It's astonishing how much change a single generation can bring about in music, or anything else for that matter. Louis Couperin (1626-1661), uncle to François, and the other slightly famous harpsichordist and organist of the Couperin dynasty, wrote music that was mired in embellishments built on continuous strings of grace notes and ornaments all meant to emulate the galanterie of the courts, but unfortunately was rather short on substance and strictly built around the formal constraints of Suites (preludes, minuets, allemandes, sarabandes, etc ...). On the other hand François Couperin (1668-1733) known as Couperin le Grand and as the greatest of French clavecinists, and a cornerstone of rococo art, merged the grace of the French style with the fire and energy of the Italian composers. Gone are the fetters imposed by titles such as preludes and allemandes, to be replaced by descriptive, mischievous and mysterious titles such as "La Tenebreuse" and "Les Tambourins". He wrote hundreds of these miniature tableaux. His four books of harpsichord pieces are grouped into suites which were called Ordres. They express a wide range of moods, and are rich in melody and rhythmic variety, if not counterpoint. Take Les Fastes de la grande, et Ancienne-Mxnxstrxndxsx for example, a strange and multi-faceted piece in which at one point it sounds as if Couperin was trying to emulate the sound of the bagpipe, and ends with a flurry of notes that would test any keyboardist's technique and endurance. Or better yet, the odd sonic dimension found in La Crouilli ou la Couperinète in which Isabelle Saint-Yves plays the Viola da Gamba. Very strange for the 17th century I would say.

With this release Harmonia mundi launches a new series of recordings featuring the complete works for harpsichord by François Couperin, performed by Bertrand Cuiller on a Philippe Humeau harpsichord, copied from late 17th century French instruments. A clear and open singing tone well defines the sound of this fine instrument. Bertrand Cuiller's previous recordings featuring the music of Bull, Byrd, Bach, Scarlatti and Rameau, and as part of a continuo ensemble in the music of Jean Barrière, have all been well received and awarded. Music like this can sometimes feel rigid and exanimate when under the wrong hands, but Cuiller's flexibility of both mind and touch, brings it to life.