François Couperin: Pièces de Clavecin Blandine Verlet

• 1 La ménetou 03:14
• 2 II. Les petits-âges - I La Muse naissante 02:57
• 3 III. Les petits-âges - II l'Enfantine 01:40
• 4 IV. Les petits-âges - III l'Adolescente 02:24
• 5 V. Les petits-âges - IV les Délices 03:31
• 6 VI. La Basque 02:57
• 7 VII. La Chazé 04:29
• 8 VIII. Les Amusements 05:02
• 9 I. La Raphaèle 06:00
• 10 II. Allemande - L'Ausoniène 02:58
• 11 III. Courante 02:33
• 12 IV. Seconde Courante 03:10
• 13 V. Sarabande - L'Unique 02:35
• 14 VI. Gavotte 01:39
• 15 VII. Rondeau 02:14
• 16 VIII. Gigue 03:33
• 17 IX. Passacaille 06:47
• 18 X. La Morinète 02:46
• 19 I. La Visionnaire 04:09
• 20 II. La Misterieuse 05:09
• 21 III. La Monflambert 02:09
• 22 IV. La Muse Victorieuse 03:05
• 23 V. Les Ombres errantes 03:22
• 24 I. La Convalescente 05:25
• 25 II. Gavotte 02:20
• 26 III. La Sophie 03:15
• 27 IV. L'Epineuse 05:41
• 28 V. La Pantomime 04:46
• 29 I. Allemande - L'Exquise 04:01
• 30 II. Les Pavots 05:58
• 31 III. Les Chinois 03:16
• 32 IV. Saillie 03:23
• Total Runtime 01:56:28

Info zu François Couperin: Pièces de Clavecin

Blandine Verlet is now one of the last living legends of the harpsichord. After a few years of absence, she has joined the label Aparté with a programme dedicated to Francois Couperin's harpsichord music, recorded on a sumptuous Hemsch of 1751 upon which she already performed Goldberg Variations in 1993. Throughout these pieces with evocative titles (Les Amusements, the Raphaèle, the delights, the Poppies, the Wandering Shadows ..) she reveals an artist with a voice more than inspired, powerful and constantly renewed.

“She captures the richness of the material, the Balzacian catalogue of character and conceit...one wishes the ornaments were more fluid and natural...But it is fine playing, even so...she makes the most of this robust, prismatic instrument...It seems strange but also very appropriate to hear harpsichord-playing that sounds wise and autumnal.” (Gramophone)

Blandine Verlet, harpsichord

Blandine Verlet
a noted French harpsichordist, studied with Ruggiero Gerlin and Ralph Kirkpatrick. She began recording in the late 1970s for Philips, switching to the Astree label in the 1990s. Her recordings range from J.S. Bach's keyboard works to Froberger to lesser known composers such as Louis Couperin and Elisabeth-Claude Jacquet de la Guerre. Her second recording of the Goldberg Variations, in 1992, has been called "one of the finest harpsichord versions in the catalog." With violinist Gerard Poulet she has recorded early violin sonatas by Mozart, using the older Baroque keyboard instruments rather than a fortepiano or modern piano. Verlet has also worked with flutist Stephen Preston and viola da gambist Jordi Savall. Her playing is noted for her control and restraint in not letting emotion carry her away.

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