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Special offer. Rameau: Pièces de Clavecin

James Richman (harpsichord)

Rameau: Pièces de Clavecin
not for Richman the flamboyance of a Christie or a Rousset, or the fantasy of a Rondeau or an Esfahani; he is content to allow his profound understanding and experience merely to give space...

Special offer. Rameau: Pièces de Clavecin

James Richman (harpsichord)

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2 CDs

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96 kHz, 24 bit, FLAC/ALAC/WAV

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This release includes a digital booklet

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not for Richman the flamboyance of a Christie or a Rousset, or the fantasy of a Rondeau or an Esfahani; he is content to allow his profound understanding and experience merely to give space...

About

Rameau’s Pièces de Clavecin was composed over a period of 20 years, the first collection, or book appearing in 1706. These pieces showcase Rameau’s lyrical and expressive style, often featuring intricate ornamentation and elegant melodies. The collection is considered a major work in Baroque keyboard repertoire, reflecting Rameau’s mastery in both composition and harmony.

James Richman is the first musician since Leonard Bernstein to graduate Harvard, Julliard and the Curtis Institute of Music, studying conducting with Herbert Blomstedt, piano with Horszowski, and harpsichord with Kenneth Gilbert. He is considered one of today’s leading conductors of Baroque music and opera. James was made a Chevalier in the Ordre des Arts et des Lettres by the French government in 1995 in recognition of his contributions to the field of music.

This recording is played on a French double-manual harpsichord modeled closely after the 1769 instrument by Pascal Taskin, built by John Koster, formerly curator of keyboards at the National Music Museum as well as the Boston Museum of Fine Arts. The instrument, built in 1980, was recently refurbished and voiced by Claire Hammett of London and Sarasota, Florida.

Contents and tracklist

I. Allemande
Track length8:10
II. Courante
Track length4:22
III. Sarabande
Track length2:41
IV. Les Trois Mains
Track length5:23
V. Fanfarinette
Track length2:52
VI. La Triomphante
Track length1:44
VII. Gavotte et six doubles
Track length7:12
I. Allemande
Track length4:09
II. Courante
Track length1:53
III. Gigues
Track length4:06
IV. Le Rappel des Oiseaux
Track length3:47
V. Rigaudons
Track length2:07
VI. Musette en Rondeau
Track length2:01
VII. Tambourin
Track length1:24
VIII. La Villageoise
Track length2:56
I. Prélude
Track length3:02
II. Allemande
Track length5:13
III. Deuxième Allemande
Track length2:04
IV. Courante
Track length2:07
V. Gigue
Track length2:44
VI. Premier et deuxième Sarabande
Track length3:20
VII. Vénitienne
Track length1:51
VIII. Gavotte
Track length2:03
IX. Menuet
Track length1:08
I. Les Tendres Plaintes
Track length3:00
II. Les Niais de Sologne
Track length7:23
III. Les Soupirs
Track length5:24
IV. La Joyeuse
Track length1:29
V. La Follette
Track length1:41
VI. L'Entretien des Muses
Track length6:57
VII. Les Tourbillons
Track length2:36
VIII. Les Cyclopes
Track length3:54
IX. Le Lardon
Track length0:53
X. La Boiteuse
Track length1:02
I. Les Tricotets
Track length3:01
II. L'Indifferente
Track length1:54
III. Menuets
Track length3:13
IV. La Poule
Track length3:59
V. Les Triolets
Track length3:58
VI. Les Sauvages
Track length1:53
VII. L'Enharmonique
Track length8:18
VIII. L'Égyptienne
Track length4:08

Awards and reviews

March 2026

not for Richman the flamboyance of a Christie or a Rousset, or the fantasy of a Rondeau or an Esfahani; he is content to allow his profound understanding and experience merely to give space and breath and light to the music, avoiding excessively brisk tempos and too-emphatic articulation, agréments or agogics.
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