Rameau, Couperin, Handel, Soler, Gibbons, Frescobaldi / Baroque Conversations (David Greilsammer, Piano)
| Album: | Baroque Conversations (David Greilsammer, Piano) | Collection: | Classical | |
| Artist: | Rameau, Couperin, Handel, Soler, Gibbons, Frescobaldi | Added: | Oct 2012 | |
| Label: | Sony Classical | |||
A-File Activity
| Add Date: | 2012-11-04 | Pull Date: | 2013-01-06 | Charts: | Classical/Experimental |
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| Week Ending: | Dec 16 |
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| Airplays: | 1 |
Recent Airplay
| 1. | Dec 10, 2012: | Mixed Up Class
Couperin: Les barricade mystérieuses |
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Album Review
Larry
Reviewed 2012-10-28
Reviewed 2012-10-28
Rameau, Couperin, Handel, Soler, Gibbons, Frescobaldi / Baroque Conversations (David Greilsammer, piano)
Mr. Greilsammer seeks to create a dialogue between the lyricism and madness of the Baroque and Modern musical eras in order to reveal veiled relationships. Rameau’s (1683-1764) six gavottes are lively dances, a form still performed in Brittany. The “double” refers to ornamentation. Feldman (1926-1987) composed poetic and evocative piano pieces, often at the threshold of audibility. Soler (1729-1783) composed sophisticated keyboard sonatas. Couperin’s (1668-1733) piece is a rondo on a familiar repeated bass of the time. Porat (b. 1982) uses unconventional sounds and playing techniques. Handel’s (1685-1759) work comprises the typical dances of a classical suite. Froberger’s (1616-1667) Tombeau was composed to honor a deceased friend. Sahor, like Porat, makes use of noise-like sounds. Gibbons (1583-1625) combines a staid processional with a jaunty courtship dance. The Baroque charms; the Modern speaks gibberish, but some may find it of interest.
Rameau: Gavotte & 6 Doubles (9:33). Highly ornamented, courtly dance, with lively and quiet variations on the stately theme.
Feldman (1926-19870: Piano Piece (4:01). Dissonant, quiet sounds, bass and treble, interrupt silences without creating a melody.
Soler: Sonata #84 In D (2:50) . Lively, happy.
Couperin (F): Les Barricades Mystérieuses (2:11). Minor key arpeggios outline a slow-moving soprano melody.
Porat (b. 1982): Whaam! (7:54). The piano is struck, followed by atonal riffs and modal semi-melodies.
Handel: Suite In D Minor, HWV 447 – Allemande (1:36). Stately.
Handel: Suite In D Minor, HWV 447 – Courante (1:50). Lively.
Handel: Suite In D Minor, HWV 447 – Sarabande (2:37). Slow, graceful.
Handel: Suite In D Minor, HWV 447 – Gigue (1:04). Lively, semi-gay.
Froberger: Tombeau De Monsieur Blancrocher (5:58). Contemplative, serious.
Sahar (b. 1978): Aux Murailles Rougies (4:46). Repetitive key striking, mildly dissonant sound clusters up and down the keyboard.
Gibbons: Lord Salisbury's Pavan & Galliard (6:32). Princely, formal, with appearance of live-stepping children.
Frescobaldi: Toccata Di Durezze E Ligature In F (3:17). A slow, cloudy day in the castle.
Lachenmann (b. 1935): Wiegenmusik (4:15). Dissonant sound clusters move by a modest pace.
Sweelinck: Mein Junges Leben Hat Ein End (6:17). Descending minor melody walks past, with an air of distraction. Animated middle. Resigned end.
Mr. Greilsammer seeks to create a dialogue between the lyricism and madness of the Baroque and Modern musical eras in order to reveal veiled relationships. Rameau’s (1683-1764) six gavottes are lively dances, a form still performed in Brittany. The “double” refers to ornamentation. Feldman (1926-1987) composed poetic and evocative piano pieces, often at the threshold of audibility. Soler (1729-1783) composed sophisticated keyboard sonatas. Couperin’s (1668-1733) piece is a rondo on a familiar repeated bass of the time. Porat (b. 1982) uses unconventional sounds and playing techniques. Handel’s (1685-1759) work comprises the typical dances of a classical suite. Froberger’s (1616-1667) Tombeau was composed to honor a deceased friend. Sahor, like Porat, makes use of noise-like sounds. Gibbons (1583-1625) combines a staid processional with a jaunty courtship dance. The Baroque charms; the Modern speaks gibberish, but some may find it of interest.
Rameau: Gavotte & 6 Doubles (9:33). Highly ornamented, courtly dance, with lively and quiet variations on the stately theme.
Feldman (1926-19870: Piano Piece (4:01). Dissonant, quiet sounds, bass and treble, interrupt silences without creating a melody.
Soler: Sonata #84 In D (2:50) . Lively, happy.
Couperin (F): Les Barricades Mystérieuses (2:11). Minor key arpeggios outline a slow-moving soprano melody.
Porat (b. 1982): Whaam! (7:54). The piano is struck, followed by atonal riffs and modal semi-melodies.
Handel: Suite In D Minor, HWV 447 – Allemande (1:36). Stately.
Handel: Suite In D Minor, HWV 447 – Courante (1:50). Lively.
Handel: Suite In D Minor, HWV 447 – Sarabande (2:37). Slow, graceful.
Handel: Suite In D Minor, HWV 447 – Gigue (1:04). Lively, semi-gay.
Froberger: Tombeau De Monsieur Blancrocher (5:58). Contemplative, serious.
Sahar (b. 1978): Aux Murailles Rougies (4:46). Repetitive key striking, mildly dissonant sound clusters up and down the keyboard.
Gibbons: Lord Salisbury's Pavan & Galliard (6:32). Princely, formal, with appearance of live-stepping children.
Frescobaldi: Toccata Di Durezze E Ligature In F (3:17). A slow, cloudy day in the castle.
Lachenmann (b. 1935): Wiegenmusik (4:15). Dissonant sound clusters move by a modest pace.
Sweelinck: Mein Junges Leben Hat Ein End (6:17). Descending minor melody walks past, with an air of distraction. Animated middle. Resigned end.
Track Listing