Couperin's Concerts royaux were published in 1722 when they were printed on two staves in the manner of keyboard compositions; but, as he explained in the preface, the pieces are suited to a variety of different performing approaches and can be played on a violin, flute, oboe, viol and bassoon. Davitt Moroney has opted throughout for an ensemble of flute, bass viol and harpsichord. Although he argues forcefully in favour of his approach he acknowledges, of course, that other versions are possible. The music of these Concerts is rich in subtle nuances and chameleon-like in its elusive colours and 'affects'. None of these qualities is fully realized in these performances, which strike a relentless and, indeed, occasional haphazard note in my ear. I found myself longing for the interjection of a violin or an oboe to break up the unceasing sonorities provided by one or, occasionally, two flutes, for here we have a full hour's music if we choose to listen to all four suites. Much of the flute playing is fluent and stylish but not all of it and there are some hesitant and untidy moments in the ''Chaconne legere'' of the Troisieme concert, and elsewhere too. Great attention has been paid to agrements as, indeed, to aspects of phrasing but perhaps emphasis has been laid here on 'correctness' at the expense of warmth, gaiety and affection. Tempos are effective, by and large but, as I say, it is difficult to ignore something in the nature of remorseless persistance which dogs these readings.
I am sorry to sound off unenthusiastically about artists some of whom I have frequently admired in other contexts; but more chiaroscuro is required to bring these enchanting pieces—sometimes witty, at other times poignant but always graceful and delicate—to life. Sadly, too, the players are not much helped by an acoustic which gives little hint of the salon but more of an empty church. This music is intimate and needs a sympathetic, responsive acoustic. Some movements fare better than others but on occasion as, for instance, in the Sarabande grave of the Troisieme concert, the flute seems unable to compete satisfactorily with the resonant sonorities of the bass viol; there is also a loudly intrusive hiss at the end of the Courante of the same Concert. In short, a disappointing release.
The Kuijken brothers on Philips (6747 174, 10/75) offer a more satisfactory solution to the performance of these works with their more diversely broken consort; but that album, alas, is no longer available. My pressing was silent but the CD merely emphasizes the shortcomings of balance and acoustic.'