Christoph Graupner (1683-1760)
             Harpsichord Music

Partita II in C minor, GWV 102
Partita VIII in F major, GWV 108
Excerpts from Partita in G major, GWV 141
Aria in E flat major, GWV 136
Excerpts from Partita in D minor, GWV 702
Gigue in C major, Prestissimo, GWV 125
Genevieve Soly, Harpsichord
Recorded December 2002
Released September 2003
Volume 2 - World Premiere Recordings
Analekta fleurs de lys FL 2 3164 [59:38]

Partita in C minor, GWV 150
Februarius in G major, GWV 110
Partita III in D major, GWV 103
Genevieve Soly, harpsichord
Recorded September 2003
Released February 2004
Volume 3 - World Premiere Recordings
Analekta fleurs de lys FL 2 3181 [62:39]

Most classical music enthusiasts have likely never heard of the
Baroque composer Christoph Graupner, but performing artist, conductor, and
musicologist Genevieve Soly is devoting herself to unearthing and promoting
his music.  Through the Analekta label, Soly now has five Graupner discs
in the catalogues, three volumes of harpsichord music and two mixing
instrumental and vocal music.

The immediate question that comes up is whether Graupner's music is worth
the tremendous devotion it is getting from Soly.  I would answer in the
affirmative for two reasons.  First, Graupner's large musical output of
over 2,000 works was locked away in Darmstadt due to legal conflicts
involving ownership.  They are now available to the public, and it is
natural that musicologists and performing artists would want to make
this music known to the world.  Second, Graupner's music certainly demands
some exposure.  He was not the typical high-baroque 'hack', but an expert
composer as to melodic content, diversity of style, and architectural
integrity.

Although I do not have Soly's Volume 1 of Graupner's harpsichord music,
I can assure readers that each of the three volumes is dominated by the
Partita.  Graupner wrote more than 40 Partitas, and little of his solo
keyboard music is in other forms.  These are dance-style works as are
the Partitas of Johann Sebastian Bach.

At this point, I'd like to cover the contention by some that compositions
with a series of dances tend not to be very interesting or diverse.  I
disagree strongly, whether the composer is Bach or Graupner.  Allemandes,
Courantes, Sarabandes, Gigues, Menuets, and the other dance forms prevalent
in Graupner's Partitas are quite distinct from one another as can be
gleaned through the listening process.  The key to the inherent variety
of interest of dance-rhythm music rests with the artistry of the composer,
and Graupner's artistry was of a high level.

In general style, Graupner reminds me more of the French Baroque
composers than the Germanic.  Actually, I liken Graupner to Louis Couperin
in that their sense of sonority and rhythm is quite similar, resulting
in an exquisite musical elegance.  Another similarity, and it applies
to all the best French composers for the harpsichord, is the compelling
blend of severity and sweetness.  Mixed expertly, each property enhances
and feeds off the other, and Graupner's artistry is this area is superb.

There is just one aspect of Graupner's harpsichord music I find complaint
with.  The liner notes to Volume 3 mention "improvisation-like harmonic
surprises", but I think of these passages as 'filler' - musical material
neither germane nor attractive.  Essentially, I do not feel that Graupner
has a good handle on these harmonic adventures.  Fortunately, he doesn't
indulge often.

Of course, Graupner's music doesn't play itself, and Soly is an exceptional
champion for the composer.  She brings out all the exuberance, poignancy,
and blending of severity/sweetness inherent in the music.  Soly plays a
gorgeous sounding harpsichord, a Hubbard & Broekman built in 1998 after
the style of H.A.  Hass, c.  1730's.  Her soundstage is appropriately
bright and crisp, being a fine medium for Graupner's creations.

All of the music on the two discs is rewarding, and I am particularly
smitten with the Partita in C minor on Volume 3.  This is a six-movement
work sequenced as follows: Praeludium, Allemande, Courante, Sarabande,
Menuet, and Aria.  The first two movements are melancholy and severe;
their close ties prompted Graupner to write "volti" (turn the page) at
the end of the Praeludium.  The Courante delivers fast excitement, the
Sarabande contemplates, and exhilaration informs the Menuet.

The concluding Aria of the Partita in C minor, consisting of a theme and
six variations, is its crowning glory.  The theme is a slowish bitter/sweet
confection that's immediately appealing.  Variations 1, 3, and 5 carry
sixteenth notes while the others are in dance-rhythm form.  Each of the
variations is invigorating and well differentiated.  The variation form
in the Partitas is one that Graupner had a penchant for in his writings,
using it generously throughout his career.

Don's Conclusions: Excellent keyboard music given outstanding performances.
Having some Graupner in the music library is a fine idea; it's just a
matter of how much to acquire.  My best advice is to get Volume 3 and
one of the Analekta 'mixed' discs.  There is also a recent instrumental
offering on the MDG label that has garnered fine reviews, but MDG
recordings cost substantially more than Analekta.

To keep things in perspective, I have to chime in with the view that
Graupner does not approach the genius of a Bach, Handel, or Scarlatti.
Get a couple of Graupner discs, then decide if you want more.  As for
me, I think I'll be content with the two harpsichord discs I now own.
It's good to have them, but I don't have a burning desire to secure
additional recordings.

Don Satz
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