Georg Friedrich Handel: Suites for Keyboard

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Album Name Length Format Sample Rate Price
Georg Friedrich Handel: Suites for Keyboard 1:15:21 $11.98
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# Track Title Length Format Sample Rate Price
1 Suite HWV 452 in G Minor: Allemande 2:49 $1.49 Buy
2 Suite HWV 452 in G Minor: Courante 3:02 $1.49 Buy
3 Suite HWV 452 in G Minor: Sarabande 2:17 $1.49 Buy
4 Suite HWV 452 in G Minor: Gigue 1:31 $1.49 Buy
5 Suite HWV 447 in D Minor: Allemande 2:09 $1.49 Buy
6 Suite HWV 447 in D Minor: Courante 2:33 $1.49 Buy
7 Suite HWV 447 in D Minor: Sarabande 1:53 $1.49 Buy
8 Suite HWV 447 in D Minor: Gigue 1:16 $1.49 Buy
9 Suites II No. 7 HWV 440 in B-flat major: Allemande 2:02 $1.49 Buy
10 Suites II No. 7 HWV 440 in B-flat major: Courante 2:07 $1.49 Buy
11 Suites II No. 7 HWV 440 in B-flat major: Sarabande 2:41 $1.49 Buy
12 Suites II No. 7 HWV 440 in B-flat major: Gigue 1:32 $1.49 Buy
13 Suites I No. 8 HWV 433 in F minor: Prelude 5:05 $1.49 Buy
14 Suites I No. 8 HWV 433 in F minor: Courante 2:57 $1.49 Buy
15 Suites I No. 8 HWV 433 in F minor: Sarabande 2:41 $1.49 Buy
16 Suites I No. 8 HWV 433 in F minor: Gigue 2:20 $1.49 Buy
17 Suites I No. 2 HWV 427 in F major: Adagio 2:47 $1.49 Buy
18 Suites I No. 2 HWV 427 in F major: Allegro 2:51 $1.49 Buy
19 Suites I No. 2 HWV 427 in F major: Adagio 1:48 $1.49 Buy
20 Suites I No. 2 HWV 427 in F major: Allegro 2:11 $1.49 Buy
21 Suites I No. 4 HWV 429 in E minor: Adagio 3:39 $1.49 Buy
22 Suites I No. 4 HWV 429 in E minor: Allemande 2:09 $1.49 Buy
23 Suites I No. 4 HWV 429 in E minor: Courante 2:55 $1.49 Buy
24 Suites I No. 4 HWV 429 in E minor: Sarabande 3:25 $1.49 Buy
25 Suites I No. 4 HWV 429 in E minor: Gigue 2:04 $1.49 Buy
26 Suites I No. 1 HWV 426 in A major: Prelude 2:34 $1.49 Buy
27 Suites I No. 1 HWV 426 in A major: Allemande 3:31 $1.49 Buy
28 Suites I No. 1 HWV 426 in A major: Courante 3:15 $1.49 Buy
29 Suites I No. 1 HWV 426 in A major: Gigue 3:17 $1.49 Buy

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Having paid tribute to Johann Sebastian Bach in a sequence of New Series recordings of the Well-tempered Clavier, the Goldberg Variations and the French Suites, Keith Jarrett now turns his attention to Bach's near contemporary, Georg Friedrich Händel. The project, in fact, has been in preparation for a long time; Jarrett's liner note informs us that he first began to record Händel's keyboard suites some 20 years ago. The present recording is of particular interest for a number of reasons and not least because it is the first of his albums of baroque music to feature the piano - as opposed to harpsichord - since Book One of the Well-tempered Clavier was issued in 1988. Where, in his Bach recordings, Keith Jarrett has striven to obliterate his musical personality ("This music does not need my assistance"), he feels Händel's "basically unknown" solo keyboard music needs a measure of special pleading. And, though he has gone to "the least tampered with editions" of the suites in the interests of "correctness both musicological and musical", in making the case for their reassessment he permits himself some interpretive leeway in matters of tempi and phrasing. The result is an extremely attractive reading of seven of the Suites for Keyboard that can perhaps be more readily related - particularly in the adagio movements, where Jarrett takes full advantage of the lyrical warmth and textural richness of the material - to aspects of the pianist's improvised recordings than can his Bach interpretations. (Or, to put it another way, these pieces, in the right hands, retain the freshness of improvisation). "Händel was a keyboardist, " Jarrett notes, "and his keyboard works should occupy a higher position in our awareness than they do." Keith Jarrett's playing on this recording invites comparison with his interpretation of Dmitri Shostakovich's 24 Preludes and Fugues Op. 87 (a work that creates a bridge, via Bachian inspirational sources, from the baroque to the "modern"). Jarrett's Shostakovich prompted John Rockwell to declare, in the pages of the New York Times: "With this recording, Mr. Jarrett has finally staked an indisputable claim to distinction in the realm of classical music. Even in our multicultural, multistylistic age, it is extremely difficult to cross over from one field to another. Mr. Jarrett, having long since established himself in jazz, can now be called a classical pianist of the first rank."