AYA HAMADA – ‘THE FRENCH LATE BAROQUE AND GALANTE’
July 27, 2019
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Aya Hamada, renowned for her graceful and virtuosic style, is steeped in the music of the French Late Baroque and Galante. This is sumptuous, velveteen music with embroidered counterpoint and gorgeous melodic lines. Prepare to be entranced with this Program of works by Jacques Duphly, Jean-Philippe Rameau and Bernard de Bury performed by this most accomplished artist.
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Aya Hamada
Aya Hamada
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Aya Hamada, renowned for her graceful and virtuosic style, is steeped in the music of the French Late Baroque & Galante. This is sumptuous, velveteen music with embroidered counterpoint & gorgeous melodic lines. The Program features works from Aya’s acclaimed recording Jacques Duphly – Piéces de clavecin together with works by Duphly’s contemporaries Jean-Philippe Rameau & Bernard de Bury.
AYA HAMADA, Harpsichord
DUPHLY, RAMEAU & de BURY
Jacques Duphly (1715-1789)
La de Villeneuve (gavotte), tendrement (3elivre de pièces de clavecin, 1756)
La de Belombre, vivement (3elivre)
Rondeau, tendre (1erlivre, 1744)
Médée, vivement & fort (3elivre)
Bernard de Bury (1720-1785) (from Pièces de clavecin, 1737)
La *** ou les Sentiments (sarabande), gracieusement
Zephir (1ermenuet) – Flore (2emenuet)
Chaconne
Jacques Duphly
La Pothoüin (rondeau), modérément (4elivre, 1768)
La de Vaucanson (4elivre)
~~~intermission~~~
Jean-Philippe Rameau (1683-1764)
La Livri (Zoroastre, 1749)
Air des Sauvages (Les Indes galantes, 1736)
L’Entretien des Muses (Les fêtes d’Hébé, ou Les talens lyriques, 1739)
Chaconne (Les Indes galantes)
Jacques Duphly
La Forqueray (rondeau) (3elivre)
Les Grâces, tendrement (3elivre)
Chaconne (3elivre)
Praised for her “graceful” (The New York Times) performance, harpsichordist Aya Hamada is an active recitalist, concerto soloist and continuo player. She has given numerous recitals in the US, Canada, Mexico, Argentina, Brazil, Belgium, England, France, Italy, Spain, Switzerland, South Korea and Japan, including a recital at the Peñíscola International Festival of Medieval and Baroque Music (Spain), Music Before 1800 (New York), Da Camera Society (Los Angeles), Harpsichord Heaven at the Flint collection (Wilmington), and at the International Conference of the Historical Keyboard Society of North America (Montreal). She has made over three dozen appearances as concerto soloist on four continents, and has performed under conductors such as William Christie, Jordi Savall, Harry Bicket, Nicolas McGegan, Christophe Rousset and Masaaki Suzuki. The New York Times proclaimed “Ms. Hamada gave a deft account of Handel’s Concerto” about her concerto performance with conductor William Christie in Alice Tully Hall at Lincoln Center. She “defined the torrent of notes beautifully for the ear, while never sacrificing virtuosity; her illuminating playing drew well-deserved cheers” (The Columbus Dispatch). Others have praised her “flawless technique” (The Boston Globe), and “superb command of the harpsichord” (The Springfield Republican). She premiered “Virginal” by Harold Meltzer with the New Juilliard Ensemble in 2010.
Her debut album “Jacques Duphly: Pièces de clavecin” was chosen as “Recording of the Month” in The Music Web International (July 2015) and The Record Geijutsu Magazine (June 2015).The American Record Guide wrote “This is a terrific solo debut… Her control of touch and dramatic delivery are both extraordinary. Her expressiveness is especially noteworthy.” Others have praised her “acrobatic finesse” (The Early Music America Magazine), and “sensitive and dramatic interpretations” (The Fanfare Magazine).
She won first prize in the London Music Festival Competition and second prize in the Josef Hofmann Piano Competition, and earned her Master of Music degree in the inaugural class of Historical Performance from The Juilliard School. She studied under Kenneth Weiss in New York and Skip Sempé in Paris, and has received additional coaching from Pierre Hantaï and Christophe Rousset.Her website is www.ayahamada.com
Aya Hamada‘s debut album “Jacques Duphly: Pièces de clavecin” was chosen as “Recording of the Month” in The Music Web International (July 2015) and The Record Geijutsu Magazine (June 2015).The American Record Guide wrote “This is a terrific solo debut… Her control of touch and dramatic delivery are both extraordinary. Her expressiveness is especially noteworthy.” Others have praised her “acrobatic finesse” (The Early Music America Magazine), and “sensitive and dramatic interpretations” (The Fanfare Magazine).
