Rameau: "Nouvelles Suites"

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Total Tracks: 22   Total Length: 62:42

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James Jolly

eMusic Contributor

04.22.11
The beating heart of the French Baroque harpsichord repertoire.
2001 | Label: harmonia mundi / IODA

This is something of an oddity, but has been a colossal best-seller in France. Sure, we've had Bach and Handel played on the piano, but not that often do pianists strike so convincingly at the beating heart of the French Baroque harpsichord repertoire. Alexandre Tharaud acknowledges that this music was conceived for the percussive harpsichord but he also uses his modern Steinway with all the colour and mastery you'd expect of a pianist who has recorded Ravel's complete piano music. And Rameau's suites are so full of invitations to let the imagination run loose that they are a gift to such an accomplished pianist. Tharaud makes this music dance — so that by the time you reach the end, you've almost completely forgotten that you're hearing it on the "wrong" keyboard instrument.

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Correction

desertowl1026

Track 22 is "Images, Series 1 - No. 2. Hommage a Rameau" by Claude Debussy.

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An insane gamble that pays off...

HomoTerribilis

Rameau arranged and rearranged his "Suites pour clavecin", for trios and quartets, and they have since been adapted for sextet - not to forget the orignal harpsichord which still sings through every version. If transposing Bach to the modern piano irritates purists, the layers of harmony, multiple voices and intricate counterpoint have allayed the fears of most. With Rameau, the very percussive nature of the Suites pour Clavecin seem to argue against the idea, but Tharaud's gamble pays off handsomely. This is not for the purist - aside from modern instruments, Tharaud is happy to bring pedals into play, shape phrasing and harmony to suit and modern idiom - but the results are glorious!

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Stunning!

gci275

I was not expencting music that is so transcendent and compelling, especially when played on an instrument that was not even conceived when Rameau composed it. Who would have guessed that the composer of court operas for the Frech crown could have written these pieces that seem to speak a modern language. The credit goes to Tharaud for having saturated the notes with his deft touch.

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