Pinnock’s performances of the Bach Harpsichord Concertos first appeared in 1981 and have dominated the catalog ever since. In the solo concertos he plays with real panache, his scholarship tempered with excellent musicianship." "The double, triple and quadruple concertos are digital, and the combination of period instruments and playing of determined vigour certainly makes a bold effect.
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.
This disc will benefit from a strong curiosity factor, for the Goldberg who composed the music here is indeed the one for whom J.S. Bach is said to have composed his monumental Goldberg Variations for harpsichord, BWV 988. The story goes that the Russian ambassador to the Dresden court, one Count von Keyserlingk, had insomnia and wanted a long, gentle work that could be played by his house keyboardist, the then teenaged Goldberg, in the next room.
Since the very dawn of the compact disc era, Ralph Kirkpatrick's seminal recordings of Domenico Scarlatti have mainly been conspicuous only by their absence from the active catalog. It's hard be sure just why, as all along listeners and reviewers alike have been requesting their return. Kirkpatrick's Bach has been reissued here and there, along with some oddities, including a live, all twentieth century recital Kirkpatrick performed in 1961, released on Music and Arts. But of the Scarlatti, nothing - how could the man who put the "K." in Scarlatti go neglected; were not his performances once considered the acme in Scarlatti played on the harpsichord?
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.