Elisabeth-Claude Jacquet De La Guerre: Harpsichord Suites Nos. 1-6

Elisabeth-Claude Jacquet De La Guerre: Harpsichord Suites Nos. 1-6

Elisabeth-Claude Jacquet De La Guerre: Harpsichord Suites Nos. 1-6
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CD Details

Composer: Elizabeth-Claude Jacquet de la Guerre
Performer: Elizabeth Farr
Edition: Music CD
CD Release Date: 2005-11-15
Music Label: Naxos
Soundtracks:
Music CD 1
  1. Prelude
  2. Allemande
  3. Courante
  4. (2e) Courante
  5. Sarabande
  6. Gigue
  7. Cannaris
  8. Chaconne L'incostante
  9. Menuet
  10. Prelude
  11. Allemande
  12. Courante
  13. (2e) Courante
  14. Sarabande
  15. Gigue
  16. (2e) Gigue
  17. Menuet
  18. Double
  19. Prelude
  20. Allemande
  21. Courante
  22. (2e) Courante
  23. Sarabande
  24. Gigue
  25. Chaconne
  26. Gavotte
  27. Menuet
Music CD 2
  1. Tocade
  2. Allemande
  3. Courante
  4. (2e) Courante
  5. Sarabande
  6. Gigue
  7. Cannaris
  8. Menuet
  9. La Flamande
  10. Double
  11. Courante
  12. Double
  13. Sarabande
  14. Gigue
  15. Double
  16. (2e) Gigue
  17. Rigaudon
  18. (2e) Riguadon
  19. Chaconne
  20. Allemande
  21. Courante
  22. Sarabande
  23. Gigue
  24. Menuet
  25. Rondeau

Music reviews of Elisabeth-Claude Jacquet De La Guerre: Harpsichord Suites Nos. 1-6

Music Review: Rare Repertoire, Gifted Harpsichordist
Rating: 5 Stars

Elisabeth-Claude Jacquet de la Guerre (c. 1664/65 - 1729): Les Pièces de Clavecin (1687) and Pièces de Clavecin qui peuvent se jouer sur le viollon (1707). Performed by Elizabeth Farr on a French-style harpsichord made by Keith Hill, Manchester, Michigan, in 2003. Recorded at the Orum Hall in Valparaiso, Indiana, USA from 3rd to 6th August 2004. First published in 2004 as Naxos 8,557654-55 (2 Cds). Total playing time: 2 hrs 22'50".

The Composer: Although Elisabeth-Claude Jacquet de la Guerre was a celebrity at the court of Louis XIV, where she was already performing on the harpsichord as a 10 year old child prodigy, she is today known chiefly for being a woman composer, something generally unusual not only at this period. Her talent was above-average, and she produced not only the harpsichord music to be heard on these discs, but also an opera, cantatas and chamber music (examples here: Jacquet de la Guerre: Sonatas; Elisabeth Jacquet de La Guerre: Le Sommeil d'Ulisse).

The Music: These two CDs contain all of Jacquet de la Guerre's published harpsichord works: four suites from 1687 and two from 1707. These must be considered as very rare repertoire as there is only one surviving copy each of the published editions, one of which was only discovered comparatively recently. The suites follow the typical French baroque pattern of stylized dances (Allemande - Courante - Sarabande - Gigue) with some additional numbers such as Chaconnes, Menuets, Rigaudons or Rondeaux. Most of the suites also have a prelude in unmeasured notes, imitating the preludes of the great French lutenists (Gaultier, Du Fault, Gallot). Elizabeth Farr points out in her notes that she has studied de la Guerre's practice of ornamentation and that in the repeats she has added ornaments of the kind that the composer would herself have played. The result is some extremely pretty music, which, while never managing to achieve the charm of Couperin's harpsichord pieces or the profundity and emotional depth of Rameau's Pièces de Clavecin, is nevertheless highly entertaining and listenable (although I would not recommend attempting to listen to all six suites - over 2 hours and 20 minutes! - in one sitting, that could be too much of a good thing).

The Harpsichord: Elizabeth Farr plays a copy of a French harpsichord made by Keith Farr of Michigan in 2003. The instrument sounds as clear as glass and was chosen for its ability to reflect Elizabeth Farr's interpretative style, enabling her to "sing" each voice or line. However, a close listening will reveal that the instrument produces quite a lot of mechanical "clicks". Also, I would have appreciated more information in the booklet about pitch and tuning.

The Interpretation: It was an interview with Elizabeth Farr on her label's website which whetted my appetite enough to buy this set. Ms. Farr is obviously a very gifted harpsichordist and has taken a great deal of care and trouble over this recording. In particular, she is concerned to emphasize the "style brisé", the arpeggiated style of harpsichord playing which was predominant at the end of the 17th century in France as a result of the respect felt for the great lutenists of that period. Elizabeth Farr's determination to uphold this style has a mesmerizing effect, at first at least, although by the time I had reached the fifth suite, I was feeling that it was, perhaps, a little studied, rather reducing the "spontaneous", improvised, "relaxed and unpremeditated" impression which Elizabeth Farr states in her notes to be her goal. Fact is, of course, that French baroque music has the reputation of being "mannered", and although Jacquet de la Guerre's music is well worth hearing, it does not escape this censure entirely.

The Engineering: Naxos seems to have escaped its earlier tendency to "fudge" the sound: producer and engineer Wolfgang Rübsam has here excelled with a sound that is clear and present and is easily on the same level as harpsichord discs from other labels (such as Analekta). At the Naxos price, this is a bargain indeed!

Summa summarum: Recommended to all fans of French baroque music, harpsichord music, and to those who are not afraid to leave the "beaten track" and familiarize themselves with a less-well-known female composer.
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