Jean-Philippe Rameau: The Complete Keyboard Music, Volume One
Rameau was one of the great composers for the keyboard. But because pianists have not adopted his harpsichord music as they have that of the other great names of the Baroque – Bach, Handel and Scarlatti – his stature as a keyboard composer is not fully acknowledged. This series of three CDs presents all his keyboard music on the piano: the familiar suites, a number of discoveries and arrangements by his contemporaries.
Stephen Gutman, piano
Listen To This Recording:
-
Suite No. 1 in A minor (1706)
- Prelude
- Allemande I
- Allemande II
- Courante
- Sarabandes I & II
- VÈnitienne
- Gavotte
- Menuet
- Gigue
- Allemande
- Courante
- Gigue en rondeau I
- Gigue en rondeau II
- Le rappel des oiseaux
- Rigaudons I & II
- Musette en rondeau
- La Villageoise
- Tambourin
- La Coulicam
- La Livri
- Le VÈzinet
- La Laborde
- La Boucon
- L’AgaÁante
- Menuets I & II
- La Lapoplinière
- La Timide I
- La Timide II
- Tambourin I & II
- Air des Paladins (1760) [transc. Balbastre]
Suite No. 2 in E minor (1724)
Pièces de clavecin en concerts: Concert No. 1 in C minor (1741)
Pièces de clavecin en concerts: Concert No. 2 in G major (1741)
Pièces de clavecin en concerts: Concert No. 3 in A major (1741)
Goldberg Early Music Magazine :
‘…these thoughtful (yet never calculated) performances are highly enjoyable, and make a good case for the piano as viable alternative medium for his music.’
—Uri Golomb, Goldberg Early Music Magazine
BBC Music Magazine :
‘Gutman’s playing is sensitive, lightly articulated and cautious in its expressive range. …engaging for its ornamental delicacy and communicative lyricism. Among the highlights are the ‘Vénitienne’ from the A minor Suite and ‘Le rappel des oiseaux’ from that in E minor. In summary, a worthwhile venture and not just for its completeness. It complements Meyer’s more overtly pianistic approach, though in no sense topples it. I look forward to the remaining volumes.’
—Nicholas Anderson, BBC Music Magazine
MusicWeb International :
‘Just to make sure that I had not over-compensated for my general dislike of harpsichord music on the piano, I listened to the CD all the way through twice more without changing my mind. I can’t pretend that this will always be my preferred recording of these works but I’m sure it won’t disappear into the limbo of forgotten recordings either. Those who actively prefer the piano in this repertoire may purchase with confidence. Harpsichord-lovers have my word that they will not be offended.’
—Brian Wilson, MusicWeb International