My justification for arranging these works for two harpsichords derives from the preface to François Couperin's L'apothéose de Lully (1725) in which he describes the manner in which he often played trio sonatas on two harpsichords: 'Trios... can be played on two harpsichords... I play them with my family and pupils with very happy success, namely, by playing the first treble part and the bass on one of the harpsichords, and the second treble part and the same bass on the other harpsichord tuned to the same pitch. Furthermore, with two harpsichords whose compasses extend down to bottom FF, a fifth lower than the organ, opportunities are presented for playing the bass down an octave, at both 8-foot and 16-footpitches, and both the harpsichordists' right hands have the potential to fill in some continuo chords when opportunities arise. The result is a transformation of these famous trio sonatas, giving them a character that is neither better nor worse than interpretations on the organ, but very different and no less exciting. (David Ponsford)
My justification for arranging these works for two harpsichords derives from the preface to François Couperin's L'apothéose de Lully (1725) in which he describes the manner in which he often played trio sonatas on two harpsichords: 'Trios... can be played on two harpsichords... I play them with my family and pupils with very happy success, namely, by playing the first treble part and the bass on one of the harpsichords, and the second treble part and the same bass on the other harpsichord tuned to the same pitch. Furthermore, with two harpsichords whose compasses extend down to bottom FF, a fifth lower than the organ, opportunities are presented for playing the bass down an octave, at both 8-foot and 16-footpitches, and both the harpsichordists' right hands have the potential to fill in some continuo chords when opportunities arise. The result is a transformation of these famous trio sonatas, giving them a character that is neither better nor worse than interpretations on the organ, but very different and no less exciting. (David Ponsford)
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Sonata 5 In C Major

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My justification for arranging these works for two harpsichords derives from the preface to François Couperin's L'apothéose de Lully (1725) in which he describes the manner in which he often played trio sonatas on two harpsichords: 'Trios... can be played on two harpsichords... I play them with my family and pupils with very happy success, namely, by playing the first treble part and the bass on one of the harpsichords, and the second treble part and the same bass on the other harpsichord tuned to the same pitch. Furthermore, with two harpsichords whose compasses extend down to bottom FF, a fifth lower than the organ, opportunities are presented for playing the bass down an octave, at both 8-foot and 16-footpitches, and both the harpsichordists' right hands have the potential to fill in some continuo chords when opportunities arise. The result is a transformation of these famous trio sonatas, giving them a character that is neither better nor worse than interpretations on the organ, but very different and no less exciting. (David Ponsford)