The Complete Harpsichord Works of Rameau Jory Vinikour

• Jean-Philippe Rameau (1683-1764): Premier Livre de Pièces de Clavecin (1706) - Suite in a minor
• 1I. Prelude03:19
• 2II. Allemande I05:00
• 3III. Allemande II01:48
• 4IV. Courante02:03
• 5VI. Sarabandes I and II03:12
• 6VIII. Gavotte01:33
• 7IX. Menuet01:04
• 8VII. Venitienne01:56
• 9V. Gigue02:39
• Pièces de Clavessin (1724): Suite in e minor
• 10I. Allemande04:08
• 11II. Courante01:46
• 12III. Gigue en rondeau I01:20
• 13IV. Gigue en rondeau II02:18
• 14V. Le rappel des oiseaux03:20
• 15VI. Rigaudons I and II02:09
• 16VII. Musette en rondeau03:22
• 17VIII. Tambourin01:14
• 18IX. La villageoise02:56
• Menuet (Method, 1724)
• 19Pieces de clavecin Menuet in C major00:36
• Suite in D
• 20I. Les tendres plaintes03:01
• 21II. Les niais de Sologne with 2 doubles05:25
• 22III. Les soupirs04:13
• 23IV. La joyeuse01:02
• 24V. La follette01:26
• 25VI. L'entretien des Muses06:07
• 26VII. Les tourbillons02:10
• 27IX. Le lardon00:40
• 28X. La boiteuse01:36
• 29VIII. Les cyclopes03:11
• 30La Dauphine04:05
• Nouvelles Suites de Pièces de Clavecin (1726–1727) - Suite in a minor
• 31I. Allemande08:07
• 32II. Courante04:24
• 33III. Sarabande03:22
• 34IV. Les trois mains03:43
• 35V. Fanfarinette03:11
• 36VI. La triomphante01:41
• 37VII. Gavotte with 6 double08:06
• Suite in G
• 38I. Les tricotets02:30
• 39II. L'indifferente01:40
• 40III. Minuet I-II02:57
• 41IV. La poule04:27
• 42V. Les triolets05:03
• 43VI. Les sauvages02:06
• 44VII. L'enharmonique06:27
• 45VIII. L'egiptienne03:29
• Les Petits Marteaux (ascribed to Rameau, date unknown)
• 46Les petits marteaux01:47
• Rameau’s five transcriptions from Pièces de Clavecin en Concert
• 47I. La Livri02:54
• 48II. L'Agacante01:47
• 49III. La Timide (Rondeaux 1 and 2)05:20
• 50IV. L'Indiscrete01:24
• Claude Balbastre’s (1724-1799) transcription of the Ouverture to Rameau’s Pigmalion
• 51Pigmalion Ouverture04:24
• Total Runtime02:37:28

Info zu The Complete Harpsichord Works of Rameau

Jean-Philippe Rameau (1683 bis 1764) war der Sohn eines Organisten. Seine Ausbildung begann er bei seinem Vater, und seine musikalische Laufbahn begann er als Orchestergeiger und Organist. Und obwohl er mit seinen musiktheoretischen Schriften gewichtige Beiträge insbesondere zur Harmonielehre leistete, sah es zunächst ganz danach aus, als würde Rameau bis an das Ende seines Musikerlebens in wechselnden Kirchen die Orgel spielen.

Der Komponist war schon 50 Jahre alt, als er Hippolyte et Aricie, seine erste tragédie en musique, vorstellte - was ihn über Nacht berühmt machte. Die Werke für die Bühne bescherten ihm Wohlstand und Ansehen. Ludwig XV. erhob Rameau in den Adelsstand, ernannte ihn 1845 zum Compositeur de la Musique du Cabinet du Roi, und gewährte ihm eine großzügige Pension. Dabei hatte Rameau nach 1706 - da erschien sein Premier Livre de Pièces de Clavecin - bereits gut 50 Stücke für Cembalo veröffentlicht, die ihm aber lang nicht so viel Aufmerksamkeit einbrachten.

Wieso eigentlich nicht? Das fragt man sich heute. Jory Vinikour hat sämtliche Cembalo-Werke Rameaus für Sono Luminus eingespielt - und die beiden Alben enthalten so manche Überraschung. Denn etliche dieser kleinen Stücke, die zumeist ziemlich kurz sind, erweisen sich als kühne musikalische Experimente. Da findet sich mitten in einer Suite, zwischen den üblichen Tänzen, auf einmal ein Satz mit dem Namen Le Rappel des Oiseaux, und zu hören ist in der Tat, wie sie herumfliegen, hüpfen und Körnchen picken. Sind es Anfangs nur einzelne Bilder, die der Komponist einbindet, bestehen seine Suiten später fast ausschließlich aus derartigen Miniaturen.

Vinikour spielt diese musikalischen Charakterstückchen mit Hingabe. Er setzt, in bester französischer Tradition, auf Ausdruck und Eleganz. Dazu passt auch das Instrument, auf dem er musiziert, ganz ausgezeichnet. Es handelt sich um ein klangstarkes zweimanualiges Cembalo, das Thomas und Barbara Wolf, The Plains, Virginia/USA, 2005 nach einem Vorbild von Nicolas Dumant aus dem Jahre 1707 angefertigt haben. Der französische Hof besaß einige seiner Instrumente. Dieses hier zeichnet sich durch die kontrastreichen Klangfarben aus, die aufgrund der beiden Manuale zur Verfügung stehen. Vinikour reizt diese Möglichkeiten aus - und das Ergebnis ist faszinierend. Unbedingt anhören! (www.ich-habe-gehoert.blogspot.de)

Jory Vinikour, Harpsichord

Recorded at Sono Luminus, November 29-December 2, 2011
Producer: Dan Merceruio
Recording Engineer: Daniel Shores
Editing Engineer: Dan Merceruio
Mixing Engineer: Daniel Shores
Mastering Engineer: Daniel Shores

Nominated for the 55th GRAMMY Awards 2012 for Best Classical Instrumental Solo

Jory Vinikour
is recognized as one of the outstanding harpsichordists of his generation. A highly diversified career brings him to the world’s most important festivals and concert halls as recital and concerto soloist, partner to several of today’s finest artists.

Born in Chicago, Jory Vinikour came to Paris on a Fulbright scholarship to study with Huguette Dreyfus and Kenneth Gilbert. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public’s attention, and he has since appeared in festivals and concert series throughout much of the world.

A concerto soloist with a repertoire ranging from Bach to Poulenc to Nyman, he has performed as soloist with leading orchestras including Rotterdam Philharmonic, Orchestre de la Suisse Romande, Lausanne Chamber Orchestra, Philharmonic of Radio France, Ensemble Orchestral de Paris, Netherlands Chamber Orchestra, MDR Symphony Orchestra,Cape Town Symphony Orchestra, Moscow Chamber Orchestra, and the Royal Scottish National Orchestra, with conductors such as Stéphane Denève, Martin Haselböck, Marek Janowski, Armin Jordan, Benjamin Levy, Fabio Luisi, Marc Minkowski, John Nelson, Gordan Nikolic, Constantine Orbelian, Victor Yampolsky, et al. He participated in a recording of Frank Martin’s Petite Symphonie Concertante with the Lausanne Chamber Orchestra under the direction of Armin Jordan (Suisse Romande, 2005).

Well-known as an accompanist, he has worked extensively with artists such as David Daniels, Hélène Delavault, Vivica Genaux, Magdalena Kozena, Annick Massis, Marijana Mijanovic, Dorothea Röschmann, Rolando Villazon ... He has accompanied legendary Swedish mezzo-soprano Anne Sofie von Otter in recitals in Sweden, Norway, Spain and Paris and at La Scala in Milan. With lutenist Jakob Lindberg, their programme of English and Italian music of the 17th century, entitled Music for a While was released by Deutsche Grammophon in early 2005.

As an active exponent of contemporary repertoire for the harpsichord, he has given the premieres of works by composers such as Harold Meltzer and Frédéric Durieux, Stephen Blumberg, Patricia Morehead, Graham Lynch, etc. written for him. He has also given important performances of works by Ligeti and Michael Nyman, as well as several 20th century concerti, including Cyril Scott’s 1937 Harpsichord Concerto, which Mr. Vinikour prepared and edited for Novello editions. Sono Luminus will release his recording of 20th century (and beyond) American harpsichord works in late 2013.

Mr. Vinikour appears regularly as harpsichordist at the finest opera houses and festivals in Europe : Paris Opera, Netherlands Opera, Salzburg Festival, Teatro Real de Madrid, Baden-Baden, Glyndebourne, etc. in Baroque and Classical repertoire, as well as in more contemporary works (notably Stravinsky's The Rake's Progress and Zimmermann's Die Soldaten) and is heard on many recordings from Deutsche Grammophon, EMI, Erato, Sony Classics et al.

His recording of Bach’s Goldberg Variations, released on Delos International in 2001 received excellent reviews throughout the world. John von Rhein of the Chicago Tribune named it as one of 2001’s top ten classical CD’s, an honor that was also accorded to Mr. Vinikour’s recording of Bach’s Toccatas in 1999. Mr. Vinikour’s 2009 Delos release of Handel’s 1720 Suites for Harpsichord has received wide critical acclaim (American Record Guide naming it the finest recording of these works). Partnering with flautist Joshua Smith, their recording of Bach’s sonatas for flute and harpsichord is garnering attention from around the world. His debut recording for Sono Luminus, the complete harpsichord works of Jean-Philippe Rameau, was nominated for a Grammy® award, in the category of Best Classical Solo Instrumental Recording in 2012.

Recent appearances include his debut as conductor/soloist with the Hong Kong Philharmonic, as well as an appearance with the Chicago Lyric Opera in Handel's Rinaldo - earning exceptional praise from the press. He performed Poulenc's Concert Champêtre with the Nertherlands Radio Chamber Orchestra, under Benjamin Levy's direction. Mr. Vinikour directed the Korea Chamber Orchestra (Seoul) in an all-Bach programme in May, 2012, and was guest director of musicAeterna (based in Perm, Russia) in a mixed programme, and has co-directed (with violinist Monica Huggett) Juilliard415 Baroque Orchestra at Carnegie Hall, accompanying soprano Dorothea Röschmann and counter-tenor David Daniels. Mr Vinikour has given master-classes for Rocky Ridge (Colorado) Music Center, the Austrian Baroque Academy in Gmunden, Austria; the European Academy at the Palazzo Ricci Montepulciano; the University of Chicago, the Gnessin Academy, and the Tchaikowsky Conservatory.

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