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Couperin Suites pour clavecin
Mitzi Meyerson
Glossa GCD921802 [Berlin 2004, 75 mins] (Harmonia Mundi)

Le Trophee
Le Point duJour. Allemande
Le Croc-en-jambe
Menuets croises
Les Tours de Passe-passe

La Convalescente
La Sophie
La Pantomime

La Princesse marie
La Boufonne
Les Cherubins ou L'Aimable Lazure
La Crouilli ou La Couperinete
La Fine Madelon
La Douce Janneton
Da capo La Fine Madelon
La Sezile (Piece croisee Ssur le Grand Clavier)
Les Tambourins

La Visionaire
La Misterieuse
La Monflambert
La Muse Victorieuse
Les Ombres Errantes

This release is one to justify the tired phrase "eagerly awaited" seen too often!

At her London recital, I likened Mitzi Meyerson's way with Couperin to that of the best Chopin pianists, probing deeply beyond the written score, with expressive phrasing and rubato underpinned by a firm pulse. Her thoughtfully chosen selections from Couperin's Fourth Book make what is described in Pierre Mamou's evocative and perceptive notes as a "Metasuite"; from Ordre 22 in the "happy and warlike" D major, via the "bitter and depressive" Ordre 26 in F# minor and the "sweetly joyous" G major of No 20 to reach a climax in the "obscure" key of C minor.

Meyerson's Taskin/Hill instrument sounds lovely as recorded in a Berlin church, and her use of notes inégales is natural and unmannered (omitted on the composer's instructions in the heavy Mazurka au goût Polonaise). Several of the pieces feature crossed hands on one or both keyboards, illustrated in photos by Klauke & Manginni.

Richard Jones: Sets of Lessons

Recorded in Berlin (Nikodemus Kirche) March 2010

Mitzi Meyerson

Glossa- GCD921805

Richard Jones
was an accomplished violinist in London, leading the Drury Lane Orchestra from 1730. The only notice of his death was an obituary in 1744. Jones was under the huge shadow of Handel in London, and his music disappeared, leaving almost nothing known about him, and no portraits.

He produced two collections of sonatas for violin and basso continuo, and this volume of harpsichord works dated 1732. They are in varied dance forms, and there is a good mixture in the 48 tracks.

They are played with style and panache. Meyerson is not one to hang about, and sometimes I felt there was unwonted hurry in the faster pieces.

Jones' collection is a useful quarry for harpsichordists looking for something unusual; a few at a time in a recital will always be welcome. And his name will ensure interest in UK...

Better that Mitzi Meyerson foraged rarities instead of giving us another "WTC48".

Recommended, and good luck with her future explorations.

Peter Grahame Woolf

See also the Musical Pointers recommendation of Glossa's Böhm collection recorded by Mitzi Meyerson

© Peter Grahame Woolf