Hank Knox - D'Anglebert, J.H.: Pieces de clavecin (Jean Henri D'Anglebert) (2003)
BAND/ARTIST: Hank Knox
- Title: D'Anglebert, J.H.: Pieces de clavecin (Jean Henri D'Anglebert)
- Year Of Release: 2023
- Label: early-music.com
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:14:51
- Total Size: 469 mb
- WebSite: Album Preview
Tracklist
01. Prelude en Re Mineur
02. Allemande en Re Mineur
03. Courante en Re Mineur
04. Sarabande en Re Mineur
05. Gigue en Re Mineur
06. Gavotte en Re Mineur
07. Tombeau de M. de Chambonnieres
08. Prelude en Sol Mineur
09. Allemande en Sol Mineur
10. Courante en Sol Mineur
11. Courante, M. de Lully
12. Double de la Courante
13. Sarabande, Dieu Des Enfers, M. de Lully
14. Gigue, M. de Lully
15. Menuet, la Jeune Iris, M. de Lully
16. Ouverture de la Mascarade, M. de Lully
17. Les Songes Agreables, M. de Lully
18. Air D'Apollon, M. de Lully
19. Prelude en Sol Majeur
20. Allemande en Sol Majeur
21. Courante en Sol Majeur
22. Double de la Courante 2
23. Sarabande en Sol Majeur
24. Gigue en Sol Majeur
25. Gaillarde en Sol Majeur
26. Chaconne Rondeau
27. Ritournelle Des Fees, M. de Lully
28. Chaconne, M. de Lully
Quebecois harpsichordist Hank Knox makes a virtue out of the supposed shortcomings of the music of J. Henry d'Anglebert, a court composer at Versailles in the late seventeenth century. The harpsichord suite selections heard here were published in 1689, and they have neither the majesty of d'Anglebert's predecessors nor the intensity of his successor Couperin. The "clavecytherium" mentioned and pictured on the cover is a little less unusual than the imposing name suggests; it is a vertical-standing harpsichord whose purpose was unclear. Annotator Yves Beaupré dismisses without explanation the idea that it might have been intended as a space-saver, but the rooms at Versailles, despite the scale of the whole, are not large. Each of the three suites excerpted here begins with a prelude in free rhythm and a quasi-improvised style. Knox's notes go into quite a bit of detail about these, touching on such matters as how d'Anglebert's notation differs from that used by other composers. He also helps the listener put the music in context in more general ways. His portrait of evening music-making at Versailles could serve as a useful corrective for players and engineers who mike Baroque harpsichords closely and try to create a severe atmosphere of quiet: the music room, he points out, competed for attention with those devoted to dancing, gambling, and, of course, the buffet. "Those in attendance were invited to drift from room to room," he writes, "partaking of all the offerings." His playing and the associated engineering emphasize the lightness and melodicism of d'Anglebert's suites, which several times (at least in these excerpts) present two of the same dance in a row, in contrasting tempos and moods. The notes go into detail about d'Anglebert's influence as a codifier of ornamentation (which touched J.S. Bach, among others), and there's a certain grace in Knox's playing that comes from deep familiarity with ornamentation procedures. Not an essential purchase, but a release of plenty of interest for those whose acquaintance with the French Baroque keyboard style runs beyond the casual.
01. Prelude en Re Mineur
02. Allemande en Re Mineur
03. Courante en Re Mineur
04. Sarabande en Re Mineur
05. Gigue en Re Mineur
06. Gavotte en Re Mineur
07. Tombeau de M. de Chambonnieres
08. Prelude en Sol Mineur
09. Allemande en Sol Mineur
10. Courante en Sol Mineur
11. Courante, M. de Lully
12. Double de la Courante
13. Sarabande, Dieu Des Enfers, M. de Lully
14. Gigue, M. de Lully
15. Menuet, la Jeune Iris, M. de Lully
16. Ouverture de la Mascarade, M. de Lully
17. Les Songes Agreables, M. de Lully
18. Air D'Apollon, M. de Lully
19. Prelude en Sol Majeur
20. Allemande en Sol Majeur
21. Courante en Sol Majeur
22. Double de la Courante 2
23. Sarabande en Sol Majeur
24. Gigue en Sol Majeur
25. Gaillarde en Sol Majeur
26. Chaconne Rondeau
27. Ritournelle Des Fees, M. de Lully
28. Chaconne, M. de Lully
Quebecois harpsichordist Hank Knox makes a virtue out of the supposed shortcomings of the music of J. Henry d'Anglebert, a court composer at Versailles in the late seventeenth century. The harpsichord suite selections heard here were published in 1689, and they have neither the majesty of d'Anglebert's predecessors nor the intensity of his successor Couperin. The "clavecytherium" mentioned and pictured on the cover is a little less unusual than the imposing name suggests; it is a vertical-standing harpsichord whose purpose was unclear. Annotator Yves Beaupré dismisses without explanation the idea that it might have been intended as a space-saver, but the rooms at Versailles, despite the scale of the whole, are not large. Each of the three suites excerpted here begins with a prelude in free rhythm and a quasi-improvised style. Knox's notes go into quite a bit of detail about these, touching on such matters as how d'Anglebert's notation differs from that used by other composers. He also helps the listener put the music in context in more general ways. His portrait of evening music-making at Versailles could serve as a useful corrective for players and engineers who mike Baroque harpsichords closely and try to create a severe atmosphere of quiet: the music room, he points out, competed for attention with those devoted to dancing, gambling, and, of course, the buffet. "Those in attendance were invited to drift from room to room," he writes, "partaking of all the offerings." His playing and the associated engineering emphasize the lightness and melodicism of d'Anglebert's suites, which several times (at least in these excerpts) present two of the same dance in a row, in contrasting tempos and moods. The notes go into detail about d'Anglebert's influence as a codifier of ornamentation (which touched J.S. Bach, among others), and there's a certain grace in Knox's playing that comes from deep familiarity with ornamentation procedures. Not an essential purchase, but a release of plenty of interest for those whose acquaintance with the French Baroque keyboard style runs beyond the casual.
Year 2023 | Classical | FLAC / APE
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