Jean-Philippe RAMEAU (1683-1764)
Pièces de Clavecin (1724) [58:45]
La Dauphine (1747) [4:40]
Nouvelles Suites de Pièces de Clavecin (1728) [74:09]
Blandine Rannou (harpsichord)
rec. 28 July-10 August 2000, Lycée Carnot, Dijon, France
ALPHA CLASSICS 309 [63:25 + 74:09]
This pair of CDs was originally released as part of a four disc set on
Zig-Zag Territoires (ZZT 010301.4). That set also contained the complete
original compositions for the harpsichord. It included the
Pièces de
Clavecin (1706) and a complete version of the
Pièces de Clavecin en
Concerts (1724); only the composer's own transcriptions of some
of his theatre music were missing. The present set offers the listener what
many regard as the two main collections from 1724 and 1728. It is to be
hoped that the rest of the music will be reissued as part of this
series.
The first disc presents the earlier of the two collections and concludes
with
La Dauphine. The booklet fails to discriminate between the two
Suites contained within the Pièces: the first in E Minor/Major, the second
in D Minor/Major, with
La Dauphine seemingly an integral part of
the collection. Blandine Rannou’s interpretation is somewhat slow and
measured. She also changes the order of some of the movements. This was at
one time the norm with interpreters differing greatly in the order in which
they presented the pieces.
The
Nouvelles Suites de Pièces de Clavecin is again made up of
two suites: A Minor/Major and G Major/Minor. The booklet yet again glosses
over this fact presenting the pieces as part of the one grand suite. Here
Rannou is if anything a bit slower, with the opening
Allemande
being nearly four minutes longer than Gilbert Rowland’s performance on Naxos
(
8.553048), a recording for which, along with its companion disc (
8.553047), I have always had a soft spot. Here I tend to disagree with some
commentators, including Nicolas Anderson, who dismisses Rannou's
interpretation of this piece as “navel contemplation”. It is good to have a
view which differs from what we have come to expect.
Overall, I enjoyed this performance even if it is over-long in places.
This allows Blandine Rannou’s virtuosity and poise to shine through. Yes, I
would still choose
Christophe
Rousset’s excellent recording (Oiseau Lyre 425 886-2, nla) to play first
if only for sheer exuberance. He is even quicker than Rowland in the
Allemande, but Rannou's performance enables the listener to encounter
to this music anew. The recording is good. My only real gripe is in
regard to the booklet notes. I must admit to not being a fan of the ‘artist
interview’ which is what we get here. I much prefer information about the
music, which the present booklet alludes to being available on the Alpha
website. I looked there but failed to find it.
Stuart Sillitoe
