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Christopher D. Lewis|Persichetti: Harpsichord Sonatas Nos. 1, 3, 5, 8 & 9

Persichetti: Harpsichord Sonatas Nos. 1, 3, 5, 8 & 9

Christopher D. Lewis

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For those who aren't familiar with Persichetti, for whom this album is named: one could be forgiven for thinking that "Persichetti: sonatas for harpsichord" was nothing more than just another exhumation of an obscure Italian baroque composer. But in fact Persichetti was born in 1915 and died in 1987 and was 100% American. His output covered 120 works, from opera to symphony (nine symphonies in total, a magical number...), lots of chamber music, choral works and Artsongs, but his quite impressive corpus of pieces for harpsichord sets him somewhat apart from the normal run of 20th Century composers who worked with the instrument. Persichetti's language represents a stunning mixture of influences: he refuses neither atonal nor tonal; neither the serial nor the purely classic; neither the rough nor the smooth; and he is guided by his flair far more than considerations of loyalty (or submission) to any given school. The harpsichord came back into favour in the 20th Century in large part thanks to the work of Wanda Landowska, a great pioneer who was a kind of midwife to the birth and development of Pleyel harpsichords at the turn of the century. It is only natural then that harpsichordist Christopher Lewis chose, for one half of his programme, a 1930 Pleyel, while the other half is played on an instrument which, while of modern construction, is based on a Ruckers of 1638. The sound differences are striking to hear: what's remarkable is that the most recent works (Sonatas 8 and 9 as well as the Serenade, all from 1987, the year the composer passed away) are performed on an "old-style" harpsichord, while the older Sonatas are played on the Pleyel. The listener will be spellbound by the discovery of all the surprises that harpsichord music can still provide, two hundred years after the end of the Baroque era. © SM/Qobuz

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Persichetti: Harpsichord Sonatas Nos. 1, 3, 5, 8 & 9

Christopher D. Lewis

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Harpsichord Sonata No. 1, Op. 52 (Vincent Persichetti)

1
I. Andante sostenuto - Allegro
00:03:50

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

2
II. Adagio
00:02:55

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

3
III. Vivace
00:03:54

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

Harpsichord Sonata No. 3, Op. 149 (Vincent Persichetti)

4
I. Allegro moderato
00:03:05

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

5
II. Adagietto
00:03:41

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

6
III. Allegro molto
00:03:10

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

Harpsichord Sonata No. 5, Op. 152 (Vincent Persichetti)

7
I. Moderato
00:05:25

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

8
II. Andante
00:02:06

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

9
III. Allegro
00:04:23

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

Harpsichord Sonata No. 8, Op. 158 (Vincent Persichetti)

10
I. Andante sostenuto
00:04:25

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

11
II. Allegro ma grazioso
00:02:09

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

12
III. Allegro con moto
00:04:33

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

Harpsichord Sonata No. 9, Op. 163 (Vincent Persichetti)

13
I. Moderato
00:07:08

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

14
II. Andantino
00:02:47

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

15
III. Allegro
00:04:44

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

Serenade No. 15, Op. 161 (Vincent Persichetti)

16
I. Prelude
00:01:26

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

17
II. Episode
00:01:01

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

18
III. Bagatelle
00:01:13

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

19
IV. Arioso
00:01:43

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

20
V. Capriccio
00:01:24

Vincent Persichetti, Composer - Christopher D. Lewis, Artist, MainArtist

(C) 2017 Naxos (P) 2017 Naxos

Album review

For those who aren't familiar with Persichetti, for whom this album is named: one could be forgiven for thinking that "Persichetti: sonatas for harpsichord" was nothing more than just another exhumation of an obscure Italian baroque composer. But in fact Persichetti was born in 1915 and died in 1987 and was 100% American. His output covered 120 works, from opera to symphony (nine symphonies in total, a magical number...), lots of chamber music, choral works and Artsongs, but his quite impressive corpus of pieces for harpsichord sets him somewhat apart from the normal run of 20th Century composers who worked with the instrument. Persichetti's language represents a stunning mixture of influences: he refuses neither atonal nor tonal; neither the serial nor the purely classic; neither the rough nor the smooth; and he is guided by his flair far more than considerations of loyalty (or submission) to any given school. The harpsichord came back into favour in the 20th Century in large part thanks to the work of Wanda Landowska, a great pioneer who was a kind of midwife to the birth and development of Pleyel harpsichords at the turn of the century. It is only natural then that harpsichordist Christopher Lewis chose, for one half of his programme, a 1930 Pleyel, while the other half is played on an instrument which, while of modern construction, is based on a Ruckers of 1638. The sound differences are striking to hear: what's remarkable is that the most recent works (Sonatas 8 and 9 as well as the Serenade, all from 1987, the year the composer passed away) are performed on an "old-style" harpsichord, while the older Sonatas are played on the Pleyel. The listener will be spellbound by the discovery of all the surprises that harpsichord music can still provide, two hundred years after the end of the Baroque era. © SM/Qobuz

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