French Harpsichord Music

Present recording of French harpsichordists piecies was made at the Moscow Conservatoire, performed on a "Zuckermann" one-manual harpsichord, a replica of an A. Ruckers original (1645)

Bachiana: Music by the Bach family - Double Concertos
Musica Antiqua Köln / Reinhard Goebel
EAC+LOG+CUE | FLAC: 414 MB | Full Artwork: 107 MB | 5% Recovery Info
Label/Cat#: Archiv Produktion, DeutschlandRadio # 471 579-2 AH | Country/Year: Germany 2002
Genre: Classical | Style: Baroque, Classicism

"…Musica Antiqua convey equal vitality and character to the two most striking rarities here. JCF Bach’s double concerto for fortepiano and viola appears as a prototype symphony with important solo interjections. Melodically unexceptional, it is nevertheless stylish in a jejune way. CPE Bach – the most iconoclastic of the sons – successfully combines the prevailing keyboard instruments of the day, harpsichord and fortepiano. Fingers fly with aplomb – and no little mischief – as one is left to ponder the impact of this last Bach generation on Mozart and Beethoven, with whom there were (and are) of course many significant connections. Goebel provides a historical wake-up call." ~Gramophone

The magic and mystery of Mexico make a welcome return on this recording, as the expert skills of Gerard Abiton explore Manuel Ponces complete works for guitar. There is a wealth of treasures to be enjoyed here, as Ponces vast career led him to explore a number of different styles. His time in Paris exerted a French influence on his music, heard in the wonderfully lyrical song-without-words motif in the second movement of his Sonata III.

The authority on Rameau in the Grove's Dictionary of Music and Musicians spent a lot of words on these pieces. All YOU have to know is that the usual "continuo" situation of the bass instrument playing the same notes as those found under the harpsichordist's left hand is not present here. This is not a suite with violin on top and bass viol for continuo - but "concerted" harpsichord pieces with the help of a violin and a bass viol. The first and last suites are my favorites, but if you think you like French baroque music, you will thoroughly enjoy the whole disc.

There are few musical resources as sparkling as the 555 harpsichord sonatas of Domenico Scarlatti. Few of them were published in his lifetime and some are more famous than others, but once one gets into the thick of them it is amazing how consistently high the level of invention is. Much of their distinctive character stems from Scarlatti's long residency at the Spanish court; the local color is felt through the energetic rhythms of popular dance forms and the harpsichord's imitation of the guitar and castanets. Indeed, though written under royal patronage, this is very much music of a people, their folklore and customs.

After the English Suites, the French Suites and the Toccatas, which received unanimous critical acclaim, Blandine Rannou returns to Bach with a recording of the Goldberg Variations, played on a French harpsichord by Anthony Sidey. Bach’s original title translates as “Keyboard exercise, consisting of an ARIA with diverse variations for harpsichord with two manuals. Composed for connoisseurs, for the refreshment of their spirits… ” This feast of harpsichord music, beautifully played, is indeed just that: a refreshment – and a delight – for the spirits!

Listeners wouldn't think that after 40 years of the Baroque keyboard revival that there existed high-quality music that even Baroque specialists haven't heard of. But that's just what German harpsichordist Mitzi Meyerson, a specialist in neglected Baroque repertoire, has unearthed here. English composer Richard Jones has apparently suffered from an almost total lack of information about his life; just a few of his works other than these sets of harpsichord "lessons" have survived, and there is no biographical information to hang them on.