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FRANÇOIS COUPERIN: NOUVEAUX CONCERTS – BRUCE HAYNES, HAUTBOY/ARTHUR HASS,
HARPSICHORD/ SUSIE NAPPER, VIOLA DA GAMBA – ATMA

by John Sunier | Oct 26, 2011 | Classical CD Reviews



FRANÇOIS COUPERIN: Nouveaux concerts: Concert No. 7 in G Minor; Nouveaux
concerts: Concert No. 11 in C Minor; L’art de touche le clavicin: Prelude No. 5
in A Major; Ordre 15ème de clavecin in A major (excerpts); Concerts royaux:
Concert No. 3 in A Major – Bruce Haynes, hautboy / Arthur Haas, harpsichord /
Susie Napper, viola da gamba – Atma ACD 2 2168 [Distr. by Naxos], 54:46 ****:
First things first: this recording features the hautboy, the Baroque forerunner
of the modern oboe. It has a more plangent, anatine (that sounds nicer than
duck-like) sound than the present-day oboe—to this listener closer almost to the
sound of the English horn. You’ll have heard the hautboy in authentic-instrument
recordings of Baroque music but maybe not front-and-center as in this recording
of the Concerts, a series of suites for chamber ensemble by Couperin.
The composer left the instrumentation up to the taste of the performers; besides
the oboe, the top line can be played by violin, recorder, or flute, while the
bass line can be played by a cello or other bass instrument. Some ensembles add
a second or third player to the top line, and the pieces can even be played by
solo harpsichordist. Good news for those who like to collect multiple recordings
of a piece of music! In his notes to the recording, Bruce Haynes mentions that
the Concerts originated from a series of Sunday chamber concerts performed by
Couperin himself playing the keyboard plus, apparently, a violinist, a
hautboyist, a bassoonist, and a gambist.
The current performances, with an ensemble of just three players, have an
especially cozy, drawing-room air about them and seem geared to late-evening
listening, after you’ve had your Mahler or Varèse fix for the day. The musétes
from the 15ème Ordre and Muzette from the 3ème Concert sound just right on this
combination of instruments, the hautboy and viola da gamba being perfect
stand-ins for the chanters of the little bagpipe of the title. Not to single out
these movements especially: Couperin’s preludes and assorted dance movements
have charm aplenty as well.
This is gracious, elegant music beautifully played, with all the sympathy and
understanding of early-music specialists. Bruce Haynes, who died this past May,
was not only a well-regarded performer on the hautboy and recorder but also an
instrument builder and Ph.D. in musicology. So a lifetime of study went into his
music-making. For those with a specialist’s interest in such matters, in several
of the movements on the recording Haynes plays an hautboy made around 1700 in
Paris by Pierre Naust, one of the premiere makers of woodwind instruments of the
day. Elsewhere in the program, Haynes plays an hautboy made by Olivier Cottet in
1994. I confess I can’t tell the difference, which must speak well for Cottet’s
craftsmanship.
Haynes had an excellent supporting cast in harpsichordist Arthur Haas and
cellist/gambist Susie Napper, both of whom are sought after as performers and
teachers of Baroque performance practice. The 1998 recording was set down at a
small church in Quebec, which lends just the right ambient glow to the
proceedings.
—Lee Passarella

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