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GRAUPNER, C.: Partitas, GWV 121, 133, 149 (Akutagawa)

Composer(s):Graupner, Christoph
Artist(s) Akutagawa, Naoko, harpsichord
Period(s) Baroque (1600-1750)
Genre Classical Music
Category Instrumental
Catalogue 8.570459
Label Naxos
Quality   320kbps
Download and Stream

Acontemporary of J.S. Bach and Telemann, Johann Christoph Graupner was held in great esteem during his lifetime both as a prolific composer of large vocal and orchestral works and virtuoso harpsichordist, although he is now largely forgotten. With their considerable requirements of virtuosity Graupner’s harpsichord suites surpass Handel’s in grandeur of conception, and sometimes even match the younger man in musical substance. His immense and flamboyant Chaconne in A major is perhaps the most superb of all the many keyboard works of the genre.

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Review By Giv Cornfield,The New Recordings, Cliffs Classics,September 2008

On the strength of the chamber and orchestral music of Graupner that I have heard on recordings (he is rarely programmed in concerts,) I had until now considered him a competent also-ran of a period rich in overlooked musical prodigies and geniuses. I stand humbly corrected now: on the basis of these three partitas, Graupner now stands on a much loftier level, even far above Telemann. My newly found  admiration for this composer lies in no small measure to the superb artistry of Ms. Akutagawa (any relation to composer Yasushi Akutagawa, I wonder?). The cathedral acoustical setting for the recording adds to the lustre of the music too. What I found rather disappointing was  not a word about the magnificent-sounding instrument she plays.

Review By David Denton, Naxos,August 2008

For the lovers of Baroque music this is going to be their discovery of the year. Who was Johann Christoph Graupner? Well, put him into context with the fact that city of Leipzig wanted him to take their top music job in preference to Johann Sebastian Bach. When his present employer declined Graupner’s request for dismissal, Leipzig chose Bach instead. Born in Saxony in 1683, we eventually find him, after serving his apprentice years, in Hamburg at the Gansemarket opera where he made his mark on German music. Financially tempted to Darmstadt in 1709, he enjoyed working there with the high quality musical resources at his disposal where he worked until his death in 1760. He could there indulge in , composing large-scale vocal and orchestral works including 1442 cantatas, and a



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