Beruflich Dokumente
Kultur Dokumente
Blandine Verlet
Astre 7781, 8372/5 (5 CDs; 1987-1993), boxed set E8506
Oeuvres pour clavecin (vols. 1 and 2)
Nolle Spieth
Ades 202 372 and 202 672
3 suites pour clavecin
Christopher Hogwood
L'Oiseau-Lyre 443 189-2 (1982)
Suites
Gustav Leonhardt
Deutsche Harmonia Mundi GD 77058 (1979)
The other two composers who represent the French 17th century
are d'Anglebert and Lebgue. Nicolas Lebgue (1631-1702)
seems better recorded as an organist. Jean Henri
d'Anglebert (1635-91) succeeded Chambonnires as
Harpsichordist of the King when the latter was fired for refusing
to play basso continuo for Lully. He published his works in 1689.
Scott Ross recorded all of it, along with organ fugues. Kenneth
Gilbert recorded various excerpts of Lully's operas transcribed
for harpsichord by d'Anglebert.
Pices pour clavier
Scott Ross
Erato 245 007-2 (2 CDs; recorded 1987)
Suites pour clavecin
Britte Tramier
Pierre Verany PV 795012
Pices de Lully transcrites pour le clavecin
Kenneth Gilbert
Harmonia Mundi 901276
and some are simply mysterious. The whole forms a subtle and
magical world.
There are several complete recordings of Couperin's output. I
have not personally sampled all of them, but I can vouch for the
brilliance and exquisite sound of Rousset's cycle. Beaumont's
recording of book 4 is also excellent.
Complete Works
Scott Ross
Stil 0207 SAN 78 (12 CDs; 1977-78)
Complete Works
Blandine Verlet
Astre E7751/61 (11 CDs; 1976-80)
Complete Works
Kenneth Gilbert
Harmonia Mundi HMA 190351/60 (10 CDs; 1970-71)
Complete Works
Christophe Rousset
Harmonia Mundi HMC 901442/52 (11 CDs; 1993-95)
Complete Works (in progress)
Olivier Baumont
Livre I: Erato 0630-10694-2 (3 CDs)
Livre II: Erato 4509-96364-2 (3 CDs)
Livre III: Erato MusiFrance 4509-92859-2 (2 CDs)
Livre IV: Erato 2292-45824-2 (2 CDs; 1992)
Jean-Philippe Rameau (1683-1764) published a book in 1706, the
Suites in 1724, the Nouvelles Suites in 1728, and five pieces as
part of his chamber pieces of 1741. Rameau's pieces are more
rare, and often more dramatic then Couperin ever is; they also
show more audacity and inventiveness. To me, this is really the
summum of the French harpsichord. Naturally, Rameau has
attracted the greatest performers of our time.
Complete Works
Scott Ross
Stil 2107 S 75 (3 CDs; 1975)
Complete Works
Nolle Spieth
Solstice SOCD 57/8 (2 CDs; 1988)
Complete Works
Christophe Rousset
Oiseau Lyre 425 886-2 (2 CDs; 1989)
Complete Works
Olivier Baumont
Adda 581120/40/50 (3 CDs; 1988-89)
Complete Works
Trevor Pinnock
CRD 3310/20/30 (3 CDs; 1974-5)
Complete Works
William Christie
Harmonia Mundi HMC 901120/1 (2 CDs; 1983)
Complete Works
Kenneth Gilbert
Archiv 427 176-2 (2 CDs; 1976)
Complete Works
G. Rowland
Naxos 8.553.047
Antoine Forqueray (1672-1745) was one of the best gambists of
his time and the rival of Marin Marais. His viol pieces were
published after his death by his son Jean-Baptiste
Forqueray (1699-1782), who, perhaps realizing that the viol was
in its death-throes, decided to transcribe the pieces for
harpsichord to expand their audience (1747). The result is rather
intriguing, unlike the other pieces of the time, and it takes a
robust interpretation, such as that of Le Gaillard, to do these
Ursula Deutschler
Claves LC3369
Du clavecin au piano-forte
Ivte Piveteau
Adda 581160 (1988)
Jacques Duphly (1715-89) was perhaps the last great proponent
of the harpsichord. He stuck to the instrument in contrast to
Balbastre. Le Gaillard's complete recording is superb. Selections
have been recorded by Mitzi Meyerson (Gaudeamus 108) and
Gustav Leonhardt (Deutsche Harmonia Mundi 77924, with pieces
by Le Roux, Rameau, Royer).
Pices de clavecin (1744-68)
Yannick Le Gaillard
Adda 581097/100 (4 CDs; 1988)
Franois R. Velde <velde@jhu.edu>