This new disc from virtuoso harpist Andrew Lawrence-King will appeal not only to those who love the particular full-bodied, abundantly resonant sound of the baroque triple harp but also to fans of harpsichord, lute, and theorbo, which have textural and timbral similarities fundamental to plucked-string instruments. In addition, during the 17th century these instruments also shared much of the same repertoire, including the dance music from Lully’s operas presented here, much of it arranged for solo instrument by Lully’s contemporary Jean-Henri D’Anglebert. Although the individual pieces consist of Sarabandes, Chaconnes, Gigues, Gaillardes, Contredances, and the like, the harp’s significant resonance tends to have a mollifying effect on the inherent rhythmic diversity of the various dances. But the playing is expectedly lively and cleanly articulated, and the vibrant recording ensures a realistic, scintillating presence to the harp’s every string–with some especially memorable low-register sounds!
The disc’s title refers to a remarkable baroque-era dance book (published in 1700), the first such book to show actual diagrams of foot movements; among the musical examples in the collection (and others of its type) were settings of dances from Lully’s ballets, along with other works heard on this program. In fact, the disc’s excellent, detailed liner notes–by Lawrence-King–make an engrossing read that significantly enhances our appreciation of the music and performances. By placing the music in context and explaining its relevance to the court of Louis XIV, Lawrence-King gives meaning and purpose to his program while appealing to our fascination for colorful historical events and personalities. An absolutely first-rate production from beginning to end. [5/16/2007]
