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Pieces De Clavecin

Couperin , Baumont Audio CD
1.0 out of 5 stars  See all reviews (2 customer reviews)

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Product Details

  • Audio CD (February 20, 1996)
  • Number of Discs: 1
  • Label: Erato
  • ASIN: B000001Z2X
  • Average Customer Review: 1.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #1,375,279 in Music (See Top 100 in Music)

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0 of 2 people found the following review helpful
1.0 out of 5 stars Poor Couperin! November 26, 2012
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(les fastes de l'ancienne et grande ménestrandise)
It is a pity that one the the most interesting and playful works of the barroque age should be delivered in such versions.
The enormous disbalance between the left and right hands is such that sometimes what emerges is great noise,a sort of naughty confusion.The bass becomes the absolute (untamed) master.
No wonder someone talks about the "modernity" of this approach!
The music lover should listen to the "classical" great versions,and then,maybe,plunge into this one,likely to be considered a
nightmare of Mr.Couperin' s.
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14 of 29 people found the following review helpful
1.0 out of 5 stars Small emotional range, muddy ornamentation, etc. February 5, 2004
At least on this CD sampler of Baumont's complete Couperin works for harpsichord, his playing can be characterized at various junctures as plucky, cute, metronomic, un-philosophical, un-poetic, and un-magical. Even on the one piece where he employs a generous rubato, it's an insufficient gift of expressiveness to the listener.
If you've heard and relished versions of some or all of these pieces played by the likes of Gustave Leonhardt, Kenneth Gilbert or Edward Parmentier, you'll realize the genius that is hidden away from us by performers with a limited emotional palette such as seems to be possessed by Mr. Baumont. Subtle rhythmic alterations (the prime means of expression on the harpsichord as per writings from the period), when at all rendered by Mr. Baumont are relatively colorless.
Even his occasional bravado is a bit hollow. He doesn't reach into the lush fountainhead of 18th century musical grandeur - we are left with what's merely prosaic. There's no play between various layers of psychological depth in his interpretation of "Les Folies Francois". Even though he may glimpse something more profound, he does not bring an adequate range of feeling to bear.
Baumont's grasp of impressionistic themes (possibly more bountiful in Couperin than in any other composer up until his time) seems to have no real dimension to it. This does a disservice to Mr. Couperin, and to Mr. Baumont'a listeners.
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