France and England had strong musical links during the reign of Louis XIV, with two Englsih sovereigns exiled to France, Francophiles and Francophones, Catholics and allies, linked by blood to their cousin, the Greatest King in the World. After the beheading of his father in 1649, Charles II sought refuge in France before regaining his throne in 1660 and imposing a musical style marked by the French example, in particular the creation of the 24 King’s Violins, and the Royal Academy of Music directed by the Frenchman Cambert! Then from 1689 to 1701, it was James II who lived in exile in Saint-Germain-en-Laye.

This manuscript, from Christophe Rousset's private collection, was discovered by him in 2004. Dedicated to a Madame de Théobon, it contains not only the essential French harpsichord pieces of the late seventeenth century, but also many transcriptions of compositions by Lully and several hitherto completely unknown preludes. Providing precious insight into the art of the harpsichordist and the musical practices of that time, these pieces are recorded here for the first time. With it's powerful but still austere sound, the Nicolas Dumont harpsichord of 1704 does them full justice.

Nicolas Lebègue (1631-1702) is largely represented in the record catalogue by albums of organ music. Yet his pieces for harpsichord are no less distinctive and appealing in their way, and this new recording presents a rare chance to survey that side of his output in toto.

On a toujours tendance à sous-estimer l'importance de Nicolas Lebègue dans la formation du style de la musique francaise pour clavier. Cet homme qui venant de Laon débarqua à Paris à l'âge de 25 ans a non seulement standardisé la suite pour clavecin à la francaise, mais il a aussi codifié le style d'orgue francais classique par ce premier livre d'orgue publié 10 ans après son arrivée à Paris.