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Handel: Harpsichord Variations [Import]

George Frideric Handel , Byron Schenkman Audio CD
5.0 out of 5 stars  See all reviews (2 customer reviews)

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Product Details

  • Performer: Byron Schenkman
  • Composer: George Frideric Handel
  • Audio CD (March 1, 2000)
  • Number of Discs: 1
  • Format: Import
  • Label: Centaur
  • ASIN: B00004OCSU
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #856,387 in Music (See Top 100 in Music)

1. Suite for keyboard (Suite de piece), Vol.2, No.1 in B flat major, HWV 434: Prelude
2. Suite for keyboard (Suite de piece), Vol.2, No.1 in B flat major, HWV 434: Allegro
3. Suite for keyboard (Suite de piece), Vol.2, No.1 in B flat major, HWV 434: Air and Variations
4. Suite for keyboard (Suite de piece), Vol.1, No.3 in D minor, HWV 428: Air & Variations in D minor
5. Suite for keyboard (Suite de piece), Vol.1, No.3 in D minor, HWV 428: Air & Variations in D minor
6. Suite for keyboard (Suite de piece), Vol.1, No.5 in E major ('The Harmonious Blacksmith'), HWV 430: Prelude
7. Suite for keyboard (Suite de piece), Vol.1, No.5 in E major ('The Harmonious Blacksmith'), HWV 430: Allemande
8. Suite for keyboard (Suite de piece), Vol.1, No.5 in E major ('The Harmonious Blacksmith'), HWV 430: Courante
9. Suite for keyboard (Suite de piece), Vol.1, No.5 in E major ('The Harmonious Blacksmith'), HWV 430: Air / Variations ('Harmonious Bla
10. Suite for keyboard (Suite de piece), Vol.2, No.7 in B flat major, HWV 440: Allemande
11. Suite for keyboard (Suite de piece), Vol.2, No.7 in B flat major, HWV 440: Courante
12. Suite for keyboard (Suite de piece), Vol.2, No.7 in B flat major, HWV 440: Sarabande
13. Suite for keyboard (Suite de piece), Vol.2, No.7 in B flat major, HWV 440: Gigue
14. Suite for keyboard (Suite de piece), Vol.2, No.4 in D minor, HWV 437: Allemande
15. Suite for keyboard (Suite de piece), Vol.2, No.4 in D minor, HWV 437: Courante
16. Suite for keyboard (Suite de piece), Vol.2, No.4 in D minor, HWV 437: Sarabande and Variations ('Folia')
17. Suite for keyboard (Suite de piece), Vol.2, No.4 in D minor, HWV 437: Gigue
18. Suite for keyboard (Suite de piece), Vol.1, No.7 in G minor, HWV 432: Overture .../Presto/Adagio/...
19. Suite for keyboard (Suite de piece), Vol.1, No.7 in G minor, HWV 432: Andante
20. Suite for keyboard (Suite de piece), Vol.1, No.7 in G minor, HWV 432: Allegro
See all 24 tracks on this disc

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4 of 4 people found the following review helpful
5.0 out of 5 stars Simply Awesome! November 27, 2000
By A Customer
If I could only own one CD of solo harpsichord music (heaven forbid!) this would be it. Schenckman's performance of the Handel suites/variations is nothing short of brilliant - a refreshingly exciting execution running the gamut from very moving to outright flashy. Handel's legendary virtuousity and spirit has been captured at last. One can't help but wondering if Schenckman is actually channeling Mr. Handel while playing. (Adding to the experience is the fabulous flemish harpsichord that he is using.) For those who love baroque music, the harpsichord, and/or Handel this CD is sure to please.
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Byron Schenkerman has hit the nail in the head with this magnificent recording of select Händel harpsichord pieces; he has great affinity with the composer's dramatic, temperamental rhythmic fluctuations, as well as Händel's 'verticality' (Donald's Grout's savvy distinction between Händel, whose contrapuntal mastery stems from a harmonic conception, and Bach, who conceives counterpoint from a more "horizontal intertwining of the voices"). Schenkerman also possesses much creativity in ornamentation and understands that in Baroque music repeats ought to have such flourishes. Case in point is the Suite in G Minor (1720), which is probably the best I have heard on record (Ross, Van Asperen, included): the Overture (a French Ouverture) is riveting, the Allemande immensely poetic, but in the Sarabande, which is quite similar harmonically to the D Minor (1733), Schenkerman employes a wealth of imagination in the repeats that is spellbinding. Not only is Schenkerman aware of the better aspects of 'period practices', which have now become widespread, but luckily he also shies away from the anemic, languid habits of many 'period instrumentalists'; his playing is pertinently sumptuous and opulent.
The sound, too, of the harpsichord--and the recording--is ideal.
I highly recommend this recording, which is becoming increasingly difficult to find.
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