Jean-François Tapray, Symphonie Concertante in D Major for Harpsichord & Pianoforte
Sebastián de Albero, Sonata No. 18: Andante & Sonata No. 19: Allegro
Wolfgang Amadeus Mozart: Modulating Prelude K626a
Franz Joseph Haydn, Presto from Sonata in C Major, Hob. XVI:21
C.P.E. Bach, Concerto for Harpsichord & Pianoforte in F Major Wq 46
The Artists:
Sylvia Berry, Fortepiano
Rebecca Pechefsky, Harpsichord
The Ars Antiqua Period Instrument Orchestra:
Francis Liu & Beth Wenstrom, Baroque Violin
Annie Garlid, Baroque Viola
Mark Kramer, Baroque ‘Cello
The double keyboard concertos by French composer Jean-François Tapray were written intentionally to juxtapose the intrinsic qualities of the fortepiano and harpsichord. Although the emerging fortepiano offered enticing modes of expression and timbre, there was not a sudden turn of favor for one instrument over the other. Demand for the harpsichord and its music continued throughout much of the late 18th century, even during critical moments in the development of the fortepiano. In fact, as the century progressed, keyboard music up through the time of Mozart, frequently deferred the choice of instrument to the player. In Potsdam, at Frederick the Great’s jewel-like Sans Souci palace, it was a fortepiano which beckoned the attention of J.S. Bach during a visit with his son Carl Philipp Emanuel. At the crossroads of rivalry and musical compatibility, the duo concertos of Tapray & Bach are a delightful joust between ancient and modern. The result is a friendly competition in virtuosity which equally celebrates the soundscape of both instruments and embraces the endless variety of color and contrast brought by quills and hammers.
