Frescobaldi, Couperin ~ Leonhardt (B00006HMFZ)

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16 avril 2002 | Alpha | Filesonic + Fileserve

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A new recital from Gustav Leonhardt of two of the Baroque's most inventive keyboard composers: this combination of artist and repertoire can hardly fail to raise expectations. Leonhardt is, apart from anything else, one of the leading and most prolific champions of Frescobaldi in the recording studio, and no slouch either when it comes to the clavecinistes. But the idea of confronting the two repertories is intriguing, and it lends this recording a distinctive character.

Leonhardt is at his most impressive in Frescobaldi. He has never been the most flamboyant of his interpreters, and those who enjoy the brilliant flourishes of a Hantai or an Alessandrini (as I certainly do) may find this understatement austere; but as so often, repeated listening reveals a deep sensitivity to the nuances, the twists and turns of Frescobaldi's invention. This is true of the best-known pieces here (such as the 1627 Canzona terza). Leonhardt never rushes things, even in the Toccatas, but lets the music breathe, without ever giving the impression of self-indulgence. Instead there is a restrained spontaneity born of years of intimacy with the music. It makes for excellent, reflective late-night listening. The Couperin programme is admirably chosen, and although the dances don't 'swing' as much as they might, the sense of abstraction is leavened by Leonhardt's evident feel for the music's artifice. (The concluding Pavanne illustrates this as well as anything else.)

Leonhardt uses two modern replicas of period instruments, a French one for Couperin and an Italian for Frescobaldi — the former's tone being the more astringent. Both were recorded in the same venue. I almost tire of pointing it out, but the sound-recording and presentation (including evocative photos of the recording sessions, Leonhardt's gloved hands tuning the instruments) are up to Alpha's usual standard. Altogether, an inspiring issue. -- Gramophone {1/2003]

Gustav Leonhardt proves that he still can perform with erudition and freshness with these pieces by Frescobaldi and Louis Couperin. The sophistication of the music is all there, and so is the sense of improvisation. In the Frescobaldi, Leonhardt shapes phrases and sections of music to sound as if they were spontaneous dialogues and conversations between refined intellectuals. Even so, and at a moderate pacing, they are actively involved and not dryly academic. The refinement is also a strong feature of Couperin's highly stylized dances. Also at a moderate pacing that rarely varies, even between movements of the suites, his music comes across as being used for dances at the highest levels of society. It is as if only the finest people, dressed in the finest silks and satins, would dance to Couperin's music, and yet Leonhardt still infuses it with some warmth so that it is not at all staid. The only unfortunate aspect of this album is that sameness of tempo throughout the program. Without the contrast of more widely varying tempos between pieces, particularly in the Couperin suites where every piece is also in the same key, the listener can easily lose focus and thereby miss out on the details of the music and the performance, both of which deserve attention. ~ Patsy Morita, Rovi All Music Guide

Invisible mais réel est le lien unissant Frescobaldi à Louis Couperin en la personne de Froberger, qui fut disciple du premier et source d'inspiration pour le second. Pour l'Italien comme pour le Français, le discours musical doit rendre les mouvements de l'âme.

Le label Alpha publie à côté de quelques pièces de Louis Couperin, huit partitions de Frescobaldi, de petits joyaux totalement sous-estimés. Ils sont pourtant de la plume de l'organiste de Saint-Pierre de Rome, l'un des musiciens les plus respectés au début du XVIIe siècle ! Certes, Frescobaldi ne fut pas un compositeur révolutionnaire et Leonhard, que l'on connaît pour l'austérité de son jeu et la probité de son approche musicologique, ne cherche pas à démontrer le contraire. En revanche, il met en lumière l'apport de cette musique qui crée un lien entre les écritures pour le clavier de la Renaissance et de l'époque baroque. On découvre ainsi de façon surprenante à quel point l'œuvre de Frescobaldi nous semble libérée des règles de l'époque, mais également si raffinée dans ses ornementations et sa virtuosité. Dans les Toccatas et Fantaisies, l'imagination est la règle qui éveille notre curiosité. Les pianistes seront les premiers à découvrir un univers passionnant. --Étienne Bertoli

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Gustav Leonhardt, clavecin

Clavecin italien de Martin Skowroneck

Clavecin français d'Emile Jobin, copie de Vincent Tibaut

Enregistré en février 2002 à Paris

à la chapelle de l'hôpital Notre-Dame de Bon Secours

1. Toccata Secunda

2. Canzon Quinta

3. Fantasia Quarta

4. Capriccio Sopra La Bassa Fiamenga

5. Toccata Ottava

6. Recercar Primo

7. Canzona Terza

8. Toccata Ottava

9. Suite En Ré Majeur

10. Suite En Ré Majeur

11. Suite En Ré Majeur

12. Suite En Ré Majeur

13. Suite En Ré Majeur

14. Suite En Ré Majeur

15. Passacaille En Sol Mineur

16. Suite En Mi Mineur

17. Suite En Mi Mineur

18. Suite En Mi Mineur

19. Suite En Mi Mineur

20. Pavane En Fa Dièse Mineur

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