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 [log in to unmask]