Allemande in A for two keyboards

Duphly’s music circa 1750 is not far removed from the style of François Couperin (1668-1733). We celebrated many aspects of Couperin’s art last evening, though it is likely that he will always be noted as as a composer for harpsichord. The Allemande in A, from his second book of clavecin works (1717), actually involves two keyboards. Not surprisingly, the combination of instruments supports a very rich, full texture. It is not too much of a stretch to regard the work as a literal tapestry of sounds, which interleave so completely as to leave no space for silence to pierce. It is at once lavish and supple, though at its first conception it likely began as nothing more than an improvised duet between François and a colleague.