My justification for arranging these works for twoharpsichords derives from the preface to FrançoisCouperin’s L’apothéose de Lully (1725) in which hedescribes the manner in which he often played triosonatas on two harpsichords: Trios . . . can be played on two harpsichords . . . I playthem with my family and pupils with very happy success,namely, by playing the first treble part and the bass on oneof the harpsichords; and the second treble part and the samebass on the other harpsichord tuned to the same pitch. Furthermore, with two harpsichords whosecompasses extend down to bottom FF, a fifth lowerthan the organ, opportunities are presented for playingthe bass down an octave, at both 8-foot and 16-footpitches, and both the harpsichordists’ right hands havethe potential to fill in some continuo chords whenopportunities arise. The result is a transformation ofthese famous trio sonatas, giving them a character thatis neither better nor worse than interpretations on theorgan, but very different and no less exciting.David Ponsford
- ISMN: 9790708167471 (M708167471)
