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Zuzana Ruzickova - Harpsichord Music from England, Spain and Portugal (2012) [FLAC]

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Description

 							
  
  
 
Harpsichord music from England, Spain and Portugal
  CD 1
  John DOWLAND (1563-1626)
  Melancholy
Galliard [2:59]
  The Shoemaker's Wife [1:08]
  My Lady Hunsdon's Puffe [0:59]
  Ferdinando RICHARDSON
(c.1558-1618)
  Pavan, FWVB4 [3:13]
  ANONYMOUS
  Almand, FWVB14 [1:45]
  John BULL (1562-1628)
  Dr Bull's Juell, FWVB138 [2:56]
  In nomine, FWVB37 [4:01]
  Walsingham, FWVB1 [5:56]
  The King's
Hunt, FWVB135 [1:55]
  John MUNDAY (c.1555-1630)
  Bonny Sweet Robin, FWVB15 [2:04]
  Thomas MORLEY
(1557/8-1602)
  Alman, FWVB152 [2:08]
  Martin PEERSON (1571/3-1651)
  The Fall of the leafe, FWVBI72
[2:28]
  William BYRD (c.1540-1623)
  Galliardas Passamezzo, FWVB57 [5:43]
  Richard FARNABY
(c.1594-1623)
  Nobodyes Gigge, FWVB149 [4:05]
  Henry PURCELL (1659-1695)
  Air [1:34]
  Canary
[0:56]
  William CROFT (1678-1727)
  Ground [3:17]
  CD 2
  Antonio de CABEZÓN (c.1510-1566)
  Tiento [3:08]
  La dama le demanda [3:06]
  José Antonio Carlos de SEIXAS (1704-1742)
  Sonata in
E minor [4:21]
  Sonata in C minor [4:38]
  Toccata in F minor [2:21]
  João de Sousa CARVALHO
(1745-1799/1800)
  Toccata [2:35]
  Andante [2:51]
  Antonio SOLER (1729-1783)
  Sonata in E minor
[3:38]
  Sonata in G major [4:00]
  Sonata in C major [9:00]
  Sonata in A minor [2:39]
  Sonata in
F major [4:01]
  Sonata in D flat major [5:11]
   Zuzana Ružicková (harpsichord)
  rec. April 1966
(CD 1), Domovina studios, Prague and October 1983 (CD 2), Rudolfinum, Prague
   SUPRAPHON SU 4118-2 [47:43 +
52:14]
  
  
  This 2 CD compilation has been reissued to mark the 85th birthday of the eminent
Czech harpsichordist Zuzana Ružicková. A grant from the Viktor Kalabis and Zuzana Ružicková Foundation,
based in America, has made its release possible, so all thanks to them. The discs split neatly into two, reflecting the
LPs from which they derive. The first disc concentrates on English music, and was recorded in 1966, whilst the second
disc presents Iberian music and was taped in 1983.
   
  To England first, then. She begins her recital with
three Dowland lute pieces arranged for harpsichord. This may seem odd, given the wealth of original English harpsichord
music available, but clearly the arrangements offered opportunities for novelty. These are certainly eccentric, with
registral transition sections sounding very strange. Overall the performances are overemphatic and, in the case of My
Lady Hunsdon's Puffe, over-busy, overblown and yet strangely enjoyable. It’s not for purists, obviously. When she
is on original territory with, say, John Bull, she calms down appreciably, those delicate silvery registrations really
making their mark. In nomine is played with requisite seriousness – indeed grandiosity - and Walsingham shows
both her virtuosity and her sensitivity for long phrases. She doesn’t play all the variations. The King’s
Hunt is played with an eager appreciation of its own vitality and alertness. Martin Peerson’s The Fall of the
leafe is a delight and one of the standout tracks, though for vim and vigour Richard Farnaby’s Nobodyes Gigge
takes some beating. She plays a couple of playthings by Purcell, and Croft’s ever-affecting Ground. So, something
of an uneven programme all in all, but still with much to interest and intrigue.
   
  The Spanish and
Portuguese disc doesn’t present quiet so many anomalous or at least mildly problematic elements. It was recorded
much more recently and concentrates in the main on impressive sonatas by masters of the genre, Soler and Seixas, as well
as smaller pieces by Carvalho and Cabezón. She locates the haughty grandeur evinced by Cabezón in his La dama le
demanda, a cunningly descriptive piece of work. But most of all she clearly relishes the playful vigour and rhythmic
virtuosity of Seixas’s three sonatas, and perhaps still more the demands of the sextet of Soler sonatas. She
plays the extensive C major (extensive in the context of the much smaller surrounding sonatas) with awareness of its
answering paragraphs and internal dialogues; and she characterises these eventful works with skill and colour.
  

  Neither of these LPs saw her on what some may see as ‘home turf’ but perhaps that’s all the
more reason to welcome this celebratory set back into the catalogue. The notes are succinct and replace the LP liner
notes (her pupil Christopher Hogwood wrote the notes for the English LP disc, I remember). Inevitably timings are LP
ones but I believe the CD price bracket reflects that. Let’s hope this heralds more Ružicková restorations
from Supraphon.
   
  Jonathan Woolf 						

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