About a month ago, I reviewed a 2-disc set of Froberger Suites for
Harpsichord performed by Ludger Remy on CPO.  I was very impressed
with the performances and the quality of the music.  As a result, I
ordered the new Blandine Verlet recording of Froberger harpsichord music
on Astree 8805.  Whereas Mr.  Remy performs fourteen complete Suites,
Verlet takes a different approach; she performs two complete Suites, just
the Allemandes/Sarabandes from two other Suites, and four additional pieces
consisting of a Capriccio, Toccata, Fantasia, and Canzon.  The result is
that the majority of the Verlet disc has the same repertoire as on the Remy
set and is available for comparison.

The differences between the Verlet and Remy performances are like "night
and day" for the following reasons:

a.  Verlet's harpsichord sound is much deeper and more forward than on the
Remy set, resulting in a much darker atmosphere.  Remy's sound is well
integrated and smoother.

b.  Verlet isn't just consistently slower than Remy; she's often twice as
slow.  It's almost like listening to two different compositions.

c.  This all adds up to Verlet's performances having a much more somber and
reflective nature than Remy's.  Verlet is for private consumption on dark
days, Remy for a more public display when the mood is sunny.

I can't say that one set of performances is better than the other.  They
are both wonderful recordings having particular approaches which are each
highly rewarding.  However, Verlet's four additional non-suite works are,
in my opinion, even better compositions than the Suites.  The Fantasia is
especially masterful and a superb listening experience.

Reviews I have read of the Verlet disc are certainly oppositional.  The
review in Classics Today (web-site) now considers Verlet's recording the
best introduction available to Froberger's harpsichord music.  The review
in Gramophone was quite negative and harped on the dark, dreary, and somber
performances as if they were evil to one's ears.  Well, I don't tend to
have a high opinion of Gramophone's reviews of Baroque music, and that is
the case this time as well.  Verlet might well be dark, but she is always
probing the entire musical landscape in a fully idiomatic manner.

The most significant insight I have obtained from the Verlet disc, largely
based on the four non-suite works she performs, is how excellent a composer
Froberger turns out to have been.  It's fantastic music of depth and
originality.  I've already ordered more Froberger harpsichord recordings
and look forward eagerly to their arrival.  If there is any Baroque
composer of solo harpsichord music who bears a strong similarity to Bach's,
it is Froberger.  Go for it!

Don's Conclusions:  I gave the Remy set a strong recommendation, although
not of the essential variety.  Concerning the Verlet disc, I do think
it's an essential acquisition for Baroque harpsichord enthusiasts.  Those
four additional works are the basic reason; they reveal an artistry on
Froberger's part not quite on display with his Suites.  Being reasonable,
both recordings are excellent so buy both of them.  You definitely won't
feel that either disc is a repeat of the other.  I consider Froberger my
"Find of the Year" and the Verlet issue one of and perhaps the best
acquisition I have made this year.

P.S.  - Although I have been taking a little vacation from the multi-part
review projects I've started, I have not forgotten them.  I should be
posting the last part of my Bach WTC I within the next two days; I'm
currently listening to the different versions of the last Fugue in B minor.
Since it's a long, complicated, and magical piece of music, I've been
spending much time with it; in particular, I could listen to Tureck's
version all day.

Don Satz
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