French harpsichordist Anne Marie Dragosits presented a well-considered and contrasting programme of music by French eighteenth-century composers. It was recorded in 2019 in an album entitled “Le clavecin mythologique” and published by French label, L’Encelade. Using the connecting theme of myths and legends, she has drawn together a fluid and varied selection of works featuring a pantheon of music, deities, demi-gods and landscapes. Greco-Roman gods and their complex stories have long inspired writers, artists and composers across Europe, both in their pre-Christian explanation of the human condition and their ripeness for artistic possibility. Many musicians and artists working in eighteenth-century France also used these stories and figures as allegories for their royal and noble employers and portrayal of their perceived divine right to govern. This opulence and self-gratification would only contribute to the social inequality and civic unrest that consumed the country in the second half of the century.
The instrument used for all of tonight’s performance was the 1769 Taskin Harpsichord which is part of the University of Edinburgh’s Collection of Historical Instruments. One of the most respected makers of his day, Pascal-Joseph Taskin was appointed “harpsichord maker to the King” in 1774 under the patronage of Louis XVI. Today, the 1769 model is one of the most reproduced of French harpsichord models with double manuals, three sets of strings (two at 8ft and a third at 4ft) and a buff or lute stop which gives a light, pizzicato sound.
Pancrace Royer’s L’Imagination opened the programme and employed this muted and subtle effect, giving an elusive feeling to the mysterious and dreamy work. Throughout the performance Dragosits managed to get a large variety of colour and tone through both melodic and harmonic ornamentation. It was impressive to see how sparingly she used the full harpsichord effects, employing all three ranks for a full fortissimo in works representing haste, conflict and elemental power, such as Duphly’s tragic Medée or Couperin’s depiction of Minerva. In contrast, muses, graces and more peaceful figures were portrayed with singing and lyrical lines supported by legato harmonies.
It was evident throughout the programme of Royer, Couperin, Duphly and Lully, quite how much artistic freedom composers were allowed in drawing inspiration from classical and antiquated sources. Whereas much chamber repertoire was based on common dance forms with fixed structures, some of these pieces enabled a freer form, like fantasies or preludes. While these forms may allow for occasional flexibility of tempo, Dragosits was very liberal with her pulse, even in stricter allemandes and passacaglias by Royer and Lully which benefit from a clearer and sustained pulse.
The procession of mythological figures concluded with Antoine Forqueray’s apotheosis of Jupiter, complete with thunder and lightning in a virtuosic transcription for solo harpsichord arranged by the composer’s son, Jean-Baptiste. This concluded what proved an enlightening and balanced programme of musical portraiture in a well-executed performance.
The third performance of the Georgian Concert Society season took place on 14th December 2019 at St Cecilia’s Hall, Edinburgh.