These "concerts mis en simphonie" are Jean-Philippe Rameau's Pièces de clavecin en concert of 1741, orchestrated for strings and winds (but no harpsichord) by Hugo Reyne, flutist and director of the historical-instrument group La Simphonie du Marais. Rameau's originals are for violin, viola da gamba, and harpsichord, but unlike in an Italian trio sonata or accompanied sonata the harpsichord is at the center of the group. The violin and gamba are accompanimental and can optionally be replaced with other instruments. The balances Rameau obtains between his idiosyncratic keyboard language and the rest of the chamber group is lost here, but the arrangements nevertheless work surprisingly well. The fact of the matter is that Reyne is an impressive Rameau interpreter with a feel for the odd twists and turns his music takes. Almost every movement has one of Rameau's more or less quizzical titles, some of them referring to individuals in his circle and others to more abstract concepts ("L'indiscrète"). Each of these is verbally announced on the disc itself, and the excellent notes, apparently by Reyne (they are uncredited), go into enough detail to bring to life some of the expectations a listener of Rameau's time would have brought to the music. Further liberties are taken with the concluding Gavotte et six doubles (track 17), based on those used by conductor Otto Klemperer in his 1968 recording of the work. The recording has something of the quality of being all over the map. Reyne's explanation for why he decided to orchestrate the work goes off in several different directions; a chamber orchestra maintained by La Pouplinière had the same composition, the wind colors seem to fit the original music, and orchestration somehow revives an unspecified "parallel between music and painting." It may or may not work for the individual listener, but few will experience the music as a distortion of Rameau's spirit.
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AllMusic Review by James Manheim