Music for Harpsichord Vol. 1

Premier Ordre Concerts Royaux

Laurence Cummings I Franqois Couperin (1668 - 1733) Music for Harpsichord Vol. 1 Book I of Franqois Couperids Pieces de Clavecin was a compilation of pieces written over a number of years and published in 1713. His first book of Cmerts Roy~were performed, as the composer reveals in his Preface, at the court of Louis MV in 1714 and 1715 but were not published until 1722. In his Preface to the harpsichord pieces Couperin says that he would have liked to have been abIe to devote time to preparing them for publication sooner because of public demand, but that this had been impossible owing to pressure of other work. He goes some way towards explaining what his duties were. He takes care to say that 'some of these occupations have been too glorious for me to complain of them; for twenty years I have had the honour of being in the King's senrice, and of teaching for most of this time Monseigneur the Dauphin, Duke of Burgundy, and six Princes and Princesses of the royal household'. He also mentions duties in Paris. Couperin was organist of the church of Saint Gervais in Paris and of the royal chapel at VersaiIies for three months of each year. He had many private pupils in Paris and he took part in concerts in the great h8tels, some decorated by Watteau, which were the pride of the aristocracy and the rich civil servants. He worked for the future Regent, the Duke of Orleans and for the exiled Stuart Court at Saint-Gennain-en-Laye. The titles of his harpsichord pieces reveal that he was closely involved with the eccentric world of the Duke and Duchess of Maine, which clearly inspired many of the pieces in his first Ordre. Couperin said in the Preface to Book I; 'I have always had a subject when composing all these pieces; different occurred to me'. He went on to say that many of the pieces; 'are portraits of a kind, which under my fingers have, on occasion, been found to be tolerable likenesses'. In some 8.550961 2 cases it is difficult to be certain what the 'ideas' and who the 'portraits' were but a cumulative picture does emerge when the background to CoupeMs 'subjects' is explored. For most French composers the titles they gave their pieces were a mere convention. For Couperin they were the raison d'2tre of the piece. Unlike his predecessor Lully and his contemporary Rarneau, Couperin was not interested in the classical world, the world of the Cyclops hurling his thunderbolts at the whole universe, he was acutely sensitive to human feelings and human foibles, our own feelings and foibles in fact, perennial human conditions, which is what lifts his miniatures onto a universal plane. Pride of place amongst ~ou~erin'sportraits is accorded, not to the King, but to Louis Aumste, Duke of Maine. The King's favourite and illegitimate son by ~adamede Montespan is desaibed by Mademoiselle de Lamay; 'Monsieur du Maine had an enlightened understanding, subtle and cultivated; savoir monde in perfection; a noble and pious character. Religion rather than nature made him virtuous and kept him so. He loved order, justice, decorum. His natural inclination was for solitude and study. Gifted with all the qualities necessary for success in society, he mixed in it with reluctance'. The fine allemande L'Auguste is a sympatheticportrait of this sober and serious man. It is followed by a pair of courantes the first of which is vocal in character with an ornamented repeat. These decorated versions often had amorous connotations, onebeing portrayed in Watteau's painting La Garnme d'Amour. Louis XIV himself makes a suitably grand appearance in the mawcent sarabande LA Majestueuse. (The titles are often feminine because they refer to la pike). Couperin's remarkable sense of balance never lets him down and the somewhat impersonal majesty of the sarabande is followed by a Gavotte of the vaudeville type described by DfAnglebertas; 'little airs that have an extraordinary finesse and a noble simplicity that has always pleased everyone1. La Milordine, a gigue of the type the French considered to be English presumably describes an English milord from the exiled Stuart Court. A Menuet with an ornamented repeat ends the conventional set of dances which are characteristic of most instrumental suites in both the seventeenth and eighteenth centuries. In his Preface the composer speaks of pieces in a 'new and diversified character'. Once the dances are left behind this aspect of Couperin's harpsichord music becomes increasingly apparent. It comes as a complete bolt from the blue, nothing like it having appeared before. His models, if any, were vocal and several of the pieces in Book I are in fact arrangements of previously published songs. To judge by the titles of many of them it seems probable that he composed incidental music for some of the divertissements written for the Duchess of Maine. This unconventional pupil of Couperin's could not bear the Court as it was under Mme de Maintenon. People complained that it was a monastery in court dress which was becoming duller every day. Since Mme de Maintenon had brought up her husband, and since in her eyes he could do no wrong, the Duchess must have had more reason than most, given her tastes, to escape. This she did, initially to the country cMteau of the Maines' great friend and the Duke's tutor, the poet Malezieu. He made his chateau of Chgtenay a fairyland that filled the Duchess with envy and delight. This make-believe worId was peopled with nymphs and shepherds. The Duchess suffered from insomnia SO fireworks and divertissements filled the long days and short nights. The 'elite' of the King's Music took part heside bands of real peasants who danced and sang. In 1702 The King's Musicians appeared as Svlvains in a divertissement at Chgtenav and saw the uraises of the Duke Maine. Les Sylvains, clearly popular & it also ap'peakd in a lute version, is marked majesfueusement. Much of it appears to be the accompaniment to a missing vdline so it is likely thar bo& the keyboard and hte versions are arrangements, perhaps of a chorus singing the praises of L'Augusfe. It is a rondo, a form ohused by Couperin in his harpsichord pieces. 8.550961 4 Couperin's sense of balance, and humour on this occasion, is felt once more in his choice of the next piece. Les Abeilles was originally published in 1707 when the title was *the singular. It is a reference to the Duchess of Maine's own Order of Chivalry, the Order of the Honey Bee, the motto of which was taken from Tasso; 'The bee is small but she makes big wounds'. The Duchess was also very small, she and her two sisters were known not as the Princesses of the Blood, but as The Dolls of the Blood. Les Abeilles is one of the shortest pieces. The Duchess's Order was one of the many Lodges of Adoption of Freemasonry, which had female members, the bee being a common masonic symbol. A choir and orchestra provided music at the initiation ceremonies. La NanEte possibly portrays Anne Bulkeley, Duchess of Ekwick, known as labelle Nanette'. The Duke was an illegitimate son of James I1 and resident in France. Like La Milmdine this piece is probably an 'English' dance. It is followed by the sarabande Les Sentimens, one of Couperin's most gently expressive pieces which is in complete contrast to the grandeur of La Majestueuse. La Pastorelle was originally published as a vocal piece. With Les Nonet&, the young nuns, one a blond and one a brunette, we have the first of Couperin's many portraits of the dubious morals of his time. This title also demonstrateshis addiction to play on words. Furetihe, in his Dictionnuire Universe1 of 1701, says that the word Nonnette, which is a marsh-tit as well as a nun, when used in the burlesque style (a style often indicated by Couperin) means that these young ladies are; 'up to all the finest tricks of love. A young man who frequented a convent of these birds did not find one who greeted his designs with coldness, whether nun, whether nonette'. He also says that 'blond beauties wear less well than brunettes, they are less lively and less fun'. The gavotte La Bourbonnoise, refers to the Duchess of Bourbon, a pupil of Couperin. This mischievous and popular sister of the Duke of Maine smoked a pipe and could drink any woman and most men under the table. 5 8.550961 La Manon is presumably the famous actress daughter of the playwright Florent Dancourt, since he and the rest of his family are represented later in the Ordres. L' Enchanteresse is also the title of a painting by Watteau, in which a young man plays the guitar to two girls on the banks of a river. In the lute/guitar register, with its classic portrayal of musical water in the final couplet, this piece could well be based on the painting. La Fleurie ou la tendre Nanette is probably an illegitimate, the daughter of the Dauphin whose mother was the actress La Raisin. She was said to be 'lovely as an angel' and her father called her Mademoiselle de Fleury. This Nanette could not be the Duchess of Berwick since Couperin would never have referred to an aristocrat as 'tendre'. More knowledge of the characters of these two Nanettes would help to confirm the subjects of Couperin's two portraits. Les Plaisirs de Saint-Germain-en-Laye must have been familiar to Couperin because he had a house there from 1710-1716,presumably to be near his pupils at the exiled Stuart Court. The ~onktsRoyaux were written for the aged and ailing King and performed on Sundays in the melancholy atmosphere of Versailles by a distinguished set of musicians, Duval (violin), Philidor (oboe), Alarius (bass viol), Dubois (bassoon) and the composer himself on the harpsichord. They were written for the most part on two staves and can be played on the harpsichord except in the movements that have a third part, played in this recording on the treble viol or viola da gamba. In the Preface Couperin says that they are suitable not only for the harpsichord but also for violin, flute, oboe, viol or bassoon. He also says that he has kept the title by which they were known at the Court and that he has arranged themby key which is a cirde of fifths; G, D, A, and E minor. Though we have to wait for the second set of Concerts Royaux before the composer calls them Les Goats- rhnis, which refers to the union of French and Italian styles, Couperin's debt to Corelli and the other Italian composers represented in the collections of music made for the Stuart Court at Saint-Gennain is apparent in the first four. It has only recently been realised, because of the work on the exiled court (where James 11's Queen was Mary of Modena) undertaken by Edward Corp, that it must have been here that Couperin discovered Italian music. It is easy to be deceived by the very French ornamentation into thinking the movements of the first set of concerts are more French in style than they in fact are. Corelli's allergy to ornamentation was well-known SO it is unlikely that the manuscripts of his music at Saint-Gennaincontained any ornaments. In the first Concert we have to wait until the Gigue for a movement that does not owe its style to Couperids great hero Corelli. The Prelude, the Allemande (marked l4g&ement'), the Sarabnnde and the Gaootte (marked notes dgales et coulds) are all Italian in style. TheMenuet en Trio has a part for the viol. The second Concert is more French in style, the Allemande Fugue% and the Air Contr@@ being the only Italianate movements. This concert closes with one of the most charming movements in these Concerts, Eckos, which is reminiscent of the composer's other great hero, Lully. Q 1996 Jane Clark Laurence Cumrnings was an organ scholar at Christ Church, Oxford, from where he graduated with First Class Honours in Music in 1989. He subsequently studied with Robert Woolley at the Royal College of Music where he won the prestigious intercollegiate Raymond Russell Prize, followed by further study with Jill Severs. He is active as both solo harpsichordist and continuo player. He has served as Assistant Director to William Christie and Les Arts Florissants in Paris and in New York and appeared with The Sixteen Choir, Gabrieli Consort and The Orchestra of the Age of Enlightenment, with whom he has made anurnber of recordings. In 1993 he embarked upon a series of recordings of harpsichord music for Naxos, beginning with the music of Louis and Franqois Couperin, releases that have been greeted with critical acclaim. Franfois Couperin: Cembalowerke, ~olI Franqois Couperin war Organist von Saint Gemais in Paris und arbeitete aderdem jedes Jahr ungefar drei Monate am Hofe von Versailles. Als einer der beriihrntesten Musiker seiner Zeit war er eine anerkannte und viel geriihmte GroBe im franzosischen und speziell im Pariser Musikleben. Seine Teilnahme bei den groBen Konzerten in der Hauptstadt, die von der Aristokratie und der wohlhabenden Beamtenschaft veranstaltet wurden, trugen seine Bekanntheit auch weit iiber die Grenzen seines Heirnatlandes hinaus. Obwohl Couperin durch und durch Franzose war, hatte er doch ein ehrgeiziges Ziel, das die ganze Universalitat seines Musikverstkdnisses zeigt. Er wollte den franzosischen Stil mit dem italienishen Stil zu einer ganz neuen Art verschmelzen. Sein italienisches Idol war Corelli, dessen EinfluB sich auch iiberall in der Musik Couperins festmachen laBt. Von Corelli ist bekannt, wie wenig er die ausgedehnte und oft auch zum reinen Selbstzweck entartete Ornamentation, die viele franzosische Komponisten so liebten, schatzte. Hier folgte ihm Couperin, auch wenn wir dies aus den erhaltenen Manuskripten nicht imrner zweifelsfrei erkennen konnen. So wie die Stiicke iiberliefert sind, erscheinen sie uns oft viel franzosischer als sie moglichenveise gedacht waren. Die Pieces de Clauecin Couperins sind iiber einen lkgeren Zeitraum entstanden und haben keinen erkennbaren inneren Zusammenhang. Sie wurden 1713 zum ersten Ma1 publiziert. Interessant ist, daB Couperin nach seinen eigenen Worten niemals ohne einen besonderen AnlaS oder eine Thematik schrieb. Im Gegensatz zu den meisten seiner Landsleute gab er vielen seiner kurzen Werke keine allgemeinen generischen Titel, sondem venvertete vielmehr spontane Ideen oder schrieb sogar regelrechte Portrats, auch wenn sich diese dem Horer nicht auf Anhieb erschliegen mogen. In den meisten Piillen waren diese Ideen aber fiir Couperin der eigentliche Entstehungsgrund fiir eine Komposition. Noch etwas zeigt die Modernitiit und die weit iiber seine Vorghger bzw. Zeitgenossen Lully und Rameau hinausgreifendeExperimentierfreude des Pranqois Couperin. Er interessierte sich n;?mlch weit weniger als diese fiir die Gotter- und Sagenwelt der Vergangenheit, sondem vielmehr fiir das menschliche Individuum, seine Geee und Gedanken. In dieser Beziehung kann man Couperin ohne aertreibung als einen der Wegbereiter der Musik des spaten 18. und sogar des 19. Jahrhunderts sehen. Couperins Versuche der Portratierung und Charakterisierung von Personen kann man in seinen P2ces de Clavecin unschwer festmachen. L'Auguste zumBeispie1ist nichts anderes als eine musblische Beschreibung von Louis Auguste, dem Hezog von MaineI einem unehelichen Sohn des Konigs Ludwig MV. %in nobler Charakter, sein feines und kultiviertes Benehmen und sein Interesse fiir die Kunst versuchte Couperin in dieser kurzen Studie zu erfassen. Aber auch der Kiinig der Franzosen selbst wurde von Couperin in Noten gesetzt. Die Sarabande La Majesteuse widmet sich dem Sonnenkonig. Wenn uns dieses Werk videicht etwas pomp& und unpersiinlich vorkommen mag, dann ist dieser Effekt von Couperin sicher nicht zufig so gewiihlt worden. Noch ein schones Beispiel der Experimentierfreude Couperins findet sich in den PiPces de Chedn. Das Stiick La Milordine beschreibt einen englischen Edehund diese Gigue prbentiert sich uns in einem Stil, den die Franzosen damals fiir typisch ennlisch hielten. beConcerts Royaux verdanken ihren Titel ihrem Entstehungsgrund. Sie wurden von Couverin fiir den altemden Konk ~eschriebenund an Sonntagen irn ~ckloBvon Versailles aufgefi&'i. her begegnen wir naturgemaB weniger dem Portratisten Couperin als vielmehr dem Hofmusiker. Andererseits wiire Couperin nicht er sehtgewesen, wenn er sich fiir diesen AnlaB mit dem Hergebrachten und Konventionellenbegniigt Mtte. Nirgendwo khen wir besser und eindrucksvoller seine bereits erwhte Sympathie ftir den italienischen Stil studieren als in den beiden eingespielten Konzerten. So sind im ersten Konzert die vier ersten The unverkennbar tief von Corelli beehfldt, und erst die Gigw ist eher im franzbsischen als im italienischen Stil gehalten. Im zweiten Konzert ist Corellis Vorbild dagegen bei weitem nicht so deutlich. leistet Couperin hier seinen Tribut an sein zweites grof?es Vorbild, Lully. Die GroSe Couperins wird aber gerade dadurch besonders deutlich, dder auch einen eher konventionellen Anlaf? immer noch fiir seine Experimentierfreude zu nutzen versteht. 0 1996 Carsten Thimm Frangois Couperin- (1668-1733): L'CEuvre integral pour clavecin - Vol. I Membre d'une illusfrefamille de musiciens, originaire de Chaurnes(Brie), Franqois Couperin, dit "Le Grand", nait en 1668, sous le regne de Louis XIV, au caeur de l'une des plus brillantes p6riodes du siede du "Roi- Soleil". Son onde Louis Couperin passait d6jA pour le meilleur claveciniste de son temps et occupait de hautes fonctions A la Cour avant son decks prematud en 1661. Des 1685, Franqois reprend la charge de son p&re,Charles, organiste A St Gewais de Paris et publie ses messes d'orgue en 1690. Coup d'essai, coup de maitre, le jeune artiste est nomm6 par le roi en 1690 organiste de la ChapeIle Royale de Versailles, puis maitre de clavecin des Enfants de France. De cette 6poque datent ses premieres sonates en trio, inspirees par Corelli, et I'essentiel de sa musique vocale religieuse(Motets, Elbations et Le~onsde TCn2bres). Tout en 6difiant patiemment son oeuvre de clavecin(PremierLivre - 1713)Couperin donne chaque dimanche A Versailles ~g Concerts royaux pour le monarque vieillissant(l714-1715). Lorsque Louis XIV s16teint en 1715, au terme d'un tres long regne, une grave rupture inte~entdans la carxiere du compositeur :abandomant Versailles, se demettant peu A peu de ses charges A la Cour, Couperin se refire A Paris. Sa sant6 d&linante ne lui laisse plus guere de r6pit et il semble qu'il publie en toute hate le travail de nombreuses ann6es. Ainsi paraissent A intewalles rapproches ses Second (1716) et Trois3me (1722) Livres de Pi2ces de clavecin (ce dernier comprenant les Concerts Royaux), les Concerts des Goats RCunis (1724), les ApotMoses (1725) et Les Nations, recueil de sonates en trio (1726). Quoique magistrales les dernites r6alisatiom du musiaen : PiLces de mole (1728)et QuaWme Lime de Bees de clawcin (1730)sont publib dans l'indiff6rence gherale et c'est un crhateur totalement oublie qui s'kteint B Paris le 12 septembre 1733, tandis qu'au m&ne moment Jean-Philippe Rameau reVolutionne la vie lyrique franpke avec la representation, chez le fermier ghkal et m&e La Pouplinihe, de sa premihe tragedie lyrique :Hippolyte et Aticie. Le "siecle de Louis XV" commence... "J'ayme beaucoup mieux ce qui me touche que ce qui me surprend", avoue Franc& Couperin dans la pr6face de son Prmim Lime de Pisces de clavecin et rien ne saurait miew caract6rkr son langage musical. Des grands compositeurs pour clavecin il est celui qui s'identifie le plus son instrument, confident de toutes ses ¬ions et champ privilegie de ses experiences les plus audacieuses : "Je -way toujours gr6 B ceux qui par un art infini, soutenu par le goat, pourront arriver B rendre cet instrument susceptible d'expression". Couperin est B l'6vidence plus souaeux de dire que de montrer ;le bplus pdte de nos clavecinistes", selon Claude Debussy, livre ainsi une musique delicate, toute de rigueur, de sobrieU et d'el&ance mais @dement pleine de channe, de tendresse et de mdancolie. Sa vie durant, le musicien s'attacha B la "Rhnion des Goats franpis et italiens", unissant dans un mheaeuset dew esthktiques rivales. Cette recherche o~iniItrede la svnthh des stvles musicaux ainsi aue l'exh&me sensibilite 2 la fantaisie rdveuse de sa rn;sique font de ~ran&isCouperin run des musidens les plus orkhaux de son temps. Tean-%bastien Bach ne se trompa d'ailleurs su4 ghie avec qui iferkret.int, semble-t-il, une active correspondance et par lequel il fut durablement influend. Vaeuvre de clavecin deFran& COU- consiste en ouatre Limes. soit prb de 260 pikes, group& tonalit&non pas en suit&, mais en &dyes - aue Philippe Beaussant qualifie avec iustesse de "d6sordres". mettant air& l'acc& sur la fantaisidde leur com'mction. 13 8.550961 Publie en 1713, dans une Wtion trL soign&, le Premier lime de P2ces de checin rassernble soixante et onze pages dont certaines (ex : Les Abeilles, Les Nonetes, La Diane, La Florentine et La Mine) figuraient d4B dans des recueils co11ectifs. Rassemblh au sein de cinq Ordres (trois mineurs et deux majeurs), ces pibces son€ encore dominees par des danses stylides d'inspiration versaillaise. Mais leprmier Lime innove aussi avec l'apparition de portraits et de sches de genre. CoupeB quarantednq ans, dhontre sa pleine maftrise de l'eaiture pour l'inshument, tout en affhmnt son originalit6 face aux virtuoses de son temps, tels Marchand et Rameau. Ze Premier Ordre, en sol, s'ouvre sur une somptueuse Allemande, L'Auguste, dont la noblesse un peu hautaine semble designer le "Roi- Soleil", point de dference oblige des artistes de son temps. Suivent deux Courantes, alertes, la premihe comprenant un double, "au dessus plus om&". La structure dassique de la suite s16panouit avec la Sarabande La Majestueuse, toute de gravit6. Aprb me Gavotte inghue, de style ldlyste, caracole une Gigue, La Milordine, o&l'inspiration italienne triomphe dans une lipm4lodique trL violonistique. La simplicit6gracieuse duMenuef (A nouveau "doub16" d'une diminution om& de son dessus) cr& un puissant contraste avec la pike suivante :Les Sylvains. En majeur, elle constitue le premier Rondeau de ce livre et kvoque avec tendresse la rusticit4 du mode de vie pastoral et, fugitivement, en mineur, ses peines. Viennent ensuite Les Abeilles dont la douce melodie fait bien plus penser B la suavitk de leur miel qu'B toute id& de bourdonnement ou de piqfire. Couperin opte pour une nature rdsolurnent dhente ! Avec sa ligne de basm suggQant mevide, la Na&e trace coup sflr le portrait d'une villageoise avant que le ton ne se fasse plus solennel'dans Les Sentimens, une Sarabande au beau chant omb, not& "tds tendrement". Puis Yon revient B de menues pikettes: La Pasforelle, trL dansante, Les Nonttes ("Les Blondes" puis "les Brunes"), une Gavotte dite La Bourbonnoise, 8.550961 14 qui inspirers B Bach le theme de ses Varintions Goldberg, BWV 988, et La Manon, fraiche aeature toute de vivaate et de bonne humeur. La nafvete attendrie de ces petits aoquis sernble avoir kt6 sp&ialement dW6e aw petites mains de jeunes 61&es : c'est le Couperin pedagogue qui parle ia. Quant au poete, il s'exprime B nouveau dans L'Enchanteresse - Rondeau de style luthe B l'instar des Sylvains, mais de caractbe plus mysteriew. Il s'agit probablement d'un hommage au tableau eponyme d'Antoine Watteau, ce qui souligne les correspondances profondes unissant les deux artistes. Les sortileges sont toutefois vite dissipes par La Fleurie, ou la Tendre Nanette, graaeuse 6vocation B la maodie tres om&, littdralement fleurie d'agrdments. L'etrange et disparate Premier Ordre se refenne avec Les Plaisirs de Saint- Gerrnain-en-Laye, piece bipartite oii le musicien songe probablement B la maison de campagne oh il aimait h se retirer. Publies en 1722, les Concerts Royaux remontent en fait aw annees 1714- 1715 et, comrne s'en souvenait le compositew, avaient 6t6 &-its "pour les petits Concerts de Chambre oii Louis quatorze le faisoit venir presque tous les dimanches de l'annee". L'instrumentation en est tres souple : ils "conviennent non seulement au clavecin, mais aussy au Violon, B la Hate, au hautbois, B la Viole et au Basson(...)", prtkise leur auteur Tkmoignages charmants des sessions de musique de chambre B la Cow, ces menues pieces, d'une grande finesse de facture, appartiennent au genre de la suite de danses B la franqaise, temper& qa et lh toutefois d'amusantes touches d'italianisme. Les quatre Concerts font respectivement appel am tonalit& de sol, re, la et mi, soit l'accord des quatres cordes du violon. Le Premier Concert en sol daute en majeur par un delicat petit Pr6lude suivi d'une Allemande. La Sarabande, melancolique, introduit le mode mineur que Yon retrouve dans une fluide Gavotte. La Gigue tient lieu d'intermede enjou6 avant la conclusion ;un Menuet en mineur dont la texture en trio appelle le concours d'un instrument de dessus en "contrepartie". D'esprit Ws proche, le Second Concert explore la tonalit6 de r6 ; en majeur tout d'abord avec un graaew Prtlude, Ws om6, et une Allemande fupkau contrepoint plein de fantaisie. L'Air tendre est un air de cour en mineur, d'allure trh francaise, et offre une subtile introduction B l'Air contrefigd oa le jeu des imitations et des entrks en canon 6voque irreSitiblement lltalie. Le Concert s'acheve par une pike en trio, Les Echos, .inspink des travawc de Jacques Hotteterre dans un genre typiquement baroque(cf "Les Ecos", Premier Lime de peces pour la flate traversi&e, op. 2 -1708). O 19% Stanislas Perreau Music for hrpichord Val. 1

- B hN.ws, (12228 omdbw-F1 I ~~Bogrmi). a tPrco.cac @*, IEl b- Ie~,& na -.I I t- am) 811 hMra wzsl I=- -- Bs 1 &f @ kaRmrbapIa#wub~ @LOW - -- .a Recorded at St Mart~n'sChurch. East Woodhay. Hampshtre, ^-many from 3rd to 5th October, 19%. Producers: John Taylor I Laurence Cumm~ngs Deutscher Text I Engineer: John Taylor Music Notes: Jane Clark Harps~chord:M~chael Johnson 1983,two-manual after Taskin, supplied and tuned by Mark Ransom. 111 11 11 11 I11111 Cover Painting: Juno bids Aeolus unloose the winds by Boucher 730099 596121