Vertigo

French Baroque
Imbi Tarum, harpsichord

A nominee of Estonian State Culture Award 2007.

Royer. L’Incertaine, fragm, mp3, 90 sec

Performed by Imbi Tarum
Instrument: 2-manual French harpsichord by Samuli Siponmaa after Blanchet
Recorded: 2006–07 in Keila New-Apostolic Church and Estonian Radio
Engineered by Aili Jõeleht
Edited and mastered by Marika Scheer
Artwork by Virge Jõekalda
Photos by Loit Jõekalda
Designed by Piret Mikk
Liner notes by Imbi Tarum
Translated by Tiina Jokinen
Produced by Peeter Vähi
Licensed: from Estonian Radio
Manufactured by Sony DADC, Austria

Total time 59:42
2007
ERP 1207

Joseph Nicolas Pancrace Royer (1705–1755)

• born in Italy, lived in Paris from 1725 until his death
• in 1734 was appointed music teacher of the children of Louis XV
• since 1748 conducted Concert Spirituel
• in 1753 was awarded the title of King’s Chamber Music Director and appointed to head the Royal Opera
• stage works Pyrrhus, Zaide, Reine de Grenade, Le pouvoir de l’amour, Almasis and Myrtil et Zélies, popular in Versailles and Paris
• the only collection of works for harpsichord was published in 1746, most of the compositions are based on his opera themes and are very dramatic

Jean-Philippe Rameau (1683–1764)

• composer, organist, harpsichord player, theoretician
• in 1722 settled down in Paris
• theoretical work Traité de l’harmonie draws enormous attention for its novelty
• in 1745 was appointed King’s Chamber Musician
• in composition mostly drawn to opera but also chamber music
• works for harpsichord leave an impression of operatic character, bold harmony and clear features
• Les Soupirs, La Joyeuse, Les Tourbillons and Les Cyclopes originate from the collection Pièces de Clavecin, 1724

Élisabeth Jacquet de la Guerre (1665–1729)

• one of the few known female composers of her time
• since the age of five sang and played the harpsichord in the court of Louis XIV
• in 1684 left the court to marry the organist of Ste Chapelle
• in 1687 and 1707 collections Pièces de Clavecin containing mainly dances were published
• in addition to traditional dances a prelude without measure (prèlude unmesuré) can occasionally start the suites
• composed also chamber music, dedicated all her works to Louis XIV
• also known as teacher, gave numerous concerts
• La Flamande, Courante and Chaconne originate from the collection of 1707

Jean-Baptiste Antoine Forqueray (1699–1782)

• son of the court’s viola da gamba player, fascinated the court already at the age of 5–6
• father tried to keep him away from the court, even by sending him abroad for some time
• in 1742 succeeded his father as a court musician
• in 1747 published his father’s works for viola da gamba and basso continuo, arranged them for harpsichord
• La Rameau, La Sylva and Jupiter are from the collection’s 5th Suite

Imbi Tarum

• graduated from the Estonian Academy of Music, studied piano with Prof Bruno Lukk
• postgraduate studies of harpsichord with Ton Koopman and Vaughan Schlepp
• played the harpsichord in early music consort Hortus Musicus for 14 years
• currently is playing in ensembles Tallinn Baroque and Corelli Consort, participates in the Baroque programs of Tallinn Chamber Orchestra and Estonian Philharmonic Chamber Choir
• has co-operated with soloists X Gao, E Hargis, E Parmentier, H van der Kamp, I Paul, L van Dael, H-R Hauck, J Puhakka, J Cortadellas, A Mattila, K Urb, U Joller, R Joost, K Plaas
• teaches harpsichord and basso continuo at the Estonian Academy of Music, holds summer courses in Estonia and Finland
• chairman of the Estonian Guild of Harpsichord Friends and artistic director of Harpsichord Days

Press resonance:

This is a pleasant and encouraging CD to pick up since the artwork by Virge Jõekalda and the design by Piret Mikk are good and direct. In fact the production team have done a very good job. /…/ In summary this CD is a very good listen with more than usual significance. The playing is superb and the interpretation fascinating. (Peter G Howell, CD Spotlight, 11.11.07, UK, whole article)

Eksivad need, kes arvavad, et klavessiin on üks kuiv ja igavalt “plõnksuv” instrument. Sellesse plaati süvenedes peaks igaüks selles veenduma: Imbi Tarumi mängus on palju huvitavaid värve, peenekoelisi figuratsioone ja põnevalt kõlama pandud muusikalisi karaktereid. (Igor Garšnek, Sirp, 18.01.08, Estonia, whole article)

Pilli kandev, mahlane kõla, suur ulatus, registrivalik ja mängutehnilised võimalused sobivad väga hästi just ptantsuse kõrg- ja hilisbaroki muusika esitamiseks. Suurepäraselt kõlavad sellel klavessiinil Antoine Forguerary palad, kus pääseb täielikult mõjule sume ja laulev bassiregister. (Iren Lill, Muusika, 10/2007, Estonia)