Gaspard Le Roux (c. 1670-c. 1707)
Complete Keyboard Suites
Daniel-Ben Pienaar (piano)
rec. 2022, Concert Hall, School of Music, Cardiff University, UK
Reviewed as lossless download
Avie AV2701 [88]
It’s a sign that a composer has faded into the mists of obscurity when either their birthdate or deathdate is circa …, but when it’s both, we are definitely in the “long forgotten” category. In the case of Gaspard Le Roux, there is an added layer of oblivion, as it is not even sure that he was a real person; the name could have been a nom de plume for a member of the aristocracy. All that is known for sure is that someone using that name applied for royal permission to publish these works in 1705. That permission was granted within a few days indicates that the composer was not an unknown to the court.
As I listened to the first four suites, my mental notes were along the lines of “fairly old-sounding for someone vaguely contemporary with Bach, nice to listen to but nothing out of the ordinary”. Then came the F major Suite, and I had to revisit those thoughts, because here was an absolute gem. In seven movements and centred around a glorious Chacone, it is worthy of mentioning in the same breath as Bach’s French Suites. The following F sharp minor and G minor suites were almost at the same level, and I wondered whether it had simply taken me a while to become attuned to Le Roux’s soundworld. So I listened again to the first four suites and had more or less the same reaction as before. That’s not to say that there weren’t some standout moments: the Courante luthee which closes the D minor is haunting, and the opening Allemande grave of the D major is lilting and rather less grave than one might imagine.
It is worth noting that the G minor suite contains a quite remarkable movement – a Sarabande en 12 Couplets – which runs for almost thirteen minutes; the next longest on this recording is the aforementioned Chacone at just over four, while the other seven movements in the Suite are all less than 2:15. The twelve couplets are individual variations on the Sarabande, and it is an impressive piece, though there is no doubt that it somewhat unbalances the work overall. Two of Handel’s keyboard suites also feature a similar movement, one being the famous “Harmonious Blacksmith”, but they were much more concise. It might have been better for both the suite and the Sarabande itself had Le Roux decided to make it a standalone piece.
Daniel-Ben Pienaar’s style of playing is certainly informed, but not consumed, by the instruments for which the music was written. In that way he is akin to that of Angela Hewitt, who has also delved into the French Baroque, with Rameau and Couperin, recordings I greatly enjoy. Pienaar recorded a double-disc set of 17th century keyboard works in 2020 which was acclaimed by our reviewer, as well as earlier recordings of the Goldbergs (review) and Mozart sonatas (review). In each case, comments were made on the clarity of his playing, and the unshowiness of his interpretations. I can certainly add myself to the list of reviewers finding these virtues in his playing, and I shall be listening to his earlier recordings with great interest (and, I suspect, enjoyment). The sound engineer has given us a very natural sound for the piano, and there are no other noises. The booklet notes, written by Pienaar, are informative (especially given the lack of source material), and provide an intelligent and comprehensible evaluation of the music.
This is a valuable recording, presenting Le Roux’s works on the modern piano for the first time. Certainly, there is much that is merely pleasant, but at its best, it is exceptional.
David Barker
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Contents
Pièces de clavessin (1705)
Suite in D minor
Suite in D major
Suite in A minor
Suite in A major
Suite in F major
Suite in F sharp minor
Suite in G minor
Gigue in G (arr. Pienaar, originally for two harpsichords)
