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Reviewer: Bradley
Lehman The recording was made in a gilded room where Couperin himself had taught music lessons to a count. The performers say in a booklet note that the venue was inspiring. Their performance certainly is. Sakai plays both these suites (published 1728) with exquisite control of the mood and his instrument. His performance commands attention in an often overwhelming way. The accompanying team matches his intensity with a wide range of expression. Especially noteworthy is Rousset’s improvised harpsichord part, as he places the right-hand notes with varying speed to match the dynamic shape of the bass line.
This was Couperin’s last published chamber music. The two suites take 42 minutes. As a bonus, the group brings in a Plainte from Couperin’s Nouveaux Concerts of 1724. They also perform four pieces by Antoine Forqueray (1672-1745) from manuscripts: three pieces for three viols, and one solo. I know of no better place to get these rarities. Michele Deverite’s ensemble (M/J 2018) played them in disappointing arrangements.
There is plenty of recorded competition for the two Couperin suites. Among ones I’ve heard, the recording by Perkola and Hakkinen (Naxos, M/J 2013) has similar virtues. It intensely conveys the grace and depth of this music, with close rapport between the musicians. The biggest difference is that the basso continuo part is played by harpsichord alone, another valid approach. The Musica ad Rhenum performance (Brilliant, J/F 2006) is much faster. It emphasizes lithe forward
motion instead of indulgent
detail.
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