Alessandro Simonetto - Mattheson:12 Suites for Harpsichord (2018)
BAND/ARTIST: Alessandro Simonetto
- Title: Mattheson:12 Suites for Harpsichord
- Year Of Release: 2018
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless +booklet
- Total Time: 02:29:53
- Total Size: 879 mb
- WebSite: Album Preview
Tracklist
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01. Suite I in D Minor: I. Prelude
02. Suite I in D Minor: II-III. Allemande + Double
03. Suite I in D Minor: IV-V. Courante + Double
04. Suite I in D Minor: VI. Sarabande
05. Suite I in D Minor: VII. Gique
06. Suite II in A Major: I. Tocatine
07. Suite II in A Major: II. Allemande
08. Suite II in A Major: III. Courante
09. Suite II in A Major: IV. Gique
10. Suite II in A Major: V. Air
11. Suite III in D Major: I. Allemande
12. Suite III in D Major: II. Courante
13. Suite III in D Major: III-IV. Sarabande + Double
14. Suite III in D Major: V. Gique
15. Suite IV in G Minor: I. Allemande
16. Suite IV in G Minor: II. Courante
17. Suite IV in G Minor: III. Courante à la Francoise
18. Suite IV in G Minor: IV. Sarabande
19. Suite IV in G Minor: V. Gique
20. Suite IV in G Minor: VI. Menuet
21. Suite V in C Minor: I. Fantasie
22. Suite V in C Minor: II. Allemande
23. Suite V in C Minor: III. Double
24. Suite V in C Minor: IV. Courante
25. Suite V in C Minor: V. Air
26. Suite V in C Minor: VI. Double
27. Suite V in C Minor: VII. Second Double
28. Suite V In C Minor: VIII. Menuet
29. Suite VI in E-Flat Major: I. Fantasie
30. Suite VI in E-Flat Major: II. Allemande
31. Suite VI in E-Flat Major: III. Courante
32. Suite VI in E-Flat Major: IV. Air + Double
33. Suite VI in E-Flat Major: V. Gique
34. Suite VI in E-Flat Major: VI. Menuet
35. Suite VII in B-Flat Major: I. Prelude
36. Suite VII in B-Flat Major: II. Allemande
37. Suite VII in B-Flat Major: III. Courante
38. Suite VII in B-Flat Major: IV. Gique
39. Suite VII in B-Flat Major: V. Menuet
40. Suite VIII In D Minor: I-II. Allemande + Double
41. Suite VIII In D Minor: III-IV. Courante + Double
42. Suite VIII In D Minor: V. Sarabande
43. Suite VIII In D Minor: VI. Gique
44. Suite IX in G Minor: I. Boutade
45. Suite IX in G Minor: II. Allemande
46. Suite IX in G Minor: III. Courante I
47. Suite IX in G Minor: IV. Courante II
48. Suite IX in G Minor: V. Air
49. Suite IX in G Minor: VI. Loure
50. Suite IX in G Minor: VII. Gique
51. Suite X in E Minor: I. Symphonie
52. Suite X in E Minor: II. Allemande
53. Suite X in E Minor: III. Courante
54. Suite X in E Minor: IV. Sarabande
55. Suite X in E Minor: V. Gique
56. Suite XI in C Major: I. Fugue
57. Suite XI in C Major: II. Ouverture
58. Suite XI in C Major: III. Allemande
59. Suite XI in C Major: IV. Courante
60. Suite XI in C Major: V. Sarabande
61. Suite XI in C Major: VI. Menuet
62. Suite XII in F Minor: I. Ouverture
63. Suite XII in F Minor: II. Allemande
64. Suite XII in F Minor: III. Courante
65. Suite XII in F Minor: IV-V-VI-VII. Sarabande +Double I + Double II + Double III
66. Suite XII In F Minor: VIII. Gique
67. Suite XII in F Minor: IX. Menuet I
68. Suite XII in F Minor: X. Menuet II
Better known now as a hugely influential theorist and codifier of the principles and performance practice of Baroque music, Johann Mattheson (1681-1764) was not just a scholar but a highly accomplished composer. This album of 12 harpsichord suites offers ample evidence of his creative gifts. The suites were published in two volumes in London in 1714. When Handel heard of this publication, he sent for a copy and in his own words, ‘without hesitation, played it through’: no mean compliment!
Doubtless Handel recognised a kindred spirit. Mattheson’s own style is genial and fluent, tending towards the more audience-pleasing character of Handel’s suites rather than the more rigorous keyboard music of Bach. These suites also have their light-hearted and humorous moments, qualities which characterise many of Telemann’s instrumental works: indeed it’s notable how free Mattheson’s music is from the pedantic and academic character of at least some of his writing. Several suites open with a prelude of showy, toccata-like character before the standard Baroque sequence of dance movements such as vigorous and syncopated gigues and gentle sarabandes.
The last three suites are the grandest of the twelve, opening with spacious Overtures or in the case of No.10 a symphony, rejoicing in both counterpoint and a sense of high ceremony. Within the Twelfth are embedded adaptations of three pieces by Mattheson’s contemporary Georg Ludwig Böhm: a stylish example of the borrowing that was common practice at the time.
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01. Suite I in D Minor: I. Prelude
02. Suite I in D Minor: II-III. Allemande + Double
03. Suite I in D Minor: IV-V. Courante + Double
04. Suite I in D Minor: VI. Sarabande
05. Suite I in D Minor: VII. Gique
06. Suite II in A Major: I. Tocatine
07. Suite II in A Major: II. Allemande
08. Suite II in A Major: III. Courante
09. Suite II in A Major: IV. Gique
10. Suite II in A Major: V. Air
11. Suite III in D Major: I. Allemande
12. Suite III in D Major: II. Courante
13. Suite III in D Major: III-IV. Sarabande + Double
14. Suite III in D Major: V. Gique
15. Suite IV in G Minor: I. Allemande
16. Suite IV in G Minor: II. Courante
17. Suite IV in G Minor: III. Courante à la Francoise
18. Suite IV in G Minor: IV. Sarabande
19. Suite IV in G Minor: V. Gique
20. Suite IV in G Minor: VI. Menuet
21. Suite V in C Minor: I. Fantasie
22. Suite V in C Minor: II. Allemande
23. Suite V in C Minor: III. Double
24. Suite V in C Minor: IV. Courante
25. Suite V in C Minor: V. Air
26. Suite V in C Minor: VI. Double
27. Suite V in C Minor: VII. Second Double
28. Suite V In C Minor: VIII. Menuet
29. Suite VI in E-Flat Major: I. Fantasie
30. Suite VI in E-Flat Major: II. Allemande
31. Suite VI in E-Flat Major: III. Courante
32. Suite VI in E-Flat Major: IV. Air + Double
33. Suite VI in E-Flat Major: V. Gique
34. Suite VI in E-Flat Major: VI. Menuet
35. Suite VII in B-Flat Major: I. Prelude
36. Suite VII in B-Flat Major: II. Allemande
37. Suite VII in B-Flat Major: III. Courante
38. Suite VII in B-Flat Major: IV. Gique
39. Suite VII in B-Flat Major: V. Menuet
40. Suite VIII In D Minor: I-II. Allemande + Double
41. Suite VIII In D Minor: III-IV. Courante + Double
42. Suite VIII In D Minor: V. Sarabande
43. Suite VIII In D Minor: VI. Gique
44. Suite IX in G Minor: I. Boutade
45. Suite IX in G Minor: II. Allemande
46. Suite IX in G Minor: III. Courante I
47. Suite IX in G Minor: IV. Courante II
48. Suite IX in G Minor: V. Air
49. Suite IX in G Minor: VI. Loure
50. Suite IX in G Minor: VII. Gique
51. Suite X in E Minor: I. Symphonie
52. Suite X in E Minor: II. Allemande
53. Suite X in E Minor: III. Courante
54. Suite X in E Minor: IV. Sarabande
55. Suite X in E Minor: V. Gique
56. Suite XI in C Major: I. Fugue
57. Suite XI in C Major: II. Ouverture
58. Suite XI in C Major: III. Allemande
59. Suite XI in C Major: IV. Courante
60. Suite XI in C Major: V. Sarabande
61. Suite XI in C Major: VI. Menuet
62. Suite XII in F Minor: I. Ouverture
63. Suite XII in F Minor: II. Allemande
64. Suite XII in F Minor: III. Courante
65. Suite XII in F Minor: IV-V-VI-VII. Sarabande +Double I + Double II + Double III
66. Suite XII In F Minor: VIII. Gique
67. Suite XII in F Minor: IX. Menuet I
68. Suite XII in F Minor: X. Menuet II
Better known now as a hugely influential theorist and codifier of the principles and performance practice of Baroque music, Johann Mattheson (1681-1764) was not just a scholar but a highly accomplished composer. This album of 12 harpsichord suites offers ample evidence of his creative gifts. The suites were published in two volumes in London in 1714. When Handel heard of this publication, he sent for a copy and in his own words, ‘without hesitation, played it through’: no mean compliment!
Doubtless Handel recognised a kindred spirit. Mattheson’s own style is genial and fluent, tending towards the more audience-pleasing character of Handel’s suites rather than the more rigorous keyboard music of Bach. These suites also have their light-hearted and humorous moments, qualities which characterise many of Telemann’s instrumental works: indeed it’s notable how free Mattheson’s music is from the pedantic and academic character of at least some of his writing. Several suites open with a prelude of showy, toccata-like character before the standard Baroque sequence of dance movements such as vigorous and syncopated gigues and gentle sarabandes.
The last three suites are the grandest of the twelve, opening with spacious Overtures or in the case of No.10 a symphony, rejoicing in both counterpoint and a sense of high ceremony. Within the Twelfth are embedded adaptations of three pieces by Mattheson’s contemporary Georg Ludwig Böhm: a stylish example of the borrowing that was common practice at the time.
Year 2018 | Classical | FLAC / APE
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