Harpischord Music

1. Fanfarinette, for harpsichord (Nouvelles suites)
Composed by Jean-Philippe Rameau
with Colin Tilney

2. La Puce, rondeau
Composed by Joseph Bodin de Boismortier
with Colin Tilney

3. Pièces de Clavecin for harpsichord, 1st Book Le Coucou, rondeau
Composed by Louis-Claude Daquin
with Colin Tilney

4. Pièces de Clavecin for keyboard, "L'Harmonieuse"
Composed by Jean-Francois Dandrieu
with Colin Tilney

5. Le Colin-maillard, rondeau
Composed by Francois D'Agincour
with Colin Tilney

6. Ordre 8, for harpsichord (Pièces de clavecin, Book II) Le Tic-Toc-Choc, rondeau
Composed by Francois Couperin
with Colin Tilney

7. La Mélodieuse, rondeau
Composed by Louis-Claude Daquin
with Colin Tilney

8. Le Rappel des oiseaux, for harpsichord (Pièces de clavecin avec une méthode)
Composed by Jean-Philippe Rameau
with Colin Tilney

9. Pièces de clavecin avec une méthode sur la mécanique des doigts
Composed by Jean-Philippe Rameau
with Colin Tilney

10. La Favorite for harpsichord
Composed by Gaspard LeRoux
with Colin Tilney

11. Les Enchainemens Harmonieux
Composed by Louis-Claude Daquin
with Colin Tilney

12. Pièces de Clavecin for keyboard, "L'Etourdie"
Composed by Jean-Francois Dandrieu
with Colin Tilney

13. L'Entretien des Muses, for harpsichord (Pièces de clavecin)
Composed by Jean-Philippe Rameau
with Colin Tilney

14. La Tribolet, for harpsichord
Composed by Jacques Duphly
with Colin Tilney

15. Ordre 18, for harpsichord (Pièces de clavecin, Book III) Soeur Monique, rondeau
Composed by Francois Couperin
with Colin Tilney

16. Ordre 10, for harpsichord (Pièces de clavecin, Book II) Les Baricades Mistérieuses, rondeau
Composed by Francois Couperin
with Colin Tilney

17. Pièces de Clavecin for keyboard, "La Gemissante"
Composed by Jean-Francois Dandrieu
with Colin Tilney

18. La Boucon, courante
Composed by Jacques Duphly
with Colin Tilney

19. Ordre 15, for harpsichord (Pièces de clavecin, Book III) Musette de Choisy
Composed by Francois Couperin
with Colin Tilney

20. Ordre 15, for harpsichord (Pièces de clavecin, Book III) Musette de Taverny
Composed by Francois Couperin
with Colin Tilney

Tracks:

Sonata No.1 In B Minor For Violin And Harpsichord, BWV 1014: I. Adagio
Sonata No.1 In B Minor For Violin And Harpsichord, BWV 1014: II. Allegro
Sonata No.1 In B Minor For Violin And Harpsichord, BWV 1014: III. Andante
Sonata No.1 In B Minor For Violin And Harpsichord, BWV 1014: IV. Allegro
Sonata No.2 In A Major For Violin And Harpsichord, BWV 1015: I. (Dolce)
Sonata No.2 In A Major For Violin And Harpsichord, BWV 1015: II. Allegro
Sonata No.2 In A Major For Violin And Harpsichord, BWV 1015: III. Andante Un Poco
Sonata No.2 In A Major For Violin And Harpsichord, BWV 1015: IV. Presto
Sonata No.3 In E Major For Violin And Harpsichord, BWV 1016: I. Adagio
Sonata No.3 In E Major For Violin And Harpsichord, BWV 1016: II. Allegro
Sonata No.3 In E Major For Violin And Harpsichord, BWV 1016: III. Adagio Ma Non Tanto
Sonata No.3 In E Major For Violin And Harpsichord, BWV 1016: IV. Allegro

Tracks:

Sonata No.4 In C Minor For Violin And Harpsichord, BWV 1017: I. Largo
Sonata No.4 In C Minor For Violin And Harpsichord, BWV 1017: II. Allegro
Sonata No.4 In C Minor For Violin And Harpsichord, BWV 1017: III. Adagio
Sonata No.4 In C Minor For Violin And Harpsichord, BWV 1017: IV. Allegro
Sonata No.5 In F Minor For Violin And Harpsichord, BWV 1018: I. Largo
Sonata No.5 In F Minor For Violin And Harpsichord, BWV 1018: II. Allegro
Sonata No.5 In F Minor For Violin And Harpsichord, BWV 1018: III. Adagio
Sonata No.5 In F Minor For Violin And Harpsichord, BWV 1018: IV. Vivace
Sonata No.6 In G Major For Violin And Harpsichord, BWV 1019: I. Allegro
Sonata No.6 In G Major For Violin And Harpsichord, BWV 1019: II. Largo
Sonata No.6 In G Major For Violin And Harpsichord, BWV 1019: III. Allegro (Harpsichord Solo)
Sonata No.6 In G Major For Violin And Harpsichord, BWV 1019: IV. Adagio
Sonata No.6 In G Major For Violin And Harpsichord, BWV 1019: V. Allegro

Amazon.com

Bach's Sonatas for Violin and Harpsichord hardly lack for excellent recorded versions in the period instrument department, including these sensitive and musicianly collaborations between Giuliano Carmignola and Andrea Marcon. Tempos rarely move faster than the music can sing, and cultivated vocalism characterizes Carmignola's sweet, silvery timbre, which differs from Andrew Manze's grittier approach. Indeed, you hardly notice Carmignola's bow arm at all in the way his long, sustained notes seem to materialize from within the harpsichord. A genuine give and take prevails as the musicians effortlessly adjust to each other's foreground and background roles. Carmignola eschews the whimsical embellishments Fabio Biondi brings to these scores, yet he varies repeats through subtle changes in accent, color, and phrasing. Sony's spacious engineering contrasts to the Podger-Pinnock edition's close-up, analytical sonics, yet the instruments resonate with full-bodied clarity. This release, in sum, is more than just a worthwhile contender in a crowded catalog. --Jed Distler

Customer Reviews:

Amazingly beautiful.......2004-12-15

I can not expect any more than this one! Bach is played with uncomparable taste and precise apprehension of Bach on this CD! I recommand to any one that gets tired of searching for a right one .there is another recording worthy of any cost:the recording by Musica alta ripa of DMG!and I am very sorry to have read an unjust criticism.but It is not worth a glance !

musical taste.......2002-11-22

I am amazed at B. Johnson's critique of this cd and of stylistically informed performances in general. Obviously, one who thinks that Isaac Stern's rendition of Bach's sonatas is the standerd to be emulated has absolutly no musical taste! Giuliano Carmignola's performance provides such a fresh and exciting interpretation to music which used to be labeled as boring and trite. Take Johnson's words with a grain of salt!

Carmignola strikes again.......2002-07-26

After Carmignola most excellent recording of Vivaldi Concertos I was very interested to listen to the Bach recording, since Bach is in a completely different musical world than Vivaldi, although both are nevertheless from the same style period (i.e. Baroque). Carmignola is reknown for being an excellent Baroque violinst - and indeed he is (so do not listen too much to the one star comment). Being a (after work) violinist my self I simply enjoy listening to him and his counterpart: both are engaged in a dialogue throughout the 6 sonatas, the violin being sometimes in the foreground, sometimes the harpsichord with most astonishing dynamic changes in between those two instruments and within each of the instruments. Playing lots of Vivaldi has done no harm to this Bach interpretation, it may well have put a new aspect into it. The recording is technically also excellent, presenting a very warm, very balanced full sound.

Bach Beautifully Played.......2002-07-05

Giuliano Carmignola is a musician's musician. He was "discovered" by Sony when he was around the age of 50, having spent many decades in a corner of Italy quietly, calmly doing what he loves to do: playing music, considering music. We know this because we can clearly hear this in his sound. His sound never harangues, but its beauty compels us to listen. (Music, after all,is the art of manipulating sound.) It is not anti-music to play beautifully, although in these times of the vociferous "authentic" movement spokesmen, it might be politically incorrect. Being a working classical musician myself (I'm a violist), I inevitably find it wildly amusing to read protests by the so-called authentic movement. Many sound like they actually believe they are channeling past lives (and aural memory) from the eighteenth century. They conveniently forget that the Baroque Period (1600-1750) was Dionysian (and therefore "Romantic") and not Apollonian. And they very self righteously try to snooker us into believing that they alone know what a body of work stands for, as if any one human being could possibly define that for the rest of us. A body of work stands for nothing, it simply is. Art always is the sum total of the experience we bring to it, "experience" being the operative word here. Ask any old geezer musical icon what is the most important in music, and you will inevitably get the same answer: music is about concentration and it is about intention. From the point of view of rendering a satisfying performance, what is printed on the page is merely the beginning of the process -- and in the end, the least important. For unless an artist takes the printed page and then runs with it according to his own unique and inimitable experience, what is rendered sadly becomes something that a synthesizer also could have produced. I wince thinking of the enormous amount of recorded music out there that falls into this category and of the people who sigh, "I just don't like classical music." I say they just don't like performances that bring nothing to the printed page.Carmignola and Marcon bring their honest selves to the performance of this music. The pleasure of their honesty and the beauty of their sound fills this listener with immense satisfaction.

You guys must be kidding........2002-05-29

The fact that Gould's Bach recordings are still one of Sony's major cash cows, must have given these fellows the idea that recognition of the brand name will make just any Bach recording sell.

As a person who has seen the development of the authentic movement from close range, I still should not be considered among its greatest fans. There are exceptions. Recently, I really like Wispelwey on cello and have become a great fan of Podger on violin. It has been said that Bach's music is so strong that no performance can invalidate it. Well, here Giuliano Carmignola and Andrea Marcon prove believers of that credo wrong.

It has always been the intention of the authentic movement to remove all the false romanticisms from the Bach performance. Yet, it may be me, but the mannerisms of people like Koopman and Leonhardt have always seemed like a replacement of old romanticisms with new ones. Extrapolating that notion to the infinite, we end up with this disc. I admit that Robert Schumann's piano parts added to Bach's works for solo violin are downright weird, but what these guys to Bach on this disc should come as a not too distant second.

With a catalog that is full of good traditional recordings (e.g. Szeryng, Mullova, Stern) and a recent slew of authentic ones (Podger clear first choice, Manze distant second) the world was not really waiting for anther version. But, in a perverse twist to Gould's dogma "the only reason to make a new recording is to do it differently", the Italian guys must have thought, "let's see how Accardo and Pollini would play these works and do the absolute opposite". This recording is so insanely bad and opposed to all that Bach stands for that I see it as a Guinness Book of Records contender for a musical record version of "the inmates are running the asylum".

Tracks:

Prelude E- Flat Major
Allemande
Allemande II
Courante
Sarabande
Bourree
Menuet I
Menuet II (Trio)
Fuge In G Major
Prelude And Fughetta In G Major
Prelude And Fughetta In G Major
Praembulum In D Minor
Fugue In D Minor
Prelude And Fughetta In F Major
Prelude And Fughetta In F Major
Preambulum And Fughetta In C Major
Preambulum And Fughetta In C Major
Fugue In C Major
Prelude And Fugue In A Minor
Prelude And Fugue In A Minor
Fugue A Minor
Prelude And Fughetta In E Minor
Prelude And Fughetta In E Minor
Fugue In E Minor
Sarabande In G Minor
Courante In G Major
Fantasia On A Rondo In C Minor

Tracks:

Chromatic Fantasy In D Minor
Applicatio In C Major
Prelude In C Major
Prelude In D Major
Prelude In D Minor
Prelude In F Major
Prelude In F Major
Prelude In G Minor
Prelude In G Minor
Prelude In A Minor
Fughetta In C Minor
Fugue In C Major
Fantasia In C Minor
Prelude In C Major
Prelude In D Minor
Prelude In E Minor
Prelude In A Minor
Prelude In C Major
Menuett In C Minor
Menuett Es-Dur
Prelude In C Major
Prelude In C Minor
Prelude In D Minor
Prelude In D Major
Prelude In E Major
Prelude In E Minor
Prelude And Fughetta In C Major
Prelude And Fughetta In C Major
Prelude In G Major
Prelude And Fughetta In D Minor
Prelude And Fughetta In D Minor
Allemande
Courante
Sarabande Simple
Sarabande Double
Gigue

Customer Reviews:

Great recording.......2007-02-11

Robert Hill's performance on this record is very good. It is a comprehensive recording of a large series of keyboard works by Bach. This is a great anthology for the bach listener and enthusiasts, and also can provide insight to the young or young to keyboard student who is learning and exploring the world of Bach's keyboard music. The cd collection uses both harpsichord and clavichord, which adds a nice change of pace in the cd. The booklet is informative, in english, spanish, french, and german and has plenty of notes concerning the instruments, some historical background and plenty of track inforation.

Graupner: Partitas for Harpsichord, Vol. 2

Average customer rating:

Startling Discovery of First-Rate Baroque Harpsichord Music

Graupner: Partitas for Harpsichord, Vol. 2

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Christophe Graupner: Partitas for Harpsichord, Vol. 1
Graupner: Partitas for Harpsichord, Vol. 4
Graupner: Music for Harpsichord, Vol. 5
Graupner: Partien GWV 103 & 150 (from Partitas for Harpsichord, Vol. 3); Februarius GWV 110
Buxtehude: Harpsichord Works

ASIN: B0000942GH
Release Date: 2007-04-03

Tracks:

Partita Ii En Do Mineur / In C Minor / In C-Moll (Gwv102) Partien Auf Das Clavie
Partita Viii En Fa Majeur / In F Major / In F-Dur (Gwv 108) Partien Auf Das Clav
Extraits De / Excerpts From / Aus Partita En Sol Majeur / In G Major / In G-Dur
Extraits De / Excerpts From / Aus Partita En Re Mineur / In D Minor / In D-Moll

Customer Reviews:

Startling Discovery of First-Rate Baroque Harpsichord Music.......2003-10-01

The story of how the music on this disc and its immediate predecessor came to be recorded is one of some musicological excitement. Geneviève Soly, a harpsichordist from Montréal, took a year off from performing and went nosing around music libraries looking for music to play. At the Yale University library she found an old collection of eight partitas for harpsichord by Christoph Graupner (1683-1760) that had been published from manuscript in Darmstadt in 1918 and then promptly forgotten about. It happens that Graupner was so modest that he never allowed a portrait to be made and turned down the job that Bach eventually got in Leipzig because his then-employer, the Landgrave of Hesse-Darmstadt asked him to do so; he spent the rest of his life in that job. He also instructed his family to burn his voluminous manuscripts upon his death but the City of Darmstadt, where he had been court composer for over fifty years, challenged this in the courts and, after a legal battle of almost 60 years, they won the rights to the manuscripts which have been preserved there. A small publication of Graupner works was made in the early 1900s but didn't attract much attention. And otherwise he was pretty well unknown in modern times. This recording , Volume II of a projected series that will comprise all these partitas, is a world première of what, I believe, is world-class music. [I am indebted to Barry Brenesal, who interviewed Ms. Soly for Fanfare recently, for much of this information.]

Clearly, as with his generation of composers--Bach, Handel, Telemann and Scarlatti; what a generations THAT was!--he was aware of stylistic trends throughout Europe. Indeed, if I had not known the provenance of these pieces I would have thought they were written by a French composer. Unlike the music that Bach or Handel wrote 'in the French style' (e.g. Bach's French Suites) where the French approach was grafted onto German procedures, Graupner's music 'sounds' French through and through.

On this disc we have Partita No. 2 in C minor and No. 8 in F major, as well as excerpts from a couple of other partitas. The various movements are give French titles. [Interestingly, Graupner's assimilation of French musical styles didn't extend to a grasp of the French language; he consistently misspells 'gigue' as 'gique,' and 'rigaudon' as 'rigoudon.' He also calls a sarabande a 'sarabante.' No matter, it's the music that counts.]

Like French music of the period there is much less use of strict counterpoint as in German music--although the 'gique' of the 8th partita is a terrific fugue--and consistent use of French dance forms. The Sarabande of Partita 8 is followed by four variations--shades of Handel's 'Harmonious Blacksmith'!--the last of which is a study in arpeggios. The melodic materials in these partitas is absolutely first-rate; there's not a dog among 'em. I kept going back to delicate Air of Partita 8, to the mournful Allemande of Partita 2 and the following Courante and Sarabante. The Gavotte en Rondeaux (band 19, one of the excerpted dances) is particularly choice. The gigue in C major (another of the excerpted dances) is virtuosic in the extreme and neatly played.

Ms Soly's playing is superlative. Since this is a collection of dance pieces it is important to note that her handling of the various rhythms is crisp and invigorating. A word must also be said about the harpsichord on which she is playing. There is a full-color picture of it on the back cover of the booklet and it is visually a real work of art, with delicate leaves and flowers, as well as a pastoral scene, painted on the soundboards (yes, there are two sound boards with a separate one for the 16' strings). The five-octave instrument, a modern (2002) copy by Hubbard and Broekman of a ca. 1730 double manual harpsichord by H. A. Haas, has a very pleasing and deeply rich tone and includes a variety of hand-stops (including a marvelous 'nasale') that allow a good deal of tonal variety. The recorded sound provided by Analekta is a model of clarity; there is little of the clangor so often heard in harpsichord recordings.

A wonderful recording of a wonderful performance of wonderful newly-discovered music. Heartiest recommendation.

TT=59:38

Tracks:

Allemande in a
Allemande in e
La Dauphine
La Livri
Les Tourbillons
La Triomphante
Gavotte Variee
L'Enharmonique
La Joyeuse
Tambourin
Les Soupirs
L'Egyptienne
Les Tendres Plaintes
La Poule
La Lardon
Les Cyclopes
L'Entretien Des Muses
Les Sauvages
Le Rappel Des Oiseaux

The Harmonious Blacksmith: Favourite Harpischord Pieces

Average customer rating:

The Harmonious Blacksmith: Favourite Harpischord Pieces

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Gavottes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000057CH
Release Date: 1990-10-25

Average customer rating:

A "Switched-On" gem!
Tres Grand!
Wonderful!

Rameau

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Gavottes | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Dance & DJ | Styles | Music

General | Jazz | Styles | Music

Smooth Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000260Y
Release Date: 1990-10-25

Tracks:

Fanfarinette
Gavotte & 6 Doubles
Menuet #1
Menuet #2
La Livri
Arlequinade
La Timide: Rondeau gracieux - Rondeau
L'Indiscrete
La Chasse
Les Niais de Sologne: Double de Niais #1 - Double de Niais #2
Les Soupirs
Air pour les Esclaves africains
Les Triolets
Tambourin #1 - Tambourin #2

Customer Reviews:

A "Switched-On" gem!.......2004-02-29

There was a time when I first saw this CD in a store. While I looked on back for the listing of the pieces, I read the print on the bottom that mentioned what kinds of instruments did Bob James played. One of them was the Mini-Moog. It also mentioned "Oberheim," "Roland," and "Yamaha." These names made me think they're synthesizers. I suspected this must be inspired by Wendy Carlos' interpretation of Bach. However, I didn't want to waste my money on a full priced CD. I wanted to get it on sale.

Well, one day I was at a flea market looking through CDs. In that box of compact discs was THAT particular one. I got that for about $10! When I first listened to the CD back home, it was very much what I expected. I'm not a jazz fan and I don't have to be. This particular one that Bob James did is not jazz but classical (very much like the way Wendy Carlos did on "Switched-On Bach"). The only non-synthesized instrument I heard is the piano. It blended in very well with the synthesizers. Did you know that Bob James' "Rameau" and Wendy Carlos' Switched-On albums were originally issued by CBS Masterworks? There's something in common besides performing on synthesizers.

Years later (sometime after Y2K), I wonder if amazon.com would list that particular CD. What a discovery! It is listed! But, as you may notice, it's out-of-print and it could be hard to get. In case you wanna know, I still have that CD in mint condition. I'm telling you out there reading this review, if you like the "Switched-On" albums by Wendy Carlos, you may wanna look for this out-of-print CD of Rameau's music. I think this shoud be back in print. Oh yes, also look for "The Scarlatti Dialogues!"

Tres Grand!.......2002-11-02

Bob James' first classical release is a true gem in every sense! It started as a Christmas present for family and friends, but soon expanded into its present form. The charming "Fanfarinette" starts us off. Rameau's most popular keyboard work, "Gavotte with 6 Doubles", is given an intense treatment here. Two contrasting Minuets follow. "La Livri" is given a slightly faster rendering than usual. "L'Arlequinade" is elegant and graceful. "La Timide" are two rondos pieced as one. "L'indescreet, another rondo with it's theme in thirds, ends the first half. The harmonically challenging "La Chasse" starts the second half. "La Nais de Solongne" feature Bob at the acoustic piano along with the synths. "La Soupirs" is as a gentle breeze. "Air Pour L'Esclaves Africans" is a broody piece. "Les Triolets" is soft and quiet. We close with two contrasting tambourins, the first given rubatos and accelerandos throughout. Bob uses synth percussion to great effect here. I would also recommend that the listener find Bob's 1988 recording, THE SCARLATTI DIALOGUES.

Wonderful!.......2001-06-21

This is an absolutely marvellous CD. I am a classical music lover, particularly of the baroque period and preferably with original instruments. But then I heard a snatch of this on the radio and bought it - and was immediately charmed. I'd say that it is definitely NOT for purists - the sometimes odd synthesised sounds, the swapping of the musical strands from one speaker to the other and back again, sometimes rapidly alternating, will probably be regarded by some as tasteless. However, for me, none of this takes away from the beauty of the creations of Jean-Philippe Rameau, one of the great figures of 18th. century French music, and Bob James does him both homage and justice. I simply never tire of listening to it.

Bach J.S: 3 Sonatas For Viola Da Gamba And Harpischord [Germany]

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Bach J.S: 3 Sonatas For Viola Da Gamba And Harpischord [Germany]
Kuijken , and Leonhardt
Manufacturer: Deutsche Harmonia Mun
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

John Sebastian Bach: 6 Sonatas For Violin And Harpischord
J.S. Bach: Goldberg Variations, BWV 988 [Germany]
J.S. Bach: The French Suites - Gustav Leonhardt
J.S. Bach: Das Wohltemperierte Klavier II
Well Tempered Clavier 1 (Ger)

ASIN: B000026NCV
Release Date: 1989-11-06

Tracks:

Adagio
Allegro Ma Non Tanto
Andante
Allegro Moderato
Adagio
Allegro
Andante
Allegro
Vivace
Adagio
Allegro

John Sebastian Bach: 6 Sonatas For Violin And Harpischord

Average customer rating:

John Sebastian Bach: 6 Sonatas For Violin And Harpischord

Manufacturer: Deutsche Harmonia Mun
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Bach J.S: 3 Sonatas For Viola Da Gamba And Harpischord [Germany]
Johann Sebastian Bach: Violin Concertos, BWV 1041-1043 - Sigiswald Kuijen / La Petite Bande
Bach: Sonatas & Partitas, BWV 1001-1006
J.S. Bach: Goldberg Variations, BWV 988 [Germany]
J.S. Bach: Das Wohltemperierte Klavier II

ASIN: B000026N58
Release Date: 1990-04-01

Tracks: