Ludger Rémy - Handel: Suites de Pièces pour le Clavecin 1720 (2003)
Ludger Rémy - Handel: Suites de Pièces pour le Clavecin 1720 (2003)
EAC | FLAC | Image (Cue & Log) ~ 810 Mb | Total time: 59:49+64:55 | Scans included
Classical | Label: CPO | # 999 940-2 | Recorded: 2001, 2002
EAC | FLAC | Image (Cue & Log) ~ 810 Mb | Total time: 59:49+64:55 | Scans included
Classical | Label: CPO | # 999 940-2 | Recorded: 2001, 2002
It is not known when Handel composed his keyboard works. A number of them probably date from his youth in Germany. His teacher Friedrich Wilhelm Zachow is known to have owned a large collection of German and Italian keyboard music. And French music was well known in Germany when Handel lived there. So the very fact that Handel’s suites show a wide range of influences – German, Italian and French – doesn’t necessarily mean that they were written after his stay in Italy. At the same time it is likely that some of his keyboard works were written after his arrival in England. It is suggested that some of them were used for keyboard lessons.
In these suites Handel shows his independence towards all the styles he had got to know. Although they are called ‘suites’, not a single one of them follows the usual design of the suite. The most traditional is the 4th suite, which contains all four traditional dances of the suite: allemande, courante, sarabande and gigue. But here Handel breaks with tradition by opening the work with an allegro in form of a fugue. The suite no. 2, on the other hand, is completely out of line: with its sequence of adagio, allegro, adagio and allegro it follows the pattern of the Italian ‘sonata da chiesa’.
It is especially the first movements – usually called ‘praeludium’ – which demonstrate French influence. They are strongly reminiscent of the ‘préludes non mesurés’ which are so characteristic of the music of the French ‘clavecinistes’.
In his liner notes Wolfgang Kostujak states that the German influence is shown in particular in the use of German traditional songs, which Handel uses in three suites: the ‘airs’ in the Suites 3 and 5 and the passacaille in the 7th Suite.
The cosmopolitan character of Handel’s music makes it impossible to decide what is the ‘right’ harpsichord to play his music. Ludger Rémy has chosen a copy of a German harpsichord from the time of Handel’s youth. Considering the likelihood that a number of Handel’s keyboard pieces were written during his years in Germany that is perfectly defendable. I wonder, though, why the pitch a=c390 Hz, which was common in France at the time, is used here.
The booklet contains an interesting short ‘Essay on Handel’s Harpsichord Suites’ by Ludger Rémy. As far as I can see his remarks about the way he deals with Handel’s suites have far wider implications. He stresses that the music as written down by the composer is only a partial reflection of the way the composer wanted his music to be played. He quotes François Couperin who said, " (…) we notate in a way departing from our true execution". He also refers to Carl Philipp Emanuel Bach, who warns against ‘changes’ which "are against the composition, against the affect, and against the interrelation of the ideas; an unpleasant matter for many a composer", but also says: "regardless of these difficulties and of the misuse involved, the good modifications retain their value at all times." It makes Ludger Rémy answer the question if you (meaning the performer) can "supply voices and add notes" with "yes, you should!"
It is therefore with considerable freedom that Ludger Rémy plays these suites. He constantly keeps the listener on his toes.
A recording like this is bound to raise some questions. But that is a good thing. It means that it attracts and holds the listener’s attention. As far as I am concerned, this is the most dramatic and exciting recording of Handel’s keyboard suites I have ever heard.–Johan van Veen
Performer:
Ludger Rémy, harpsichord
Tracklist:
George Frederick Handel (1685-1759)
CD1:
Suite for keyboard (Suite de piece), Vol.1, No.1 in A major, HWV 426
01. Präludium
02. Allemande
03. Courante
04. Gigue
Suite for keyboard (Suite de piece), Vol.1, No.6 in F sharp minor, HWV 431
05. Präludium
06. Largo
07. Fuga. Allegro
08. Gigue
Suite for keyboard (Suite de piece), Vol.1, No.5 in E major ("The Harmonious Blacksmith"), HWV 430
09. Präludium
10. Allemande
11. Courante
12. Air
Suite for keyboard (Suite de piece), Vol.1, No.7 in G minor, HWV 432
13. Ouverture
14. Andante
15. Allegro
16. Sarabande
17. Gigue
18. Passacaille
CD2:
Suite for keyboard (Suite de piece), Vol.1, No.2 in F major, HWV 427
01. Adagio
02. Allegro
03. Adagio
04. Allegro
Suite for keyboard (Suite de piece), Vol.1, No.8 in F minor, HWV 433
05. Präludium
06. Fuga. Allegro
07. Allemande
08. Courante
09. Gigue
Suite for keyboard (Suite de piece), Vol.1, No.4 in E minor, HWV 429
10. Allegro
11. Allemande
12. Courante
13. Sarabande
14. Gigue
Suite for keyboard (Suite de piece), Vol.1, No.3 in D minor, HWV 428
15. Präludium
16. Fuga. Allegro
17. Allemande
18. Courante
19. Air
20. Presto
Exact Audio Copy V1.6 from 23. October 2020
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Ludger Rémy / Georg Friedrich Händel – Suites de Pieces le Clavecin 1720
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Ludger Rémy / Georg Friedrich Händel – Suites de Pieces le Clavecin 1720
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Ludger Rémy - Handel: Suites de Pièces pour le Clavecin 1720 (2003)
Thanks to the original releaser