FRANÇOIS
D'AGINCOUR:
Complete Works for
Harpsichord, Vol. 1
Rebecca Pechefsky,
harpsichord
QC 1002
D'AGINCOUR:
Complete Works for
Harpsichord, Vol. 1
Rebecca Pechefsky,
harpsichord
QC 1002
Premier Ordre in D Minor
1. Allemande: La Sincopée 3:35
2. Allemande: La Couronne 4:22
3. Courante 2:51
4. Sarabande: La Magnifique 3:59
5. Le Pattelin: Rondeau 1:40
6. Gigue: La Bléville 2:48
7. La Sensible: Rondeau 3:50
8. Les Dances Provençales 3:16
9. La Caressante 3:32
10. La Sautillante 0:41
11. Menuet—Autre 2:23
Troisième Ordre in D Major
12. L’Ingénieuse 3:43
13. La Villerey ou les deux Soeurs 5:32
14. L’Agréable: Rondeau 4:14
15. La Fauvette 2:05
16. La Mystérieuse 3:18
17. Le Val Joyeux: Vaudeville 2:53
18. Le Moulin à vent 2:27
19. La Minerve: Rondeau 2:40
20. L’Étourdie: Rondeau 2:11
21. Le Presque Rien: Rondeau 2:46
22. La Courtisane: Gavotte 1:13
1. Allemande: La Sincopée 3:35
2. Allemande: La Couronne 4:22
3. Courante 2:51
4. Sarabande: La Magnifique 3:59
5. Le Pattelin: Rondeau 1:40
6. Gigue: La Bléville 2:48
7. La Sensible: Rondeau 3:50
8. Les Dances Provençales 3:16
9. La Caressante 3:32
10. La Sautillante 0:41
11. Menuet—Autre 2:23
Troisième Ordre in D Major
12. L’Ingénieuse 3:43
13. La Villerey ou les deux Soeurs 5:32
14. L’Agréable: Rondeau 4:14
15. La Fauvette 2:05
16. La Mystérieuse 3:18
17. Le Val Joyeux: Vaudeville 2:53
18. Le Moulin à vent 2:27
19. La Minerve: Rondeau 2:40
20. L’Étourdie: Rondeau 2:11
21. Le Presque Rien: Rondeau 2:46
22. La Courtisane: Gavotte 1:13
“The performance of these Ordres by Rebecca Pechefsky is, simply put,
brilliant. She seems to know just how to use the registration and phrasing to
make each movement stand out from the next. The ornamentation is always
performed adroitly and with variation to add the necessary nuances. For
example, in ‘La Sautillante’ (The Leaper or Jumper), her addition of a pointed
staccato makes the line jump around with a certain subtlety, while in the
Chaconne finale of the Second Ordre her delineation of the bass line keeps a
steady foundation for the harmony but allows for the variations to form in the
upper voices. She contrasts the vivacious depiction of sisters in the Third with a
more sedate rendition of two cousins in the Second by changing articulation and
registration, even though there is some similarity in line ... In short, she knows
almost instinctively just how to phrase and provide nuances that bring this music
alive, making it a joy to hear.”
—Bertil van Boer, Fanfare (review of both volumes)
brilliant. She seems to know just how to use the registration and phrasing to
make each movement stand out from the next. The ornamentation is always
performed adroitly and with variation to add the necessary nuances. For
example, in ‘La Sautillante’ (The Leaper or Jumper), her addition of a pointed
staccato makes the line jump around with a certain subtlety, while in the
Chaconne finale of the Second Ordre her delineation of the bass line keeps a
steady foundation for the harmony but allows for the variations to form in the
upper voices. She contrasts the vivacious depiction of sisters in the Third with a
more sedate rendition of two cousins in the Second by changing articulation and
registration, even though there is some similarity in line ... In short, she knows
almost instinctively just how to phrase and provide nuances that bring this music
alive, making it a joy to hear.”
—Bertil van Boer, Fanfare (review of both volumes)
François d’Agincour (ca. 1680–1758), though now nearly forgotten, was one of
the great masters of the French harpsichord school, his keyboard works bearing
comparison with those of François Couperin and Jean-Philippe Rameau.
Rebecca Pechefsky has recorded his surviving four harpsichord suites in two
volumes.
the great masters of the French harpsichord school, his keyboard works bearing
comparison with those of François Couperin and Jean-Philippe Rameau.
Rebecca Pechefsky has recorded his surviving four harpsichord suites in two
volumes.
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