español | français Medieval Renaissance Baroque Clasicism Opera  5 STARS All periods MEDIEVAL RENAISSANCE BAROQUE CLASICISM OPERA ** HARPISCHORD SUITES AND TRANSCRIPTIONS JEAN-HENRI D' ANGLEBERT Byron Schenkman Centaur 2435 1997 - 62:45 min. Jean-Henri d'Anglebert's only book of harpsichord pieces, published in 1689, two years before his death, includes four suites and some transcriptions from Lully (then all-powerful at the court of Louis XIV, where d'Anglebert was ordinaire de la musique de la chambre du Roy); a few other pieces (a couple of which are played here) exist in manuscript. The special problem he poses for performers-apart from the rhythmic interpretation of his ummeasured preludes, like those of Louis Couperin (likewise a pupil of Chambonnières)-lies in his profusion of ornaments (some individual to him), which need to be absorbed into the melodic lines without impeding the basic dance rhythms. The American harpsichordist Byron Schenkman shows himself adept at this, particularly in the buoyancy with which he invests the Gigue of the G minor suite; but in seeking to place agréments cleanly he somewhat robs its Courante of vitality. (However, he argues that d'Anglebert's dances were often slower than their titles suggest, as is evidenced by his gaillardes). This music, unlike that of other clavecinistes, is less concerned with charm, more with profundity, even grandeur, nowhere more so than in the famous tombeau for his old teacher, whom he replaced at court. Certainly Schenkman, playing a sonorous Ruckers copy, seems more intent on strength than on grace or expressiveness; and this, combined with the absence of fast- moving music, makes it advisable to take this disc, well played as it is, in small doses. LIONEL SALTER ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com