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Sophie Yates - Pièces de clavecin

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Pièces de clavecin

Claude-Bénigne Balbastre

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Composer Claude-Bénigne Balbastre came at the end of the French Baroque keyboard tradition that produced François Couperin and Jean-Philippe Rameau. Composed in 1759, these pieces look back toward the tradition of French harpsichord music, with its individual piece titles designating various members of the French nobility and their individual personalities. Thirty years after Couperin announced the reunification of French and Italian tastes, they show only light influence of Italian style; the clearly diatonic, periodic Allegro tune of "La Laporte," track 16, is the exception. Nor does Balbastre attempt to take after the intellectual density and harmonic complexity of Rameau's keyboard music. Instead his little musical portraits have a mostly pleasant, pastoral mien, with harmonic touches that are unusual and evocative rather than difficult. Sample the recurring, almost tickling emphasis on the flat fifth degree in "La Genty," track 13, or the large, static harmonic fields of "La Lamarck," track 9. This piece is marked "Ouverture," and part of what makes these works interesting is how they serve double duty as character pieces and as potential parts of an abstract structure. The playing of British harpsichordist Sophie Yates is nothing short of exemplary here. She doesn't try to make more of this light music than is actually in it, but she takes time where necessary to let the music breathe and to bring out small details, and there isn't a moment on the album that doesn't feel alive. She has the indefinable instinct for a command performance. Yates' own notes appear in English, German, and French.
© TiVo

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Pièces de clavecin

Sophie Yates

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Pieces de clavecin, Book 1 (Claude Balbastre)

1
La de Caze, Ouverture: Fierement et marque, anime
00:05:39

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

2
La d'Hericourt: Noblement, sans lenteur
00:05:36

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

3
La Segur, Gavotte: Gracieusement
00:05:13

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

4
La Monmartel ou La Brunoys: Allegro
00:03:05

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

5
La Boullongne: Fierement et marque
00:06:53

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

6
La Castelmore, Air Champetre: Loure - Gracieux
00:03:53

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

7
La Courteille, Air
00:03:41

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

8
Le Bellaud: Vivement
00:02:27

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

9
La Lamarck, Ouverture: Vivement, marque
00:05:09

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

10
La Berville, Gavotte: Gracieusement
00:04:47

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

11
La Lugeac, Giga: Allegro
00:03:33

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

12
La Suzanne, Noblement et anime: Gracieusement
00:04:27

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

13
La Genty, Badine: Gaiement
00:04:15

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

14
La Malesherbe, Ariette: Gracieuse - Air: Gay
00:04:09

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

15
La Berryer ou La Lamoignon, Rondeau: Gracieusement
00:03:37

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

16
La Laporte: Allegro, anime
00:03:27

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

17
La Morisseau, Noblement
00:06:33

Sophie Yates, harpsichord

2011 Chandos 2011 Chandos

Album Description

Composer Claude-Bénigne Balbastre came at the end of the French Baroque keyboard tradition that produced François Couperin and Jean-Philippe Rameau. Composed in 1759, these pieces look back toward the tradition of French harpsichord music, with its individual piece titles designating various members of the French nobility and their individual personalities. Thirty years after Couperin announced the reunification of French and Italian tastes, they show only light influence of Italian style; the clearly diatonic, periodic Allegro tune of "La Laporte," track 16, is the exception. Nor does Balbastre attempt to take after the intellectual density and harmonic complexity of Rameau's keyboard music. Instead his little musical portraits have a mostly pleasant, pastoral mien, with harmonic touches that are unusual and evocative rather than difficult. Sample the recurring, almost tickling emphasis on the flat fifth degree in "La Genty," track 13, or the large, static harmonic fields of "La Lamarck," track 9. This piece is marked "Ouverture," and part of what makes these works interesting is how they serve double duty as character pieces and as potential parts of an abstract structure. The playing of British harpsichordist Sophie Yates is nothing short of exemplary here. She doesn't try to make more of this light music than is actually in it, but she takes time where necessary to let the music breathe and to bring out small details, and there isn't a moment on the album that doesn't feel alive. She has the indefinable instinct for a command performance. Yates' own notes appear in English, German, and French.
© TiVo

Details of original recording : 76:29 - DDD - Enregistré les 29 et 30 novembre 2005 au St George’s, Brandon Hill, Bristol - Notes en français, anglais et allemand

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