Composer: Antoine Forqueray
Works: Pièces de Clavecin: Suite no. 1 in D minor, Suite no. 2 in G major, Suite no. 3 in D major, Suite no. 4 in G minor, Suite no. 5 in C minor
Performers: Christophe Rousset, harpsichord
Recording: 6-9 September 1999, Cité de la musique, Paris
Label: DECCA
Antoine Forqueray, a luminary of the French Baroque, is primarily celebrated for his contributions to the viol repertoire. His Pièces de Clavecin, posthumously published by his son Jean-Baptiste, represent a fascinating intersection of string and keyboard traditions, challenging both the harpsichordist and the listener. The works at hand, transcriptions of viol pieces, allow for a unique exploration of the harpsichord’s capabilities, yet they also raise questions of idiomatic interpretation and execution.
Christophe Rousset, an esteemed figure in the realm of early music, takes on these challenging pieces with a blend of enthusiasm and technical prowess. However, the interpretation often veers into problematic territory. Rousset’s decision to adopt brisk tempi throughout many movements may stem from a desire to convey the vivacity of the music, yet this haste frequently undermines the lyrical qualities inherent to Forqueray’s compositions. For instance, in the virtuosic final movement of the fifth suite, “Jupiter,” the rapid pace sacrifices clarity and rhythmic precision, leading to a muddled texture that obscures the intricate counterpoint and ornamentation that are hallmarks of French harpsichord music.
The choice of the Hemsch harpsichord, while historically relevant, seems ill-suited for the nuanced demands of these pieces. The instrument’s low register often sounds cumbersome, creating a “busy” sonic landscape that detracts from the melodic lines. This is particularly evident in the more ornament-laden movements, which, while characteristic of the style, become overwhelming. In contrast, the Sarabande from the fourth suite, “La D’Aubonne,” showcases the harpsichord’s brighter upper registers, revealing the instrument’s potential to convey subtlety and grace. Here, Rousset’s touch allows the delicate ornamentation to breathe, highlighting the inherent beauty of the melody.
The recording quality also detracts from the overall impression. The sound engineering presents a flatness that lacks the necessary relief to allow the harpsichord’s tonal colors to shine through. This is especially disappointing given the vibrant acoustics of the Cité de la musique. The overall effect is sterile, lacking the vibrancy and dynamism that should accompany such spirited music. Comparisons to other recordings, such as those by Pierre Hantaï or Skip Sempé, reveal a stark contrast in the ability to convey the emotional depth and technical complexity of Forqueray’s works.
Rousset’s technical skills are undeniable; his command of the harpsichord is evident throughout the recording. Yet, the interpretation feels too focused on speed and virtuosity at the expense of musical expressiveness. The resultant performance leaves one with the sense of a missed opportunity—a collection of technically proficient renditions that lack the emotional engagement and depth that Forqueray’s music so richly deserves. This recording, while a valuable exploration of the harpsichord repertoire, ultimately does not deliver the compelling artistry that one hopes to encounter in such significant works.
