Albert Fuller harpsichord
The instrument used in this recording was made
for me by William Dowd. It is inspired by the work
of Pascal Taskin, the famous French harpsichord
builder of the mid-18th century. It has two keyboards,
two 8-foot registers, one 4-foot register,
and a shove coupler. There is also a buff stop for
the 8-foot register of the lower keyboard. The plectra
are of Delrin.
Released 1972 by Nonesuch Records, New York H-71265
Produced & recorded by Charles Fisher
A Dolby-system recording
Mastering Robert C. Ludwig (Sterling Sound Inc.)
Coördintor Teresa Sterne
Art director Robert L. Heimall
Cover art Peter Schaumann
Modern editions: Side One – ed. by Kenneth Gilbert
(Le Pupitre 23 & 24). Paris. 1969 & 1970.
SideTwo – ed, by Alan Curtis (Le Pupitre 18), Paris, 1970.

Side One (19’46)
François Couperin (1668-1733)
00:00 1. Musete de Choisi – Musete de Taverni (4’37)
2. Le 26me Ordre (15’03)
04:44 La Convalescente
08:37 Gavote
10:42 La Sophie
13:43 l’Epineuse
17:09 La Pantomime

Side Two (22’10)
Louis Couperin
19:59 1. Chaconne in G minor (No. 99) (2’09)
22:11 2. Prelude in F (No. 76) –
23:41 Allemande grave (No. 69)
26:44 Courante (No. 70) (5’31)
27:51 3. Tombeau de Mr. de Blancrocher (No. 84)
31:46 Branle de Basque (No. 71) (4’37)
32:32 4. Chaconne in D minor (No. 54) (2’14)
34:52 5. Pavane in F# minor (No. 11)
40:53 La Piemontaise, in A minor (No.6) (7’18)

Among the many discoveries which are enabling
us to approach more nearly the unique expressivity
of former centuries, there are some notably
important findings which relate to the pitch and
tuning of instruments. For example, the 17th and
18th centuries knew of no such international pitch
standard as our modern a = 440 vps., and the pitch
of instruments varied not only from country to country
but even within the same town, often by as much
as a minor third or sometimes even a fourth.
French harpsichords of the mid-18th century
seem to have varied in pitch between 409 and 420
vps. fora’ . We have found that when new instruments
whose geometry and tonal characteristics are inspired
by these 18th-century French harpsichords
are tuned to the older pitch, the bloom of their sound
and richness of their colour are noticeably increased.
Therefore I have chosen to tune my instrument between
these limits, settling on 415.3 as tile pitch for
a’. Lowering the pitch necessitates a detailed adjustment
in the ‘ stringing of an instrument; due to
the lessening of tension on the strings, the soundboards
are more responsive, action is lightened, and
the touch is more plastic.
It appears that some sort of meantone tuning was
commonly used during the 17th and 18th centuries
alongside the experiments that led to the universal
acceptance of equal temperament by the 19th century.
(rest in the comment)
ALBERT FULLER

#WilliamDowd #AlbertFuller