Bauyn Manuscript Selections
      Works for Harpsichord

Louis Couperin   - Two Suites in F major
  Suite in A minor
  Prelude in G minor
  Passacaille in G minor
  Sarabande in C major
J.J. Froberger   - Tocade in G major
  Suite in G minor
Jacques Hardel   - Suite in D minor
Henry Du Mont    - Pavane
J. Chambonnieres - Suite in C major

Wildboar 9603 - Recorded 1996
Byron Schenkman, Harpsichord
TT 74:20

Summary for the Harpsichord Enthusiast: Can't lose with this one.

The Bauyn Manuscript is a 17th Century keyboard music source divided into
three sections.  The first section contains most of the keyboard works of
Jacques Champion de Chambonnieres, the second has most of Louis Couperin's
works for keyboard, and the last section a collection of pieces by students
and colleagues of Chambonnieres.

Although most of the music on this Wildboar disc is in the form of suites,
it should be pointed out that the composers wrote pieces of music which
they did not collect into suites; that honor goes to others who desired
to catalog and arrange the pieces in a musically pleasing order.  As an
example, Louis Couperin did not write two Suites in F major; he wrote
various pieces which were subsequently arranged into the two suites.  Even
current day performing artists feel free to alter the order of where each
piece belongs to suit their artistic and/or logistical preferences.

Performing on harpsichord is Mr.  Byron Schenkman who was born in Indiana
in 1966.  He is currently based in Seattle and is the director of the
Seattle Baroque Orchestra.  Schenkman has also performed with Musica
Pacifica and the King's Noyse.  In addition to Wildboar, Mr.  Schenkman
has recorded for Centaur, Naxos, and Virgin Classics.  For the disc
at hand, Schenkman performs on a Kevin Fryer copy of the 1681 Vaudry
harpsichord which is housed at the Victoria & Albert Museum in London.

The majority of the disc is devoted to Couperin's harpsichord music.  For
comparison, I used the Davitt Moroney 4-cd set on Harmonia Mundi.  Moroney
is a little darker and heavier than Schenkman who is more sprightly.  Both
artists perform splendidly and convey a strong sense of occasion at the
court of Louis XIV.  If you are not familiar with the Allemande Grave from
Couperin's F major Suite, you're missing out on a superb piece of music.
Its musical phrases are gorgeous and I feel as if I'm right in the center
of the royal concert.

Schenkman plays the Froberger pieces as well as any other artist on record.
His harpsichord has a tangy and bright quality which reduces the austerity
of Froberger's music; in that regard, it's quite similar to the Rampe
performances on Virgin Veritas.

Jacques Hardel was likely a student of Chambonnieres; that's the extent
that seems to be known of the man.  However, his Suite in D minor is a
stunner that can easily hold its on the royal front.  Four movements are
provided:  Allemande-Courante-Sarabande-Gigue.  Each movement flows like
silk, and poignancy is always strong.  The Allemande is particularly
striking in its elegance and ceremony.

Henry Du Mont is represented only by a six minute Pavane.  Unlike Hardel,
Du Mont is fairly well known for his sacred choral work and was the
orchestral director at the court of Louis XIV.  His Pavane is quite
melancholy, slow, and just a notch less enjoyable than Hardel's Suite.

With the Chambonnieres Suite in C major, we are given an Allemande,
Courante, Sarabande grave, and Chaconne.  The Allemande is a rhythmically
alert and stately piece of high optimism.  Good cheer continues with the
Courante, but the Sarabande is more serious and emotionally diverse.  The
concluding Chaconne is relatively soft spoken and pristine music.  This
Suite is charming throughout and a fine listening experience.

Don's Recommendation:  the Byron Schenkman disc is a wonderful acquisition.
Thoroughly idiomatic performances of the masterful music of Louis Couperin
and J.J.  Froberger is enhanced by the inclusion of music from three other
composers whose works deserve greater recognition.  In the case of Hardel,
any recognition would be an improvement.

Of course, the disc is not simply a series of works from 17th century
composers for the harpsichord.  Its aim is to give us some insight into
the musical experiences of those who sat at the court of Louis XIV.  With
music of the highest caliber and performances of excellence, you can have
a center seat next to King Louis.  That makes the recording a special and
mandatory purchase.

Don Satz
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