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Handel: Suites for Keyboard | 
 enlarge | Creators: George Frederick Handel, Keith Jarrett
Label: Ecm Records
Category: Music
List Price: $17.98
Buy New: $11.96
You Save: $6.02 (33%)
New (33) Used (7) from $11.96
Rating:  12 reviews
Sales Rank: 36949
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 445298
UPC: 028944529821
EAN: 0028944529821
ASIN: B000025XCW
Release Date: January 25, 2000
Availability: Usually ships in 1-2 business days
Shipping: International shipping available
Condition: BRAND NEW Factory Sealed - Ready to be shipped within 24 hrs from California - Average 5 workdays delivery time - Excellent customer service - Buy with confidence!
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| Tracks:
| • | Allemande | | • | Courante | | • | Sarabande | | • | Gigue | | • | Allemande | | • | Courante | | • | Sarabande | | • | Gigue | | • | Allemande | | • | Courante | | • | Sarabande | | • | Gigue | | • | Prelude - Fuga | | • | Allemande | | • | Courante | | • | Gigue | | • | Adagio | | • | Allegro | | • | Adagio | | • | Allegro | | • | Fuga | | • | Allemande | | • | Courante | | • | Sarabande | | • | Gigue | | • | Prelude | | • | Allemande | | • | Courante | | • | Gigue |
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| Customer Reviews:
A Masterwork which hasn't received the credit and attention it would deserve. April 12, 2008
David Nawabi (San Francisco, CA)
Keith Jarrett reminds and illustrates with this CD how much Johann Sebastian Bach was influenced by Friedrich Handel. Keith Jarrett is able to capture the richness and mathematical perfection in this pieces as Glenn Gould is able to capture them for instance in Johann Sebastian Bach's Goldberg Variations. I was surpiresed that Jarrett with his Jazz background was able to play this pieces in such a neio classical clarity. I actally expected the CD to have a Jazz influence like we have with Jaques Loussier when he plays pieces of Bach. As already mentioned, the pieces illustrate, how much Johann Sebastian Bach's music and clarity was influenced and inspired by Friedrich Handel. Keith Keith Jarrett proved to me that he is a great Pianist and this CD should earn him the appropiate respect which he deserves.
Just wonderful April 27, 2007
J. Marks (New Haven, CT USA)
I was surprised, but not too, to discover that this nonpareil jazz keyboardist has been generating "classical" (or in this case Baroque) albums. Of course many greats of jazz had classical training, but Jarrett has taken that ball and run with it. This particular album is my first of his "art" music, and I am now eager to check out all the rest. This one is a delight to listen to. I will play it again and again, I'm sure. As Jarrett points out, the music is not virtuosic, and perhaps for that reason is rarely heard; but what a discovery for our musical palates -- the seeming simplicity only adds to our enjoyment. This is a peaceful and thoroughly pleasing album. You will not be disappointed.
Jarrett's Piano Career Path Leads, at Last, to Performances of Handel's Suites of Gloriously "Right" Musicality August 21, 2006
Gerald Parker (Rouyn-Noranda, QC., Dominion of Canada)
3 out of 3 found this review helpful
There is no need to belabour the excellences of Keith Jarrett's performances of Handel's keyboard suites. The playing has the lyrical flow that other Amazon.com and Amazon.ca reviewers almost unanimously praise so lavishly and so rightly; even when Jarrett choses at times to play somewhat detache, he never pokes, bangs, or thumps, as so many other keyboard players tend (whether on the piano or the harpsichord) to do. The phrasing of the music is so beautifully delineated that one simply would have to look long and far, indeed, to find the equal!
The way that Jarrett plays the suites in E minor and in A major alone would be worth the price of this disc, but the entire CD is a delight from beginning to end. However, in the other suites, there occasionally is all of that gentle reflectiveness that characterises his playing, in his own improvisational music and in classical repertoire alike, at the expense of the spritelier movements' humour and dash, the tempi at times just a tad too slow to maximise the brio of such sections, but all is forgiven for the sheer musicality and utter lack of pedantry of what one has to endure elsewhere in the performances of "early music specilists" or of some aggressive thwackers of Baroque keyboard music (especially in the music of Handel's contemporary, J.S. Bach) such as Weissenberg and (too much of the time) Gould.
The fugues in these suites simply surpass what praise can heap upon them. The fugue in the suite in E minor would be one of my prime choices to students of keyboard playing of how to execute a fugue or other work in strict counterpoint, with clarity and stylishness but also with a lyrical impetus that one seldom finds (usually, as others play, the impetus being at the expense of lyricism, or the lyricism at the expense of rhythmic articulation and forward motion) in players who fall short of Jarrett's combination of sensibility, elegance, taste, and sheer technical aplomb.
Well, one need not go further; read the other laudatory reviews and rest assured that the praise of the listeners who wrote them is utterly justified. Do not let any snide and crabbed musicologist or envious keyboard-tweaking "specialist" lure you with the inevitable and unjustifiedly negative comments of such unmusical riff-raff into underestimating the beauty, elegant style combined with expressivity, and the virtuosity that Keith Jarrett brings totally and so surpassingly well to the service of what the music as Handel conceived it was meant to convey and as Jarrett does so in these recorded performances of Handel's suites.
Jazz Man Meets the Baroque Master December 31, 2005
DAW (IA)
1 out of 1 found this review helpful
This reviewer agrees with all the postive comments made previously in this column. Jarrett makes the case in two areas, first, he askes at the end of his introduction that he hopes this recording can do some good in the direction of allowing the composer's keyboard works to occupy a higher position in our awareness. Jarrett has done this by his thoughtful introduction as well as his thoughtful playing. Jarrett also makes the case for himself occupying an increasingly deserved place among classical pianists.
This is Baroque music at its finest (if on a "modern" instrument). This is solo classical music at its finest (even if it is by a jazz man!). There are a few other classical recordings by this jazz artist. I am hopeful there will be many more.
HOMAGE TO HANDEL July 9, 2003
Melvyn M. Sobel (Freeport (Long Island), New York)
28 out of 28 found this review helpful
Jarrett's recording of seven attractive Handel suites is, well, just delicious. His pianism, always at the service of the composer, is consistently lyrical, never rushed or hectic, with textures warm and rich. Each suite holds its own bounty, all of which Jarrett mines to the fullest. The pianist's jazz background complements the music, imbues it with a depth and humanity rarely found, especially in baroque keyboard. As well, it's more than apparent that Jarrett has made a conscious effort to get completely "inside" the composer, completely "inside" the music. He has succeeded incredibly well.Sample, for instance, his swirling, beautifully wrought playing of the opening Prelude from Suite 1, No. 1 (HWV 426), the purity of the following Allemande, and the yearning wistfulness of the Courante. Or feel the breathtaking melancholy of the opening Adagio of Suite 1, No. 2 (HWV 427). And the particular beauty Jarrett imparts to the Prelude-Fuga of Suite 1, No. 8 (HWV 433) is absolutely not to be missed. This is playing of such tenderness and honesty that it silences criticism, pays homage to Handel and offers us the most unusual kind of musical blessing. [Running time: 74:31]
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