Handel: Harpsichord Suites Volume 1
Gilbert Rowland (harpsichord)
His tempi tend to be slow, as in the Allemande of the G major Suite from 1733. He compensates for the rather deliberate unfolding of the music by loading it, at times, with quite florid ornamentation...If...
Handel: Harpsichord Suites Volume 1
Gilbert Rowland (harpsichord)
Purchase product
His tempi tend to be slow, as in the Allemande of the G major Suite from 1733. He compensates for the rather deliberate unfolding of the music by loading it, at times, with quite florid ornamentation...If...
About
Handel’s solo keyboard music has for too long been overshadowed by his operas, oratorios, and orchestral music. This comparative neglect seems unjust in view of the considerably large quantity of keyboard music which exists amongst his massive output.
Handel was one of the first composers to free the keyboard suite from the formal constraints of Allemande, Courante, Sarabande, Gigue frequently used by German composers of the seventeenth and early eighteenth century, such as Froberger.
Gilbert Rowland first studied the harpsichord with Millicent Silver. Whilst still a student at the Royal College of Music, he made his debut at Fenton House 1970 and first appeared at the Wigmore Hall in 1973.
His mentors have included Kenneth Gilbert and Fernando Valenti. Recitals at the Wigmore Hall and Purcell Room, appearances at major festivals in this country and abroad, together with broadcasts for Capital Radio and Radio 3 have helped to establish his reputation as one of Britain's leading harpsichordists.
His numerous records of works by Scarlatti, Soler, Rameau and Fischer have received considerable acclaim from the national press. The recording of the 13-CD set of Soler sonatas with Naxos was completed in 2006. He also recorded a CD of Sonatas by Albero for London Independent Records two years ago, which was released in 2009. This is his first recording for Divine Art.
Contents and tracklist
Awards and reviews
July 2011
His tempi tend to be slow, as in the Allemande of the G major Suite from 1733. He compensates for the rather deliberate unfolding of the music by loading it, at times, with quite florid ornamentation...If Rowland's repeat sections are filled with his characteristically crackling ornaments, they are also more likely than not played on [the] upper manual and the effect is appealingly more intimate.
September 2011
He's at his sparkling best in the sets of variations and his clear-sighted and purposeful delivery maintain a strong feeling of cohesion.
