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American Record Guide: (01/2018) 
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Reviewer: Bradley Lehman

Giulia Nuti has chosen representative pieces from the Bauyn manuscript, a collection copied by an unknown scribe in the mid- 1670s. About half of the music is familiar pieces by Louis Couperin, Chambonnieres, and Froberger. The rest of it is less-recorded music by Jacques Hardel, Jean-Henri d’Anglebert, Rene Mesangeau, and Germain Pinel. The harpsichord is by Louis Denis, Paris 1658. Its tone is beautiful, with a mournful quality and percussive attacks. It sometimes sounds like a virginal. The close recording exposes some uneven voicing of notes in the middle register. I get the sense that Nuti is listening closely to savor the harpsichord’s tonal bloom—and letting her phrasing be guided by that resonance. I like the patient tenderness she brings to the dances by Chambonnieres. Few other pieces by Jacques Hardel exist. Karen Flint recorded them all on a 1627 Johannes Ruckers harpsichord (Plectra, 2014, not reviewed). She made Hardel’s music sound like a series of decorated harmonies. Nuti’s performance makes the same scores sound like flowing melodic lines with a clearer projection of dance rhythms. As a nearly-complete Hardel album, and for the gorgeous instrument and performance, Giulia Nuti’s work pleases the heart and the ear. Jane Chapman recorded all of the Bauyn manuscript on a 1614 Andreas Ruckers harpsichord. Most of her tempos are faster than Nuti’s, and the tone of that harpsichord is smoother. Chapman’s 1994 recording was on three Collins CDs (not reviewed and deleted).

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