Всем лояльным к рояльному барокко.
Профессор Ширмер исполняет сочинения мистера Генделя на пианино.

Первоисточник:

http://orchestralworks.blogspot.com/2009/12/ragna-schirmer-handel-klaviersuiten.html (рапида).

Ссылка на певроисточник на днях мелькнула в чате, но файлы было решено перезалить по следующей причине.
По данным Евростат (на декабрь 2009 года) из 100 посетителей сайта "Погружение в классику" (далее - погруженцев):
только 30 заглядывают в чат,
из этих 30 только 15 переходят по мелькнувшим там ссылкам,
из этих 15 около 15 человек, зайдя по ссылке и увидев ссылки на рапиду, плюнут и уйдут.

 

О единственном имени Иоганна Себастьяна Баха Лейпцигского Международного Конкурса дважды лауреате профессоре Ширмере:

 

О мистере Генделе:

 

Пресса:

Not many pianists champion Handel's keyboard suites, let alone record them cyclically. Yet Ragna Schirmer appears to be one of the very few to have essayed all 16 on disc.
Happily, the dry, somewhat pedantic impression she made with Bach's Goldberg Variations contrasts to her altogether warmer, more imaginative and involved Handel-playing. The music's formal origins in dance are reflected via Schirmer's well judged tempi (compare her crisp, animated Courante in No 8 to Keith Jarrett's broader, more legato treatment), and are always propelled by assertive, shapely bass-lines. At the same time, improvisatory Preludes inspire plenty of unfettered yet stylishly apt rhapsodising. Schirmer is not averse to transposing certain repeated sections up an octave or to changing her articulation second time round, while embellishments manage to be both liberal and discreet. True, there's something to be said for the mesmerising deliberation with which the more pianistically oriented Andrei Gavrilov and Sviatoslav Richter (EMI, 11/96) convey in slower movements, and lighter, suppler accounts of the Fifth Suite's famous "Harmonious Blacksmith" variations grace the catalogue. Still, for overall artistry and excellent engineering, this is the Handel cycle to acquire if you desire these works on piano. (Jed Distler, Gramophone June 2009)

This complete traversal of the keyboard suites of Handel (or, this being a German release, Händel) isn't for those who believe in harpsichord performance of Baroque keyboard works. German pianist Ragna Schirmer says in a booklet interview that "I try to sense what Handel wanted to express in the suites and to bring it out on a modern piano," and she uses a good deal of pedal, especially in the Preludes, more than in her recording of Bach's "Goldberg Variations." If you're down with such an approach, give Ragna Schirmer a try in Handel, where the competition isn't quite as thick as it is with Bach. Schirmer's is a pianistic conception, but that doesn't mean it wanders all over the map; it's consistently thought through. Schirmer generally makes one movement, often the one marked Allegro rather than one of the dance movements, into the energy center of the entire suite. You could start with the "Suite for keyboard in E minor, HWV 429" (disc 3, tracks 9-15) to get an idea. The opening Allegro is built up to a peak of intensity by means of dynamics and articulation: the notes are held longer and longer, running into each other by the movement's end with the effect of communicating a sort of ecstasy in the manner of Glenn Gould. The dances are more srhythmically traightforward. Schirmer applies a good deal of improvisation and ornamentation to the preludes and to repeats in many of the dances. The end result is that each suite takes on its own shape, and that Schirmer delivers performances that accord with her idea of Handel's keyboard music as quasi-improvisatory in nature. Nicely recorded and indicative of long engagement with the music, even if it's not for everybody. (James Manheim)