F. Couperin L'Apotheose de Lulli. Le Parnasse, ou L'Apotheose de Corelli. Pieces de clavecin—excerpts. William Christie, Christophe Rousset (hpds).

Harmonia Mundi (Full price) (Cassette) HMC40 1269; (CD) HMC90 1269 (55 minutes: DDD).

Pieces de clavecin—Neuvieme ordre: Allemande a deux clavecins; Quatorzieme ordre: La Julliet; Quinzieme ordre: Musete de choisi; Musete de Taverni; Seizieme ordre: La Letiville.

Couperin's tributes to two of the greatest musical figures of the second half of the seventeenth century Corelli and Lully—were published in 1724 and 1725 respectively. Both works, however, to a greater or lesser extent have an aim over and above that of mere eulogy in the composer's declared gesture towards uniting the styles of Italy and France. In La Parnasse, ou L'Apotheose de Corelli Couperin uses the Italian sonata da chiesa as a framework whilst in L'Apotheose de Lulli he completes a work apparently in suite form with a Sonade en trio, to all intents and purposes a sonata da chiesa. Couperin's highly personal blend of Italian and French manners results in two compositions of distinction in which the composer reveals himself as master in a variety of formal techniques. In the preface to the later work Couperin explains that whilst both can be played by a mixed instrumental ensemble they are also effective on two harpsichords: "I perform them in my family and with my pupils," writes Couperin "with very happy results, by playing the first upper part and the bass on one harpsichord and the second with the same bass on another at the unison. The truth is that this requires having two copies instead of one, and two harpsichords also. But I find that it is often easier to get two instruments together than four professional musicians [two upper parts, bass viol and harpsichord]."

William Christie can hardly Se said to have a similar problem to Couperin in assembling professional musicians, so l take it that his choice of two harpsichords is rather one of preference than of expedience. The results justify his decision for there is a wonderful artistic rapport between him and Christophe Rousset. Each responds to the other with lively spontaneity of an almost improvisatory freshness which can only be achieved when both players have an easy command and complete understanding of the intricacies of a given style. These players sound so enwrapped within the music itself that the myriad ornaments seem effortlessly to fall into place. Of course, such readings, however accomplished, should not be taken as a replacement for the ensemble approach but regarded as complementary with them. As such, this new issue will be hard to surpass. A welcome addition to the main programme is a fine performance of the "Allemande a deux Clavecins" which begins the Ninth Ordre (Book 2). It is one of the most priceless pearls from Couperin's pen, a haunting blend of grandeur and pathos, to which these players pay just and affecting homage. Further movements from the Fourteenth, Fifteenth, and Sixteenth Ordres make up the remainder of the disc. Couperin's many sub-titles to the various movements are included in the booklet in French, English and German but mercifully have been excluded from the recording itself. Strongly recommended.

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