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e-book Harpsichord Pieces, Book 4, Suite 23, No.4: Les gondoles de Delos

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Rota could write a great tune and his driving force was a unique sense of melody combined with elements of folk, circus music and opera. He embodied these elements with lush orchestrations,. But there are also vibes, marimba, mezzo-soprano voce and drum and bass to enjoy, all accompanied by the piano, organ and accordion of maestro Peter Dasent who was responsible for all the arrangements.

Acacia Quartet On the lower ground floor of Fine Music Their name chosen to depict the wattle flower, it has, like them, evolved to represent a dedication to Australian music and composers. At the end of , Fine Music will be bidding Acacia farewell as their time as Artist in Residence comes to an end. After three years, and a wonderful partnership, it is time for the quartet to spread their wings.

Bringing together a wealth of talent in the guise of violinists Lisa Stewart and Myee Clohessy, violist Stefan Duwe and cellist Anna Martin-Scrase, the quartet needed to find a way to have their voice heard. Not only have they collaborated with musicians and composers such as Nick Russionello, Sally Whitwell and Elena Kats-Chernin to name but a few but they have also toured broadly throughout regional NSW. For Clohessy, this has meant a return to her roots.

On the morning that she spoke to Fine Music, Clohessy had watched a year-old girl play a Mozart violin concerto with her regional orchestra. This dedication to fostering a love for music across the generations is perhaps why Acacia have been selected for the Raphael Project.


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Though Berlin may seem a far cry from Bellingen, the origins of the project are closer to home. For a quartet to cross the world with their precious instruments in tow is not, however, an inexpensive undertaking. Acacia hope their craft can help them raise the necessary funds. On the 6th of November, they will be holding their annual fundraise at The Rose Room, Burradoo - combining country surrounds, great food and beautiful music, it is the Acacia Quartet epitomised.

Fine Music should be proud of what they have nurtured. They have helped an ensemble grow and, in the process, assisted. The Acacia Quartet is now fully in bloom. Since being Artists in Residence we have received such great support from the Directors at Fine Music. Behind the scenes there have been so many amazing volunteers and staff that have welcomed and supported us. Friday 11th Nov, 7. Brahms, J. Gestillte Sehnsucht, op 91 no 2 pub. Beverley Bergen, mezz; Geoffrey Tozer, pf. Fine Music concert recording 5. Massenet, J.

Ballet music from Le Cid EMI 5 2 Bax, A. Sonata Ben Martin, pf. Tacet 35 LC 26 Wieniawski, H. Etude and caprice in E flat, op 18 no 2 arr. Colin Cornish, va. Fine Music concert recording 5 Mozart, W. Grand sextet in concertante style ; arr from Sinfonia concertante in E flat, K David Pereira, vc; Australia Ensemble.

Livre No. 4, 23e Ordre: No. 4, Les gondoles de Délos

ABC 31 Hartmut Lindemann, va all above. Delibes, L. ABC 8 Debussy, C. Gordon Fergus-Thompson, pf. Ravel, M. Piano concerto in G DG Elgar, E. Symphony no 1 in A flat, op 55 Exton EXCL Berlioz, H. Death of Cleopatra Piano trio no 1 in F sharp minor, op 1 Collins 25 Paderewski, I. Sonata in A minor, op 13 Wanda Wilkomirska, vn; Paul Dan, pf. Ambitus amb 97 24 Moszkowski, M. Suite for two violins and piano, op Andante and rondo, op Delos DE 8 Zarebski, J. Piano quintet in G minor, op 34 Jonathan Plowright, pf; Szymanowski Quartet. Hyperion CDA Keyboard concerto no 7 in G minor, BWV Musica da Camera; Adelaide Baroque Ensemble.

Suzanne Wijsman, vc; Noeleen Wright, vc. ABC 13 Blavet, M. Sonata in D minor, op 2 no 2, La Vibray Chandos CHAN Ogives, 1 to 4 Reinbert de Leeuw, pf. Decca 6 Gnossienne no 1 Dou-Tak NT 6 Gnossienne no 2 ; arr. Loussier c Jacques Loussier Trio. Decca 3. Boyce, W. Corydon and Miranda, a pastoral interlude Les biches Piano concerto no 2 in E minor, op 85 Symphony in C minor Naxos 8.

Opera in three acts. First performed Paris, She is in love with the young Count Floreski, but her father disapproves of his political sympathies and has promised her to Dourlinski. Floreski challenges Dourlinski, but just at the moment the castle is attacked by Tartars. Dourlinski forgets about his prisoner and she is rescued by her lover.

Overture to Medea Europa 7 Mozart, W. Telefunken 2 4 Non piu di fiori, from La clemeza di Tito DG 7 Cimarosa, D. Overture to Il matrimonio segreto Concerto for clarinet, harp and piano Guitar concerto in D, op 99 Vanguard 08 72 19 Stravinsky, I. Concerto for two pianos Philips 18 Barber, S. Cello concerto, op 22 RCA Royal consort sett no 9 in F. Symphony no 1 in C minor, op 4 Michel Portal, cl; Paul Meyer, cl. EMI 5 2 20 Bax, A. Lorna McGhee, fl; Alison Nicholls, hp. Dialogue: A conversation Neil Black, ob; Geoffrey Bush, pf.

Sonata in G minor, op 65 Franz Bartolomey, vc; Madoka Inui, pf. Suite from La jolie fille de Perth. Brilliant Classics 13 Clementi, M. Piano concerto in C c Symphony no 2 in B minor Concert piece, op 31a Arkadia CDAK Granados, E. Piano quintet in G minor, op 49 Passacaglia, op 1 ; arr. De Leeuw. Havanaise, op 83 ; transcr. Yo-Yo Ma. Yo-Yo Ma, vc; Kathryn Stott, pf.

Sony SK 9 Ravel, M. Trio in A minor ; orch. Suite bergamasque Missa pro defunctis. Panis angelicus ; arr. Introduction and rondo capriccioso, op 28 Teldec 9 Danse macabre, op 40 Mercury 7 Concert piece for horn and orchestra in F minor, op 94 From the steeples and the mountains Alexei Lubimov, pf. Pierre-Laurent Aimard, pf. Piano phase Double Edge. Electra Nonesuch 20 The desert music Chandos CHSA String trio in A minor, op 77b Andante and rondo for double bass and strings.

Teldec 10 Haydn, J. String duo in B flat, Hob. VI:3 bef. Kazuo Okamura, vn; Hans Dusoswa, va. Hooperisms Adrian Hooper, mand; Paul Hooper, mand. String quartet no 8 in C minor, op Concerto in F for two bassoons. Symphony no 4 in D minor, op 13 Triumphal march, ballet music and chorus, from Aida Fantasia on Greensleeves ; arr. Greaves, ABC 5 Coates, E. The Greenland Quattro pezzi sacri pub. Decca Grainger, P. Green bushes, from British folk-music settings Invano, Alvaro … Le minaccie, i fieri accenti, from La forza del destino Enrico Caruso, ten; Pasquale Amato, bar.

Elizabeth Campbell, mezz; Anthony Fogg, pf. Ave Maria, from Otello RCA 2 3 Ponchielli, A. The get-together: Divertimento for two clarinets La coccinelle; Ma vie a son secret; Pastorale; Berceuse sur un vieil air Ann Murray, mezz; Graham Johnson, pf. Piano concerto no 2 in G minor, op 22 Bottesini, G. Gran quintetto, op 99 Apostolo glorioso, from O gemma lux c If love by which I am smitten. Decca 8 Anon. Veni creator spiritus: three voice conductus. Trio Mediaeval.

Triste plaisir; Amours mercy; Je me recommande; Adieu mes tres belles; De plus en plus. Virgin 5 2 16 Ockeghem, J. Prenez sur moi vostre exemple amoureux; Ma bouche rit. Virgin 5 2 8 Byrd, W. Mass for three voices Nigra sum; Gaudeamus omnes. Trio in F; Trio in B minor ABC 14 Boyce, W. Trio sonatas: no 1 in A minor; no 2 in F pub. Trio sonata in G, BWV Emmanuel Pahud, fl; Berlin Baroque Soloists. EMI 5 2 7. Schubert, F. Incidental music to Rosamunde, D Double concerto in A minor, op Symphony in D Europa Symphony no 4 in B flat, op 60 Willem van Otterloo, cond. La mer Bernard Haitink, cond.

Lists of compositions by composer

Philips 23 Stravinsky, I. Suite no 3 from The firebird Riccardo Chailly, cond. Menuet in D. Aladar Mozi, vn; Danica Moziova, pf. Point Classics 4 Dussek, J. Anna Lelkes, hp. Forum 8 Danzi, F. Wind quintet in B flat, op 56 no 1 pub. Gewandhaus Windquintet. Lufthansa Promotional Gift 15 Haydn, J.


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  • String quartet in B flat, op 1 no 1. Royal Philharmonic Chamber Ensemble. Entry of the gladiators. Carnival of Venice. Floral dance. RCA 3 Steadman-Allen, R. Crown of conquest march. Molly on the shore. Overture to Esther A Carmen fantasy Maria Kliegel, vc; Nina Tichman, pf. Scottish concerto, op Sonata on Scots tunes. Creation symphony The gondoliers.

    Operetta in two acts. Libretto by W. First performed London, The infant prince was taken by Don Alhambra to Venice and, as the King has died, the hidden prince is now king. Casilda is now the reigning queen of Barataria but she is secretly in love with Luiz, their drummer. Don Alhambra explains that the prince was raised by the gondolier, Baptisto Palmieri, a drunkard, who eventually forgot which boy was his own son and which boy was the prince.

    The two boys, Marco and. Giuseppe, are now gondoliers. They have just married Tessa and Gianetta respectively. Don Alhambra informs them that one of them is the King of Barataria, but no one knows which. The gondoliers agree to go to Barataria at once, acting as one individual until the actual king is identified. Don Alhambra neglects to mention that the King is married to Casilda. In Barataria Don Alhambra breaks the news that one of the gondoliers had married Casilda when they were babies and therefore is an unintentional bigamist. Don Alhambra finds the nurse who cared for the young prince.

    She hid the prince and gave Don Alhambra her own son instead. Thus, the king is neither Marco nor Giuseppe, but Luiz. Casilda finds that she is already married to the man she loves and the two gondoliers surrender their crown to Luiz and, though a bit disappointed that neither will be a king, they can return happily to Venice with their wives.

    Excerpts from The Yeomen of the Guard Harp sonata Marshall McGuire, hp. Five songs to text by William Sharp, op 64 Merlyn Quaife, sop; Michael Kieran Harvey, pf. Ballade for string orchestra Marco Polo 8. Teldec 6. Antony Walker. Letters from Morocco Six preludes Bennett Lerner, pf. Valses nobles et sentimentales DG 15 Lhoyer, A. String quartet no 5 in F Quartetto David. Fantasia, op Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 28 Copland, A. The red pony suite EMI 5 Monteverdi, C.

    Beatus vir pub. Wachet auf, ruft uns die Stimme, BWV arr. Hannes Minnaar, pf. Geistliches Weigenlied, op 91 no 2 pub.

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    Missa festiva, op Overture to Nonetto, op 1 c Marc Teicholz, gui. Sconsigliata che fo! ABC 7 Haydn, J. Symphony in F, Hob. I Rondo alla Polacca. Hermann Baumann, hn; Leonard Hokanson, pf. Philips 5 Hummel, J. Adagio and rondo in A, alla polacca. Italian concertino Schwann Mozart, W.

    1715 compositions

    String quintet no 4 in G minor, K Cecil Aronowitz, va; Amadeus Quartet. The birds in the hedgerows, from The tales of Hoffmann Decca 7 Liszt, F. St Francis of Assisi preaching to the birds Nikolai Demidenko, pf. Suite: The birds Where the bee dances Christophe Rousset, hpd. Harmonia Mundi HMC Te Deum. Clarinet concerto no 1 in F minor, op 73 Charles Neidich, cl; Orpheus CO. DG 19 Bellini, V. Fini … me lassa! DG 7 Strauss, J. II The blue Danube, op DG 10 November Bizet, G.

    In the depths of the temple, from The pearlfishers RCA GD 5. The carnival of the animals EMI Hymn: For all the saints. Gloria; Sanctus; Agnus Dei, from Mass in honour of all saints. Nibiru 16 Haydn, J. Kyrie; Gloria, from St Cecilia Mass. Excerpts from St Elizabeth of Hungary. Tragic overture, op Decca 14 Mozart, W. Excerpts from La clemenza di Tito, K Wind Soloists of the Deutsche Kammerphilharmonie, Bremen. Trumpet concertino in C.

    Symphony no 3 in A minor, op 56, Scottish Circulating ocean Hymn: When I survey the wondrous cross. Kingsway KMCD 3. Laitman, L. Rasmussen, S. Violin concerto no 1, Songs of seasons Dacapo 8. Beethoven, L. Sonata no 30 in E, op Adrian Brendel, vc. Edwards, R. Symphony no 3, Mater Magna Bagatelles, op nos 5 and 6 Slavonic dances, op 46 : no 3 in A flat; no 4 in F. Supraphon SU 11 Franck, C. Sonata in A It runs like melodies, op no 1; Ever fainter grows my slumber, op no 2 Jessye Norman, sop; Daniel Barenboim, pf.

    DG 7 Strauss, R. Festmarsch in D Max Mandel, va; Amelia Piano Trio. Overture to The mason and the locksmith. Violin concerto no 2 in B minor, op 7 EMI 5 2 28 Wagner, R. Symphony no 4 in B flat, op 20 Hoffmeister, F. Israel Flute Ensemble. CDI Yo-Yo Ma, vc; Emanuel Ax, pf. Concerto in F for three pianos, K, Lodron DG 25 Telemann, G. Concerto in B flat for three trumpets arr. Triple concerto in D c Archiv 25 Vivaldi, A. Concerto in A for violin, three echo violins and strings, RV Harmonia Mundi HMX Triple concerto in C, op 56 Samuel Sanders, pf.

    Decca 15 Prokofiev, S. Five melodies, op 35 bis. Olli Mustonen, pf. Decca 12 Bottesini, G. Gran duo concertante Sony SK 14 Sibelius, J. Romance, op 82 no 2; Mazurka, op 81 no 1 Decca 6. Puccini, G. Bimba dagli occhi pieni di malia, from Madama Butterfly Decca 2 Mozart, W. DG 8. Wieniawski, H. Variations on an original theme, op 15 Rossini, G. Strahit auf mich die Blitz des Goldes, from The barber of Seville Bernstein, L. West Side story suite ; arr. Sony SK Ponchielli, A. Dance of the hours, from La gioconda Wagner, R. Prelude to Act I of Lohengrin DG 11 Elgar, E.

    Cello concerto in E minor, op 85 Scheherazade, symphonic suite after nights, op 35 Verdi, G. Mad scene, from Lucia di Lammermoor Cello suite no 2 in D minor, BWV c Edgar Meyer, db. Sony SK 20 Gluck, C. Albion Ensemble. Divertimento Sonata in D, op 50 Marta Mazzini, fl; Stefano Fiuzzi, pf. Quintet in A minor, op 84 Piers Lane, pf; Goldner String Quartet.

    Hyperion CDA 39 November At the celebrations when Albert is crowned, Sid, one of the village lads, laces the lemonade with rum. Albert, embarrassed, feeling foolish, and now decidedly drunk, vanishes only to return after a night on the tiles, and a happily disorderly adventure. He celebrates his liberation with Sid and his girlfriend Nancy. Symphony no 6, op , Celestial gate Koch H1 Vanhal, J. Symphony no 2 in G minor Boccherini, L.

    Guitar quintet no 9 in C, La ritirata di Madrid Ambroisie AM 7 Bach, J. Sonata no 3 in E, BWV bef. Christian Ferras, vn; Celiny ChailleyRichez, pf. DG 19 Edelmann, J-F. Sonata in C, op 8 no 1 Overture to Beatrice and Benedict Piano concerto in A minor, op 17 Symphony no 4 in C, op BIS CD 40 Albert Herring, op Libretto by Eric Crozier. First performed Glyndebourne, Decca Lady Billows and the local dignitaries of a small English village meet to elect a May Queen. Walker, S. Deep space Simon Walker, pf, synthesizers, perc.

    Venus; Mercury, from The planets, op 32 ABC 11 Kanno, Y. Stardust John Martin, pf. When the stars are in the quiet skies Robert White, ten; Samuel Sanders, pf. Titan A sun song for Eric Clifford Curzon, pf. Sviatoslav Richter, pf. Duo for viola and cello in E flat, WoO32, with two obbligato eyeglasses Sony SK 14 Schuller, G. Duo sonata Theodore Schoen, cl; Laura Ardan, cl. Duo, op Krysia Osostowicz, vn; Ernst Kovacic, vn. Album leaves for mandolin duo String duo no 2 in B flat, K Arthur Grumiaux, vn; Arrigo Pelliccia, va.

    Philips 20 Vaughan Williams, R. Three vocalises for soprano voice and clarinet Judith Howarth, sop; Emma Johnson, cl. String duo no 1 in F, Hob. VI:1 bef. Overture: Carnival, op 92 Bassoon concerto in B flat, K Orfeo C A 19 Rachmaninov, S. Symphony no 2 in E minor, op 27 The Moldau. DG 12 Ravel, M. La valse DG 12 Smetanin, M. ABC 6 Kapustin, N. Sonata no 15, op , Fantasia quasi sonata. John Salmon, pf. Music for John Bell: Five Shakespearean miniatures c Winterreise, D : no 1, Good night; no 24, The organ-grinder. Matthias Goerne, bar; Alfred Brendel, pf. Decca 11 Clementi, M. Sonatine bureaucratique Variations on a rococo theme, op 33 Mischa Maisky, vc; Orpheus CO.

    Sonata in A, D Vladimir Ashkenazy, pf. Decca 22 Franck, C. Prelude, chorale and fugue Jorge Bolet, pf. Flute quartet in C minor, op 16 no 2. String quartet in D minor, op 21 no 2 pub. Flute quartet in B flat, op 7 no 2. String quartet no 20 in D, K, Hoffmeister Rhapsody in G minor, op 79 no 2 Martha Argerich, pf. DG 6 Gypsy songs, op nos 1 to 7 DG 12 Prelude and fugue in A minor Peter Planyavsky, org.

    Piano concerto no 2 in A flat, op 32 String quartet no 5 Lutoslawski Quartet. Collisions, op 17 Symphony no 5 Little serenade for strings, op Cello suite no 1 in G, BWV c Mischa Maisky, vc. DG 20 Haydn, J. Quartet in D, op 2 no 2 c; arr. Karin Schaupp, gui; members of Flinders Quartet. ABC 23 Hoffmeister, F. Quartet no 2 in D. Sonata in C minor, op 35 no 3 pub. Suite in D minor after Chopin Trumpet concerto in C, Hob. VIIb:1 c; arr. Teldec Les berceaux, op 23 no 1 ; Clair de lune, op 46 no 2 Ian Bostridge, ten; Julius Blake, pf.

    EMI 5 2 6 Ravel, M. Trois chansons: Nicolette; Trois beaux oiseaux du Paradis; Ronde Pierre Verany 7. Bruckner, A. Symphony no 4 in E flat, Romantic String quartet in D minor, op 14 no 3. Aviv Quartet. The black joke with 21 variations, Wo Howard Shelley, pf. Clarinet quartet in B flat, op La chevelure ; Apparition Decca 7 Berlioz, H. Cambridge Singers; City of. Chabrier, E.

    Calaméo - harmonia mundi catalogue

    All the same there are not that many complete recordings available. One of the reasons is that his music is not easy to interpret, and often difficult to understand. Many pieces have titles which are hardly understandable to a modern performer or listener. To their frustration the composer didn't bother to reveal their meaning: "I have always had a subject when composing these pieces; different occasions have provided it.

    Thus the titles relate to ideas that have occurred to me, and I shall be forgiven if I do not account for them". As a result the titles are interpreted in different ways by different interpreters, and sometimes give cause for speculation. For instance, Michael Borgstede, in the programme notes, has an interesting view on the 17e Ordre, which opens with 'La Superbe ou la Forqueray', which "is obviously a portrait of the well-known gamba virtuoso Antoine Forqueray. Forqueray was a proud and stubborn man, who in later life would have his own son thrown into prison out of pure jealousy.

    Couperin's portrait fails to convince us of his affection for his Super-Star colleague. And could the Forqueray theme be carried on throughout the ordre? Although Couperin's music can be quite virtuosic the composer's objective was expression: "I frankly admit that I much prefer that which moves me to that which amazes me.

    This is an unpardonable negligence, the more so since it is not at all an arbitrary matter to put in what ornaments one wishes. As Wilfred Mellers puts it: "The dissonant sobs, the portamento sighs, the haze of fioriture with which the composer-virtuosi embellished their dance-structures were not designed primarily to exhibit technical skill; their purpose was to make the instrument speak more feelingly to an audience hyper-sensitively aware of the complexities of the human heart".

    These "complexities of the human heart" are impressively displayed in the four books with harpsichord pieces, divided into 27 Ordres, and - together with the preludes in Couperin's treatise 'L'Art de toucher le clavecin', published in - reach the number of What becomes clear from this large output is that Couperin was very interested in the world which surrounded him.

    A number of pieces reflect elements of the popular culture, for instance the circus. A good example is the 11e Ordre, which contains a piece with the mysterious title 'Les Fastes de la grande et ancienne Mxnxstrxndxsx'. We meet jugglers, acrobats, beggars, fiddlers, bears and monkeys, and also disabled people. That probably refers to the habit of exhibiting that sort of people in a kind of freak show. The present sensitivity towards physical disabilities didn't exist in those days.

    And while Couperin may never have written an opera, he was certainly interested in the theatre. Some pieces are dramatic in character, like 'La Dangereuse' 5e Ordre , or programmatic, like a battle-scene La Triomphante, 10e Ordre or a description of the stages in human life Les Petits Ages, 7e Ordre. In addition there are many references to nature and the life at the countryside. And there is also 'Les Langueurs tendres'; the languidness the title refers to could well be the effect of the summer heat on the countryside.

    Couperin couldn't ignore some of the most common musical forms in those days. Therefore the 8e Ordre contains a Passacaille. It is one of Couperin's most famous and intriguing compositions: here not only the bass is repeated time and again during the whole piece - as usual in a passacaille - but also the opening statement, to which Couperin returns many times.

    It is also characterised by strong harmonic tensions. Lastly: in his oeuvre Couperin shows a preference for "quiet music and inner expression", as a commentator stated. One of the most impressive examples of this inner expression is 'Les Ombres errantes', whose deep sadness is expressed in strong sighing figures, chromaticism and dissonances. It is one of the darkest pieces of all four books.

    Before talking about the qualities of Michael Borgstede's interpretation, let me concentrate on the technicalities. Borgstede uses two harpsichords, both built by the Dutch harpsichord builder Titus Crijnen. The first - used in the books 1 to 3 - is a copy of a Ruckers, dating from This is a little surprising as it seems a little unlikely that in Couperin's time such an early instrument would have been used.

    It is a beautiful specimen, but its tone is a little too aggressive. I find the second instrument, after an original by Henri Hemsch from , more appropriate to Couperin's music. This was common practice at the time, and another piece, 'Le Rossignol-en-amour' 14e Ordre , is frequently performed with a transverse flute in the upper part. The recording engineer has done a good job: the recording is crisp and clear, and the microphones have been close enough to the harpsichord to make all lines clearly audible without creating a sound which is too obtrusive.

    Only on the first couple of discs did I hear some noises which should have been filtered out. Sometimes Borgstede taking his hands off the harpsichord at the end of a piece causes some unpleasant noises.

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    As far as the presentation is concerned, Michael Borgstede has written interesting programme notes, but a more extensive explanation of the titles would not have done any harm. The print of the tracklists on the covers of the individual discs is rather small and the red colour of the covers doesn't make it any easier to read them. The duration of the discs on the cover is seldom correct. And although the first Ordres seem to consist of pieces put together more or less at random, I am not happy with the fact that the 2e Ordre, by far the longest of all, is divided over two discs.

    The 1er and 3e Ordre could easily been put on one disc, and the whole 3e Ordre on another. Lastly: the pauses between the Ordres are too short. But far more important are Michael Borgstede's interpretations, and I have to say that I am very impressed by his performances. There is great variety in Couperin's oeuvre for the harpsichord, and he himself stated that not every player is capable of playing everything equally convincing: "Experience has taught me that vigorous hands capable of the fastest and lightest playing do not always have the most success with tender and expressive pieces".

    There can be no doubt that Borgstede has "vigorous hands" which are capable of playing fast pieces. An impressive example is the previously mentioned 'Les Fastes de la grande et ancienne Mxnxstrxndxsx' from the 11e Ordre: the depiction of a circus ends in complete chaos, and this piece should be played "very fast" - and that is what Borgstede does in a most impressive way.

    I am happy to report that in general Borgstede is also equally convincing in the "tender and expressive pieces". The tempo and registration of 'La Lugubre' 3e Ordre is excellently suited to express its dark mood. And 'Le Rossignol-en-amour' can't be given a more moving performance with a transverse flute than it gets here, in a brilliant timing. Michael Borgstede is the keyboard player of the ensemble Musica ad Rhenum, which pays great attention to the dramatic and emotional character of baroque music.

    Therefore one may expect to recognize those qualities in Borgstede's performances here, and he does not disappoint in this respect. The contrast between pieces within a particular Ordre, or between sections within a single piece are generally very well realised. I feel that freedom is a little lacking here: I would have liked a more imaginative approach. Sometimes the tenderness a piece requires isn't fully realised.

    On the other hand, in 'Les langueurs tendres' 6e Ordre the languidness is brilliantly expressed. I am generally satisfied by the choice of tempo. But 'Les Amusements' 7e Ordre doesn't sound very joyful, and that has something to do with the tempo, which seems a little too slow considering the indication 'sans lenteur'.

    But the character pieces fare splendidly: the often very vivid descriptions of animals, people or things are in very capable hands here. Couperin's harpsichord music is impressive testimony to that ideal. Johan van Veen -- musicweb-international Rezensionen M.