Suite No. 1 in G major (Z. 660)    4:35
1. Prelude — 2. Almand — 3. Corant — 4. (Minuet)
Suite No. 2 in G minor (Z. 661)    9:20
1. Prelude — 2. (Almand) - 3. Corant — 4. Saraband — 5. Add Prelude (from British Museum MS Add. 31403, f. 35)
Suite No. 3 in G major (Z. 662)    5:37
1. Prelude — 2. Almand — 3. Courante
Suite No. 4 in A minor (Z. 663)    7:26
1. Prelude — 2. Almand - 3. Corante — 4. Saraband — 5. Add Prelude (from Oxford Christ Church MS 1177, f. 24V)
Suite of Lessons (Z. 665)    9:50
1. Prelude — 2. Almand — 3. Corant — 4. Saraband — 5. Jigg — 6. Add. Prelude (of Suite No. 5 in С major) — 7. Add Almand (of Suite No. 5 in С major)
Suite No. 6 in D major (Z. 667)    4:25
1. Prelude — 2. Almand — 3. (Hornpipe)
Suite No. 7 in D minor (Z. 668)    6:31
1. Almand — 2. Corant — 3. Hornpipe
Suite No. 8 in F major (Z. 669)    6:05
1. Prelude — 2. Almand — 3. Courante — 4. Minuet
Thirteen Pieces 13:53 (from "Second part of Musick's Hand-Maid"; 1689)
1. Song Tune (ZT. 694) - 2. (March) (Z. 647) - 3. A Song Tune (ZT. 695) -
4. March (Z. 648) - 5. New Minuet (ZT. 689) - 6. Minuet (Z. 649) -
7. A Minuet (Z. 650) - 8. A New Scotch Tune (Z. 655) -
9. A New Ground (ZT. 682) - 10. A New Irish Tune (Lilliburlero) (Z. 646)
11. Riggadoon (Z. 653) - 12. Sefauchi's Far(e)well (Z. 656) - 13. Minuet (ZT.688)
Six Pieces 9:22
(from "A Choice Collection of Lessons"; 1696-9)
14. March (ZT. 687) - 15. Trumpet Tune (ZT. 698) - 16. Chacone (ZT. 680) -
17. (Jigg) (ZT. 686) - 18. (Trumpet Tune, called Cibell) (ZT. 678) - 19. (Trumpet Tune) (ZT. 697)
Pieces from Various Sources 22:18
1. Air (Z. 641) - 2. Aire (ZT. 675 & 696/1) - 3. Aire (Minuet) (ZT. 696/2) -4 Air (ZT. 676) - 5. Air (ZT. 630/1) - 6. Air (ZT. 693/2) -7. Carnary (ZT. 677) - 8. Ground in Gamut (Z. 645) - 9. Ground (ZT. 681) -10. Ground (ZT. 222) -11. Hornpipe (ZT. 683) - 12. Hornpipe (ZT. 685) -13. Minuet (Z. 651) - 14. Round О (ZT. 684)
Pieces of Doubtful Authenticity 3:53
15. The Queen's Dolour (Z. 670) — Trumpet Minuet (ZD. 230) —
16. The Queen's Dolour (Z. 670) —
17. Trumpet Tune (—)

Record 1 — Thomas harpsichord (1. deska — cembalo Thomas)
Record 2 — Neupert harpsichord (2. deska — cembalo Neupert)

Генри Перcелл
Комплект композиций для клавесина
Зузана Ружичкова - клавесин

Recorded at the Ishibashi Memorial Hall — Ueno Musical College, Tokyo, from
26 to 29 May, 1975
(Recording of Nippon Columbia Co. Ltd., Tokyo)
Recording director: Yoshiharu Kawaguchi
Recording engineer: Masan Hayashi and Hideki Kukizaki

Henry Purcell (1658-9 ? — 1695) is respected in England as the composer who founded the tradition of music written in the English national spirit He represents a significant phenomenon in the context of the European music development. He came from a well-known musician family and received excellent professional education. His compositions are distinguished for their perfect formal balance and often a rare and unusual harmony. Apart from other works Purcell wrote the first English opera Dido and Aeneas (1688 — 1690) and raised considerably the standard of stage music compositions by his music to Shakespeare's dramas (e.g. Richard III, Midsummer Night's Dream, The Tempest, etc.). His sense of tension in drama and of drama contrast can be felt, however, also in his short compositions for the harpsichord. They show the composer's spontaneous inventiveness and vertical harmony, often presented in an unusual way, in the framework of uncomplicated designs of the form. Although Purcell was not destined to live a long life he left behind a work which is extensive and significant: still, there are not many compositions for the harpsichord. Nevertheless, they are attractive for the present listener and interpreter, and therefore the renowned Czech harpsichord player Zuzana Ruzickova has been dealing with the idea of recording a complete set of the harpsichord compositions by Purcell. She managed to realize her intention in 1975 with the Japanese firm Nippon Columbia for which she had made some recordings before. She attempted an unusual recording by using a true copy of the historical English instrument to record the characteristic and pure harpsichord works, i.e. 8 suites (the producer of the instrument Michael Thomas equipped it with condor quills whose maintenance and exchanging during the recording required the characteristic Japanese patience and perfection from the tuner). Playing these compositions, however, the interpreter was aware of the fact that a listener of our time has rather a different sound experience and that he has been brought up in a different music environment and traditions. She did not wish to achieve a historically true sound but a kind of sound with some impact today. Therefore, she chose to play the modern Neupert instrument, rich in registers, for recording the resting 36 short compositions. She considers the modern colour aspect as especially purposeful in those compositions which had been copied from the original orchestra scores, as she meant to prove that it is well possible to play old music on a modern instrument without sacrificing anything of the style. Zuzana Ruzickova herself marked her attitude as "an experiment to discuss," but in view of the fact that this recording has won already the prize of Diapason d'or of the Paris journal Diapason, which specializes in gramophone records, it can be said that it was a creative step well thought over and perfectly realized. Played on the modern instrument were 13 pieces from part II of "Musick's Hand- Maid", 6 pieces from a selected collection of etudes and 14 pieces from various sources, plus 3 other pieces where the authorship still remains to be proven. In this recording Zuzana Ruzickova took advantage of the freedom and chance for almost improvising, which is provided by the music in the treatment of the ornaments and alike. This explains the fact that not even the repetition is carried out consequently, and it requires a creative approach to interpretation which would make the old music sound more topical and still keep its style and the convincing charge.

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