Blues for Harpsichord (Palmer)
Scarborough Fair (Trad.)
Leyenda: Asturias (Albéniz)
Small Prelude in c minor (Bach)
The Lyre of Orpheus (Dandrieu)
The Cuckoo (Daquin)
Winter’s Shadow (Mageau)
Cycles I (Whiffin)
Chocolate Bunnies (Angle)
Hungarian Rock (Ligeti)
A New Ground (Purcell)
The Harmonious Blacksmith (Handel)
Eleanor Rigby (Lennon/McCartney)
Danza Ostinata (Albright)
Nine Rarebits (Brown)
Sonata in d minor (Scarlatti)
Sonata in a minor (Scarlatti)
I Got Rhythm (Gershwin)
Elizabeth Anderson, harpsichord
'Barock' is a German word which originally meant 'bizarre'. It was not until early in the 20th century that the word 'Barock' was used in Germany to describe the music of Bach's time.
When Sir Charles Burney first used it in his German Tour diary (1733), he explained that it meant 'coarse and uncouth', much as writers then used the word 'Gothic'. In architecture, the word 'Barock' was applied from about 1867 to the highly-decorated style of the 17th and 18th centuries in Austria and Germany. Therefore, to apply the term Baroque (French/English spelling) with all its shades of meaning is to extend the boundaries of Baroque music far beyond the dates which have traditionally been set for it.
This CD explores Baroque harpsichord music across four centuries: ranging from Conceição's raw 17th century battle piece, through to traditional Baroque repertoire by Bach , Handel and Scarlatti, to Jazz, Blues, Gershwin and the Beatles accompanied by drums and bass.
Bizarre or baRock . . . the concert featured . . . a wonderfully eclectic mix of styles from Bach to the Beatles. Anderson’s musical minestrone was intellectually nourishing: ... the centrepiece ... was the ‘Danza Ostinata’ ... by William Albright. This is brilliant music, for not only does the performer have to maintain a consistent watch over the ever-present ostinato, but also has to allow for freer mobility in the articulation of the constantly evolving foreground information which has boogie woogie inflections. This structural give and take makes for fascinating listening, and a powerful performance was forthcoming from Anderson. Joel Crotty The Age (Melbourne) 1 February 1998
“Vivacious Melbourne keyboard virtuoso Elizabeth Anderson plays the hottest, hippest harpsichord in the world today.”