P0219. BLANDINE VERLERT: Das Wohltemperierte Klavier) (Bach). (France) 2-Astrée Auvidis 8539, recorded 1993. Long out-of-print, Final Copy! - 3298490085394
“As a teacher, Verlet was equally meticulous, exacting and demanding, never more so than during her time in Paris as Professor of Harpsichord at both the Conservatoire Claude Debussy and the Conservatoire Jean-Phillipe Rameau. Further afield she fulfilled a similar role at the Gabriel Fauré Conservatoire of Angouleme, the Regional Conservatory at of Bordeaux and the Regional Conservatory of Ruel-Malmaison. In addition, her scholastic credentials also found a ready outlet as a key note speaker and performer at master classes, seminars and summer schools worldwide. Happily, many of her pioneering performances endure courtesy of a large and extensive discography that embraces virtually everything of significance ever composed for the instrument. She became the first individual player to record all the solo harpsichord music of the Couperin dynasty. For this she used a 1624 Ruckers instrument housed at Unterlinden Museum at Colmaria in Alsace. The same instrument featured on the majority of her Bach recordings, most notably the Partitas, the Two and Three Part inventions, The Goldberg Variations and Book 1 of The Well Tempered Clavier. For her extensive exploration of the music of Johann Jacob Froberger she used a more mellow sounding late 17th century instrument from the collection of Jannick Guillou. In contrast, her Rameau, Duphly, Scarlatti and Balbastre recordings featured a beautifully sounding instrument with a rich bass,originally built in 1754 by Jean-Henri Hemsch and restored by its owner, Jean-Henri Mercier-Ythier. Likewise, when dusting down the music of the Italian composer, Girolamo Frescobaldi, she became a most persuasive interpreter of this most allusive of composers.
Among her collaborative ventures, she worked with fellow countryman, the organist Jean Guillou, in bringing out an eight record set of J.S. Bach’s Clavierbung. Her judicious accompaniments also gave added impetus to the flautist, Stephen Preston, in his quest to revive the flute music of Michel De LaBarre. Later, she and Gérard Poulet combined on a boxed set of Mozart’s early sonatas for keyboard and violin. In the interim, together with the English Chamber Orchestra, Verlet partnered Raymond Leppard, Andrew Davis and Philip Ledger in a recording of J.S. Bach’s A minor Quadruple Concerto. That she made this repertoire so much her own, makes one wonder what the seventeenth century did without her. Representing the very best in harpsichord playing, she was musically deeply engaged in all she did. Her great skill was knowing exactly how to make the slightest of hesitations, or an infinitesimal leaning on a note, so as to bring out the harmonic point without disturbing the rhythmic flow. Likewise, she was never afraid to add an occasional mordent for emphasis, her care over articulation and phrasing being such that her part playing remained one of the utmost lucidity.
In 2007, she compiled her masterly study, L’OFFRANDE MUSICALE, now a most poignant and fitting memorial to her work and achievements.
She was married to the crime novelist and record executive, Igor Maslowski, who died in 1999.”
- Kenneth Shenton, MusicWebInternational
“Blandine Verlet, a noted French harpsichordist, studied with Ruggiero Gerlin and Ralph Kirkpatrick. She began recording in the late 1970s for Philips, switching to the Astree label in the 1990s. Her recordings range from J.S. Bach's keyboard works to Froberger to lesser known composers such as Louis Couperin and Elisabeth-Claude Jacquet de la Guerre. Her second recording of the Goldberg Variations, in 1992, has been called ‘one of the finest harpsichord versions in the catalog.’ With violinist Gerard Poulet she has recorded early violin sonatas by Mozart, using the older Baroque keyboard instruments rather than a fortepiano or modern piano. Verlet has also worked with flutist Stephen Preston and viola da gambist Jordi Savall. Her playing is noted for her control and restraint in not letting emotion carry her away.”
- Patsy Morita, allmusic.com