These performances of Couperin's four Concerts royaux originally formed part of a four-LP album from Archiv issued during the mid 1970s. In his review LS had some complimentary things to say about the playing on modern instruments and some very uncomplimentary remarks about a rival LP version on Philips/Seon (nla) featuring the Kuijkens et al. Whilst I agree with him that much of the playing in the Archiv performance is polished and refreshing, time seems not to have lent enchantment to the interpretation. Lionel Salter was not so taken with the players that he felt inclined to overlook stylistic inconsistencies which occur, above all, in matters of ornamentation. That in itself is sufficiently anachronistic to ears schooled in the changing performing styles in French baroque music which have been taking place since the mid 1970s; but it is the nature of the ornamentation and the general approach to the music which seem to me to diminish the charm of Couperin's work and which fail to unveil its subtle language.
In all this Heinz Holliger comes out far the best since he, alone, attempts to meet the music on its own terms with affecting results. The violinist, Thomas Brandis, is a fine player who is no stranger to baroque repertory, yet his ornamentation is both inconsistent and idiosyncratic. Worst of all is Aurele Nicolet who seldom if ever reaches the heart of the music. Extreme dynamic juxtapositions, European Community ornamentation, and an inappropriately wide vibrato all contribute towards the ironing out of anything that could be called distinctly French. Yet that is exactly what Couperin's Concerts royaux are. Some readers undoubtedly will share LS's dislike for the Kuijken interpretations (now available on Pro Arte/Target CD249), yet I confess to finding a whole lot more to enjoy in their account of this captivating music than I do in these Archiv performances. More satisfying than either, perhaps, is the recording by Trio Sonnerie (ASV Gaudeamus), but this group keeps to violin, bass viol and harpsichord rather than ringing the instrumental changes which Couperin himself suggested as one approach to performance.
To sum up, an issue out of step with the times and not yet old enough to be of historic interest. Its most appealing aspect to me is the exquisite Meissen smelling-bottle on the cover.'