Released 1981 by Nonesuch Records H-71395
Recorded July 1980, Immanuel Presbyterian Church, Los Angeles
Nonesuch would like to express its appreciation to the Rector and staff for their assistance and cooperation.
Engineer: Tony Beecher
Mastered by: Terry Dunavan, Elektra Sound Recorders
Art Direction: Ron Coro, Norm Ung
Illustration: Linda Medina Photography: Bob Seideman
Engraving Consultant: Phil Heffernan
Production Supervisor: Keith Holzman

The Flemish single manual (side A) by Roberts and Brazier,
Los Angeles, 1977, has two 8-foot registers, 52 notes with a short octave bass and a range of GG/BB to d”‘. It was built in 1977.
The Flemish double manual (side B) by Roberts and Brazier,
Los Angeles, 1979, has two 8-foot registers and a 4-foot, 56 notes with a range of GG to d”: It was built in 1979.
Both instruments are tuned in an early temperament.
The Flemish Single is at A440 and the Double is at A415.

Source: J-H. d’Anglebert, Pieces de clavecin. Heugel-Paris edited by Kenneth Gilbert

Side one Jean-Henri d’Anglebert (1628 – 1691) Premiere Suite in G Major (21’45)
00:00 Prelude
02:12 Allemande
05:45 Courante and 6:46 Double de la Courante
07:51 Sarabande
09:53 Gigue
12:03 Gaillarde
14:20 Chaconne Rondeau
18:33 Gavotte
19:43 Menuet

Side two Transcriptions of works of Jean-Baptiste Lully (1632-1687) by d’Anglebert (19’00)
21:07 1. Ouverture de Cadmus
23:17 2. Courante and 24:06 Double de la Courante
25:02 3. Sarabande. Dieu des Enfers
26:55 4. Gigue
28:15 5. Menuet. Dans nos bois
30:03 6. Les Songes agreables d’Atys
31:45 7. Air d’Apollon du Triomphe del’ Amour
35:25 8. Chaconne de Phaeton

When Jean-Baptiste Lully, professionaI dancer, budding composer, and self-professed cultural megalomaniac, was granted permission
by Louis XIV to produce operas on a lavish scale, an amazing cross-pollination of ideas occurred between opera and ballet. Some of its fruits are recorded here. Dancing took a pro~inent place in the operas so avidly commissioned by the kin$; operatic tunes were made into dances to play at balls; and dances from operas were transcribed for keyboard alone and fitted into “suites:’ (The dances transcribed by D’Anglebert and arranged into a suite ani practices typical of this period.)
The professionalism of dance grew: hand in hand with a refined artistry of dance gestures. Courtly· dance became almost a “spectator sport” in Lully and D’ Anglebert’s time. Thus it was a great thrill for the select audience of operatic patrons when Louis and his court sometimes ascended the stage to join the professionals in an operatic bqllet. The result, of course, was a blurring of the distinction in the audiences mind between the triumphs of the gods on stage and those of their own king. Louis sought in all his activities, in fact, to encourage his country to regard his reign as the logical continuum of the traditions of Greek and Roman antiquity (whom he, like two hundred years of French sovereigns bifore him, felt to be his direct forebears).
He exploited the splendor, grace, ‘and refinement of music for its social and political potential. Thus music was both a rtiflection of the extremely hierarchical nature of the social structure and a tool to reinforce Louis’ absolutist state by providing entertainment for a
potentially restless nobility.

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