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Hank Knox|D'Anglebert, J.H.: Pieces de clavecin (Jean Henri D'Anglebert)

D'Anglebert, J.H.: Pieces de clavecin (Jean Henri D'Anglebert)

Jean Henri D'Anglebert

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Quebecois harpsichordist Hank Knox makes a virtue out of the supposed shortcomings of the music of J. Henry d'Anglebert, a court composer at Versailles in the late seventeenth century. The harpsichord suite selections heard here were published in 1689, and they have neither the majesty of d'Anglebert's predecessors nor the intensity of his successor Couperin. The "clavecytherium" mentioned and pictured on the cover is a little less unusual than the imposing name suggests; it is a vertical-standing harpsichord whose purpose was unclear. Annotator Yves Beaupré dismisses without explanation the idea that it might have been intended as a space-saver, but the rooms at Versailles, despite the scale of the whole, are not large. Each of the three suites excerpted here begins with a prelude in free rhythm and a quasi-improvised style. Knox's notes go into quite a bit of detail about these, touching on such matters as how d'Anglebert's notation differs from that used by other composers. He also helps the listener put the music in context in more general ways. His portrait of evening music-making at Versailles could serve as a useful corrective for players and engineers who mike Baroque harpsichords closely and try to create a severe atmosphere of quiet: the music room, he points out, competed for attention with those devoted to dancing, gambling, and, of course, the buffet. "Those in attendance were invited to drift from room to room," he writes, "partaking of all the offerings." His playing and the associated engineering emphasize the lightness and melodicism of d'Anglebert's suites, which several times (at least in these excerpts) present two of the same dance in a row, in contrasting tempos and moods. The notes go into detail about d'Anglebert's influence as a codifier of ornamentation (which touched J.S. Bach, among others), and there's a certain grace in Knox's playing that comes from deep familiarity with ornamentation procedures. Not an essential purchase, but a release of plenty of interest for those whose acquaintance with the French Baroque keyboard style runs beyond the casual.
© TiVo

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D'Anglebert, J.H.: Pieces de clavecin (Jean Henri D'Anglebert)

Hank Knox

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1
Prelude
00:03:55

Hank Knox, harpsichord

2
Allemande
00:03:22

Hank Knox, harpsichord

3
Courante
00:02:18

Hank Knox, harpsichord

4
Sarabande
00:03:26

Hank Knox, harpsichord

5
Gigue
00:02:12

Hank Knox, harpsichord

6
Gavotte
00:01:39

Hank Knox, harpsichord

7
Tombeau de Mr. de Chambonnieres
00:05:34

Hank Knox, harpsichord

8
Prelude
00:01:33

Hank Knox, harpsichord

9
Allemande
00:03:28

Hank Knox, harpsichord

10
Courante
00:01:44

Hank Knox, harpsichord

11
Courante, Mr. de Lully
00:01:31

Hank Knox, harpsichord

12
Double de la Courante
00:01:37

Hank Knox, harpsichord

13
Dieu des Enfers, Sarabande
00:02:28

Hank Knox, harpsichord

14
Gigue
00:01:48

Hank Knox, harpsichord

15
Le Jeune Iris, Menuet (Trio pour le coucher de Roi)
00:01:41

Hank Knox, harpsichord

16
Overture de la Mascarade
00:03:55

Hank Knox, harpsichord

17
Les Songes agreabkes
00:02:24

Hank Knox, harpsichord

18
Air d'Apollon
00:02:40

Hank Knox, harpsichord

19
Prelude
00:01:59

Hank Knox, harpsichord

20
Allemande
00:03:14

Hank Knox, harpsichord

21
Courante
00:01:59

Hank Knox, harpsichord

22
Double de la Courante
00:02:06

Hank Knox, harpsichord

23
Sarabande
00:02:43

Hank Knox, harpsichord

24
Gigue
00:02:09

Hank Knox, harpsichord

25
Galliarde
00:03:47

Hank Knox, harpsichord

26
Chaconne Rondeau
00:03:43

Hank Knox, harpsichord

27
Ritournelle des Fees
00:01:38

Hank Knox, harpsichord

28
Chaconne, Mr. de Lully
00:04:05

Hank Knox, harpsichord

Album review

Quebecois harpsichordist Hank Knox makes a virtue out of the supposed shortcomings of the music of J. Henry d'Anglebert, a court composer at Versailles in the late seventeenth century. The harpsichord suite selections heard here were published in 1689, and they have neither the majesty of d'Anglebert's predecessors nor the intensity of his successor Couperin. The "clavecytherium" mentioned and pictured on the cover is a little less unusual than the imposing name suggests; it is a vertical-standing harpsichord whose purpose was unclear. Annotator Yves Beaupré dismisses without explanation the idea that it might have been intended as a space-saver, but the rooms at Versailles, despite the scale of the whole, are not large. Each of the three suites excerpted here begins with a prelude in free rhythm and a quasi-improvised style. Knox's notes go into quite a bit of detail about these, touching on such matters as how d'Anglebert's notation differs from that used by other composers. He also helps the listener put the music in context in more general ways. His portrait of evening music-making at Versailles could serve as a useful corrective for players and engineers who mike Baroque harpsichords closely and try to create a severe atmosphere of quiet: the music room, he points out, competed for attention with those devoted to dancing, gambling, and, of course, the buffet. "Those in attendance were invited to drift from room to room," he writes, "partaking of all the offerings." His playing and the associated engineering emphasize the lightness and melodicism of d'Anglebert's suites, which several times (at least in these excerpts) present two of the same dance in a row, in contrasting tempos and moods. The notes go into detail about d'Anglebert's influence as a codifier of ornamentation (which touched J.S. Bach, among others), and there's a certain grace in Knox's playing that comes from deep familiarity with ornamentation procedures. Not an essential purchase, but a release of plenty of interest for those whose acquaintance with the French Baroque keyboard style runs beyond the casual.
© TiVo

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