Jupiter Constance Luzzati & Caroline Delume

• Michel Corrette (1707 - 1795): Premier livre de pièces pour le clavecin, Suite No. 1, Op. 12:
• 1Corrette: Premier livre de pièces pour le clavecin, Suite No. 1, Op. 12: No. 2, Les Giboulées de mars03:19
• François Couperin (1668 - 1733): Second livre de pièces de clavecin, Sixieme ordre:
• 2Couperin: Second livre de pièces de clavecin, Sixieme ordre: No. 5, Les Baricades mistérieures02:59
• Jean-Baptiste Forqueray (1699 - 1782), Antoine Forqueray (1672 - 1745): Pièces de viole mises en pièces de clavecin, Suite No. 1:
• 3Forqueray, Forqueray: Pièces de viole mises en pièces de clavecin, Suite No. 1: No. 6, La Couperin02:28
• 4Forqueray, Forqueray: Pièces de viole mises en pièces de clavecin, Suite No. 1: No. 5, La Portugaise04:05
• Jacques Duphly (1715 - 1789): Pièces de clavecin, Livre 3:
• 5Duphly: Pièces de clavecin, Livre 3: No. 4, La Foqueray06:49
• 6Duphly: Pièces de clavecin, Livre 3: No. 6, Médée05:09
• Pancrace Royer (1703 - 1755): Pièces de clavecin, Premier Livre:
• 7Royer: Pièces de clavecin, Premier Livre: No. 5, L'Incertaine04:50
• 8Royer: Pièces de clavecin, Premier Livre: No. 6, L'Aimable04:54
• 9Royer: Pièces de clavecin, Premier Livre: No. 14, La Marche des Scythes06:41
• François Couperin: Pièces de clavecin, Premier Livre, Troisième Ordre:
• 10Couperin: Pièces de clavecin, Premier Livre, Troisième Ordre: No. 10, Les Regrets04:07
• Jean-Baptiste Forqueray (1699 - 1782), Antoine Forqueray (1672 - 1745): Pièces de viole mises en pièces de clavecin, Suite No. 4:
• 11Forqueray, Forqueray: Pièces de viole mises en pièces de clavecin, Suite No. 4: No. 6, Le Carillon de Passy05:19
• 12Forqueray, Forqueray: Pièces de viole mises en pièces de clavecin, Suite No. 4: No. 7, La Latour - No. 8, Le Carillon de Passy03:00
• Pièces de viole mises en pièces de clavecin, Suite No. 5:
• 13Forqueray, Forqueray: Pièces de viole mises en pièces de clavecin, Suite No. 5: No. 7, Jupiter03:53
• Total Runtime57:33

Info for Jupiter

Harpist Constance Luzzati and theorbo player Caroline Delume are always striving to expand the repertoire boundaries of their instruments. With "Jupiter", based on a piece by Forqueray, they present transcriptions of famous 18th century pieces that were originally composed for harpsichord and viola da gamba. They offer an alternative approach to works by Couperin, Duphly, Forqueray, Royer and Corrette. Pieces such as Couperin's "Les Baricades mystérieuses" and Duphly's "La Forqueray" make full use of the harp's tonal qualities. When the timbres of the harp and theorbo merge, the impression of a new, unheard-of instrument sometimes arises.

Constance Luzzati, harp
Caroline Delume, theorbe

Constance Luzzati
has made expanding the harp repertoire through transcription of early music and the commission of new contemporary works a lifetime ambition. In 2014, she completed a doctorate in performance (CNSMDP and Université Paris- Sorbonne) focusing on transcriptions for harp of 18th century French harpsichord repertoire. She has adapted all of Jean-Philippe Rameau’s works for harpsichord, but also transcribed part of the pieces by Louis and François Couperin, Pancrace Royer, Jean-Baptiste Forqueray, Jean-Jacques Duplhy, Domenico Scarlatti and Johann Sebastian Bach.

A collaboration with several composers (Bruno Mantovani and Édith Lejet, whose works she has premiered) has enriched her relationship with living contemporary music. If her soloist activity is devoted to the renewal of the repertoire through ancient transcription and contemporary creation, her chamber music activity is more focused on the heart of the repertoire composed for harp, from Fauré to Berio, through Debussy, Ravel or Sohy. She has recorded several CDs devoted to these works: Normandie et Impressionnisme (Skarbo, 2010), with the soloists of the Rouen Opera, and more recently Charlotte Sohy, composer of the Belle-Époque (La boîte à pépites, 2022), with the flutist Mathilde Calderini and the Hermes Quartet.

Constance Luzzati has had the opportunity to share her favorite repertoire with the public in numerous Parisian halls (Philharmonie – Cité de la musique, Maison de la radio, Petit Palais), French festivals (Musicales d’Assy, Musique en chemin, Folles journées de Nantes, Flâneries de Reims, Festival de Besançon), as well as abroad (Italy, Spain, Portugal, Great Britain, Netherlands, Hungary, Japan, United States). She has won two international first prizes, and is a laureate or finalist in four other international competitions, including the Concert Artists Guild in New York, which is open to all instruments. In France, she has been distinguished by the Avant-scènes du CNSMDP, Cultures France, and the Marcel Bleustein-Blanchet Foundation for Vocation.

The harpsichordist Kenneth Weiss and the harpists Isabelle Moretti, Germaine Lorenzini, Françoise Netter and Mara Galassi were her mentors. Their teaching was complemented by that of many others at the CNSMDP where, before her doctorate and more advanced studies, she followed the complete curriculum of the classes of harp, chamber music, history of music, analysis, musical culture and aesthetics.

Constance is passionate about enabling better communication about music. She regularly gives lectures for all kinds of audiences at the Philharmonie de Paris as well as in the University’s community and rural festivals. She teaches musical culture in conservatoires from beginners to advanced students. She supervises students for masters degrees, and has been a professor of music history at the Conservatoire de Paris – CNSMDP since 2021. More than this, Constance is very interested in the encounter and exchange between musical repertoire and theology. Since 2014 she has made this the focus of her studies at the University of Geneva. She has also developed her understanding of the world of theatre at the Cours Florent. This has allowed her to work on the productions of Emmanuel Demarcy-Motta and Jacques Vincey, and also to create shows combining music, text and circus arts.

Caroline Delume
is a guitarist and theorbist. She won three first prizes at the Conservatoire National Supérieur de Musique et de Danse de Paris in guitar, analysis and research in analysis in the classes of Alexandre Lagoya, Claude Ballif and Michaël Levinas. Caroline Delume now teaches sight-reading and guitar at the National Superior Conservatory of Music and Dance in Paris, and was appointed professor of guitar at the Conservatoire à Rayonnement régional de Versailles in 2014.

Her repertoire ranges from sixteenth-century music on early instruments to contemporary music, with numerous premieres on guitar or theorbo (works by P. Criton, F. Ibarrondo, S. Giraud, Rodrigo Asturias, Philippe Fénelon, Klaus Huber, Philippe Leroux, and works dedicated to her by José Manuel López López, Francisco Luque, Frédérick Martin, Florentine Mulsant, Diógenes Rivas, José Maria Sánchez-Verdú, Johannes Schöllhorn).

She has given recitals in Paris, Madrid, London, Moscow, Rome, Caracas, Tokyo, Osaka and Guatemala, and plays regularly with Le Concert spirituel (Hervé Niquet), Les Jeunes Solistes (Rachid Safir), Solistes XXI and Ensemble Intercontemporain. Her discography includes Œuvres de J.P. Pooro (Solstice); L'Art de la guitare contemporaine (recital), published by Arion; MULTIFONIA 95 (L'Empreinte Digitale); the Eighteen Madrigals by Philippe Fénelon (with Les Jeunes Solistes, published by Grave); Philippe Leroux, Ial, for Celtic harp and guitar (with Christophe Saunière, published by Grave); and contributions to some twenty other CDs of early and contemporary music. In Gruyères, she plays in a duo with cellist Hager Hanana.

Booklet for Jupiter