Suite No.7 in B-flat major (Mattheson, Johann) Genre Categories, Suites; For harpsichord; Scores featuring the harpsichord; [4 more. No files submitted.
Table of contents
- Suite No.7 in B-flat major (Mattheson, Johann)
- Editorial Reviews
- Hyperion Records
- Handel: The Eight Harpsichord Suites by Paul Nicholson on iTunes
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Suite No.7 in B-flat major (Mattheson, Johann)
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Editorial Reviews
Endearing as this might be artistically, the brutal truth is that competitions are a necessary rite of passage for aspiring classical musicians. Indeed, a properly spun loss in a major competition can be better publicity than a win. Witness the Pogorelich brouhaha at the Warsaw Competition.
Were Gruca better acclimated to the non-musical rigors of competition, he might be better known. His influence continued after his death. I would uncover my head, and kneel before his tomb.
Hyperion Records
With a keen sense of what the public wanted to hear, he died a wealthy man. He also brooked no nonsense in organizing performances of his music. Madame, I know well that you are a real she-devil, but I hereby give you notice that I am Beelzebub, the chief of devils. Though more renowned for opera and oratorio, Handel was also regarded as a keyboard virtuoso. For this recording, Gruca has chosen three works previously transcribed for guitar by virtuosos David Russell and William Kanengiser. Doing so inevitably invites comparison to these guitarists. Happily, Gruca yields nothing in terms of virtuosity.
Further, Gruca is a more edgy player than either Russell or Kanengiser. This often makes for intriguing listening. Another example is the breath-taking delicacy of the Sarabande in Suite No. I enjoyed this very much.
Handel: The Eight Harpsichord Suites by Paul Nicholson on iTunes
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After this highly theatrical overture, an Andante and Allegro really a French allemande and Italian corrente are discreet, consistently in two parts, one for each hand, with canonic imitations. The sarabande, more harmonic in texture, is heart-easingly lyrical, flowering into additional ornamentation in the repeats.
The conventionally Italianate gigue is unpretentious, but Handel adds as finale a massive passacaille: Significantly, this piece is not in the triple rhythm typical of processional passacaglias and of chaconnes and sarabandes but is rather in a common time relating back to the fugato section of the overture. It marches remorselessly, generating increasingly virtuosic figuration.