Listeners may be puzzled to see this release of French Baroque pieces by lutenist Thomas Dunford (a Frenchman despite his English Renaissance-ready name) and harpsichordist Jean Rondeau, for the combination of lute and harpsichord did not exist as such during the period. The pair has taken a stab at an argument for authenticity, telling the New York Times that "[w]hen you think of Lully's orchestra at Versailles, there was Marais, Robert de Visée, Couperin. These guys would play together. And it must have sounded amazing. ...
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Listeners may be puzzled to see this release of French Baroque pieces by lutenist Thomas Dunford (a Frenchman despite his English Renaissance-ready name) and harpsichordist Jean Rondeau, for the combination of lute and harpsichord did not exist as such during the period. The pair has taken a stab at an argument for authenticity, telling the New York Times that "[w]hen you think of Lully's orchestra at Versailles, there was Marais, Robert de Visée, Couperin. These guys would play together. And it must have sounded amazing. Couperin and de Visée must have heard each other's music." Perhaps, but it doesn't really matter either way. This is an entirely fresh approach to the music of Couperin, Charpentier, de Visée, and various lesser-known composers. It would be wrong to say that the pieces are "arranged" for lute and harpsichord (and sometimes voice), for the creation of the sound is a bit more spontaneous than that. It is not quite improvised, either, although it had its roots in improvisation....
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