I have whined about Rousset in the past. He had a long dry period to my ears: none of it bad, but lacking in the distinction his early recordings promised. I attribute that to his being over-managed by the recording company. Perhaps it is time for him to re-think and re-record his bland D'Anglebert and Forqueray.
Rousset knows dance: that is clear. He demonstrated that in his recent Froberger. His newer recordings are making me listen to the music closely from a new perspective, that of the dance. The results are sometimes surprising, breaking from a rather romantic standard that such passionate music invokes. I like having that perspective, and I find I like these new recordings more and more.
Louis Couperin may be the most overlooked giant in all of music: his name should be in the forefront, rather than relegated to the obscure backwaters. Pianists have re-discovered Couperin's nephew, François, and of course Rameau. Louis deserves better.
Of course making such passionate and stylized music work in today's unbalanced world is a challenge. The notes speak for themselves, and are pleasing as-is, but can come across blandly in the wrong hands. Not all attempts work to my ears. Maybe his music is too subtle, and therefore too much work for the trouble.
Just as his strength is in the dance, Rousset stumbles in the unmeasured preludes: no formula to fall back there. They end up mostly a jumble of notes. I have the same problem when I approach them – not to compare myself in any way with the likes of Rousset! – they make so much sense to me when the right musician performs them, but that vision evaporates under my own fingers.
The recording is on the 1658 Louis Denis, which is rapidly becoming one of the most recorded historic harpsichords, thanks to the generosity of François Badoud. Each new recording, which is subject to the selected acoustics and recording philosophy, seems to bring out another aspect of this magnificent treasure. I think this recording is the finest, yet. It is distinctly not a Flemish sound. I seem to gravitate to all of the 17th century French instruments: not very practical as general purpose instruments, but they work so well for this repertoire.
Rousset's Louis Couperin is a refreshing change: it is different with a purpose and the bonus is a magnificent sound. I think the aficionado must have this in addition to Blandine Verlet's classic five CD collection (if you can get it!), at the very least. There is room for more. I would love to hear Laurent Stewart re-record under better conditions: he provides the missing link with the unmeasured preludes.
