The French harpsichordist, suggested The Washington Post, ‘is a master of his instrument with the sort of communicative gifts normally encountered in musicians twice his age. He internalizes the music he plays so completely that any interpretative ambivalence or miscalculation is unthinkable’. Jean Rondeau names his programme after a well-known piece with an enigmatic title by François Couperin, whose music features alongside that of Rameau and Joseph-Nicolas-Pancrace Royer (c.1705-55), members of a younger generation of Couperin’s colleagues.