Following the fine critical praise for his pioneering recording of the complete Harpsichord Suites of G.F. Handel, Gilbert Rowland moves to the lesser known but equally inspired Johann Mattheson (1681-1764) who composed these suites in 1714. Although generally following the then current Dance Suite format used so much by Bach, Handel and others, Mattheson created variety with different dances (such as the Tocatine) and varying numbers of movements. Certainly very musical and original, these Suites deserve to be considered on a level with those of Handel at the very least. Masterful performances by Gilbert Rowland who plays a 2-manual French-style instruments by Andrew Wooderson (2005) after an original from 1750 by Goemans.
Froberger was one of the most humane composers of the 17th century, and it would be a cold player indeed who did not respond to the searching expressiveness not only of his allemande-form meditations and lamentations, but of many other movements as well. Wilson does not fail them. A pupil of Leonhardt (himself a great Froberger player), he seeks a similar ‘delicate balance of freedom and rigour’, resulting in deeply considered interpretations, never hurried or frivolous, but with each note given proper placing and weight.
Listeners familiar with other recordings in Masaaki Suzuki's ongoing traversal of Bach's solo keyboard works may find his performances of the Partitas somewhat of an anomaly. For instance, the sharply delineated juxtapositions of tempos that made his Fantasias and Fugues program so thrilling (type Q3840 in Search Reviews) are nowhere to be heard here. The interpretive agenda this time is much subtler and decidedly more introverted.
Possibly, like me, the first time you may ever have met the name of Forqueray was when you first discovered the ‘Pièces de Clavecin en concerts’ by Rameau. In those chamber works, enlargements of solo harpsichord pieces, Rameau invariably pays tribute to some of his most interesting contemporaries.
Leading early music expert Winsome Evans presents the final chapter in her ground-breaking project to transcribe and record Bach’s solo instrumental works for the harpsichord, with the Six Cello Suites and Partita for Solo Flute. Evans’ project, some 30 years in the making, is based on evidence that Bach himself played his solo instrumental works on the keyboard – including the statement of a former student that Bach often played the solo violin and cello works ‘on the clavier, adding as much in the nature of harmony as he found necessary’. The harmonies added by Evans to the solo works are inspired by methods from Bach’s own time.
Richrad Lester has been at the center of early keyboard music for fifty years with a professional career that began in 1966. His teacher, George Malcolm generously promoted his debut recital at the Wigmore Hall, and from that followed concerts including the Royal Festival Hall Purcell Room, master classes and recitals at Dartington International Summer School, Bruges Festival and the Bath International Festival. As a Fellow of the London College of Music, he has given many organ recitals in King’s College, Cambridge, St. Paul’s Cathedral, Westminster Cathedral, Ely Cathedral, Coventry, and in 2013 he was invited to perform in St. Mark’s, Venice, and Bergamo Cathedral. His vast discography for Nimbus Records is acclaimed worldwide.