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Klassiek - Verschenen op 1 september 2016 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - Qobuzism
Justin Taylor, the winner of the 2015 edition of the celebrated harpsichord competition of the Musica Antiqua Festival in Bruges (which has honoured some of the world’s finest players, including Scott Ross, Christophe Rousset, Pierre Hantaï, Benjamin Alard, and more recently Jean Rondeau), has recorded for Alpha Classics a programme of music by the Forqueray family: Antoine, Michel, Jean-Baptiste, Nicolas-Gilles . . . Those are just some of the first names of a great dynasty of French composers, gambists and organists. Antoine Forqueray, born in 1672, obtained the highly coveted position of Musicien de la Chambre du Roi. He subsequently had, shall we say, a complicated relationship with his son Jean-Baptiste, born in 1699 . . . Envious of the boy’s talent for the viol, Antoine had him imprisoned when he was just sixteen years old! The recital, as well as painting a musical portrait of this unique family, also offers a chance to reflect on the issue of transcription. In fact, the suites performed here on the harpsichord were originally written for viola da gamba. The passage from one instrument to another, from one soundworld to another, sheds new light on the music and allows us to grasp its full originality. © Alpha
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Kamermuziek - Verschenen op 25 mei 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 étoiles de Classica
For this 2018 Alpha release of harpsichord works by Domenico Scarlatti and György Ligeti, Justin Taylor presents a stimulating program that constantly surprises. Playing a modern copy of a Ruckers-Hemsch harpsichord by Anthony Sidey and Frédéric Bal, Taylor explores points in common between these composers -- their virtuosity, wit, and clarity of musical thought -- even though the pairing of a Baroque master and an experimental modernist isn't an obvious choice. Three groupings of Scarlatti's keyboard sonatas alternate with three free-standing, short pieces by Ligeti -- the Passacaglia Ungherese, Hungarian Rock (Chaconne), and the tour de force Continuum -- so a sense of balanced representation is attempted. However, if one were to suppose that durations are all that matter, Ligeti comes out on the short end of the playlist, even though the impact of his challenging pieces may be roughly equivalent to the effect of Scarlatti's more approachable sonatas. Yet the interplay between Scarlatti and Ligeti may cause a heightened sense of curiosity and intellectual pleasure, the kind one feels when solving a puzzle or cracking a code. Recordings of Scarlatti's sonatas are plentiful, both on harpsichord and piano, while Ligeti's pieces are comparatively scarce on CD, though for Taylor's purposes this disparity is irrelevant. What matters most is the brilliance of these composers and Taylor's energetic execution, which will make listeners sit up and take notice. Alpha's recorded sound is quite close to the harpsichord, so every detail is crisp, clean, and fully audible. © TiVo
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Klassiek - Verschenen op 2 april 2021 | Alpha Classics

Hi-Res Booklet
During his lifetime, Rameau enjoyed a glittering reputation and was admired by all Europe, while Debussy’s Hommage à Rameau proves that his fame survived down the centuries. But what do we know about the rest of the Rameau family? After a highly acclaimed album devoted to the Forqueray family, the harpsichordist-genealogist Justin Taylor sets out on the trail of Jean-Philippe’s son Claude-François and his nephew Lazare. To be sure, Rameau’s genius dwarfs all around him, as is demonstrated by such pieces as La Livri, La Poule and L’Égyptienne, not to mention the magnificent Nouvelle Suite in A minor, but the music of his descendants has its own interest. Justin Taylor introduces us to a work by Claude-François Rameau (La Forqueray) and the Sonata No. 1 in E major by Lazare Rameau. He switches from the splendid harpsichord of the Château d’Assas (a two-manual instrument of the first half of the eighteenth century, attributed to the Lyon-based maker Donzelague) to the 1891 Érard piano of the Musée de la Musique in Paris for Debussy’s tribute to his great predecessor. © Alpha Classics
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Klassiek - Verschenen op 19 oktober 2018 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 1 september 2016 | Alpha Classics

Hi-Res Booklet
Justin Taylor, the winner of the 2015 edition of the celebrated harpsichord competition of the Musica Antiqua Festival in Bruges (which has honoured some of the world’s finest players, including Scott Ross, Christophe Rousset, Pierre Hantaï, Benjamin Alard, and more recently Jean Rondeau), has recorded for Alpha Classics a programme of music by the Forqueray family: Antoine, Michel, Jean-Baptiste, Nicolas-Gilles . . . Those are just some of the first names of a great dynasty of French composers, gambists and organists. Antoine Forqueray, born in 1672, obtained the highly coveted position of Musicien de la Chambre du Roi. He subsequently had, shall we say, a complicated relationship with his son Jean-Baptiste, born in 1699 . . . Envious of the boy’s talent for the viol, Antoine had him imprisoned when he was just sixteen years old! The recital, as well as painting a musical portrait of this unique family, also offers a chance to reflect on the issue of transcription. In fact, the suites performed here on the harpsichord were originally written for viola da gamba. The passage from one instrument to another, from one soundworld to another, sheds new light on the music and allows us to grasp its full originality. © Alpha
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Klassiek - Verschenen op 23 augustus 2019 | Alpha Classics

Hi-Res Booklet
On the sleeve, musicians are waiting patiently for a metro train at the imaginary Opus 1 station. This is how the ensemble Le Consort, led by young harpsichordist Justin Taylor, frame their first recording, which is made up of  Sonatas in trio opus 1 by Jean-François Dandrieu, a French composer known for his organ music. Born in Paris in 1682, Dandrieu, like Justin Taylor, came from Angers, where his whole family lived. A child prodigy, he would perform before the Princess Palatine at the age of 5, and later he would dedicate to her this imposing collection. He then took holy orders and became the titular organist of Saint Merry, a much-sought-after post at the time. He would become the organist of the Royal Chapel of Versailles, and one of the most important musicians in the Kingdom, accumulating admiration, privileges, honours and official recognition. Published in 1705, this collection of his Sonatas in trio, presented here interspersed with sonatas by Corelli which were Dandrieu's model, is bursting with inventiveness and vocality, and it artfully blends a French spirit with Italian influence. This new album is also a meaningful wink from this young ensemble, Le Consort, which originally formed around one of these sonatas and this Opus 1, which turned out to be lucky for them. So this is at once a musical thunderclap and an homage to friendship; and it gives us a key to an overlooked, yet essential part of late-baroque French music. © François Hudry/Qobuz
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Klassiek - Verschenen op 2 april 2021 | Alpha Classics

Hi-Res Booklet
During his lifetime, Rameau enjoyed a glittering reputation and was admired by all Europe, while Debussy’s Hommage à Rameau proves that his fame survived down the centuries. But what do we know about the rest of the Rameau family? After a highly acclaimed album devoted to the Forqueray family, the harpsichordist-genealogist Justin Taylor sets out on the trail of Jean-Philippe’s son Claude-François and his nephew Lazare. To be sure, Rameau’s genius dwarfs all around him, as is demonstrated by such pieces as La Livri, La Poule and L’Égyptienne, not to mention the magnificent Nouvelle Suite in A minor, but the music of his descendants has its own interest. Justin Taylor introduces us to a work by Claude-François Rameau (La Forqueray) and the Sonata No. 1 in E major by Lazare Rameau. He switches from the splendid harpsichord of the Château d’Assas (a two-manual instrument of the first half of the eighteenth century, attributed to the Lyon-based maker Donzelague) to the 1891 Érard piano of the Musée de la Musique in Paris for Debussy’s tribute to his great predecessor. © Alpha Classics
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Kamermuziek - Verschenen op 17 september 2010 | Lantern Records

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Folk - Verschenen op 24 november 2009 | Candy Rat Records

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Pop - Verschenen op 1 januari 2011 | Lantern Records

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Pop - Verschenen op 1 januari 2012 | Lantern Records

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Country - Verschenen op 18 augustus 2021 | Justin Taylor

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Pop - Verschenen op 1 januari 2012 | Lantern Records

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Pop - Verschenen op 1 januari 2013 | Lantern Records

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Pop - Verschenen op 1 januari 2012 | Lantern Records

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Pop - Verschenen op 1 januari 2012 | Lantern Records

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Pop - Verschenen op 1 januari 2012 | Lantern Records

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Pop - Verschenen op 1 januari 2012 | Lantern Records

Pop - Verschenen op 1 januari 2011 | Lantern Records

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Pop - Verschenen op 1 januari 2012 | Lantern Records

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