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Haendel : Huit Suites pour clavier. Smirnova.

Georg Friedrich Haendel (1685-1759)
Suite pour clavier (Suite de Pièce), Vol.1, no2 en fa majeur, HWV 427
Suite pour clavier (Suite de Pièce), Vol.1, no8 en fa mineur, HWV 433
Suite pour clavier (Suite de Pièce), Vol.1, no4 en mi mineur, HWV 429
Suite pour clavier (Suite de Pièce), Vol.1, no5 en mi majeur (The Harmonious Blacksmith), HWV 430
Suite pour clavier (Suite de Pièce), Vol.1, no3 en ré mineur, HWV 428
Suite pour clavier (Suite de Pièce), Vol.1, no6 en fa dièse mineur, HWV 431
Suite pour clavier (Suite de Pièce), Vol.1, no1 en la majeur, HWV 426
Suite pour clavier (Suite de Pièce), Vol.1, no7 en sol mineur, HWV 432

Lisa Smirnova (piano)

Drager: 2 CD
Release date: 9/1/2012
Barcode: 0028947641070 Categorieën: , ,

21,99

Piano International (Sep, 2012)
Handel published his Eight Great Suites for harpsichord in 1720 to stem the flood of pirate editions that were circulating. Despite their popularity in his lifetime, his keyboard works now appear a minor part of his oeuvre; and while several contemporary pianists (Angela Hewitt, Murray Perahia, Anne Queffélec) have recorded selections from these suites, Lisa Smirnova’s is one of the few complete sets on piano currently available. It’s a delightful recording. Smirnova is possibly less finely attuned to Handel’s implicit melodicism than Angela Hewitt, but her playing has poise and finesse, and her admirably light touch at fleet tempos gives the gigues, courantes and allegros a sparkling vivacity – plus her …
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   in Early Music Today (Mar, 2012)
Handel’s first set of London suites played on the piano, in the hands of Lisa Smirnova, are a resounding success. This is a performance of real artistry and is unspeakably beautiful at moments. If I had to pick out highlights – a difficult task – the E minor and F minor suites are, for me, some of the best Handel playing I’ve heard. I did feel that the opening prelude of the F minor suite came across as rather matter-of-fact and lacking in profundity, and in other places I was less convinced by what sound like hints of ‘harpsichordity’, such as a tendency to staccato in some of the Courantes, which …
Read more on agoraclassica.com

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