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.
Excellent addition to any prog rock music collection
A sublime collection of wonderful timeless music to treasure.
Upon seeing the `New Age Collection’ tag on the front cover of Rick Wakeman’s `Country Airs’, I expected to find a disc full of faceless digital synths to backing sounds of nature and stormy rainforests. What a pleasure to find not a single cold machine, instead a stunning collection of solo piano pieces.
This beautifully packaged 4 disc (3CD + DVD) box set comprises of the very best radio and TV performances by Richard and Linda Thompson and Richard Thompson solo recorded for the BBC between January 1974 and 2009. These are the first ever collection of BBC recordings sanctioned by Richard Thompson, the first career retrospective DVD ever released by Richard Thompson and the first ever to feature Linda.
The three works presented here reveal distinctly different phases of Arnold Schoenberg's development, each a critical point of departure. In the Pieces (5) for Orchestra (1909), Schoenberg's atonal language appears full-blown and marks a clear break with tonality. For the first time, Schoenberg places content over form and dispenses with any pretenses toward classical objectivity or balance.
France’s leading young harpsichordist performs works by two masters of the French Baroque. No surprises there, perhaps … but the harpsichordist in question is Jean Rondeau and the album is called Vertigo. It conceives the harpsichord in vividly theatrical terms. Vertigo takes its name from a dramatic, rhapsodic piece by Joseph-Nicolas-Pancrace Royer, who, along with Jean-Philippe Rameau, forms the focus of this album. If Rameau (1683–1764) is the better-known composer today, especially admired for such operatic masterpieces as Hippolyte et Aricie and Platée, the younger Royer (1705–1755) was also a major figure in his time, rising to become master of music at the court of Louis XV. Both Rameau and Royer excelled in keyboard music and in works for the stage. As Jean Rondeau says: “These two illustrious composers battled for the top spot at the Opéra.” He describes them as “two magicians, two master architects, amongst the most wildly imaginative and brilliant of their era … Two composers who also tried to capture echoes of grand theatre with the palette offered by their keyboard.