Customer Reviews

Rameau: Keyboard Suites

5 star:		(3)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

The great French composer Jean-Phillipe Rameau (1683-1760) was a contemporary of Bach, Handel, and Scarlatti, but his music remains less-known than that of these masters. Rameau wrote a treatise on harmony and, after the age of 50, a long series of operas. He composed music for the keyboard at three periods of his life, early works in 1706, followed by suites composed in 1724 and revised in 1731, and a latter group of suites in 1729-1730. This recording includes Rameau's suite in E minor, from 1724 and the final two suites from 1729 in G and A minor.

Rameau's keyboard music was composed for the harpsichord. I wanted to hear this recording of Rameau on the piano by Angela Hewitt because I love Rameau and have been greatly impressed by Ms. Hewitt. I had ambitions of trying to learn some Rameau myself on the piano (I don't play the harpsichord) and wanted to hear it beautifully played. And I wanted to compare the music as performed on the two instruments.

As my fellow Amazon reviewers have noted, this reading on the piano does not replace Rameau on the harpsichord. The earlier instrument has a timbre, a sway, and a linearity that the piano cannot duplicate. With that qualification at the outset, this remains a wonderful recording. When one plays music of this era on the piano, -- Scarlatti, for example, -- it is crucial to remember that the piano is not a harpsichord and that the music must be interpreted using the resources available on the piano rather than attempting to make the piano sound like a harpsichord. Hewitt does so masterfully in her performance of Rameau. She plays with a fluid, legato touch that would be difficult to duplicate on the harpsichord. Equally important, she uses the full dynamic range of the piano to interpret the music in a way that would not be possible on the harpsichord. She uses the pedal lightly and she is able to bring the ever-present and difficult ornamentation in this music to life on the piano. This recording consists of beautiful music-making and offers Rameau in an idiomatic and revelatory reading that should not be faulted simply because it is performed on a modern instrument. Rameau himself noted explicity that many of his harpsichord pieces, such as the chamber-music "Pieces de Clavecin" could be performed by various combinations of instruments, or by a solo instrument. He would have adored Ms. Hewitt.

Rameau's keyboard music is a combination of the dance music of the earlier French baroque together with various character or genre pieces that were also used extensively by Couperin. The earliest work on this recording, the suite in E minor includes a variety of French dance music, including an allemande, courante, gugue,rigadoun, and a tender and lyrical musette. The dance selections also feature a famous Tamborin, a rhythmic dance that would have been performed as a solo by a dancer with tamborine in hand. The genre pieces include "La rappel des oiseaux" which depicts a convocation of birdshe " and a conluding piece "La villagoise" , a flowing, quiet work in the form of a rondeau.

The remaining two suites include more genre music. The suite in g minor features a work called "La Poule" (no relation to the Haydn symphony with this name) which depicts a contrast between agression and sadness and the poetic "Les triolets". The g minor suite also includes a harmonically daring piece called "L'enharmonique") in which Rameau shows, in a slow, meditative work, how one note on the keyboard can be interpreted alternatively as the basis for two separate keys (c-sharp and d-flat). "Les Sauvages" is Rameau's interpretation of a dance performed by American Indians who had performed in Paris, and the suite concludes with "L'egiptienne" which has been described by one critic as displaying "le lyrisme furieux."

The final work on this CD, the suite in A minor combines the best of dance and genre pieces. Its dance highlights include a lengthy, complex opening allemande. The genre pieces include a Scarlatti-like piece with much hand-crossing, "The three hands", together with two contrasting portraits of women, "Fanfarinette" with its charm and lightness and "La Triomphante." The A minor suite concludes with an extended gavotte and series of variations (doubles) which are in the style of Handel and which take the listener from a simple lyrical theme to music of ever-expanding power and force.

Angela Hewitt wrote the liner notes for this album. This recording includes beautiful pianism and compelling readings of Rameau.

Robin Friedman

I must admit that I have not heard the Alexandre Tharaud recording of this music. If it is in fact so vastly superior to Hewitt's interpretations, then I think it would be so painfully beautiful that I would not be able to listen to more than short bits at a time. I find the Hewitt to be immensely satisfying on so many levels. And, yes, I generally prefer hearing Baroque keyboard music on the piano, however much I also appreciate the harpsichord. For me, Hewitt draws out so much humanity in these works -- humor, whimsy, tenderness, and even soulfulness that I find these pieces revealing every time I listen to them. Then there is the playfulness and virtuosity that Hewitt brings to Rameau that makes them delightful on simply musical terms. As with the Couperin, I return to this disc time and time again and am rewarded greatly with each visit.

I am no period instrument purist and truly feel that those listeners out there who are should stay away from discs like these. Yes Rameau was not written for the piano but his keyboard music can sound marvellous on it in the right hands. Hewitt is an intelligent artist and there is much that is very good here but a lot of the playing is rather pedestrian I am afraid. When compared to Alexandre Tharaud's disc of similar repertoire for Harmonia Mundi, Hewitt's performances come up glaringly short. That said, Tharaud's is a quite extraordinary disc and one that any serious fan of fine piano playing should own.

Few pianists have dared venture into the world of Rameau - and for a good reason. The French Baroque music has a certain flair and technical conception better suited to the harpsichord. Here's a quick way to summarize this disc: If you are a Hewitt fan and enjoyed her three Coupernin discs, you'll find more to like here. However, if you have logged many hours listening to the past greats on Harpsichord play Rameau, you probably will find fault with the whole approach of a piano encroaching into this Baroque era music and finessing its way around all the ornamentations written for the harpsichord's unique characteristics.

In her preparation for this recording, Ms. Hewitt took her cues from the likes of harpsichord greats like Wanda Landowski and Trevor Pinnock. Whether one likes this music on the piano, its clear that Hewitt has a talent for maximizing the nuances of the modern piano in this music or Couperin's. She is creative in her shaping and has good taste and balance. However, for Gramophone, it appeared her approach was just a bit too nuanced and gentle, not fully releasing the intensity within some pieces.

I had no expectations listening to this CD and found I enjoyed it more than expected. But, then again, I like all of her Bach and Couperin recordings. The average Baroque listener should fin many compositions fascinating and quite appealing. But, to the point about the harpsichord being supreme in this music, its a valid point. But, be your own judge by listening to performances on both instruments. Compositions - 4.5 stars; Performance - 4.5 stars; Sound quality - 4.5 stars.

I have read that 'purists' prefer that these works be played on a harpsichord. That may be so but don't give it thought, simply enjoy Angela Hewitt's playing of them on a piano. Like all her performances it is irresistable.

The music,technical reproduction quality, and musicianship are all top notch. Very lyrical. Highly recommended for Baroque buffs.

Angela Hewitt proves once again that the modern piano is as out of place in the world of Baroque harpsichord music as the electric guitar and moog synthesizer.

I love to hear the modern piano play modern music - I love the keyboard music of Shostakovich, Bartok, Messiaen, Berg, Webern, Berg, Scriabin and Boulez. A modern piano in the music of these composer is just right. I have a recording of the keyboard music of Debussy on a 19th century pianoforte and it is clear to me that the instrument DOES matter.

I tried to listen to this recording and I found myself instantly repelled. There is a belligerent smugness about Angela Hewitt I find most disagreeable and tedious. This isn't her repertoire and she isn't welcome here by this lover of Rameau.

Three steps forward and two steps back. Angela Hewitt, I am afraid to say, represents the backward steps. Angela Hewitt is an anachronism - a reminder of the bad old days when modern musicians smugly thought that their chosen instrument was capable of playing and appropriate for any form of music from any period or culture. Maybe Angela Hewitt should record some traditional Japanese koto music on her modern grand piano and try telling the Japanese that their instruments are inadequate and inexpressive? Playing 18th century French Baroque harpsichord music on a 21st century Grand Piano is no different, only Rameau is not here to whack her over the knuckles!

This disc is of only passing interest to pianists and piano students who are arrogant about the modern piano's appropriateness for ANY music! If you're any sort of lover of Baroque music or French Baroque music or the great music of Jean-Philippe Rameau, you'll prudently ignore and/or avoid this unnecessary disc and look elsewhere. Christophe Rousset plays the clavecin music of Rameau with great style, wit and wisdom. Look no further than his recordings. Hewitt's recording is a waste of time.

Needless to say, Angela Hewitt will probably be recording the music for virginals of William Byrd, next, and I will scrupulously avoid that recording, should it haplessly eventuate.

I first got to know the Rameau keyboard pieces in an odd way - via a synthesised version by Bob James, a sort of "Switched-on Rameau", but, to my ears, much superior to Walter/Wendy Carlos's effort with Bach. So, when I saw that the marvellous Angela Hewitt had recorded them, I bought the CD.

Now this will not go down well with purists, because Jean-Philippe Rameau wrote them for the harpsichord, a very different instrument from the modern piano. However, Ms Hewitt does her usual great job, playing with all the virtuosity, sensibility and feeling that typifies her art. The pieces, while not being what one could really call "great music", are, by turns, bright, lively, contemplative - and all thoroughly enjoyable. My feeling is that, in the composers' Valhalla, Jean-Philippe is listening and saying, "Formidable!"

Angela Hewitt does a beautiful job interpreting these Rameau Suites. While Rameau tends toward much repetition his music is delightful to hear. Glad someone of Hewitt's talent has recorded some of his works.