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James NARES (1715-1783)
Eight Harpsichord Setts
Sett No. 1 in G [08:07]
Sett No. 2 in D [07:18]
Sett No. 3 in B flat [09:22]
Sett No. 4 in F [08:26]
George Frideric HANDEL (1685-1759)
Suite in d minor (HWV 447)* [0:54]
Sett No. 5 in A* [07:51]
Sett No. 6 in E* [07:16]
Sett No. 7 in G* [06:52]
Sett No. 8 in A* [11:10]
Julian Perkins (harpsichord Kirckman, 1764; Shudi, 1740*)
rec. November 2007, Queen's Drawing Room, Kew Palace, London, UK. DDD
AVIE AV2152 [75:58] 


Experience Classicsonline

If I am not mistaken the English keyboard music of the post-baroque era is mostly neglected. The most frequently played pieces from that period are probably the sonatas by Thomas Augustine Arne. Single pieces by James Nares have been recorded in the past - for instance some of his Voluntaries - but this is the first disc devoted to his keyboard music.

Nares was a chorister in the Chapel Royal and studied under Christoph Pepusch. At the age of 20 he was appointed as organist in York Minster. There he stayed until 1756, when he returned to the Chapel Royal as one of the organists and composers. One year later he became Master of the Children of the Chapel Royal, a position he held until 1780. 

Considering his activities it is not surprising that his oeuvre consists in the main of liturgical and keyboard music. In the latter category he wrote thirteen Voluntaries for organ or harpsichord, and three collections of 'Lessons' (the common word for 'suites'), the last of which has been lost. 

On this disc Julian Perkins presents the first collection of 'Eight Setts of Lessons for the Harpsichord' which was printed in 1747. That Nares was a composer of considerable reputation is demonstrated by the fact that colleagues such as Handel, Boyce and Arne were among the subscribers to this publication. This and the quality of the music on this disc make the judgement of Watkins Shaw in New Grove that Nares had a "pleasant if slender talent for composition" less than credible. 

In the Setts on this disc there are plenty of movements which catch the ear. What makes these compositions especially interesting is the wandering between the baroque and the up-and-coming classical styles. Sometimes these are apparent within one Sett. A good example is Sett No. 3, which begins with a fugue which is followed by a largo and presto, all very much baroque in style, only to end with a more classical 'gavot'. The most striking movement is the larghetto of the Sett No. 5 which contains a kind of harmonic journey, going from A through keys like B flat, G flat, b minor, A flat and c sharp minor back to A. Another interesting Sett is the last, which is strongly influenced by the sonatas by Domenico Scarlatti, in particular the first movement (allegro). No wonder Julian Perkins in his programme notes considers Nares a representative of what he calls the 'Anglo-Scarlatti style'. 

As a kind of contrast Perkins plays a suite by Handel, which consists of the usual movements of the baroque suite: allemande, courante, sarabande and gigue. Nares' Setts, on the other hand, almost completely break away from this traditional pattern. Only three Setts consist of dances only, whereas the others have either just one dance to close the Sett, or three movements in the manner of an Italian concerto. 

This repertoire is well worth investigating but the same is true of the harpsichords used here. Both Kirckman and Shudi were of continental origin, but developed into the main builders of keyboard instruments in England. Both instruments reflect attempts to adapt the harpsichord to the growing demand for more dynamic possibilities. Both have pedals which allow some stops to be put into or out of action. These possibilities are used effectively here, for instance in the opening allegro of Sett No. 2.

Julian Perkins deserves nothing but praise for this undertaking. There is much complaining about the demise of the classical recording industry. One of the main reasons is the continuous release of the same repertoire. With enterprising musicians like Julian Perkins one need not fear: it is this kind of creativity which keeps the recording industry alive. It shows there is still a lot to be (re)discovered, and it also shows one shouldn't always believe those musicologists who tell us that what has been buried under the dust of history should stay there because of a lack of quality. In addition Julian Perkins plays very well: imaginative, with great rhythmic precision and fine and well-chosen ornaments. 

Perkins has done us a great favour by recording these fine Lessons by James Nares, by playing them so beautifully and by using these two splendid harpsichords.

Johan van Veen


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