It is not entirely true that "we have never heard this music" -- the Air from the Suite No. 5 in C minor has been around a long time in a violin and piano version designed for use in the salon and recorded by violinists in the 78 era; one of Leopold Stokowski's patented orchestral transcriptions is based on it. Outside of that, there is a greater familiarity to the sound of Mattheson's suites in a general sense in that they relate very strongly to the French Suites of Johann Sebastian Bach, composed nearly a decade later. Holtz's interpretations are splendid and well suit Mattheson's intentions through a sparing and tasteful use of ornaments and a steady yet flexible approach to tempi. The instrument employed is in fabulous condition; it is clear, full-throated, and well intoned. Holtz acknowledges "Menno van Delft for lending his instrument," but we are not told what the instrument is; from the sound of it, it seems likely a harpsichord of modern make. Ramée's recording is close, transparent, and up front without being unrealistically loud.
Another aspect of this recording that will mortify the purists is that these Mattheson suites possess such excellent musical qualities this recording makes one want to hear them played on the piano as well. This should be taken as a compliment; with the obvious exceptions of Bach and Handel, not too much harpsichord music of the early eighteenth century transfers well to the piano, and Mattheson's music seems as though it might. Friends of Baroque keyboard music should definitely keep an eye out for Ramée's Johann Mattheson: Suites. Uncle Dave Lewis Tracklist & Credits :
