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Mahan Esfahani - Jean-Philippe Rameau: Pieces de clavecin (2014) 2CDs

Posted By: Designol
Mahan Esfahani - Jean-Philippe Rameau: Pieces de clavecin (2014) 2CDs

Mahan Esfahani - Jean-Philippe Rameau: Pièces de clavecin (2014) 2CD
EAC | FLAC | Image (Cue&Log) ~ 801 Mb | Artwork included | Time: 02:08:24
Genre: Classical | Label: Hyperion | # CDA68071/2

Gramophone-Award-winning harpsichordist Mahan Esfahani has recorded Rameau's Pièces de clavecin in the historic setting of the Music Room at Hatchlands Park in Surrey. This is a masterclass for the instrument, confirming this young artist as a truly great player: in the words of International Record Review his technique is beyond criticism and his inherent musicianship goes far deeper than mere surface understanding it is difficult not to warm to such a musician'. This double album comprises the whole of Rameau's output of keyboard suites, and Esfahani rejoices in its wealth of genius, its excitement and drama. Rameau is a composer whose revival is ongoing, and his unique combination of the witty and the cerebral, the light and the curmudgeonly, abounds throughout his harpsichord music.

To mark the 250th anniversary of the death of Jean-Philippe Rameau, Mahan Esfahani has recorded the complete works for harpsichord, which are presented on two CDs in this 2014 package from Hyperion. Rameau was one of the great French composers for the instrument, rivalled in his time only by François Couperin, though Rameau was better known as a music theorist, and later in his career, for his innovative operas. His music fell into obscurity in the 19th century, but a revival in the 20th century gave his music a secure place in the keyboard literature. This collection includes the Premier livre de pièces de clavecin (1706), the Pièces de clavecin (1724), the Nouvelles suites de pièces de clavecin (1729-30), and Rameau's final solo works for harpsichord, La Dauphine (ca. 1747) and Les petite marteaux (before 1754). Esfahani is a superb interpreter of this music, and his exciting playing makes these pieces as arresting and charming as they were intended. The most famous of these compositions is the Gavotte variée (disc 2, track 7) from the Suite in A minor, which is a favorite for its bravura display of keyboard technique. Hyperion's recording is close-up and clear, and the harpsichord has a full and robust sound.

Review by Blair Sanderson, Allmusic.com

Some of the finest harpsichordists of our day have celebrated Rameau’s 250th anniversary with versions of his highly regarded if relatively little-known solo and concerted harpsichord works: highly innovative music for supremely accomplished practitioners. Among the recordings is something for nearly everyone, including those who prefer a Steinway to a Ruckers.

The choices of instrument and recorded sound quality produce the most immediate impressions. Esfahani and Haas play Ruckers in 18th-century states; Haas also uses a 1707 Dumont for the later books. Bruno Procopio plays a Ruckers copy, Ketil Haugsand a two-manual instrument he built himself; Julien Wolfs (Les Timbres) plays a 1751 Hemsch associated with Rameau’s patron, La Pouplinière. Thérèse Dussaut opted mainly for Steinways in her reissued recordings from the 1970s and early ’80s. Esfahani, Procopio and Dussaut favour a softer-edged, intimate recorded sound (you hear the gentle clatter of the Cobbe Collection’s Ruckers/Hemsch), while Haas and Hausgand prefer a brighter one. The extent to which the harpsichordists exploit the potential of their instruments is equally striking: among the soloists, Esfahani, Haas and Procopio make frequent and imaginative changes of manual, stops and coupling; Haugsand is relatively sparing.

Thérèse Dussaut’s highly controlled approach to the piano is little short of emasculating, both to the instrument and the music. Hers is the sound of a gilded music box, skewed to highlight the themes and almost completely devoid of resonance in the lower register; her added application of diminuendo is also indefensible. If her affection for Rameau’s music and the technique required to perform it are not in doubt, the relevance today of these recordings can be questioned.

However, a key factor in determining the longevity of an interpretation is the degree to which the performer succeeds in characterising the music and, on this point alone, top marks must go to Mahan Esfahani, who seems always to have its measure and brings unfailing wit, affection, fluency and pacing to his interpretations. The others share many of these qualities, but not all. Arthur Haas thinks on a microcosmic scale: everything is consciously worked out and beautifully crafted but rarely spontaneous; his penchant for shaping every line with inégalité often works against the insouciance he may be trying to project. Ketil Haugsand’s interpretations seem sombre; and because he too often chooses to linger on the first of a group of notes belonging to a beat or motif, he reduces its effect to cliché. Specific examples abound of the stylistic differences between these performances but nowhere more decisively than in the pieces of Rameau’s third book.

There is much of interest, too, in the two latest recordings of Rameau’s Pièces de clavecin en concerts (1741). This is uniquely constructed music for ensembles of soloists and both groups acquit themselves well. The bass viol part is exceptionally demanding, so Myriam Rignol plays an instrument fitted with an extra (8th) high G string (a copy of a mid-18th-century French instrument), the more easily to traverse Rameau’s frequent leaps between treble and bass. Les Timbres is a trio of flute, bass viol and harpsichord – one of the most delicate and refined of Baroque textures and one of Rameau’s preferred combinations for this collection. They play with charm but not always panache, allowing tempi occasionally to falter. Recognising that some movements and even sections suit the violin more than the flute and vice versa, Bruno Procopio and his colleagues have developed semi-orchestrated performances more varied and colourful than usual. Most importantly, their performances are richly characterised and reliably paced.

Of all the harpsichordists reviewed here, only Haugsand chose to record Rameau’s arrangements for solo harpsichord included in the 1741 collection (he made a fine recording of the concerted version with Catherine Mackintosh and Laurence Dreyfus in 1992). Esfahani considers the harpsichord arrangements to be ‘rather clunky nods to the publishing market’ and to my mind none approaches the finesse of the earlier Pièces de clavecin.

Having just won a Gramophone Award for his superlative CPE Bach recording, Esfahani has surely trumped it with Rameau’s solo harpsichord works.

Review by Julie Anne Sadie, Gramophone

Mahan Esfahani - Jean-Philippe Rameau: Pieces de clavecin (2014) 2CDs



Mahan Esfahani - Jean-Philippe Rameau: Pieces de clavecin (2014) 2CDs



Tracklist:

CD1:

01. Suite in A minor - 1. Prelude (02:04)
02. Suite in A minor - 2. Allemande I (04:08)
03. Suite in A minor - 3. Allemande II (01:55)
04. Suite in A minor - 4. Courante (01:51)
05. Suite in A minor - 5. Gigue (02:22)
06. Suite in A minor - 6. Sarabandes I & II (02:57)
07. Suite in A minor - 7. Venitienne (01:28)
08. Suite in A minor - 8. Gavotte (01:27)
09. Suite in A minor - 9. Menuet (01:05)

10. Suite in E minor - 1. Allemande (03:47)
11. Suite in E minor - 2. Courante (01:36)
12. Suite in E minor - 3. Gigues en rondeau I & II (03:35)
13. Suite in E minor - 4. Le rappel des oiseaux (02:57)
14. Suite in E minor - 5. Rigaudons I, II & double (02:06)
15. Suite in E minor - 6. Musette en rondeau (02:13)
16. Suite in E minor - 7. Tambourin (01:16)
17. Suite in E minor - 8. Le villageoise (Rondeau) (02:30)

18. Suite in D major - 1. Les tendres plaintes (Rondeau) (02:58)
19. Suite in D major - 2. Les niais de Sologne (05:15)
20. Suite in D major - 3. Les soupirs (03:57)
21. Suite in D major - 4. La joyeuse (Rondeau) (01:16)
22. Suite in D major - 5. La follette (Rondeau) (01:27)
23. Suite in D major - 6. L'entretien des Muses (05:48)
24. Suite in D major - 7. Les tourbillons (Rondeau) (02:11)
25. Suite in D major - 8. Les cyclopes (Rondeau) (03:04)
26. Suite in D major - 9. Le lardon (Menuet) (00:47)
27. Suite in D major - 10. La boiteuse (01:01)

28. Menuet en rondeau in C major (00:35)

CD2:


01. Suite in A minor - 1. Allemande (06:37)
02. Suite in A minor - 2. Courante (03:51)
03. Suite in A minor - 3. Sarabande (02:40)
04. Suite in A minor - 4. Les trois mains (04:37)
05. Suite in A minor - 5. Fanfarinette (02:36)
06. Suite in A minor - 6. Le triomphante (01:27)
07. Suite in A minor - 7. Gavotte (07:25)

08. Suite in G minor - 1. Les tricotets (Rondeau) (01:39)
09. Suite in G minor - 2. L'indifferente (01:41)
10. Suite in G minor - 3. Menuets I & II (03:01)
11. Suite in G minor - 4. La poule (04:41)
12. Suite in G minor - 5. Les triolets (03:59)
13. Suite in G minor - 6. Les sauvages (02:18)
14. Suite in G minor - 7. L'enharmonique (05:41)
15. Suite in G minor - 8. L'egiptienne (03:41)

16. La Dauphine (02:49)

17. Les petits marteaux (01:41)


Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 26. February 2016, 22:02

Mahan Esfahani / Rameau - Pièces de clavecin - CD1

Used drive : HL-DT-STDVDRAM GU70N Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


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Test CRC 682FAF43
Copy CRC 682FAF43
Copy OK

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==== Log checksum 35463F2F525236A74FAFC20E9E6FA16E943C7BD7678D2FA8C0FB4034F98C8084 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2016-03-02 14:15:50

––––––––––––––––––––––––––––––––––––––––
Analyzed: Mahan Esfahani / Rameau - Pieces de clavecin - CD1
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -7.17 dB -25.34 dB 2:04 01-Suite in A minor - 1. Prelude
DR12 -10.77 dB -25.74 dB 4:08 02-Suite in A minor - 2. Allemande I
DR12 -15.21 dB -28.52 dB 1:55 03-Suite in A minor - 3. Allemande II
DR13 -8.85 dB -23.95 dB 1:52 04-Suite in A minor - 4. Courante
DR12 -8.52 dB -24.76 dB 2:23 05-Suite in A minor - 5. Gigue
DR12 -12.17 dB -26.79 dB 2:58 06-Suite in A minor - 6. Sarabandes I & II
DR13 -13.67 dB -29.00 dB 1:29 07-Suite in A minor - 7. Venitienne
DR12 -9.38 dB -25.68 dB 1:28 08-Suite in A minor - 8. Gavotte
DR12 -16.05 dB -30.69 dB 1:06 09-Suite in A minor - 9. Menuet
DR12 -9.20 dB -23.60 dB 3:47 10-Suite in E minor - 1. Allemande
DR12 -10.34 dB -24.22 dB 1:36 11-Suite in E minor - 2. Courante
DR13 -5.97 dB -24.26 dB 3:36 12-Suite in E minor - 3. Gigues en rondeau I & II
DR13 -12.68 dB -28.36 dB 2:57 13-Suite in E minor - 4. Le rappel des oiseaux
DR13 -8.15 dB -23.63 dB 2:07 14-Suite in E minor - 5. Rigaudons I, II & double
DR12 -12.15 dB -26.91 dB 2:14 15-Suite in E minor - 6. Musette en rondeau
DR14 -5.50 dB -20.92 dB 1:17 16-Suite in E minor - 7. Tambourin
DR12 -9.22 dB -24.92 dB 2:31 17-Suite in E minor - 8. Le villageoise (Rondeau)
DR12 -12.98 dB -27.79 dB 2:58 18-Suite in D major - 1. Les tendres plaintes (Rondeau)
DR12 -8.58 dB -23.78 dB 5:15 19-Suite in D major - 2. Les niais de Sologne
DR12 -11.60 dB -26.83 dB 3:57 20-Suite in D major - 3. Les soupirs
DR12 -5.79 dB -22.84 dB 1:16 21-Suite in D major - 4. La joyeuse (Rondeau)
DR11 -10.78 dB -24.53 dB 1:27 22-Suite in D major - 5. La follette (Rondeau)
DR12 -10.92 dB -26.43 dB 5:49 23-Suite in D major - 6. L'entretien des Muses
DR12 -7.32 dB -23.33 dB 2:11 24-Suite in D major - 7. Les tourbillons (Rondeau)
DR12 -7.27 dB -22.37 dB 3:05 25-Suite in D major - 8. Les cyclopes (Rondeau)
DR12 -12.39 dB -26.64 dB 0:48 26-Suite in D major - 9. Le lardon (Menuet)
DR12 -13.02 dB -28.05 dB 1:01 27-Suite in D major - 10. La boiteuse
DR10 -12.48 dB -25.68 dB 0:35 28-Menuet en rondeau in C major
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 28
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 848 kbps
Codec: FLAC
================================================================================


Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 27. February 2016, 3:14

Mahan Esfahani / Rameau - Pièces de clavecin - CD2

Used drive : HL-DT-STDVDRAM GU70N Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


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Peak level 75.3 %
Extraction speed 5.1 X
Range quality 99.9 %
Test CRC 2FCE47F4
Copy CRC 2FCE47F4
Copy OK

No errors occurred


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==== Log checksum 235E9FC7886789267A4208268E1B5FCE1E413F0882B822B87BCC026768F1DBD4 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2016-03-02 14:16:09

––––––––––––––––––––––––––––––––––––––––
Analyzed: Mahan Esfahani / Rameau - Pieces de clavecin - CD2
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -7.85 dB -21.53 dB 6:37 01-Suite in A minor - 1. Allemande
DR12 -3.88 dB -18.21 dB 3:51 02-Suite in A minor - 2. Courante
DR12 -7.91 dB -23.32 dB 2:40 03-Suite in A minor - 3. Sarabande
DR12 -5.82 dB -20.11 dB 4:38 04-Suite in A minor - 4. Les trois mains
DR12 -6.73 dB -22.87 dB 2:37 05-Suite in A minor - 5. Fanfarinette
DR12 -5.34 dB -19.71 dB 1:28 06-Suite in A minor - 6. Le triomphante
DR14 -2.57 dB -20.60 dB 7:26 07-Suite in A minor - 7. Gavotte
DR11 -6.59 dB -21.26 dB 1:40 08-Suite in G minor - 1. Les tricotets (Rondeau)
DR12 -10.23 dB -24.78 dB 1:41 09-Suite in G minor - 2. L'indifferente
DR12 -8.09 dB -22.80 dB 3:02 10-Suite in G minor - 3. Menuets I & II
DR13 -2.45 dB -20.15 dB 4:42 11-Suite in G minor - 4. La poule
DR12 -7.90 dB -21.85 dB 3:59 12-Suite in G minor - 5. Les triolets
DR12 -5.51 dB -20.85 dB 2:18 13-Suite in G minor - 6. Les sauvages
DR13 -8.21 dB -24.75 dB 5:41 14-Suite in G minor - 7. L'enharmonique
DR12 -5.49 dB -20.03 dB 3:41 15-Suite in G minor - 8. L'egiptienne
DR13 -4.63 dB -21.08 dB 2:49 16-La Dauphine
DR12 -9.49 dB -25.49 dB 1:42 17-Les petits marteaux
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 17
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 888 kbps
Codec: FLAC
================================================================================

Mahan Esfahani - Jean-Philippe Rameau: Pieces de clavecin (2014) 2CDs

All thanks to original releaser - A-Z

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