Since it's inception in 2016, the Duo Kiasma has shared a common delight: to surprise audiences through the unexpected pairing of the cello and the accordion. Indeed, what could be more unusual than the combination of the 'little prince' of classical music with the accordion - the quintessential folk instrument, steeped in the memories, celebrations and melancholy of entire peoples? Unusual, certainly. Ridiculous? Certainly not. Rostropovich himself claimed that the bayan (the Russian accordion) was a better match for the cello than the piano. Who are we to contradict the great Soviet maestro? Actually, these two instruments share the essentials: bow and bellows - both breathe and sing, capable of both strength and fragility. After several years spent transcribing works by Bartok and Gluck, as well as Daft Punk and Ennio Morricone, the Duo Kiasma has gradually refocused it's exploration on a repertoire that has emerged almost naturally: Baroque music. POLARIS thus marks a decisive milestone in the Duo's journey. Like the star from which it takes it's name, this album serves as a landmark in a constantly expanding aesthetic universe, revolving around three leading Baroque composers: Rameau, Bach and Vivaldi.
“I know of no Rameau work more colourful, more melodious, more replete with inventive vitality,” wrote Gramophone in reviewing this 1973 premiere recording of the French Baroque master’s 1735 “heroic ballet” Les Indes galantes. “There is immense enthusiasm and spirit in this performance … [and] some excellent singing … Among the array of sopranos I was specially impressed by the full, bright ring of Rachel Yakar … Anne-Marie Rodde: a good stylist and a clean, accurate voice, coping well with Rameau’s florid detail … The tenor Bruce Brewer is a real find for the lyrical French roles: his voice is very smooth and graceful … In all, a set which no Rameau admirer should miss.” Conducted by Rameau specialist Jean-Claude Malgoire, it is now being issued for the first time on CD.
Rameau: The Complete Keyboard Music, Vol 3 / Gutman
Toccata
CD
$20.99Feb 25, 2014
RAMEAU Suites: No. 4 in A/a; No. 5 in G/g. La Dauphine. Les petits marteaux. RAMEAU-GUTMAN Pièces de clavecin en concerts: Concert No. 5 in D/d. RAMEAU-BALBASTRE Pigmalion: Giga • Stephen Gutman (pn) • TOCCATA 0052 (68:48)
I am always overjoyed to hear a new recording of Rameau’s keyboard music performed on the piano; it is a repertoire which I find completely underappreciated by most pianists today who favor the works of either Bach or Scarlatti for their recital programs. For whatever the inexplicable reasons, it is both their loss in playing this repertoire and ours in hearing it performed on an instrument capable of such tonal nuances as benefits this music. That said: This is the third and last of Stephen Gutman’s recordings of the complete keyboard music of this master, but only the first that I’ve heard. After playing this disc over and over again this month, I’ll be sure to run—not walk!—to my nearest shop to obtain the first two releases which I’ve missed out on thus far.
Luckily for me, Gutman here performs two of Rameau’s greatest keyboard suites—the one in A-Minor/Major, which ends with the virtuosic Gavotte with six variations (or doubles as he labels them), most likely modeled on the “Air and Variations” from Handel’s D-Minor Suite, and the one in G Major/Minor, which includes some of the most famous of Rameau’s excerpted pieces—“La poule,” “Les sauvages,” “L’enharmonique,” and “L’egiptienne,” among others. From the very first notes of the opening A-Minor Allemande, the pianist’s sense of exploration, his wide tonal palette, and his rhythmic freedom can all be heard to good advantage, along with his intimate and scholarly knowledge of these works—from correct ornamentation to matters of tempo. Importantly, the pianist looks to characterize each of these movements in their own particular way, and does so well—from the serious Courante to the intimate Sarabande, from the athletic and virtuosic “Les trois mains” to the exuberant and joyful “La triomphant.” Perhaps the only aspect I miss a bit comes in the concluding Gavotte, where just a bit more bombast could surely do no harm; here the minute characterization of each variation takes away from the inherent drive to the end which should pervade the entire set. As the following Suite in G is comprised of mostly named movements—à la Couperin—it benefits even more so from Gutman’s quick and profound characterization: “La poule,” being one of the best examples, demonstrates just how quickly he can portray these musical numbers. From the opening repeated-note gesture one is pulled in, only to be startled by the quick flourishes which drive the music forward. The ornaments found throughout the piece are hardly simple trills or mordents—rather, they are sounds of the hen herself. Though “Les sauvages” could be a bit more brutal in character, the pianist’s tendency to emphasize the gallant and graceful aspects in the music is in keeping with the age. “L’egiptienne” makes for a mysterious, yet rousing, conclusion.
The other works here include two transcriptions—one made by Gutman of the Concert No. 5 from the Pièces de clavecin en concerts, which includes three movements (“La Forqueray,” “La Cupis,” and “La Marais”) and the Giga from Pigmalion, possibly transcribed by one Claude-Bénigne Balbastre. Of the two works, the former is the more impressive piece, originally conceived, as is was, for a chamber ensemble of strings and keyboard; the opening work, “La Forqueray,” is actually a four-part fugue, which Gutman carefully choreographs for performance on a single keyboard—no small feat! While there are, of course, interesting little details left out, Gutman is careful to capture the most important aspects of the piece, in both transcription and performance.
Throughout this very fine recital Gutman proves himself a guide of the first order—not only does he understand this music both inside and out, he never allows the scholar in him to inhibit the performer; rather he uses the knowledge to bring out the best in this music. And while I may have my quibbles about matters of performance, there is hardly a movement in the entire recital that will not charm and delight the most judgmental of listeners. Recorded in generally good, though somewhat dry, sound and accompanied by excellent program notes (both by Graham Sadler and the pianist himself), this is a release to savor. Recommended.
Florence Malgoire’s ensemble Les Dominos pays tribute to Jean-Philippe Rameau in the 250th year since his death with very rarely played repertoire. + These Concerts de Monsieur Rameau are, in fact, transcriptions in six parts of the Pièces de Clavecin en Concert that Rameau had conceived at the outset from his harpsichord pieces with accompaniment by violin or flute and bass viol. + The original adaptations by M. Decroix (1768) are quite enigmatic, and Les Dominos’ reading of it combines the strings with two emblematic instruments of Rameau’s orchestra: flutes and bassoon.
Jean-Philippe Rameau was perhaps the greatest of all French composers of the Baroque. Sylvie Proulx presents an exceptional program of Rameau's works in transcriptions for guitar. Canadian virtuoso guitarist, Sylvie Proulx has concertized throughout Canada, the United States and England. A champion of new works for the guitar, she has presented numerous Canadian world-premieres. Acclaimed for her exceptional musicality and remarkable technique, her repertoire reflects a wide range of periods and styles. In addition to solo and orchestral work, Ms. Proulx always enjoys the collaborative aspect of chamber music, welcoming new and challenging pieces for that genre.
Ugab Vol 1 - Cintegabelle - Rameau Transcriptions For Organ
Alpha
SACD
$31.99Apr 13, 2010
1 multi-channel (5.1) SACD - Total time: 78'25 Packaged in a digipak DVD box The organ is not only a musical instrument; it's also a fascinating machine, whose complexity has increased along the centuries. This new collection aims to discover them, to get closely acquainted with them. But a great part of the magic, proper to the organ, refers to the context that surrounds the instrument. It's quite normal, when entering into a church, to look up and see if an instrument is installed in the building. An organ is not only about producing sounds, it occupies a place in space and in the architecture. In order to reflect the power of this spatiality, we have decided to use, on top of the standard stereo, a multi-channel sound in 5.1, for the music lovers who are equipped with SACD technology. The new collection will of course have the "Alpha touch": fine presentation, book-like, accurate and complete texts, numerous quality pictures. By introducing instruments chosen in the entire world for their exceptional features, we wish to create a close relationship with the public so as to make the personality of each instrument more reachable. The first reference of the collection (Alpha 650) will be devoted to the organ of Cintegabelle (France), a magnificent instrument build in the early 1740's, whose sound colours emphasizes an original programme of transcriptions compiled from Jean-Philippe Rameau's operas, interpreted by Yves Rechsteiner. Why the name of Ugab? Because the organ's original ancestor appears (presumably) under that name in the Old Testament, back in the mists of time...
Jean-Philippe Rameau (1683 - 1764) was born in Dijon two years before the births of Bach, Scarlatti and Handel. He is probably best known for his operas, but also wrote chamber music and over 60 works for harpsichord. These keyboard compositions, which he wrote between 1706 and 1728 and spread over three volumes, differ greatly from the style of his contemporaries. Rameau's intellectualism and technical brilliance of composition, allied with passion and tenderness combine, in his words, to produce 'true music... The language of the heart'. This release features pieces from three of the four suites Rameau wrote for the harpsichord. Virginia Black has selected these to illustrate Rameau's extraordinary talent in descriptive, innovative and often virtuosic writing, and to show how the piano can enhance the works through singing tone and tonal nuance.
This recording highlights a selection of Rameau's well-loved ballet suites. Previously an established keyboard player and composer, 17th century composer Rameau's foray into the world of opera was well received by an adoring French public, and he became renowned for his ability to produce one brilliant melody line after another.
Plateé's Ouverture begins with a particularly sensitive touch and beautiful dynamic interpretation - the strings echo each other with a real tenderness as their imitations fade to a whisper. But Rameau's penchant for switching moods soon makes an appearance, and with a flurry of strings and harpsichord, the European Union Baroque Orchestra (EUBO) springs to life. The vivacity and humour of this comic opera are conjured up beautifully by the dynamic style of the players, and they bring a real energy to these suites.
The EUBO was formed to give young players the opportunity to fine-tune their Baroque playing style, and this youthful ensemble firmly plants its own stamp on the collection of suites. Their versatile style lends itself wonderfully to the series of short dances that feature in the Pigmalion suite, capturing the sober mood of the Gracieusement and the uplifting spirit of the Tambourin.
When Rameau originally penned Dardanus, it was described as 'a piece so laden with music that for three whole hours, the orchestral players do not even have time to sneeze'. You get this sense with the recording, but the tempo never suffers from being rushed or forced. The steady opening of the Ouverture is faithfully interpreted and during the moments when the players scurry through the Rigaudons and Tambourins, their well-phrased playing gives the dances room to breath. The EUBO are in no danger of playing catch-up with Rameau's racing melody lines - their vivid performance is an arresting tribute to Rameau's vibrant style.
Rameau: Les Fetes de l'Hymen et de l'Amour / Brown, Opera Lafayette
Naxos AudioVisual
DVD
$27.99Jan 11, 2019
Les Fêtes de l’Hymen et de l’Amour was Rameau’s first exploration of the world of Egyptian mythology. Its libretto called for magic, gods and extraordinary natural effects to which he responded with one of his most comprehensively brilliant scores, blending a gallant and pastoral inspiration of extreme refinement with powerful vocal and orchestral writing. In his use of a fluid and continuous flow of music, in the theatrical deployment of choruses, and in the blurring of the distinction between recitatives and airs, Rameau entered a new and pioneering stage of development. The score heard in this performance is the authoritative version.
Rameau: Les Paladins / Christie, Les Arts Florissants
Opus Arte
DVD
$39.99Jan 17, 2006
Stage Director José Montalvo
REGIONS: All Regions PICTURE FORMAT: 16:9 APPROX RUN TIME: 204 Mins SOUND: DTS SURROUND / LPCM STEREO SUBTITLES: English/French/German/Spanish/Italian NO OF DISCS: 2
Inspired by a fable by La Fontaine, Rameau produced perhaps his most brilliant music for his penultimate great work, blending reality and the surreal on several levels.
This passionate new production by José Montalvo, stunningly choreographed by Montalvo and Dominique Hervieu, sets new standards in entertainment, charm and ingenuity. The sharp and spectacular multimedia staging does full justice to Rameau’s dazzling burlesque, confirming Olivier Rouvière’s statement that ‘Les Paladins is the last laugh of a witty 77-year old composer’. Recorded live in 2004 at the Paris Théâtre du Châtelet in true surround sound, both the virtuoso cast and Les Arts Florissants are in top form, clearly enjoying themselves in the masterful hands of William Christie.
Special Features: * ‘Baroque that rocks!’ – A documentary film by Reiner E. Moritz featuring interviews with William Christie, Dominique Hervieu, Topi Lehtipuu, Stéphanie d’Oustrac and other members of the cast * Illustrated Synopsis & Cast Gallery
REVIEWS:
"I doubt anything more witty, more spectacular, more ravishingly sexy will be seen on the opera stage this year." - Evening Standard
"This feast of captivating visual images, stunningly sensual choreography and glorious music is so rich that one can do no more than give a flavour." - Evening Standard
"A delirious confection of music, movement and technology... Les Paladins blends high-tech wizardry with breathtaking precision." - The Independent on Sunday
"A multimedia spectacular, dazzlingly well executed ...a real treat." - The Guardian
"...like eating a box of chocolates someone has laced with hallucinogens. It’s a fantastic, elegant, high energy production." - The Daily Telegraph
