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TO 0050

Rameau: The Complete Keyboard Music, Volume 1

The Classical Shop
release date: July 2008

Originally recorded in 2008

Venue:

Hurstwood Farm Piano Studios, Kent



Producer:

Michael Ponder


Martin Anderson

(Executive)

Engineer:

Michael Ponder



Record Label
Toccata

Genre:

Piano




Total Time - 77:12
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JEAN-PHILIPPE RAMEAU

   
 

Suite No. 1 in A minor

19:13  
1 Prélude 2:55
2 Allemande I 3:48
3 Allemande II 2:25
4 Courante 1:32
5 Sarabandes I & II 2:39
6 Vénitienne 1:26
7 Gavotte 1:23
8 Menuet 0:50
9 Gigue 2:15
   
 

Suite No. 2 in E minor

18:43  
10 Allemande 3:35
11 Courante 1:28
12 Gigue en rondeau I 1:18
13 Gigue en rondeau II 2:28
14 Le rappel des oiseaux 2:58
15 Rigaudons I & II 1:21
16 Musette en rondeau 2:18
17 La vilageoise 2:02
18 Tambourin 1:15
   
  Pièces de clavecin en concerts:  
 

Concert No. 1 in C minor

9:19  
19 Le Coulicam 3:44
20 La Livri 2:20
21 Le Vézinet 3:15
   
 

Concert No. 2 in G minor

17:32  
22 La Laborde 5:23
23 La Boucon 4:37
24 L'Agacante 2:54
25 Menuets I & II 4:38
   
 

Concert No. 3 in A major

12:24  
26 La Lapoplinière 4:08
27 La Timide I 2:07
28 La Timide II 2:24
29 La Tambourin I & II 1:45
   
30 

Air des Paladins

2:01
  (trans. Balbastre_  


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.

‘...perky energy and real character... More remarkably, even what seems like a real harpsichord moment – the machine-like chatter of Le Vézinet – retains its identity. [...] ...the overall feel is one of languid grace and charm. Gutman also achieves satisfying clarity and attack in many of the faster dance movements and reacts well to Rameau’s strong harmonic sense, forcefully direct in places, deliciously clouded in others. With more convincing character than Angela Hewitt, less pianistic trickery than the brilliantly imaginative Alexandre Tharaud and more of a feeling of being on this earth than the incomprehensible fantasising of Tzimon Barto, these are performances well worth investigating if piano-Rameau is what you want.’

Lindsay Kemp

Gramophone - 2007

‘...impressive... Stephen Gutman makes a persuasive advocate for the piano in place of the harpsichord, and includes some of his own transcriptions in this rewarding collection, played with insight and elegance.’

Stephen Pritchard
 

The Observer - 16 September 2007

‘Regular readers will know that I am generally averse to piano renditions of music written for the harpsichord or clavichord… when realisation dawned, on opening the parcel, I thought that I might regret the oversight. I am delighted to report that I was wrong: I now add Stephen Gutman’s Rameau to my list of exceptions and I shall bid for the next volume when it appears. […]  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 - January 2008

‘It’s been a heartening trend to observe recently a series of piano albums dedicated to Rameau’s keyboard music. All are technically expert. […] Gutman has the technical resources to play this music, and a scholar’s interest in proper ornamentation…[…] There is none of the sense of speed for virtuosity’s sake […] Gutman is also the one that remains most true to the idea of rendering harpsichord-like sonorities on the piano. […] The liner notes are exceptional, something I’ve come to expect from Toccata Classics. Gutman’s album is a welcome addition to the field, as much for his distinct point of view as for the promise of so much Rameau. Recommended.’

Barry Brenesal

Fanfare - January/February 2008

‘...along comes Stephen Gutman to release Rameau’s genie from the harpsichord in which he has been sealed away for the better part of two centuries (unlike Bach, Couperin and Scarlatti who today are equally at home on the piano)... A more superb threefold rehabilitation it would be hard to imagine! [...] Our Stephen is a missionary twice over: not only in claiming for us with such magisterial authority a whole new repertoire – eminently pianistic even before the piano had evolved as such! – but also in proclaiming the pre-eminence of the piano in taking over this last redoubt of its harpsichord heritage!’

Malcolm Troup

 

Piano Journal - Spring 2008

‘...the Frenchman is not the leading character. The pianist Stephen Gutman is. After all, he has two jobs to do -- to understand Rameau’s world of the eighteenth century harpsichord, and to decide how the modern piano should, or should not, respond to it.[…] the detail in his transcriptions is excellent… Gutman is already a skilled modernist of the keyboard in addition to (or maybe because of) interpreting French Baroque on the modern piano.’

George Balcombe

Music & Vision Daily - July 2010

                      Performance ****     Sound ****
"...Gutman’s playing is sensitive, lightly articulated and cautious in its expressive range. At times he errs on the side of understatement. It is, though, 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

‘Pianist Stephen Gutman describes Rameau’s music as “wonderfully evocative, perfectly poised between temperament and self-possession, gravity and wit”. His own performances are similarly poised: he renders Rameau’s rich ornamentation with controlled freedom, and he makes unexaggerated yet effective use of the piano’s resources to underline the works’ expressive character and the ebb-and-flow of harmonic tension. [...] ...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 - 2008



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