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Even in scholarly explorations of FrenchBaroque harpsichord repertoire, the name ofJean-Jacques Beauvarlet-Charpentier (1734-1794) is mentioned only in passing. Previousalbums of his music have been dedicated tohis organ output; this new album will attractany collectors of French Baroque music, whowill be rewarded by memorable and colourfulportrait pieces every bit as vivid as the likesof d'Anglebert and Couperin.Beauvarlet-Charpentier succeeded his fatheras titular organist of the Hospice de la Charitein Lyon, where the family had lived since1748. In 1771 he took up a more prestigiouspost in Paris and remained in the capital tothe end of his days, associated with theConcerts Spirituels, the Church of St Paul(where he succeeded Daquin) and evenNotre Dame.This First Book of Harpsichord Music waspublished around 1770, and features 16pieces, most of them titled afterindividuals. There is an orchestral richnessto the texture of his harpsichord writing inthis volume, announced in grand style bythe opening piece, La Cecile. From halfwaythrough, La Pitras is likewise disinclined tointroversion, rewarding the full-bodiedapproach of a player such as de Luca whoplays a 1985 copy of a 1754 instrument'after Blanchet'.Beauvarlet-Charpentier is the latestdiscovery from the industrious FernandoDe Luca, who has turned up several unknownnames from the era for Brilliant Classics,among them albums of Pierre-ClaudeFoucquet, Pierre-Thomas Dufour, CharlesAlexandre Jollage (96773) and ChristopheMoyreau. These sets have met with noshortage of critical enthusiasm. Fanfare:'"Charm" is such an overused word, but Icannot think of a better one to describe thismusic and these performances.' (Jollage)Musica dei Donum: 'I have nothing but praisefor Fernando de Luca's performance. Herightly does play Moyreau with aplomb; toomuch subtlety would be out of place. This ismostly pretty extraverted stuff, and that isthe way de Luca treats it.'

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