MUSIQUE DE SALON Claude-Bénigne Balbastre
Mitzi Meyerson
GCD 921803
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Performing artists
Mitzi Meyerson, fortepiano (Broadwood original) & harpsichord (after Taskin)
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CLAUDE-BÉNIGNE BALBASTRE (1772-1799)
Musique de salon
CD I PréludeLa Monmartel ou la BrunoyLa BellaudLa SuzanneLa MorisseauLa LaporteLa De CazeLa LamarckLa BervilleLa Castelmore
CD II La D’HericourtLa CourteilleLa LugeacLa GentyLa MalesherbesLa Berryer ou la LamignonLa D'EsclignacLa SegurLa BoullogneMarche des Marseillois et l'air Ça-Ira
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Quizá por su condición de mujeres, quizá por preferir la discreción a la visibilidad, o quizá por dar más importancia a lo intemporal que al éxito inmediato, el caso es que tanto Mara Galassi como Mitzi Meyerson, las dos únicas féminas del plantel artístico de Glossa, se han especializado en proyectos minoritarios, exquisitos y duraderos. Los suyos son discos de culto, para los que opera el boca a boca por encima de cualquier otro medio de difusión.Será el caso también del último proyecto de la Meyerson,titulado Musique de salon, en el que nos presenta undelicioso recital de piezas de Claude-Benigne Balbastre.Los sonidos de un clave Taskin y de un fortepianoBroadwood de 1792 nos trasladan al fascinante ambientede los salones parisinos prerrevolucionarios... aunqueel disco, apropiadamente, culmina en una serie devariaciones sobre La Marsellesa. El musicólogo Philippe Beaussant en el libreto: "La música que llamamos familiarmente 'música de salón' no es, siempre, tan fútil como parece a simple vista. El mismo hecho de que evolucionara en concordancia con la vida social y sus gustos, sus tendencias y hasta sus modas, la convierte en un testigo privilegiado de la historia de la música. Algo que ilustra magníficamente Claude-Bénigne Balbastre." El segundo libreto incluye una entrevista en profundidad con Mitzi Meyerson, que nos ofrece sus puntos de vista acerca de esta música, además de algunos interesantísimos detalles del "making of".
Mitzi Meyerson has been delving of late for Glossa into unjustly forgotten keyboard repertory from the Baroque. Praised by no less a critic than Nicholas Kenyon for her recording of Gottlieb Muffat’s Componimenti Musicali per il Cembalo (“Eureka! I’ve known these wonderful pieces for years, having bought an old edition of the music, but have never heard them properly performed. So it’s a joy to hear Mitzi Meyerson’s glorious realisation of these 18th-century suites, which lie at the heart of the high baroque style...”), Meyerson now turns her attention to the shadowy figure of Englishman Richard Jones. [read more...]
Mitzi Meyerson’s insight into (and experience with) the harpsichord literature of the Baroque is such that when she makes a visit to the recording studio, one knows that something rare, fascinating and illuminating will emerge. This has been the case in recent years with both the Claviersuiten by Georg Böhm and the Musique de Salon of Claude-Bénigne Balbastre (which have also appeared on Glossa); the latest exploration beyond the mainstream undertaken by Mitzi Meyerson – Muffat’s Componimenti Musicali – is charged with the same character and sense of expectation. This is not the Georg Muffat who studied in Paris with Lully but his son, Gottlieb (also known as Theofilo), who spent much of his career in Vienna and whose set of six harpsichord suites Componimenti Musicali appeared towards the end of the 1730s. [read more...]
Mitzi Meyerson signals her return on Glossa with a further example of her ability to seek out entertaining music that for too long has been ignored and perform it with all the subtlety, charm and musical skill that such music demands. For her new Glossa release she presents a demonstration of the compositional joys provided by one of the lesser-known French keyboard masters – Claude-Bénigne Balbastre. In her substantial discography there are already recordings given over to other bypassed talents such as Jacques Duphly, Georg Böhm, Antoine Forqueray and even the Fourth Book of François Couperin. [read more...]