Couperin Fortin

'The harpsichord is perfect in its compass, and brilliant in itself; but, as one can neither swell nor diminish its notes, I shall always be grateful to those who, through consummate art sustained by good taste, manage to make this instrument capable of expression.’ Why is it difficult to play the music of François Couperin when it seems so simple at first glance? By offering precious information on the interpretation of his music (and more generally on the interpretation of French music of his time) in his treatise L’Art de toucher le clavecin (The art of harpsichord playing), Couperin provides us with the necessary elements for today's performer, who seeks above all to respect the composer's intentions.

Even by the supremely high production standards of Alpha recordings, this issue is especially splendid. Entitled Versailles, L'ile enchantée, it fully lives up to its name. As directed by Skip Sempé, the widely varied program features music written for Louis XIV's pleasure palace, performed by the Capriccio Stravagante Orchestra with mezzo soprano Guillemette Laurens and bass violist Jay Bernfeld. Each work is superbly selected, and every performance is absolutely idiomatic and wonderfully alive. There is wit and tenderness and elegance and, yes, nobility to their performances, which taken together form as much a portrait of the Sun King as the palace of Versailles itself.

Originaire d'une famille de musiciens lyonnais, Jean-Marie Leclair (1697-1764) fut, après avoir abandonné une carrière de danseur, un grand violoniste virtuose en même temps qu'un grand voyageur. De Versailles à Paris, de Londres à La Haye, il prodigua son art en jouant notamment ses Sonates pour violon seul ou ses Concertos. Sa fin fut tragique. Il mourut assassiné alors qu'il regagnait en pleine nuit son domicile."Parfaite synthèse des styles italien et français, son œuvre, précise Thomas Leconte, représente sans doute le véritable apogée des "goûts réunis" chers à François Couperin.