We heard a privately owned harpsichord built in Berkeley by John Phillips. The instrument has 2 keyboards, & Mr. Rousset could mechanically vary its timbre somewhat. It sounded very resonant under his hands. The high notes were particularly bright & clangy in the Couperin pieces. The repeated notes in Rameau's La Poule humorously evoked pecking. Mr. Rousset gave the selections from Rameau's Les Indes galantes an emphatic dance feel. The concluding suite by Royer had a fuller sound and virtuosic effects. There were long trills in La Zaïde & fat, drone-like chords in Tambourin.
The intermissionless performance lasted under 90 minutes. The audience of about 90 were attentive & applauded Mr. Rousset appreciatively. His hands became a blur in a vigorous encore by Royer. Mr. Rousset called his 2nd encore, a decorous piece by Rameau, "more civilized." The setting was a hall in the Northbrae Community Church. The harpsichord was on a raised area with picture windows behind. A side door kept opening by itself & had to be repeatedly closed during the music, & then a slow-moving lady used it as an exit midway through. The church's folding chairs got a bit uncomfortable. Wine & refreshments were served prior to the performance.§ Christophe Rousset, Harpsichord
L'exotisme au clavecin
Francois COUPERIN (1668-1733)
Quatrième Livre de Pièces de clavecin (1730)
Vingt-septième ordre (si mineur)
Jean-Philippe RAMEAU (1683-1764)
Nouvelles Suites de Pièces de clavecin (1728)
Suite en sol
Les Indes galantes (1728)
Suite de ballet transcrite pour clavecin (1735)
Joseph Nicolas Pancrace ROYER (1705-1755)
Premier livre de Pièces pour clavecin (1746)
Suite en ré
Sunday, April 7, 2013 6p
Northbrae Community Church, Haver Hall
Berkeley
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