“The original idea of combining different pieces into suites came from my close friendship with some great DJs. I like the way the pieces flow into one another, as they do on a mix tape, and create a new context. My Hypersuites are acoustic remixes of great Baroque composers,” says pianist and composer Marina Baranova of her new album. And what makes her Hypersuites sound the way they do is their use of stylistic devices borrowed from the Baroque. After all, improvisation and variation were an integral part of music-making in the Baroque era. Composers like François Couperin, Johann Sebastian Bach, Jean-Philippe Rameau and George Frideric Handel made frequent use of these techniques. Shuffling a pack of different pieces into a suite for some special occasion was common practice. In her turn, Marina Baranova combines and recomposes famous pieces like Couperin’s “Le Tic-toc-choc”, Bach’s chorale “Sheep may safely graze”, Rameau’s “Rappel des oiseaux” and the D minor Suite by Handel (HWV 437) into a new Gesamtkunstwerk – a total work of art.
Marina Baranova was born into a musical family in Ukraine. Her mother taught classical music, her father – jazz. Thanks to these two musical worlds, at first sight so different, Marina Baranova discovered her passion for classical music and her love of improvisation at a very early age. She is at home in both these worlds, as she impressively shows in her Hypersuites.
At the end of the album, there is another high-tension “hyperlink” between pianist and composer Hauschka (aka Volker Bertelmann) and Marina Baranova. Hauschka composed a remix on her version of “La poule”, giving Rameau’s piece an added dimension.
So this is what virtuoso Baroque music of the 21st century sounds like.
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