French Music on Two Harpischords

Performing Arts & Entertainment in Canada, Autumn, 2000 by John Sutherland

Luc Beausejour & Herve Niquet

Fleurs de Lys FL 2 3079

The transcription of musical works for one or two harpsichords became common practice in the 18th century, notably expedited by such prominent composers as Francois Couperin and Jean-Philippe Rameau. The harpsichord tandem of Luc Beausejour and Herve Niquet recaptures that trend, allowing them "to discover all the harmonic and rhythmical wealth made possible by the combination of two harpsichords" (liner). Performing on contrastingly different instruments (especially in timbre), built by Quebec harpsichord maker Yves Beaupre, Beausejour and Niquet bring extensive international and recording experience to this programme of French music by significant composers of that early period.

Transfers of originally scored instrumentation to the role of the harpsichord are especially evident in Joseph Bodin de Boismortier's "Third Sonata (Op91)" for obbligato harpsichord and flute, the left hands of the duo playing in unison, the right tackling different treble parts, or in Jean-Marie Leclair's "Sonata VIII", with the role of the flute given to the players' right hands. In addition, there is a spirited rendering of Charles Dieupart's "Second Suite" (c1701), as well as six selections drawn from the third book of Jacques Duphly's harpsichord pieces, with the original violin accompaniment relegated here to the right hand of one harpsichord.

The hand-in-glove pairing of Beausejour and Niquet, emphatically and technically attuned to one another, makes this a truly rewarding undertaking.