Handel: Keyboard Suite, HWV 430 in E major 'The Harmonious Blacksmith': Air & Variations

None of us can deny that they have fallen prey to the lure of a junk shop or of the chaotic mysteries of an attic, and sometimes purchasers of an old wardrobe or chest of drawers find there a bundle of treasure left behind … well, the spirit of ‘What have we here?’ permeates the adventures captured on this album. Salon music had its heyday on record in the era of 78s, since the length of a side suited it so well, and for that reason some titles— such as Rubinstein’s Melody in F and Paderewski’s Minuet in G—may be familiar, but there are ‘finds’ to be had in any such compilation. This is music on which most aspiring pianists have cut their teeth, giving them as it does both the satisfaction of mastering a complete piece without straining their technique (well, mostly) as well as the backbone of a repertoire that makes for a welcome family evening around the piano; alas for us all that we cannot offer renderings of such sympathetic finesse and lyrical elegance as are here set down by Philip Martin ‘at home’ and off-duty from his award-winning complete Gottschalk recordings on Hyperion.

Kempff's Baroque pedigree stemmed from the influence of his father, also named Wilhelm Kempff, and his grandfather Cantor Friedrick Kempff, both of whom were organists, and who taught the budding prodigy much of the organ's core repertoire. In fact, Kempff's youthful debut as an organist took place before his first recital as a pianist in 1907. With help from the great German violinist Joseph Joachim, the nine-year-old Kempff was awarded two scholarships at the Berlin Hochschule: one in composition with Robert Kahn, the other studying piano with Heinrich Barth, who also taught Arthur Rubinstein.

While most of Wilhelm Kempff's recordings were made for Deutsche Grammophon, his early Decca LPs and EPs are collector's items. Here issued internationally on CD for the first time is the LP of his Bach recital coupled with a delicious record of miniatures by Couperin, Rameau and Beethoven, including the latter's ubiquitous Fur Elise. In his liner notes, Jed Distler compares Kempff's arrangements of Bach with those of Busoni, and his performances with those of Hess and others. 'Fur Elise gently soars from Kempff's fingers in full-throated, legato arcs that might convince you that the piano has lungs in addition to hammers and strings,' he writes, and concludes, 'The warm, naturally balanced and timbrally true sonic image typical of Decca's piano recordings of this vintage only enhance Kempff's singular artistry. Whatever one makes of his style, his spirit defines authenticity.'

"...excellently recorded programme of arrangements made by Kempff himself..." Gramophone.

Internationally renowned early music virtuosi Genevieve Lacey (recorder), Daniel Yeadon (viola da Gamba/cello) and Neal Peres Da Costa (Organ/harpsichord) here bring their expertise and insights to the music of the Baroque masters.

Since their return to Australia after 15 years in London, Neal Peres Da Costa and Daniel Yeadon have regularly joined Genevieve in recitals.

Smaro’s extensive research has revealed significant differences between the modern classical guitar and those of the Renaissance and Baroque periods – encompassing instrumental design and construction, string materials used, number of string courses, wide-ranging tuning schemes, etc. Such extensive variants make for a broad array of tonal qualities and colors as well as different technical and interpretive approaches.

Playing modern replicas of period instruments built by luthier Yorgos Kertsopoulos, Smaro performs transcriptions of well-known music by Bach, Handel and Scarlatti with exceptional skill and panache. Such “reinvented” guitars enable her to demonstrate many different tonal and interpretive possibilities of the period that – until now – have gone unheard. This release – as Classical Sentinel said of her first album – is certain to become “A fascinating CD for any classical music enthusiasts; a definite must-have for any serious classical guitar fans.”

Reference Track

Analytical presentation of all tunings; samples of program pieces performed on the standard classical guitar in nylon trebles and ordinary tuning

IMPROMPTU features Dublin-born pianist, Finghin Collins. With 19 tracks, Finghin explores the classics of the piano repertoire ranging from Handel's Harmonious Blacksmith, Mozart's Rondo alla Turca, Daquin's Le Coucou to Chopin's Minute Waltz and the virtuosic Flight of the Bumblebee.

Finghin Collins was anxious to include some less familiar works on IMPROMPTU and so the CD begins with miniature painting of a feathery snowfall, The Snow is Dancing from Debussy's Children's Corner Suite. Look out also for Janacek's evocative The Madonna of Frydek and the cheering lilt of nineteenth century Irish composer John Field's Rondo in E flat.

Since winning first prize at the Clara Haskil International Piano Competition in Vevey, Switzerland in 1999, Finghin Collins has enjoyed a busy career that embraces Ireland, Europe and the United States. He has performed with leading orchestras and conductors around the world and enjoys huge popularity in Ireland.

Rachmaninov’s reputation as a composer has waxed and waned over the years, but as a pianist he remains renowned, not least among other pianists, as one of the greatest. His perfect technique, utter clarity and discipline, and supreme musicianship shine undiminished through even his earliest recordings.

Ever the perfectionist, he would often set down multiple takes of even the shortest pieces (no fewer than 22 of Mendelssohn’s Spinning Song, for instance), carefully choosing only the best for release. His account of a selection of Beethoven’s 32 Variations in C minor WoO 80 effortlessly negotiates every nuance, from utmost delicacy to thunderous virtuosity, while his affinity for the Romantics is self-evident.

Producer and Audio Restoration Engineer: Ward Marston

Hailed as ‘Queen of the classical accordion’, Mie Miki made her first public appearance at the age of five, and has since then given countless concerts. This CD brings together pieces that do not form part of her standard performance repertoire but are more old friends and new, childhood acquaintancies, and some surprise guests from a wholly different musical universe.

Arrangement of works originally written for harpsichord (Daquin’s Cuckoo or Handel’s Blacksmith) or piano (Stravinsky’s Tango and Schubert’s two Moments musicaux) rub shoulders with original accordion compositions such as Wolfgang Jacobi’s Sérénade. Moods range from the irrepressible Miss Karting, straight out of the great French musette tradition, and the breakneck comedy of Road Runner, to the intense pathos of Astor Piazzolla’s Chiquilín de Bachín and the calm serenity of A Spotless Rose, in Brahms’ setting (originally an organ prelude).

A unique and major contribution to the ‘Handel Year’ discography.

A collection of delightful solo pieces and transcriptions of works by Handel himself (including Arrival of the Queen of Sheba), together with rare recordings of monumental variations on themes of Handel by Karg-Elert and Landmann.

Also includes pieces in the style of Handel by Guilmant and Percy Grainger’s humorous and ever-popular Handel in the Strand.

Recorded on the magnificent Klais organ of Bath Abbey by Abbey organist, Peter King.