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.
Pieter-Jan Belder has made over 100 recordings, including the complete Telemann Tafelmusik for Brilliant Classics, and this set is part of his project to record all of Rameau’s keyboard music. On this 3CD set are Rameau’s great sets of pieces for keyboard – Pièces de Clavecin en Concerts of 1741, the Pièces de Clavecin of 1705 and 1724, and the Nouvelle Suites de Pièces de Clavecin of 1726. In the centuries that have passed since his death in 1764, he has been consistently praised by composers such as Debussy (‘A composer I cannot recommend strongly enough is Rameau’ he wrote in 1903), Hindemith, Tartini, D’Indy, and Gluck – what a variety! All wrote of their indebtedness to him, and acknowledged his influence.
Characterised by his sharply defined rhythms and a flair for instrumental colour, the Columbian harpsichordist Rafael Puyana has died aged 81. Since his concert debut at the New York Town Hall in 1957, Puyana continued to be an active performer on the concert platform and in the recording studio. His repertoire ranged from 16th-century keyboard works to music specifically composed for him by contemporary composers.
Italian composer and organist Bernardo Storace was the assistant music director of the senate in the city of Messina in the second half of the seventeenth century.
Here, Jörg Halubek, a young organist who won the first prize in organ at the International Bach Competition in Leipzig in 2004, plays a selection from Storace’s variations on well-known dances and melodies of the time.
Italian composer and organist Bernardo Storace was the assistant music director of the senate in the city of Messina in the second half of the seventeenth century. Here, Jörg Halubek, a young organist who won the first prize in organ at the International Bach Competition in Leipzig in 2004, plays a selection from Storace’s variations on well-known dances and melodies of the time.
In addition to this CD by Gustav Leonhardt performing keyboard works of Johann Jakob Froberger (1616-1667) on the harpsichord, I own one other Leonhardt recording of the works of this neglected composer, a 25-year-old LP on the Harmonia Mundi label which I've been wearing out lately. Wanting to expand my collection a bit, I elected to purchase this CD which I am thrilled with. The playing is impeccable, Leonhardt's reputation is immaculate and he's simply a god as a keyboard musician…By R. D. Hamann
In the late seventeenth century Hamburg was the most cosmopolitan city in Germany. It was one of the first cities outside Italy to have public concertos and an opera house. Johann Adam Reincken, organist at the Katharinenkirche from 1663, exemplified Hamburg’s sophisticated, proud culture. […] Reincken was renowned as an improviser and, perhaps because he jealously guarded his art, he committed little keyboard music to paper. Instead the main item in Reincken’s surviving output is Hortus musicus, his 1687 set of six partitas for two violins, viola da gamba and continuo.