Christoph Graupner (1683-1760) is best known as one of the composers who turned down the position in Leipzig that was finally filled by Johann Sebastian Bach. (The other was Telemann.) Although it's hard to imagine, he was considerably more prolific than Bach. He wrote 1418 cantatas, countless trio sonatas and concertos along with a number of operas and symphonies.

He also composed more than forty partitas for harpsichord. These are of special interest since he wrote them, not out of obligation, but for the pleasure of it. When it came time to publish the pieces he personally engraved the plates for about half of them.

When assessing the keyboard music of the first half of the eighteenth century, composers must be divided into two categories: 1) J. S. Bach and 2) everyone else. Though he wrote in forms similar to those used by other composers of the time, Bach's genius was of an entirely different order than any of his contemporaries. Graupner's partitas, though they are similar in form to Bach's French Suites, cannot be fairly compared to them. On the other hand, if we approach them in the context of category 2), which would include composers like Handel, Telemann, Rameau and Scarlatti, they are among the best works of their kind.

Geneviève Soly, in addition to being a superb harpsichordist, is one of the foremost specialists in Graupner. She is involved in preparing a modern edition of his extant harpsichord works and has written articles, delivered lectures and offered many performances of his music. Her ensemble, Les Idées heureuses, is dedicated to bringing the composer before the public and, according to the leaflet that comes with the CD, she is also writing a book about him.

Then, of course, there are her recordings, this second volume of her survey of the harpsichord music among them. The musicianship and affection she brings to the Partita in C minor, GWV 102 and the Partita in F, GWV 108 emphasize the best in the scores. Equally attractive are certain Galanteries drawn from later partitas and the exceptionally lovely Aria in E-flat, GWV 136.

The writing is skillful and imaginative within the confines of the gallant style that swept over late baroque music. For listeners inclined to like that style, or to be fond of the harpsichord, this collection will have considerable appeal. Others, while admiring the craftsmanship, might be unable to avoid comparing these partitas to similar works by Bach, in which case they will be found wanting.

In any case, Soly is to be commended for her dedication to this almost forgotten composer. Her work will bring a lot of pleasure to baroque keyboard enthusiasts.