Utwory na płycie:

• Suite in G major from Nouvelles suites de pièces de clavecin - I. Les tricotets
• Suite in G major from Nouvelles suites de pièces de clavecin - II. L'indifferente
• Suite in G major from Nouvelles suites de pièces de clavecin - III. Menuet I
• Suite in G major from Nouvelles suites de pièces de clavecin - IV. Menuet II
• Suite in G major from Nouvelles suites de pièces de clavecin - V. La poule
• Suite in G major from Nouvelles suites de pièces de clavecin - VI. Les triolets
• Suite in G major from Nouvelles suites de pièces de clavecin - VII. Les sauvages
• Suite in G major from Nouvelles suites de pièces de clavecin - VIII. L'enharmonique
• Suite in G major from Nouvelles suites de pièces de clavecin - IX. L'egyptienne
• Keyboard Sonata K491 in D major
• Keyboard Sonata K213 in D minor
• Keyboard Sonata K380 in E major
• Keyboard Sonata K466 in F minor
• Keyboard Sonata K118 in D major

Jean-Philippe Rameau:
Nouvelles Suites de Pieces de Clavecin - Suite in G Major/Minor

Domenico Scarlatti:
Sonata in D, K.491
Sonata in D minor, K.213
Sonata in E, K.380
Sonata in F minor, K.466
Sonata in D, K.118

Music for the keyboard has dominated much of Western music history, with works for the harpsichord and its relatives forming a hugely significant portion of Baroque repertoire. Yet alongside the development of keyboard music, the guitar enjoyed a rich and varied evolution of its own. The Baroque guitar was particularly prominent in Spain, France and Italy, while romantic depictions of guitarists appeared in paintings by the likes of Dutch Baroque painter Johannes Vermeer. This programme brings together music by two great Baroque composers, one French, one Italian, whose harpsichord music lends itself superbly to these transcriptions for the guitar. Whereas the strings of the piano are struck, harpsichord strings are plucked with a plectrum-like device, creating a technical and audible relationship with the guitar. Jean-Philippe Rameau (1683-1764) was influenced by Couperin, who pioneered the style luthé or ‘lute style’ of harpsichord playing, and Domenico Scarlatti (1865-1757) lived in Spain for much of his life; he was greatly influenced by the Spanish guitar, and his use of repeated notes in his sonatas was intended to emulate the instrument.