This, as you would expect, is a beautifully produced and presented
recording of Rameau’s complete
Pièces de clavecin. It follows Mahan
Esfahani’s release of C.P.E Bach’s
Württemberg Sonatas on CDA67995
which was widely acclaimed and the recipient of more than one significant
award. This Rameau recording has been made on a different instrument, a
restored Andreas Ruckers from 1636 which is less overtly spectacular, but
which manages to deliver colour and atmosphere as well as great clarity on a
relatively intimate scale.
You can play the comparison game, and I will indeed point out a few
alternatives to consider later on, but on its own terms this is a very fine
harpsichord sound. You won’t find much in the way of grand bass volume with
this instrument, but rhythmic articulation and proportions in terms of
balance are not to be faulted. Contrasts in terms of register are also
within a restricted palette. However, you trade confiding intimacy and
involvement against arguably more blowsy or fatiguing penetration of some
recordings which may stand out more on first hearing but can turn into a
liability over time.
Mahan Esfahani is a brilliant technician, but more than that he is a
master at delivering the character in these pieces. Dark minor-key drama,
dancing rhythms and elegance are created with the utmost refinement, and
refinement is a major strength of this set as a whole. Esfahani doesn’t
over-ruminate in the slower movements, keeping a sense of direction and
harmonic progression which can be lost if expressiveness goes too far into
attempts at profundity. There is also great fun to be had as well, for
instance in the
Rigaudons of the
Suite in E minor, and
while we’re here, stick around for the thrumming
Musette which
follows. Character studies are a popular element in Rameau’s keyboard works,
and the
Suite in D major has some nice surprises and magical
moments, such as the starry sparkle created by
L’entretien des
Muses. Further quirkiness can be found in the
Suite in G minor
over on CD 2, and magnificent pieces such as
La poule are superbly
poised in that feel of spontaneous invention from both composer and
performer in a crackling dialogue across the centuries.
There are a few recordings of Rameau’s
Suites around, though not
so many have the complete set in a single release as with this Hyperion
recording. Celine Frisch is eloquent in her selection on the Alpha label
ALPHA134, and the rich harpsichord sound on this recording has its appeal.
Who wouldn’t want to trust Trevor Pinnock with his programme on the Avie
label AV2056, which brings a sense of fun and poetry to this music which is
hard to beat. With this disc entitled
Les cyclops, Pinnock’s
instrument packs a low register punch which Esfahani can’t equal in this
movement from the
Suite in D major. It’s also interesting to
compare with Pinnock’s CRD set, CRD3511-12, no longer in print but showing
similar verve in a slightly less colourful sound. I’ve admired Ketil
Haugsand’s
Bach on the Simax label, and his complete Rameau on
PSC1345 also has plenty going for it. Sophie Yates on
Chandos Chaconne is a little mellower in tone and her two expressively
performed volumes are well worth seeking out.
Mahan Esfahani’s recording appears amongst a high quality crowd, but
stands out for its precise sophistication and uplifting personality. Like a
case of good wine, this is a recording to keep and to appreciate as it gains
in appeal each time you savour its content.
Dominy Clements
