Beauvarlet-Charpentier: 1er livre de Pieces de Clavecin

Even in scholarly explorations of FrenchBaroque 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 Charite

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 Cecile. 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, CharlesAlexandre 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.'