Jan Nigges and Alexander von Heißen have recorded three short releases (Volumes I-III) of music for recorder and keyboard under the title L’Hommage: Music for the Sun King. Some well-known French composers are represented, from Philador, François Couperin, and Jaques Martin Hotteterre. No booklets are provided via Qobuz. Each release is just over 20 minutes in length.

I have no idea if additional releases are planned.

I came across this release after my recent review of von Heißen’s recording with Max Volbers on recorder. Nigges is also a creative recorder player, adding significant color to his sound throughout these releases. The effect I’m speaking of is an ornamentation technique controlled through breath, bending the pitch slightly. I can’t speak to its authenticity in French baroque repertoire, but it nevertheless is an affective trick that I didn’t grow tired of. Listen to the opening Prélude in G in Volume III. The technique here used, I think is different, as I believe Nigges is shading the sound with his fingers over the instrument’s holes. However these effects are produced, yeah, it’s a treat across this set.

Von Heißen is a sensitive partner in this repertoire, making use of a dual-manual instrument to provide some variation in volume and timbre.

The Philidor Courante from Volume II is illustrates probably as good as any piece the duo’s strengths. Nigges varies articulation well, and finds intelligent places to breathe.

Volume II opens with a Prélude a l’imitation de Mr. Froberger by Louis Couperin. It was a nice, tasty introduction, giving von Heißen a solo, and it made me think I’d like to hear more from him in this era of repertoire. The second solo, La Misterieuse, by François Couperin, I liked less. Not so much for its performance, but it lacks the energy and direction that the same composer infused in the “fourteenth concert” which is the four tracks that end the second volume. In terms of solos, von Heißen presents Couperin’s La Muse Victorieuse in Volume III. It’s a confident kind of piece, rendered with confidence by the harpsichordist.

The first volume is dedicated Hotteterre’s music. While I always think of the Hotteterres being connected with the transverse flute, I know the music can be played on recorder as well, at least historically speaking. The Sarabande from the second book is nicely done, the piece rich with some nice harmonic turns. Nigges ability to vary articulation in the menuets is a nice touch. The Rondeau, which presents a very simple melody, led in fact by the harmonic progression, is calling out for some variation. In the last reading of the main theme, Nigges provides some variation. I can’t say if it’s written out or not, but it comes just when I felt it was needed. Articulation in the last movement? Sick! Expertly done.

This collection, then, certainly not exhausted for the repertoire a duo could play from this period, is an interesting one. I’m always a fan of complete collections, but the high quality of performance, I think, assuages the concert-style approach in these recordings. I’m only assuming here that these have been digital-only releases, given the timings. They have a consistent sound among them, and I wonder if they were recorded all at one go?

If you’re a fan of the recorder, this music is attractive, and the players here offer a distinctive take that few others rival. I so enjoyed these two as part of Four Times Baroque, in their album released in spring 2018 on DHM. I shouldn’t be surprised that the quality here is equally well-done. Adding a bass and violin should open the way for even more French repertoire. We’ll see if it comes.