Vera Alperovich & Daniele Zanghi - Siret: The French Harpsichord Suites (2021)
BAND/ARTIST: Vera Alperovich, Daniele Zanghi
- Title: Siret: The French Harpsichord Suites
- Year Of Release: 2021
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 02:08:46
- Total Size: 862 mb
- WebSite: Album Preview
Tracklist
01. Livre I, Ins.1, Suite in D Major: I. Ouverture
02. Livre I, Ins.1, Suite in D Major: II. Allemande
03. Livre I, Ins.1, Suite in D Major: III. Premiere Courante
04. Livre I, Ins.1, Suite in D Major: IV. Seconde Courante
05. Livre I, Ins.1, Suite in D Major: V. Sarabande Grave
06. Livre I, Ins.1, Suite in D Major: Vi. Gigue
07. Livre I, Ins.1, Suite in D Major: VII. Gavotte
08. Livre I, Ins.1, Suite in D Major: VIII. Menuet
09. Livre I, Ins.1, Suite in D Minor: I. Ouverture
10. Livre I, Ins.1, Suite in D Minor: II. Allemande
11. Livre I, Ins.1, Suite in D Minor: III. Premiere Courante
12. Livre I, Ins.1, Suite in D Minor: IV. Seconde Courante
13. Livre I, Ins.1, Suite in D Minor: V. Sarabande
14. Livre I, Ins.1, Suite in D Minor: Vi. Gavotte
15. Livre I, Ins.1, Suite in D Minor: VII. Menuet
16. Livre I, Ins.1, Suite in D Minor: VIII. Passacaglia
17. Livre II, Ins.2, Suite in G Minor: I. Prelude
18. Livre II, Ins.2, Suite in G Minor: II. Allemande
19. Livre II, Ins.2, Suite in G Minor: III. Premiere Courante
20. Livre II, Ins.2, Suite in G Minor: IV. Seconde Courante
21. Livre II, Ins.2, Suite in G Minor: V. Troisieme Courante
22. Livre II, Ins.2, Suite in G Minor: Vi. Sarabande
23. Livre II, Ins.2, Suite in G Minor: VII. Gigue
24. Livre II, Ins.2, Suite in G Minor: VIII. Premier Rigaudon
25. Livre II, Ins.2, Suite in G Minor: IX. Seconde Rigaudon
26. Livre II, Ins.2, Suite in G Minor: X. Premier Rigaudon I
27. Livre II, Ins.2, Suite in G Minor: XI. Premier Menuet
28. Livre II, Ins.2, Suite in G Minor: XII. Seconde Menuet
29. Livre II, Ins.2, Suite in G Minor: XIII. Gavotte
30. Livre II, Ins.2, Suite in G Minor: XIV. Entree Joyeuse
31. Suite in G Major: I. Prelude
32. Suite in G Major: II. Allemande
33. Suite in G Major: III. Premiere Courante
34. Suite in G Major: IV. Seconde Courante
35. Suite in G Major: V. Sarabande
36. Suite in G Major: Vi. Menuet
37. Suite in G Major: VII. L'espagnole
38. Suite in G Major: VIII. Gigue
39. Suite in A Minor: I. Allemande
40. Suite in A Minor: II. Premiere Courante
41. Suite in A Minor: III. Premiere Sarabande
42. Suite in A Minor: IV. Gavotte
43. Suite in A Minor: V. Chaconne
44. Suite in A Minor: Vi. Rondeau Champetre
45. Suite in A Minor: VII. Seconde Partie Du Rondeau
46. Suite in A Major: I. Allemande
47. Suite in A Major: II. Seconde Courante
48. Suite in A Major: III. Seconde Sarabande
49. Suite in A Major: IV. Gavotte Rondeau
50. Suite in A Major: V. La Manon, Rondeau
51. Suite in A Major: Vi. Chaconne
Nicolas Siret (1663–1754) was born in Troyes to a family of professional church organists which would eventually span four generations. He subsequently travelled to Paris and met Couperin sometime between 1685 and 1690. The two became good friends – sufficiently close for Siret to dedicate his first book of harpsichord pieces to him – but Siret made his career in his home town, where he succeeded his father as organist of the cathedral. In 1719 he gained the profitable post of tax collector for all water- and land-based traffic. He also taught harpsichord but nothing of his output in this direction survives beyond the music on this set.
At various times since his death, Siret has been praised as the equal of Couperin and Rameau for inventiveness and originality, but neither his name nor his music have travelled so well beyond his native shores. There is a distinctively ‘French’ quality to every bar of these suites, their elaborate ornamentation and their artful charms, which seem to resist the more driven rhythmic style of the Italian school or the rigorously applied counterpoint of the Germans. Surface brilliance is as important as depth of sentiment, though Siret could compose movements of affecting poetry and pathos such as the Chaconne and ‘La Manon’ Rondeau of the Suite in A major, and affect an impressive grandeur in the A minor Suite.
The harpsichord used for this recording was built by Marco Brighenti of Parma and is a copy of an instrument made by Henry Hemsch (1700-1769) in Paris, now part of the Museum of Fine Arts collection in Boston. The work and pleasure of playing it is shared by two talented young keyboard musicians, both former pupils of Stefano Molardi (author of a critically acclaimed Bach organ integrale for Brilliant Classics) at the Conservatorio della Svizzera Italiana in Lugano, where this recording was made.
01. Livre I, Ins.1, Suite in D Major: I. Ouverture
02. Livre I, Ins.1, Suite in D Major: II. Allemande
03. Livre I, Ins.1, Suite in D Major: III. Premiere Courante
04. Livre I, Ins.1, Suite in D Major: IV. Seconde Courante
05. Livre I, Ins.1, Suite in D Major: V. Sarabande Grave
06. Livre I, Ins.1, Suite in D Major: Vi. Gigue
07. Livre I, Ins.1, Suite in D Major: VII. Gavotte
08. Livre I, Ins.1, Suite in D Major: VIII. Menuet
09. Livre I, Ins.1, Suite in D Minor: I. Ouverture
10. Livre I, Ins.1, Suite in D Minor: II. Allemande
11. Livre I, Ins.1, Suite in D Minor: III. Premiere Courante
12. Livre I, Ins.1, Suite in D Minor: IV. Seconde Courante
13. Livre I, Ins.1, Suite in D Minor: V. Sarabande
14. Livre I, Ins.1, Suite in D Minor: Vi. Gavotte
15. Livre I, Ins.1, Suite in D Minor: VII. Menuet
16. Livre I, Ins.1, Suite in D Minor: VIII. Passacaglia
17. Livre II, Ins.2, Suite in G Minor: I. Prelude
18. Livre II, Ins.2, Suite in G Minor: II. Allemande
19. Livre II, Ins.2, Suite in G Minor: III. Premiere Courante
20. Livre II, Ins.2, Suite in G Minor: IV. Seconde Courante
21. Livre II, Ins.2, Suite in G Minor: V. Troisieme Courante
22. Livre II, Ins.2, Suite in G Minor: Vi. Sarabande
23. Livre II, Ins.2, Suite in G Minor: VII. Gigue
24. Livre II, Ins.2, Suite in G Minor: VIII. Premier Rigaudon
25. Livre II, Ins.2, Suite in G Minor: IX. Seconde Rigaudon
26. Livre II, Ins.2, Suite in G Minor: X. Premier Rigaudon I
27. Livre II, Ins.2, Suite in G Minor: XI. Premier Menuet
28. Livre II, Ins.2, Suite in G Minor: XII. Seconde Menuet
29. Livre II, Ins.2, Suite in G Minor: XIII. Gavotte
30. Livre II, Ins.2, Suite in G Minor: XIV. Entree Joyeuse
31. Suite in G Major: I. Prelude
32. Suite in G Major: II. Allemande
33. Suite in G Major: III. Premiere Courante
34. Suite in G Major: IV. Seconde Courante
35. Suite in G Major: V. Sarabande
36. Suite in G Major: Vi. Menuet
37. Suite in G Major: VII. L'espagnole
38. Suite in G Major: VIII. Gigue
39. Suite in A Minor: I. Allemande
40. Suite in A Minor: II. Premiere Courante
41. Suite in A Minor: III. Premiere Sarabande
42. Suite in A Minor: IV. Gavotte
43. Suite in A Minor: V. Chaconne
44. Suite in A Minor: Vi. Rondeau Champetre
45. Suite in A Minor: VII. Seconde Partie Du Rondeau
46. Suite in A Major: I. Allemande
47. Suite in A Major: II. Seconde Courante
48. Suite in A Major: III. Seconde Sarabande
49. Suite in A Major: IV. Gavotte Rondeau
50. Suite in A Major: V. La Manon, Rondeau
51. Suite in A Major: Vi. Chaconne
Nicolas Siret (1663–1754) was born in Troyes to a family of professional church organists which would eventually span four generations. He subsequently travelled to Paris and met Couperin sometime between 1685 and 1690. The two became good friends – sufficiently close for Siret to dedicate his first book of harpsichord pieces to him – but Siret made his career in his home town, where he succeeded his father as organist of the cathedral. In 1719 he gained the profitable post of tax collector for all water- and land-based traffic. He also taught harpsichord but nothing of his output in this direction survives beyond the music on this set.
At various times since his death, Siret has been praised as the equal of Couperin and Rameau for inventiveness and originality, but neither his name nor his music have travelled so well beyond his native shores. There is a distinctively ‘French’ quality to every bar of these suites, their elaborate ornamentation and their artful charms, which seem to resist the more driven rhythmic style of the Italian school or the rigorously applied counterpoint of the Germans. Surface brilliance is as important as depth of sentiment, though Siret could compose movements of affecting poetry and pathos such as the Chaconne and ‘La Manon’ Rondeau of the Suite in A major, and affect an impressive grandeur in the A minor Suite.
The harpsichord used for this recording was built by Marco Brighenti of Parma and is a copy of an instrument made by Henry Hemsch (1700-1769) in Paris, now part of the Museum of Fine Arts collection in Boston. The work and pleasure of playing it is shared by two talented young keyboard musicians, both former pupils of Stefano Molardi (author of a critically acclaimed Bach organ integrale for Brilliant Classics) at the Conservatorio della Svizzera Italiana in Lugano, where this recording was made.
Year 2021 | Classical | FLAC / APE
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