Jean-Claude Malgoire has been one of the more important French conductors of the latter twentieth and early twenty first centuries. He has focused heavily on Baroque music, though his repertory also includes operas by Mozart and Salieri. As music director of the La Grande Écurie et la Chambre du Roy and l'Atelier Lyrique de Tourcoing, he has given many highly acclaimed concerts and opera productions, and made numerous recordings with major labels.
Compared to his colleagues in the French Baroque harpsichord business, Rameau wrote relatively little keyboard music. It all fits on two discs. Like the keyboard sonatas of his contemporary Scarlatti, these pieces contain moments when Rameau clearly uses the harpsichord to evoke the sound of the orchestra–trumpets, flutes, and drums–but unlike Scarlatti's, several of these pieces were actually orchestrated and reappear as dance numbers in Rameau's operas. William Christie is our leading exponent of French Baroque opera, Rameau in particular, and it follows that he is alive to every detail in these fascinating and delightful miniatures. At midprice, this is a great deal.-David Hurwitz
A midprice reissue collecting this young French pianist s three baroque recordings. I fell in love with Tharaud s Rameau disc several years ago and never once missed the rattling sound of the harpsichord. Tharaud points out that Rameau s frequent ornamentation would have served to prolong notes on a harpsichord. This isn t necessary on a modern piano, and there s an incredible delicacy to the pianism here, with the trills and turns played with a barely credible lightness of touch. It s infectious stuff, with the witty character pieces from the Suite in G vivid and alive.
This beautiful recording, once long out-of-print, is now remastered in high definition multi-channel hybrid SACD, and is the first album made by Jordi Savall for the Astrée label, now reissued on Alia Vox. With this rare 1975 disc, Savall confirmed François Couperin as a master composer for viola da gamba with affinities to the previous masters of French music. On the recording Mr. Savall plays an authentic 7-string bass viol, anonymously constructed in 17th century France. He is joined by musicians Ton Koopman playing a Gilbert des Ruisseaux harpsichord built in the late 17th century and Ariane Maurette playing a Barak Norman bass viol constructed in London in 1697. Couperin’s music for these colorful instruments is marvelous, contemplative and beguiling. The highly collectible album, a must-have of the Savall oeuvre, is now available again and features a very informative booklet.
Gramophone-Award-winning harpsichordist Mahan Esfahani has recorded Rameau's Pièces de clavecin in the historic setting of the Music Room at Hatchlands Park in Surrey. This is a masterclass for the instrument, confirming this young artist as a truly great player: in the words of International Record Review his technique is beyond criticism and his inherent musicianship goes far deeper than mere surface understanding it is difficult not to warm to such a musician'. This double album comprises the whole of Rameau's output of keyboard suites, and Esfahani rejoices in its wealth of genius, its excitement and drama. Rameau is a composer whose revival is ongoing, and his unique combination of the witty and the cerebral, the light and the curmudgeonly, abounds throughout his harpsichord music.
With the exception of a few of Bach's more famous compositions, Rameau's Pieces de Clavecin have received more attention over the years than any other Baroque keyboard works–and for good reason: they're extraordinarily diverse, imaginatively conceived, consummately stylish, and most importantly, they demand interpretive prowess on the part of the performer. For many harpsichordists a Rameau cycle represents what a Beethoven symphony cycle would for most conductors–the crowning achievement of the genre, since what a performer brings to Rameau reveals not only his level of technical virtuosity but even more so his ability to creatively exploit the infinite opportunities inherent in Rameau's innovative scores.