In the late 18th century, the pianoforte (predecessor to the piano) offered so many new possibilities to composers, that the harpsichord started to slide into obscurity. Nonetheless, Beethoven’s Fantasie, composed for harpsichord, demonstrates that the instrument was still attractive. In that sense, this recital is a statement against our constant renewal and modernization. What if we kept the old stuff around just a little longer?
His Quatuor Nevermind has made a name for itself, but Jean Rondeau is also phenomenal as a soloist. The Washington Post: “Rondeau is a master of his instrument with the sort of communicative gifts normally encountered in musicians twice his age. He internalizes the music he plays so completely that any interpretive ambivalence or miscalculation is unthinkable. The sincerity and modesty of his delivery are the keys to its power.”
Fux Harpeggio | Haydn Piano sonata no. 31 | Clementi ‘Etude no. 92’ from: Gradus ad Parassum, op. 44 | Beethoven Prelude no. 2 for piano and organ, op. 39 | Mozart Piano sonata no. 1 | Beethoven Prelude in f | Clementi ‘Etude no. 72’ from: Gradus ad Parassum, op. 44 | Mozart Fantasia in D minor
Jean Rondeau Harpsichord