Performers: Sophie Yates (harpsichord). Considering the rarity of its material, Sophie Yates' 2016 album on Chaconne, The Pleasures of the Imagination, holds a certain appeal because its selections haven't been dulled by excessive anthologizing.
English Virginals Music. Bach: The Transcriptions of Concertos by Vivaldi and the Marcello brothers. Purcell: A Choice Collection of Lessons: Suite Nos. 1-8. Romanesca: Italian Music for Harpsicord. Listen to The Pleasures of the Imagination: English 18th Century Music for the Harpsichord now. Listen to The Pleasures of the Imagination: English 18th Century Music for the Harpsichord in full in the this site app. Play on this site.
The Pleasures of the Imagination: English 18th Century Music for the Harpsichord. English Virginals Music. More Sophie Yates. Listen to Popular Harpsichord Music Of The 18th Century now. Listen to Popular Harpsichord Music Of The 18th Century in full in the this site app. You look like someone who.
Pleasures Of The Imagination . Sophie Yates. This collection of 18th century harpsichord music brings together works by Johann Sebastian Bach, Jacques Duphly, Francois Couperin, Jean-Philippe Rameau, George Frederic Handel, Louis-Claude Daquin, and Guiseppe Domenico Scarlatti. The pieces go together nicely, not least because of the way in which Sophie Yates plays them. Sophie Yates has a longstanding reputation as a superb harpsichord player, yet even here in this early (1995) recording, her expertise shines through. Yet Ms. Yates plays this music with a sensitivity, elegance and joy that is utterly uplifting.
Popular harpsichord music of the 18th century. Sophie Yates (harpsichord). Release Date: 1st Aug 1996. Catalogue No: CHAN0598. Pieces de clavecin, Book 2: 6th Ordre: Les baricades misterieuses. Rameau: Suite in D minor, major from Pièces de clavecin (1724, revised 1731).
Sophie Yates finds the right manner far all these works, the small and unassuming, the intricate and emotionally charged. Her sense of rhythmic flexibility is subtle. Her articulation of simultaneous musical strands - no mean feat even in the simplest of works performed on the virginal - is a delight. In Yates's earlier Chandos collection of Elizabethan music I praised here ability to project musical architecture and virtuosity in her performance of The Bells by Byrd
The harpsichord was largely obsolete, and seldom played, during a period lasting from the late 18th century to the early 20th. The instrument was successfully revived during the 20th century, first in an ahistorical form strongly influenced by the piano, then with historically more faithful instruments. The revival was the joint work of performers, builders, and composers who wrote new harpsichord pieces.
In her readings of Les Idées heureuses, she savors the melodic quality of the ornamentation and the stately but fluid rhythms to marvelous effect. One of the world's preeminent harpsichordists, Sophie Yates is known for her critically acclaimed performances of Baroque music. Universally praised for her profound understanding of Baroque style, Yates is also admired for her refined touch and discreet virtuosity. Indeed, critics have often lauded Yates for subordinating her enormous virtuosity to stylistic and aesthetic concerns.
Sophie Yates plays a powerful sounding harpsichord and finds opportunities to display its full musical resources in this consistently marvellous music. She tackles the big virtuoso moments head on and even manages to fit in a few roulades of her own. Award-winning harpsichordist Sophie Yates presents her second volume devoted to Rameau, including the Nouvelles suites de pièces de clavecin which display some of his extremely forward-looking ideas on harmony and dissonance.
|1||Dr. Blow's Chacone in Faut in F major John Blow||Sophie Yates||6:13|
|2||Morlake Ground John Blow||Sophie Yates||4:31|
|Suite No. 2 in A major|
|3||Almand Jeremiah Clarke||Sophie Yates||2:58|
|4||Round O Jeremiah Clarke||Sophie Yates||1:16|
|5||Jigg Jeremiah Clarke||Sophie Yates||1:45|
|Suite in D minor|
|6||Slow almand William Croft||Sophie Yates||4:18|
|7||Corant William Croft||Sophie Yates||2:01|
|8||Saraband, slow William Croft||Sophie Yates||2:39|
|Suite of Lessons in C major|
|9||Allegro Maurice Greene||Sophie Yates||4:21|
|10||Vivace Maurice Greene||Sophie Yates||2:17|
|11||Allegro Maurice Greene||Sophie Yates||2:43|
|Third Set of Lessons in B flat major|
|12||Prelude. Allegro - Largo - Allegro - Largo Richard Jones||Sophie Yates||6:14|
|13||Sarabanda Richard Jones||Sophie Yates||2:13|
|14||Allegro Richard Jones||Sophie Yates||3:23|
|15||Minuet Richard Jones||Sophie Yates||1:20|
|16||Boree Richard Jones||Sophie Yates||1:01|
|17||Largo Richard Jones||Sophie Yates||0:47|
|18||Giga. Allegro Richard Jones||Sophie Yates||2:53|
|Sonata III in G major from Eight Sonatas or Lessons|
|19||Prelude Thomas Arne||Sophie Yates||1:35|
|20||Allegro Thomas Arne||Sophie Yates||3:03|
|21||Minuet Thomas Arne||Sophie Yates||3:16|
|Sonata, Op. 17 No. 2 in C minor from Six Sonatas|
|22||[Allegro] Johann Christian Bach||Sophie Yates||5:35|
|23||Andante Johann Christian Bach||Sophie Yates||3:33|
|24||Prestissimo Johann Christian Bach||Sophie Yates||5:13|
CreditsThomas Arne - Composer
Johann Christian Bach - Composer
John Blow - Composer
Jeremiah Clarke - Composer
Gary Cole - Editing, Engineer, Recording Producer
Ralph Couzens - Executive Producer
William Croft - Composer
Rosanna Fish - Mastering
Andrew Garlick - Instrument Design, Preparation, Tuning
Maurice Greene - Composer
Finn S. Gundersen - Booklet Editor
Richard Jones - Composer
Marie-Françoise de Meeûs - Liner Note Translation
Bernd Müller - Liner Note Translation
Sue Shortridge - A&R
Sophie Yates - Harpsichord, Liner Notes, Primary Artist