In the episode of On Cloud Nine on 27th March, the harpsichord is central with a lesser-known French composer for this instrument: Gaspard le Roux.
“On Cloud 9” is the English expression for our “In the seventh heaven”. The Cloud 9 hall in TivoliVredenburg in Utrecht is mainly used for pop and jazz music, but our Concertzender programme of that name shows that you can also get on cloud nine with profane Early Music.
In the 34th broadcast of this programme on 27th March, attention is paid to the composer Gaspard le Roux, among other things. He lived from 1660 to 1707 and mainly operated in the Paris area. His collected works “Pièces de Clavessin” were published in 1705. It contains 47 pieces for two harpsichords, largely divided over seven suites. The book shows that Le Roux was a born teacher. He gave advice on how to sing to the melodies and how to accompany with the basses. The book is also intended as a demonstration, with various examples of dances and styles. The vocal option was apparently mainly intended for didactic purposes. His suggestions were that the upper voice of the trio version should be sung while the bass line was played on the harpsichord.
We will be playing a number of suites in two different styles: first the Dutch harpsichord duo Pieter-Jan Belder and Siebe Henstra. In 2016 they recorded all seven suites on one CD: “Complete Harpsichord Music, Gaspard Le Roux”.
Then a recording by the US-born but thoroughly French veteran William Christie and his protégé Justin Taylor. On the CD “Conversation” they recorded five suites by Le Roux in 2024. Without the possible singing voice, they have divided the trio version with the high singing voice over the two harpsichords. We read in the booklet that came with the CD: “And actually that doesn’t work. The harpsichordists actually have to arrange to get the notes right. Le Roux also understood that this is a challenge for the players. That is why he published a few elaborated counterparts, as an example of how it should be done.”.
The style is somewhat lighter compared to the performances of Belder and Henstra, somewhat less academic and is daring in making the melody lines right. They are not afraid to follow the French way of nonchalantly unrhythmic playing, the so-called “inégalité”. In doing so, they certainly do justice to the CD title “Conversation”. Belder and Henstra play more in the subdued style in which we recognize their former teachers Gustav Leonhardt, Ton Koopman and Bob van Asperen.
At the end of April 2025, Justin Taylor can be heard in the touring programme of the Early Music Festival with top violinist Théotime Langlois de Swarte. They are called “les deux jeunes princes de la musique baroque” in their own country. So it is worth trying to get tickets!
Broadcast: On Cloud Nine – Thursday 27th March 2025, 21:00 – 22:00
