Antoine Forqueray was one of the two great composers for the bass viol, the other being Marin Marais of course. While Marais was said to play like an angel, Forqueray was compared to the devil, and their works have been revived by greats such as Savall and Kuijken (see for instance
Forqueray: Piéces de Viole Tome 1 and
Marais - Suitte d'un Gout Etranger (Suite in a Foreign Style)). To me the bass viol sounds unwieldy even in their hands, and I am therefore indebted to Forqueray's son who published a transcription for harpsichord of some of his father's work. Blandine Rannou made changes in that version to reflect more of the original score and the possibilities of the harpsichord. She writes this was normal at the time when musicians made their own "reductions" or even improvised versions on the spot, on the basis of the continuo part and the melodic line. Whether her changes are improvements I am not in a position to judge, but in any case this is a wonderful recording. Forqueray may not reach the level of Louis Couperin or Froberger, but the music is complex, original, and repays many listenings. Although the pieces are arranged in suites, most are not the usual dances, but portraits in music of composers or other well-known contemporaries. This makes for more variety than is typical of some of the other French harpsichord music, and looks ahead to for instance Francois Couperin. Blandine Rannou plays with great assurance and authority. Helped along perhaps by the sonority of the instrument and the low tessituras characteristic of bass viol music, her performances sound muscular and energetic where necessary, while she is meditative and sensitive in the slower pieces. If you are interested at all in French harpsichord music, these two CDs are a must.