In nearly all his pieces, Duphly presents two contrasting images—the bold and brazen virtuoso, and the wistful dreamer. The one exploits the compass of the harpsichord with scales and dense chords while the other enchants with delicately voiced textures. Only occasionally, as in pieces such as the fiercely passionate ''Medee'', or the elegant ''Les Graces'', does one mood prevail. Nimbly shifting back and forth between these extremes within pieces (as, for example in ''La larare'' or ''La d'Hericourt'') and between them presents a formidable challenge to any performer.
This is Mario Raskin's debut recording. An Argentinian living in Paris, he has already developed a deep affection for French music, and Duphly in particular, judging by his delightful Dream (his short story, in the booklet, about an encounter with Duphly at the atelier of Hemsch, the harpsichord maker). He plays warmly and musically, even in the bravura passages. His tempos are sensible—though he often indulges in rubato (as, for example, in the Allemande in C minor or the Rondeau)—and his command of Duphly's ornamentation sure. Raskin's performance of ''La Forqueray'', the composer's best-known piece, is thoughtful and controlled, with hardly a trace of sentimentality; indeed the shortish notes clearly signal this intention.
I enjoyed this CD very much, not least because it is so wonderfully recorded. A complete recording of Duphly on four CDs by Yannick le Gaillard was reviewed last year in these pages (2/93).'