Hailed for his “revelatory” account of Bach’s Well-Tempered Clavier (The New York Times), Richard Egarr turns to one of the least known collections for solo harpsichord. This complete recording of the solo oeuvre of Louis Couperin (c.1626-1661) revels in his full harmonic and contrapuntal textures, marked by a poignant use of dissonance – music that entrances the ear!
Here is a side of Handel unfamiliar even to those knowledgeable about his music. Most of this CD is devoted to miscellaneous songs in English‚ many of them published in his time on song sheets‚ or in journals‚ or given to friends‚ or intended for use in the theatre. They are‚ generally‚ in a more popular vein than his familiar music‚ and often in the style used by such composers as Arne or Boyce‚ or lesser men‚ in their English songs. The best of them‚ to my taste‚ are the theatre songs: ‘I like the amorous youth’ is a specially charming piece‚ and ‘Love’s but the frailty of the mind’‚ a Congreve setting made for the admired actresssinger Kitty Clive‚ is an exquisite and touching little song‚ especially when sung as beautifully as it is here by Emma Kirkby.
Beethoven reputedly wasn't Beecham's favorite composer, but you wouldn't know it from this performance; it's exceedingly well conceived, highly energetic, and has that unique Beecham sparkle to it. The fillers also are delightful. All recorded in Ascona, Switzerland in 1957.
Attracted by a delightful fusion of early music sonorities with modern expressiveness, the three composers in this amazingly rich and varied programme build on the magnificent harpsichord concerto legacy of JS Bach. John Rutter’s beautiful Suite Antique is full of rich and haunting themes, with a significant solo flute part and a jazzy Waltz which is as much Brubeck as Bach. Philip Glass delivers an exciting experience of virtuoso instrumental blending and solo expressiveness, and with typical wit and elegance. Jean Françaix’s Concerto is terrific fun throughout.
The emotional content, lyricism and direct appeal of Gavin Bryars’s music are unique, reflecting a contemporary composer’s absorption and transformation of several centuries of musical craftsmanship in order to reflect his, and our, own epoch. Originally written for harpsichord, After Handel’s Vesper is a strong illustration of Bryars’s post-minimal interests in early music repertoire. Ramble on Cortona, derived from 13th-century music, makes expressive use of the piano’s resonant qualities, while in the highly-coloured, almost impressionistic The Solway Canal, landscapes pass by as if in a dream.
Steven Isserlis and Richard Egarr here assemble all the viola da gamba sonatas written by three composers born in the propitious year of 1685: one each by Handel and Domenico Scarlatti, and three by JS Bach. Isserlis plays them on the gamba’s modern cousin, the cello, and the microphone loves his playing, picking up all the nuances and scampering asides from his soft-spoken instrument which can sometimes get lost in big concert halls. Egarr on harpsichord matches Isserlis’s eloquence and rambunctious energy all the way. The dreamy, airy slow movement of Bach’s Sonata in G minor brings telling use of vibrato as Isserlis circles around Egarr, his playing at once idiomatic and soulful. An extra cellist reinforces the bass line in the Handel and Scarlatti, in which the composers give the harpsichordist only a framework; Egarr’s imaginative realisations ensure that even when Scarlatti is at his most repetitive, he is never dull.