Fernando De Luca - Beauvarlet-Charpentier: 1er livre de Pièces de Clavecin (2024) [Hi-Res]

Tracklist

01. La cécile, allegro
02. La demargnola
03. La nouvelle, allegro
04. La siran (aria)
05. La cascastel, presto
06. La Suzanne, allegro
07. La remond (aria), allegro
08. La pestalozi, andante
09. La pitras, allegro
10. La tourrette, allegro
11. La bressol (aria)
12. Menuets I/II
13. La colesse, allegro
14. La motet, allegro
15. La desavenier, allegro
16. La delaroüe (chasse)

Even in scholarly explorations of French-Baroque harpsichord repertoire, the name of Jean-Jacques Beauvarlet-Charpentier (1734-1794) is mentioned only in passing. Previous albums of his music have been dedicated to his organ output; this new album will attract any collectors of French Baroque music, who will be rewarded by memorable and colourful portrait pieces every bit as vivid as the likes of d’Anglebert and Couperin.

Beauvarlet-Charpentier succeeded his father as titular organist of the Hospice de la Charité in Lyon, where the family had lived since 1748. In 1771 he took up a more prestigious post in Paris and remained in the capital to the end of his days, associated with the Concerts Spirituels, the Church of St Paul (where he succeeded Daquin) and even Notre Dame.

This First Book of Harpsichord Music was published around 1770, and features 16 pieces, most of them titled after individuals. There is an orchestral richness to the texture of his harpsichord writing in this volume, announced in grand style by the opening piece, La Cécile. From halfway through, La Pitras is likewise disinclined to introversion, rewarding the full-bodied approach of a player such as de Luca who plays a 1985 copy of a 1754 instrument ‘after Blanchet’.

Beauvarlet-Charpentier is the latest discovery from the industrious Fernando De Luca, who has turned up several unknown names from the era for Brilliant Classics, among them albums of Pierre-Claude Foucquet, Pierre-Thomas Dufour, Charles-Alexandre Jollage (96773) and Christophe Moyreau. These sets have met with no shortage of critical enthusiasm. Fanfare: ‘“Charm” is such an overused word, but I cannot think of a better one to describe this music and these performances.’ (Jollage) Musica dei Donum: ‘I have nothing but praise for Fernando De Luca's performance. He rightly does play Moyreau with aplomb; too much subtlety would be out of place. This is mostly pretty extraverted stuff, and that is the way De Luca treats it.’

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