- Canada Council for the Arts
… our most active interpreter of new music for harpsichord… — The Toronto Star, Canada
… une claveciniste à découvrir… — Le Devoir, Québec
Vivienne Spiteri, harpsichord
- Société nouvelle d’enregistrement
- SNE 542 / 1988
- Total duration: 66:46
New Music / Musique actuelle
New Music for Harpsichord from Canada and The Netherlands
CD 2.0SNE 542CAD 22.00US+3.00+4.00
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empreintes DIGITALes / IMED 0368, IMED 0368_NUM / 2003
In the press
William Littler, The Toronto Star, October 1, 1990… our most active interpreter of new music for harpsichord…
Carol Bergeron, Le Devoir, October 1, 1988… une claveciniste à découvrir…
Robert Everett-Green, The Globe and Mail, June 9, 1988… a brilliant debut album for Spiteri.
Vivienne Spiteri has become our most active interpreter of new music for harpsichord, a distinction reinforced by the application of her double manual Hubbard to the four (Canadian) works on this album.
… une claveciniste à découvrir, d’autant qu’elle a le courage de s’attaquer à un répertoire exclusivement contemporain, Vivienne Spiteri laisse un excellent souvenir de son premier disque.
Several decades after its revival as a concert instrument, the harpsichord is well into its second renaissance. This new album by the Canadian harpsichordist Vivienne Spiteri features six works written for the instrument since the mid-seventies.
Included are pieces by Louis Andriessen and Bengt Hambraeus and by lesser-known Dutch and Canadian composers. Spiteri has been touring with this repertoire for some time, and her recorded efforts have a mature, authoritative sound.
Several of the pieces display curiosity about the harpsichord’s distinctive sonority, and a few make feints in the direction of its brave baroque past. Hambraeus’ Capriccio I, for example, is sprinkled with souvenirs of eighteenth- and nineteenth-century idioms, the easy co-existence of which suggests a notion of the tradition that is like a view through several translucent panes of glass.
Hope Lee’s Melboac rigorously parses the permutations of her virile sonograms, while Andriessen’s Overture to Orpheus sets up a languid canon of voices so close as to seem each other’s shadow. Tim Brady’s Reaching Past and Micheline Coulombe Saint-Marcoux’s Miroirs use electronics to play with some of the harpsichord’s steelier sonorities, while Ton de Leeuw’s acoustic, Mo-Do has a contemplative Oriental cast.
In all, this is a fine release from Société nouvelle d’enregistrement, and a brilliant debut album for Spiteri.