Although the harpsichord fell out of favour almost entirely once the piano got into its stride in the 19th century, it made a comeback in the 20th, inspired in part, though not exclusively, by the Neo-Classical movement. Of course, one of the reasons it faded from sight was its modest volume in proportion to the increasing size of the standard symphony orchestra. The idea of a ‘modern’ harpsichord concerto thus poses a special challenge, but one that several important 20th-century composers proved game to take up.

Justin Taylor’s survey includes three of the most important while managing to span five decades, from Manuel de Falla and Francis Poulenc in the 1920s to Henryk Górecki in 1980. For good measure he throws in a charming suite by Jean Françaix and zesty palate cleansers by Bartók, Gassot, Martinů and Scott Joplin.

Although conceived for piano, Bartók’s Hommage à J. S. B. from Book III of his Mikrokosmos makes perfect sense on the harpsichord. It’s baroque sensibilities, undermined by some thoroughly modernist harmonic twists and turns, sets the mood for the stylistic potpourri to follow. 

In five movements, Françaix’s Concerto for Harpsichord and Instrumental Ensemble follows the form of a baroque suite including a pair of Toccatas and a Menuet. It’s a complete charmer, with the composer’s use of plucked strings lending it the slightly mincing air of a perfumed French salon. Of all the music here, it’s the closest to pastiche, but none the less appealing for all that. Taylor is prettiness personified, accompanied by flute and a lively string ensemble with Quatuor Zaïde at its heart.

Stéphane Gassot’s 2019 boogie-woogie Bluesinuum shifts gears making the transition to Górecki’s acerbic Concerto for Harpsichord and Strings easier to assimilate. Written in two movements, the composer adds a dose of hectic minimalism to the music’s otherwise baroque sensibilities. Taylor embraces its madcap energy, sympathetically supported by the Orchestre National de Lille under Chloé Dufresne.

Curiously, the Górecki doesn’t feel a million miles away from Poulenc’s Concert champêtre, probably the best known music here. For reasons of balance, it’s not always an easy piece to pull off in concert, but on disc it generally fares better. The balance here definitely favours the soloist, which is no bad thing if a trifle artificial. Nevertheless, it’s a pleasure to be able to hear the composer’s flood of imaginative melodies generously larded with his trademark mercurial wit. Taylor gets the tempi just right ensuring the music sparkles in an appropriately rustic manner without ever feeling like an outward-bound course.

A skipping Impromptu by Martinů, with some audacious harmonic gearshifts, leads into Falla’s Concerto for Harpsichord and Chamber Ensemble. What’s so engaging about this work is the way the composer manages to make the music sound both baroque and Spanish at the same time. Taylor is joined by an ensemble of five, making the issue of balance easy to pull off. Far from conventional Falla, it’s one of the composer’s most Stravinskian creations, and beautifully finessed by all concerned. An unexpected stroll through Joplin’s Maple Leaf Rag makes for a delightful encore.

Listen on Apple Music

Title: Clavecin XX
Works: Harpsichord concertos by Poulenc, Falla, Gorecki and Françaix
Performers: Justin Taylor hpscd, Orchestre National de Lille/Chloé Dufresne
Label: Alpha ALPHA1041