Fernando De Luca - Février: Pièces de Clavecin, 1re livre (Paris, 1734) & Second Livre [Paris, c.1736] (2026) [Hi-Res]
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BAND/ARTIST: Fernando De Luca
- Title: Février: Pièces de Clavecin, 1re livre (Paris, 1734) & Second Livre [Paris, c.1736]
- Year Of Release: 2026
- Label: Brilliant Classics
- Genre: Classica
- Quality: flac lossless (tracks) / flac 24bits - 44.1kHz
- Total Time: 01:53:10
- Total Size: 690 mb / 1.19 gb
- WebSite: Album Preview
Tracklist
01. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: I. Allemande. La magnanime
02. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: II. Le concert des dieux, en rondeau - Double du concert
03. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: III. La délectable
04. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: IV. Le Berceau, rondeau
05. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: V. La boufonne ou la paysanne
06. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: I. Fugue
07. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: II. Courante
08. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: III. Les plaisirs des sens
09. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: IV. Le labyrinthe
10. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: V. Ariette, rondeau - 1Er double de l'ariette - 2E double de l'ariette
11. Pièces de clavecin, 1re livre (Paris, 1734), 3e suitte in B Minor: I. Fugue
12. Pièces de clavecin, 1re livre (Paris, 1734), 3e suitte in B Minor: II. L'intrépide
13. Pièces de clavecin, 1re livre (Paris, 1734), 3e suitte in B Minor: III. La grotesque, rondeau
14. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: I. Gavotte - 1Er double de la gavotte - 2E double de la gavotte
15. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: II. Le brinborion, rondeau
16. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: III. Le tendre langage, rondeau
17. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: IV. Tambourin, rondeau
18. Festes de campagne in C Major: I. Entrée, rondeau
19. Festes de campagne in C Major: II. Musette
20. Festes de campagne in C Major: III. Menuets
21. Festes de campagne in C Major: IV. Le gros colas et la grosse Jeanne
22. Festes de campagne in C Major: V. Les petites bergères
23. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: I. Les liens harmoniques. Rondeau
24. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: II. La caressante. Rondeau
25. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: III. La fertillante (La frétillante)
26. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: IV. La petite coquette
27. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: V. Tambourin. Rondeau
28. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: I. Allemande
29. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: II. Les tendres tourterelles. Rondeau
30. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: III. Les croisades. Rondeau
31. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: IV. Menuet
Pierre Février (1696-1760) was a French composer and harpsichordist active during the late Baroque period, a time when France cultivated a highly refined keyboard tradition.
Février served as organist at the Abbey of Saint-Germain-des-Prés in Paris, a prestigious position that placed him within an important musical and cultural center. His work reflects the elegance and ornamentation characteristic of French Baroque music, while also demonstrating a personal sensitivity to melody and structure.
Février’s writing is firmly rooted in the French harpsichord tradition as shaped by Louis Couperin and d’Anglebert, codified by François Couperin, and enriched by Rameau’s harmonic innovations. Like his contemporaries, Février adopts the structure of the suite or ordre, based on sequences of stylized dances—Allemande, Courante, Sarabande, Gigue, Minuet, Gavotte—augmented by character pieces with evocative titles (La Sonore, La Délectable, L’Intrépide).
At the same time, his musical language reveals a perceptible evolution: textures become clearer, and often more homophonic, melodic lines grow increasingly songful, and counterpoint—still present—is never ostentatious. It yields primacy to a measured eloquence in keeping with the French ideal of bon goût. This aesthetic of restraint situates Février at the threshold between late Baroque and emerging galant style, without ever abandoning the formal rigor inherited from his predecessors.
This is another enterprising recording by Fernando De Luca, who has done a great deal to revive forgotten names from 18th-century music with complete surveys of their music on Brilliant Classics, among them Dufour, Foucquet, Jollage, Gravier and Siret.
‘[De Luca] thinks outside of the box, and he clearly is a man with discerning tastes. These extend to his playing, which is clear-headed and disciplined, but never rigid. “Charm” is such an overused word, but I cannot think of a better one to describe this music and these performances.’ (Fanfare on the Jollage album, January 2024).
Fernando De Luca plays a French harpsichord after Blanchet (1754).
01. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: I. Allemande. La magnanime
02. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: II. Le concert des dieux, en rondeau - Double du concert
03. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: III. La délectable
04. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: IV. Le Berceau, rondeau
05. Pièces de clavecin, 1re livre (Paris, 1734), 1ère suitte in A Major: V. La boufonne ou la paysanne
06. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: I. Fugue
07. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: II. Courante
08. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: III. Les plaisirs des sens
09. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: IV. Le labyrinthe
10. Pièces de clavecin, 1re livre (Paris, 1734), 2e suitte in E/E Minor: V. Ariette, rondeau - 1Er double de l'ariette - 2E double de l'ariette
11. Pièces de clavecin, 1re livre (Paris, 1734), 3e suitte in B Minor: I. Fugue
12. Pièces de clavecin, 1re livre (Paris, 1734), 3e suitte in B Minor: II. L'intrépide
13. Pièces de clavecin, 1re livre (Paris, 1734), 3e suitte in B Minor: III. La grotesque, rondeau
14. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: I. Gavotte - 1Er double de la gavotte - 2E double de la gavotte
15. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: II. Le brinborion, rondeau
16. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: III. Le tendre langage, rondeau
17. Pièces de clavecin, 1re livre (Paris, 1734), 4e Suitte in D Major: IV. Tambourin, rondeau
18. Festes de campagne in C Major: I. Entrée, rondeau
19. Festes de campagne in C Major: II. Musette
20. Festes de campagne in C Major: III. Menuets
21. Festes de campagne in C Major: IV. Le gros colas et la grosse Jeanne
22. Festes de campagne in C Major: V. Les petites bergères
23. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: I. Les liens harmoniques. Rondeau
24. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: II. La caressante. Rondeau
25. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: III. La fertillante (La frétillante)
26. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: IV. La petite coquette
27. Pièces de clavecin, second Livre (Paris, c.1737-40), première suitte in G Minor/G Major: V. Tambourin. Rondeau
28. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: I. Allemande
29. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: II. Les tendres tourterelles. Rondeau
30. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: III. Les croisades. Rondeau
31. Pièces de clavecin, second Livre (Paris, c.1737-40), seconde suitte in C/C Minor: IV. Menuet
Pierre Février (1696-1760) was a French composer and harpsichordist active during the late Baroque period, a time when France cultivated a highly refined keyboard tradition.
Février served as organist at the Abbey of Saint-Germain-des-Prés in Paris, a prestigious position that placed him within an important musical and cultural center. His work reflects the elegance and ornamentation characteristic of French Baroque music, while also demonstrating a personal sensitivity to melody and structure.
Février’s writing is firmly rooted in the French harpsichord tradition as shaped by Louis Couperin and d’Anglebert, codified by François Couperin, and enriched by Rameau’s harmonic innovations. Like his contemporaries, Février adopts the structure of the suite or ordre, based on sequences of stylized dances—Allemande, Courante, Sarabande, Gigue, Minuet, Gavotte—augmented by character pieces with evocative titles (La Sonore, La Délectable, L’Intrépide).
At the same time, his musical language reveals a perceptible evolution: textures become clearer, and often more homophonic, melodic lines grow increasingly songful, and counterpoint—still present—is never ostentatious. It yields primacy to a measured eloquence in keeping with the French ideal of bon goût. This aesthetic of restraint situates Février at the threshold between late Baroque and emerging galant style, without ever abandoning the formal rigor inherited from his predecessors.
This is another enterprising recording by Fernando De Luca, who has done a great deal to revive forgotten names from 18th-century music with complete surveys of their music on Brilliant Classics, among them Dufour, Foucquet, Jollage, Gravier and Siret.
‘[De Luca] thinks outside of the box, and he clearly is a man with discerning tastes. These extend to his playing, which is clear-headed and disciplined, but never rigid. “Charm” is such an overused word, but I cannot think of a better one to describe this music and these performances.’ (Fanfare on the Jollage album, January 2024).
Fernando De Luca plays a French harpsichord after Blanchet (1754).
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