Luogo e data di registrazione		Doopsgezinde Kerk, Amsterdam (Holland) - Novembre 1973
	Registrazione: live / studio		studio
	Producer / Recording Supervisor		Wolf Erichson
	Recording Engineer		Dieter Thomsen
	Prima Edizione LP		Seon (Philips) | 6575 038 | 1 LP - durata 49' 42" | (p) 1974 | ANA
	Edizione CD		Sony | SB2K 60875 | 2 CDs - durata 51' 38" & 49' 42" | (c) 1999 | ADD
	Original Cover		-
	Note		La riedizione in 2 CD della Sony contiene: nel primo CD le musiche di Duphly (Seon Philips 6575 017) e nel secondo CD le musiche di Forqueray (Seon Philips 6575 038).

Their name itself is an indication of the Scottish origins of the Forqueray family of composers. One of their ancestors had come over to France in the train of Mary, Queen of Scots, on the occasion of her mariage to Francis II in 1559, and settled near Melun. Antoine Forqueray, takes up at an early age by Louis XIV as a child prodigy an the viola da gamba, became in 1689, at the age of 17, "violiste ordinaire de la chambre." According to the fragmentary account of his life which hat come down to us, the king had him brought up at court with the royal pages. In later years Philip Duke of Orleans was the patron who supported the by now highly esterned instrumentalist, and Forqueray paid homage to him in one of the pieces in this selection, "La Régente." In 1736, 13 years after the death of the Duke of Orleans, we find Forqueray mentioned as a "veteran" of the musical household of Louis XV. The 64-year-old composer had in the maintime retired to Nantes, where he died in June 1745. Some of his compositions were published in 1747 by his son, Jean-Baptiste-Antoine Forqueray, who like his father whs a viola da gamba virtuoso much estemated in court and aristocratic circles. These "Pièces de Clavecin" he dedicated to Maria-Josepha of Saxony, whose marriage to the Dauphin took place in the same year. Since Jean-Baptiste Forqueray's young wide was reputed to be an autstanding performer on the harpsichord, it is fairly safe to assume that she collaborated in the arranging of these works, which were originally written for viola da gamba. About the middle of the century the viola da gamba's place in musical favour had ben taken by the fuller toned violoncellos, and Jean-Baptiste Forqueray must have had their greater resonance in mind when be reset 19 of his father's viola da gamba pieces. As Colin Tilney, points out in his introduction to the French edition of the "Pièces de Clavecin," Forqueray has upgrated the second viola da gamba part from its modest accompanying role, while strictly preserving in the bass the dialogue between of the two now almost equal voices. Finally, a few words about the titles of certain of the "Pièces." On the occasion of the marriage of Jean-Baptiste-Antoine, Rameau had composed that one of his "Pièces de Clavecin en Concert" titled "La Forqueray." In return we have here a musical portratit by Antoine Forqueray of his great contemporary, preceded in the first suite by a piece in homage to Couperin. No last wurthly of note is that section of the G major suite headed "La Leclair." It is probable that Jean-Marie Leclair, who came to Paris from Turin 1723, gave Forqueray that contact with Italian music which was to have a lasting influence on his work. In addition to this, however, Forqueray enjoyed a personal relationship with the violinist Jean-Pierre Guignon, who introduced the violin works of Vivaldi to Parisian society. Forqueray also performed with Guignon in 1727 in Rennes and nantes and dedicated to him a section of the C minor suite. Hans Christoph Worbs