Agustin Alvarez - Corrette: Premier Livre de Pièces de Clavecin (2026)

Tracklist

01. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: I. Prélude
02. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: II. Les giboulées de mars
03. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: III. Les Jumelles. Rondeau I/II. Gracieusement sans lenteur
04. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: IV. Les amants enchantés. Tendrement
05. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: V. Feste sauvage. Tambourin I/II
06. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: Vi. La Babillarde. Légèrement
07. Livre de pièces pour le clavecin No. 1, Op. 12, Suite I: VII. Le courier. Légèrement
08. Livre de pièces pour le clavecin No. 1, Op. 12, Suite II: I. Le grondeur. Allemande
09. Livre de pièces pour le clavecin No. 1, Op. 12, Suite II: II. Badine
10. Livre de pièces pour le clavecin No. 1, Op. 12, Suite II: III. Les idées heureuses. Rondeau. Gracieusement
11. Livre de pièces pour le clavecin No. 1, Op. 12, Suite II: IV. Feste milannoise. La tríomphante I/I
12. Livre de pièces pour le clavecin No. 1, Op. 12, Suite II: V. Bal. Menuet I/II/III
13. Livre de pièces pour le clavecin No. 1, Op. 12, Suite III: I. Prélude
14. Livre de pièces pour le clavecin No. 1, Op. 12, Suite III: II. L'heroïne. Allemande
15. Livre de pièces pour le clavecin No. 1, Op. 12, Suite III: III. La dégourdie et cinq doubles
16. Livre de pièces pour le clavecin No. 1, Op. 12, Suite III: IV. Les botes de sept lieues. Vivement
17. Livre de pièces pour le clavecin No. 1, Op. 12, Suite III: V. Les étoiles. Rondeau. Légèrement et modérément
18. Livre de pièces pour le clavecin No. 1, Op. 12, Suite IV: I. Les fanatiques
19. Livre de pièces pour le clavecin No. 1, Op. 12, Suite IV: II. Sarabande
20. Livre de pièces pour le clavecin No. 1, Op. 12, Suite IV: III. La prise de Jéricho. Vivement

Michel Corrette (1707-1795) was born in a musical family, his father was organist, his grandfather dancing master. He was a famous composer, teacher and organist, his long lifetime seeing the cultural change from the Baroque to the Classical era.
The album contains suites of dances and character pieces in the French manner, following the model established by François Couperin and Jean-Philippe Rameau. Typical movements include allemandes, courantes, sarabandes, and gigues, alongside more descriptive works with evocative titles. These pieces reflect the French fondness for portraying moods, personalities, or even humorous caricatures through music. At the same time, Corrette demonstrates a flair for lively rhythms and bright textures that hint at the Italianate energy fashionable in Paris during the 1730s.
Unlike Couperin, who sought refinement and subtle elegance, Corrette often favored a more direct and accessible style. His Premier livre was intended not only for professional musicians but also for skilled amateurs, aligning with his lifelong mission to make music approachable. Historically, the collection occupies an interesting position: it came at a moment when the harpsichord was at the height of its prestige in France but just before the emerging galant style began to dominate keyboard writing. As such, Corrette’s first book of harpsichord pieces serves as both a continuation of the French clavecin tradition and an early sign of stylistic transition. Today, it stands as a testament to Corrette’s versatility and his role in bridging established Baroque forms with the new musical aesthetics of the mid-18th century.
Agustín Álvarez, trained in the Caracas Conservatory and the Royal Superior Music Conservatory of Madrid, studied harpsichord and basso continuo with Tony Millán. He has received lessons from great maestros such as Christophe Rousset, Elisabeth Joyé, Jacques Ogg, Guido Morini, Luc Beauséjour, Béatrice Martin, Enrico Baiano and Nicolau de Figueiredo.
He has recorded for Brilliant Classics 11 suites for solo harpsichord by Nicolás Lebègue wich received excellent reviews: “impeccable interpretation, exquisite harpsichordist” Ritmo magazine, “of the highest interpretations, very elegant, technically impeccable, with great knowledge of style” Scherzo magazine.

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