Although it surprised me to be so fortunate, I recently acquired two
recordings of Rameau harpsichord music having the exact same three works:

Sophie Yates - Suite in A minor - Book I(1706), Suites in E minor and D
minor - Book II(1724), - Chandos/Chaconne 0659 - 71 Minutes.

Frederick Haas - Same Prgram - Calliope 9278 - 73 Minutes.

Although the total music time is quite similar, further investigation
reveals that Hass tends to be slower than Yates in the slow movements and
faster in the quick ones.  So the tempos that Haas uses are more pronounced
at both ends.

Almost twenty years separates the two Rameau Books of harpsichord works,
and the difference is significant.  Book II is more creative and explores
the potentials of the harpsichord to a greater degree than Book I.  Also,
Book II is more theatrically descriptive than I.  I should point out that
Rameau never referred to these works as "Suites", just as pieces comprising
either Book I or II.

In my humble opinion, Rameau's vocal works display greater artistry than
his solo harpsichord works.  Rameau can get quite repetitive in his solo
compositions; also, some of his dance pieces I find to be nothing more
than little "ditties" of slight distinction.  I suppose I'm saying that
I consider solo works by the Couperins, Froberger, Fischer, Kuhnau, and
some others to be more rewarding and musically diverse.  At the same time,
there's much to enjoy in Rameau's two Books if the performances are on
target; if not, boredom quickly can set in.

What's needed to be on target? French Baroque harpsichord music is much
more than just rich and elaborate ornamentation.  Hesitations, halting
rhythms, stops, etc.  are also prevalent.  It all requires bold rhythmic
impulses.  Downplay these features and the result is generic music-making
which quickly loses impact and even can make one wonder about the music's
country of origin.

Initially, Sophie Yates sounds very enjoyable, but additional listenings
are all downhill.  Why? Yates does not provide bold rhythms, and she
downplays the stops, hesitations, and halting rhythms.  Using the Allemande
from Book II as an example, Yates is very smooth and generic.  The first
listening is quite nice, but the second starts a regimen of lost interest.
She simply doesn't do much with this music.  I must assume that Yates is
well aware of the French harpsichord style, but her performances display
either a disregard or ignorance of it.

Frederick Haas's Calliope disc is a much better proposition.  Mr.  Haas
clearly has the French idiom well in hand, his rhythms are sufficiently
bold and clear, and he provides good variety of ornamentation.  Going
back to the Book II Allemande, the Haas performance continues to provide
enlightenment with continued hearings.

Don's Conclusions:  I advise purchase of the Sophie Yates disc only to
those who don't care much for French harpsichord music.  The Haas disc
is a sure winner that I strongly recommend.  However, I can't strongly
recommend Rameau's harpsichord music.  I think there's much better from
other composers.  I'm embarking on buying a string of Froberger harpsichord
recordings, but I doubt I'll do the same with Rameau.  There's not
sufficient inspiration to cover multiple recordings.  As with Telemann, I
feel that Rameau's true strength resides with the human voice.  So I'm glad
to have the Haas and a few other versions in my inventory, but I'll likely
give Rameau a rest for a couple of years.

Don Satz
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