#pieces de clavecin

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Jean-Philippe Rameau (1683-1764) - Pièces de Clavecin in concert for Harpsichord, Violin and Viola da gamba - Premier Concert: III. Le Vezinet. Performed by Christophe Rousset, harpsichord, Ryo Terakado, violin, and Kaori Uemura, viola da gamba, on period instruments.

[mikrokosmos]

Royer - Le Vertigo (1746)

One of my close online friends (maybe that’s an oxymoronic thing to say?) is a huge metal head. Mostly he focuses on doom, death, stoner, and black metal. Believe it or not, I’ve really liked some of the music he’s shared with me. Likewise I share classical with him now and then and uncharacteristically the first thing he fell in love with was Chopin’s Nocturne op.9 no.2. Go figure. Recently I listened to a set of harpsichord pieces by a composer who I had heard of through Jean Rondeau; Joseph Nicholas Pancrace Royer. This one stood out for its banging section that to me sounds like a riff in a metal song, so I shared it with my friend. He was surprised and told me he didn’t expect that kind of sound since he thinks of the harpsichord as a ‘dainty’ instrument. And I can’t blame him. Harpsichord music is associated with images of powdered wigs and whitened faces, sitting in a candle lit room of some aristocrat’s manor surrounded by baroque paintings like a scene from Barry Lyndon. It’s easy to forget that the baroque era was an era of musical extravagance and theatrics, and that the name itself “Baroque”, meaning a misshapen pearl, gives off the idea of irregularity and being larger than life. And Royer was among the misshapen pearls who pushed at the boundaries of what the instrument was capable of. While the title looks like it means vertigo as in an extreme dizzying sensation, that is a false cognate. It means “capricious”. Here, instead of charming and lighthearted, the capriciousness is like something conjured from Mephistopheles. The caprice comes from constantly altering between softer and slow sections against loud sections with rapid full handed chords. The rapid-fire repeating chords is like strumming a guitar, and ends up producing the loudest sound the harpsichord is able to make. It is as if we are listening to a concerto for one instrument, specifically a concerto in line with Vivaldi’s ‘summer’ storm.

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Pieces De Clavecin En Concerts : Concert No.6 - I. La Poule

 By Composer Jean-Philippe Rameau

Performed By Conductor Florence Malgoire And Les Dominos

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Pièces de clavecin avec une méthode: suite en mi mineur: III. Gigue en rondeau I – Jean-Philippe Rameau

Mary au clavecin (Mary at the harpsichord)

Edmund C. Tarbell

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Federico Maria Sardelli (b. 1963) - Suite de Pièces pour le Clavecin (2013), I. La Lunatique. Performed by Giulia Nuti, harpsichord.

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Jean-Philippe Rameau (1683-1764) / Anonymous arranger - 6 Concerts Transcrits en Sextuor: Concert en Sextuor No. 3 for Strings and Continuo, I. La Lapoplinière. Arranged by an anonymous 18th century composer after Rameau's third Concert from "Pièces de Clavecin en Concerts." Performed by Christophe Rousset/Les Talens Lyriques on period instruments.

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Maurice Greene (1696-1755) - Pieces in c-minor from “Lessons for the Harpsichord,” III. Presto. Performed by David Schrader, harpsichord.

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Jean-Philippe Rameau (1683-1764) / Anonymous arranger - 6 Concerts Transcrits en Sextuor : Concert en Sextuor No. 6 for Strings and Continuo, I. La Poule. Arranged by an anonymous 18th century composer after Rameau’s “Nouvelles suites de pièces de clavecin (Concert VI).” Performed by Christophe Rousset/Les Talens Lyriques on period instruments.