Tag: Harpsichord

Telemann: VI Ouvertüren nebst zween Folgesätzen
Anke Dennert harpsichord
64:09
Genuin GEN 16411

[dropcap]T[/dropcap]his recording presents a close and highly successful match of music and instrument. Telemann’s six overtures were published in Nuremberg 1745 following the composer’s visit to Paris a few years earlier. The title describes them as ‘overtures followed by two accompanying movements in French, Polish or otherwise trifling manner, and in Italian style’. They combine features of both the French and Italian structures of the time. The music represents the composer at his most inventive, matching some contrapuntal ingenuity with brilliant passagework in the overtures, writing affective middle movements (each labelled ‘scherzando’ as well as with a tempo or mood indication like ‘largo’ or ‘dolce’ – hence the title of the CD) and sparkling allegros or vivaces to finish. Dennert plays on the historic two-manual 1728 harpsichord by the Hamburg-based Christian Zell, preserved in the city’s Museum für Kunst und Gewerbe. She plays with confidence and style, bringing out both the extrovert and more inward-looking features of the music. The beautifully mellow tone of the harpsichord is excellently recorded in quite a resonant acoustic which emphasis the public nature of Telemann’s music here. I enjoyed this recording very much.

Noel O’Regan

Mitzi Meyerson
106:00
Glossa GCD921808

[dropcap]J[/dropcap]ohn Jones’s harpsichord lessons (i.e. suites), published in 1754, are here rescued from an undeserved obscurity by Mitzi Meyerson. Jones has written some attractive music which shows an individual voice with a distinctive synthesis of the compositional elements common to composers of the period. As Meyerson points out in her illuminating notes Jones was well respected in his day, holding down three big positions including organist of St. Paul’s Cathedral up to his death in 1796. Whether because of Handel’s long shadow, as suggested by Meyerson, or because his published music was confined to three sets of keyboard lessons, some chants and a few songs, Jones has been largely forgotten, which is a pity since the music on this recording both delights and surprises.

Meyerson plays on a double-manual instrument by Michael Johnson which is very skillfully recorded to maximise its potential. The playing is always intelligent and expressive, showing a sympathetic approach to Jones’ text while not being afraid to extend it by filling out and ornamenting. The CD ends with a single Brillante movement from one of Jones’ later lessons printed in 1761; it would be great to hear more of that later music if Meyerson is inspired and helped to record it. Her current recording has already made a significant contribution to the story of English music.

Noel O’Regan