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François Couperin: Keyboard Music, Vol. 3
Product Type: Music
Product Price: $21.98
Manufacturer: Hyperion UK
Purchase
Description
Angela Hewitt is best known for her excellent Bach recordings, but in her less-comprehensive series of Couperin's works written for the harpsichord she matches that high standard. Fans of the French Baroque will know this music and may need to adjust to the sound of the piano. But the open-minded will be captivated by her buoyant playing and by her refusal to imitate the harpsichord. Instead, she brings the resources of the modern concert grand to bear on these stylized scores--"authenticity" becomes irrelevant to the immense pleasure generated. Hewitt's ornamentation is stylishly convincing, as is her wit, attention to detail, and beautiful tonal production. She plays all of the Treizième Ordre and a generous selection of pieces from Couperin's other works, focusing on those she believes work best on the piano. The captivating result makes one sorry that, as she writes in her lucid notes, this will be the last of her Couperin series. Hyperion's vibrant sound does full justice to Hewitt's colorful playing. -- Dan Davis
Reviews
Rating: 1 / 5
Date: 2009-06-29
Summary: ""Keyboard" does not mean piano."
François Couperin - (10 November 1668 - 11 September 1733)
Johann Sebastian Bach - (31 March 1685 [O.S. 21 March] - 28 July 1750)
Giuseppe Domenico Scarlatti - (October 26, 1685 - July 23, 1757)
- http://en.wikipedia.org
"It appears that the fortepiano [the earliest piano] did not achieve full popularity until the 1760s, from which time the first records of public performances on the instrument are dated, and when music described as being for the fortepiano was first widely published." --http://en.wikipedia.org/wiki/Fortepiano
One of the major industries of nineteenth century music was to reorchestrate eighteenth century music to give it more punch. Trombones were added to Handel's Messiah and the chorus was greatly expanded. The Victorians and Edwardians seemed to think that eighteenth century composers were limited by the primitiveness of the instruments available to them and that they would much prefer to use "more advanced" instruments, if they only had them. The piano achieved popularity because it was, at last, able to be both loud and soft. That meant that a new -- and different -- style of keyboard playing could evolve to take advantage of the piano's increased dynamic range. For some time, eighteenth century music went largely unplayed because it seemed tame by comparison to the current style. Then, not wanting people like Bach, Scarlatti, and Couperin to be forgotten completely, some well-meaning musicians tried to give their music new life by "bringing it up to date". One of the ways they did this was to replace the (to them) outmoded and inexpressive harpsichord with the "superior" piano. It is, perhaps, worth noting that by the time they got around to doing that, the piano had been the dominant keyboard instrument for some time, and there were few harpsichords surviving in their former, glorious condition. Some of the pieces treated in this way eventually lost all resemblance to what their composers intended - Handel's Messiah being a good example.
In the early and middle part of the twentieth century, it became obvious to some that this trend had gone too far. They saw the arrogance of thinking that later musicians should know better how Bach's music should sound than Bach himself did. An effort was made to find quality eighteenth century instruments and to restore or reproduce them. This effort achieved some momentum in Britain and Europe in the seventies, to the point that aficionados of early music felt acute discomfort on hearing anything not played "authentically". It was embarrassing to admit that one had ever been taken in by overblown reinterpretations of Baroque composers.
As far as I can tell, this embarrassment never made it to the United States. Americans seem perfectly comfortable having their Baroque music treated like something by John Philip Sousa. Being American, I happen to like Stokowski's versions of Bach. But I try not to mistake them for the real thing.
When trying to decide between the piano and harpsichord for Baroque music, it is important not to compare apples with oranges. The vast majority of harpsichord disks of this music feature inferior instruments, or inferior performers, or both. Since there are many more pianos and many more pianists, it's a little easier to find good ones. If one carries out the program of the Early Music movement to find quality eighteenth century instruments and quality performances, then the story is a little different. For example, listen to track 12 of the disk: Philips Baroque Classics Catalog #: 426087, where Rafael Puyana plays François Couperin: Les Fastes de la Grande et Ancienne Ménestrandise on a Ruckers-Taskin instrument. I defy anyone who has heard this track to claim that the same piece played on a piano would be anything but ludicrous by comparison.
People like Bach, Scarlatti, and Couperin knew what they were doing. They knew what a harpsichord should sound like, and they knew that that was how they wanted their music to sound. Let's give them a little credit.
Rating: 5 / 5
Date: 2008-02-23
Summary: "Sheer pleasure"
Hewitt's Couperin is as well-done as her Bach. The disc is lovely throughout. I only felt compelled to add my review to the already glowing one's here because one reviewer, despite loving it, gave it only 4 stars, even though the break down of his own numbers should have put it at 4.66 stars--doesn't Hewitt deserve to be rounded up? Ridiculous! Of course, it is worth the import price.
Rating: 5 / 5
Date: 2007-10-23
Summary: "Beautiful music, played by a great pianist......"
Oh yes, & the sound quality is terrific as well. One of the best-recorded "Redbook" CD's I've ever heard on my fairly "high end" audio system.
If you don't know Couperin, & you're a music lover, then you have to get acquainted. I've been listening to J.S. Bach (& attempting to play some) for 30 years, & of course every human in their right mind loves Bach, & knows that Bach is (one of) the Greatest Composer/Musicians in history.
But this is on a different level than Bach. It's more intimate. You could make a case that it's more "soulful", if not as technically impressive.
Just buy any one of the 3 Angela Hewitt Couperin CD's.....you'll be very thankful....beautiful music, beautifully recorded, by a great artist, on a great label.
Rating: 5 / 5
Date: 2006-03-04
Summary: "Endlessly delightful"
While I agree that these selections do not match the grandeur of Hewitt's previous recording, they do exude as much -- if not more -- charm and elegance as ever before. Hewitt's playing is nimble, delicate, lucid, and heartfelt. Amazingly coupled with the grace and fluidity of the performances is a captivating touchingness and melancholy. The only disappointment for me is that this is the end of the cycle. Would that there were more!!
Rating: 4 / 5
Date: 2005-12-01
Summary: "More French Baroque music on piano"
With this third volume, Angela Hewitt concludes her survey of Couperin's major keyboard music and proves that, in the hands of someone as steeped in Baroque keyboard style as herself, music which was previously thought the exclusive domain of the harpsichordist can be expressed on modern piano to great effect. Considering the emotional range and depth inherent in Couperin's music, it is not surprising that much of this music takes quite well to the broader expressive range and nuances of the modern piano.
So how does this third and last CD compare? In Volume I, we had mostly Couperin's earlier works of great granduer, inventiveness, pure charm and full of sunny, dancing melodies. Then in Volume II (the late works) the landscape darkened a bit with Couperin's most personal expressions of touching poignancy and deep melancholy. Volume III here is a mixture of these moods and showcases the imaginative 13th Ordre with its creative mimicking of twelve characters from a masked ball (of the era of Louis XIV) along with several wonderfully ponderous pieces in true Couperin poetry.
Not only is Hewitt's survey of Couperin's music here rather ground-breaking (given few if any recordings done on the piano for them), but it also sets a high standard. Hewitt's gingerly touch, knack for dance rhythms and poetic depth are well-suited to Couperin's graceful, inventive and sadness-tinged music. Right from the rhythmic opening movement and its "tripping" theme, Miss Hewitt sets a delightful and confident attitide towards this music. In the next two gentle pieces, her lyrical depths emerge to meld with Couperin's melancholic intent. This same emotive playing finds its home in several moving, introspective works (tracks 19, 21 and 26) suggestive of the composer's deep yearings and sadness (from perhaps his health struggles). In all these, Miss Hewitt seems to really find the emotional core and present it to us with great nuance, tenderness and artistry.
But, soon the fun and frolic begins with "Les Folies Francoises" - a delightful and imaginative miniature "theme-and-variations" ordre in which each variation parodies some virture or emotion (hope, jealousy, fidelity, despair etc). As such it is truly early "programmic music" - as is most of Couperin's music with their odd titles. In the masked ball parody, Hewitt covers the range of expressive textures brilliantly - from the festivity in the "Couquetry" piece to the dark moodiness of "Jealousy" played in the lower half of the keyboad. As the pianist quotes in her abundant notes, "This work is a microcosm of Couperin's art, its tragic passion, its whitty urbanity, its sensuous charm." Indeed.
Once again here we see Miss Hewitt's mastery of the composer and his music - most notably her scrupulous attention to detail to Couperin's precise score notations. Her skill in these most-important ornamentations show both a well-studied approach and fine taste, integrating them into the tapestry of the music smoothly and attractively. As such, her playing really has a more gentle, feminine quality in its appeal. Hewitt certainly makes a strong case for this music on piano, especially the greater nuance of expression afforded the piano in the slower movements. While some insist this music is best suited for the harpsichord, but it is hard to resist this artist's ability to produce music of such expressive charm, tonal beauty and pianistic richness. Her emphasis on such tonal beauty is once again fully supported by Hyperion who produced a sparkling clear and bright sound quality (much like Volume II) with richly developed timbre from her Steinway in an attractive, mildly resonant recording ambiance.
There is a refreshing quality in all Hewitt's Couperin recordings that makes them some of my favorite to play throughout the day. They are easy on the ear, yet musically rich and satisfying. Fans of Angela Hewitt or the French Baroque should find more of a good thing here in Hewitt's third Couperin CD and much to celebrate. Also her voluminous and very useful accompanying notes to guide you along add to the attractiveness of this release. And the cover art is particular sumptuous as well. Composition - 4.5 stars; Performance - 5 stars; Sound quality - 4.5 stars.
And continuing in the tradition of French keyboard music, Angela Hewitt has since recorded works by Emmanuel Chabrier and Rameau - both on the Hyperion label. Throw in two well-received Beethoven CDs in 2007, and we now see one of our era's great pianists come to true fullness.