigueur. Domenico Scarlatti's two Sonatas in E major are still brilliant, even at the lower tuning (A=415). The remaining works of this collection are perhaps less-widely heard, but each offers insights into both Pinnock's interpretive skills and the instrument's wealth of possibilities.

After her studies at music school, Moscow (1972–1980, diploma in Piano, Summa cum laude), Marina Tchebourkina graduated in 1984 from Academic Music College under the Moscow State Tchaikovsky Conservatory (4-year cycle), where she recieved her diploma Summa cum laude in Music Theory, with specializations in Piano and in Organ…

A Noel is a French Christmas carol, and the ones here are sung by Les Pages du CMBV (Centre Musique Baroque de Versailles), a children's choir. Their voices do not soar, but they are not the stars of the show. Instead, the album is part of a series called L'age d'or de l'orgue français, and the main attraction is organist Gaétan Jarry, and even more so, the 1710 organ at the Versailles chapel. It's a marvelous instrument, clear in all registers, lively, and bracing. The composer-organists here are largely unknown today, at least outside France, but hearing these works, the listener may understand why crowd control police had to show up for performance by the likes of Claude Balbastre (1724-1799). Jarry performs the Noels with the choir singing verses in alternation with the organ.