> COUPERIN Les Gouts-reunis 4582712 [KM]: Classical Reviews- May2002 MusicWeb(UK)

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François COUPERIN (1668-1733)
Les Goûts-réünis:

Sixième concert
Huitième concert
Septième concert
Deuxième concert
Cinquième concert
Neuvième concert
Dixième concert
Onzième concert
Treizième concert
Quatorzième concert

Les Talens lyriques, Christophe Rousset
Rec: May 1994, February 1995, Studio 103, Maison de Radio France, Paris.
DECCA 458 271-2 [138.38]


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Christophe Rousset is no stranger to Couperinís music, having recorded a complete set of his harpsichord works for Harmonia Mundi on 11 CDs. Couperin was above all a composer for the harpsichord. He composed a total of 229 pieces for the instrument, arranged in 27 suites that he called "ordres". Yet he also composed some other instrumental suites, that follow the first four "concerts royaux" written for the harpsichord. These works were written on two staves with no indication of scoring, and can be played by any combination of instrument, "not only harpsichord, but also violin, flute, oboe, viol and bassoon."

This recording includes all of the remaining "concerts" - numbers 5 to 14 - that follow from the four concerts written for harpsichord. Their tone is solemn, much more restrained when compared with the Couperin we are familiar with on the harpsichord. Listening to Roussetís recording of the first four concerts, one can hear a marked difference in tone and style. Where is the exuberance that Rousset brings to the keyboard? These works sound staid and wooden, at times almost as if the musicians were not interested in the music. The violinist in the second movement of the eleventh concert has poor tone, and the oboist in the third movement of the same work sounds as though he is rehearsing.

There is little emotion, and very little joy in this music - some of it is interesting, musically, but even those movements marked with relatively fast tempo indications lack vigour. There are some exceptions: the fourth movement of the tenth concert, La Tromba, marked "légèrement", is rapid and energetic. But the prelude to the eleventh concert, marked "majesteusement, sans trop de lenteur" (majestically, not too slow), is more majestic than un-slow. Rousset seems to have decided to focus on a tone that can only be expressed in slow tempi, and it does not work.

The ensemble playing on this set has an excellent sound, and a fine balance - for that much at least Rousset knows how to handle his musicians. But the overall impression is one of music that is forgettable - in spite of its quality - because of weak performance. Perhaps that explains why it took more than seven years after the recording sessions for this set to be released?

Kirk McElhearn

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