The four books of harpsichord pieces are Couperin's most individual achievement. In this second book, he begins to replace the works based on dances in favor of expressing his wit and poetic imagination through "portraits" and imitations of nature, while attempting a synthesis of the prevalent French and Italian styles. (As a young man uncertain of his talents, Couperin had even performed some of his own work under a made-up Italian name).

Played in an easygoing (coulamment) tempo, "La Castelane (Castillian Dance)" has a rich, minor-key lyrical tenor melody, like a folk singer motivated by deep, restrained emotion. (translations by this writer)

"L'Etincelante ou La Bontems" (The Sparkler or The Good Time Piece) features bright runs and arpeggios with distinct, embellished flashes.

Played "affectionately," "Les Graces-Naturéles (Suite de la Bontems)" (The Natural Graces /The Good Time Suite) is built of flowing, delicate melodies.

"Le Zénobie" (Zenobie's Dance) has a lilting triple meter and many inventive modulations.

"Les Fastes de la grande et anciénne—Mxnxstrxndxsx" (Splendors of the Grand and Ancient Mxnxstrxndxsx [Ménestrandise]) is a mini-narrative in five "acts" or suite-with-a- in which a company of Ménétriers or strolling fiddlers are portrayed as a rabble band.

"Premier Acte—Les Notables et Jurés—Mxnxstrxndxurs" (Act One—The Prominent Citizens and the Jurors—The Ménestrandians ) is a jolly, petite march.

"Second Acte—Les Viéleux et les Gueux" (Act Two—The Hurdy-Gurdy Players and the Beggars) has a catchy minor-key melody played over a droning bourdon bass (C, G, C8, G) that doubles (from quarters to eighths) in the second half.

"Triosiéme Acte—Les Jongleurs, Sauteurs et Saltinbanques, avec les Ours et les Singes" (Act Three—The Jugglers, Jumpers, and Traveling Acrobats with the Bears and the Monkeys) turns the previous bourdon bass into triplets to accompany a very jolly and simpleminded C major melody with a skipping upbeat.

"Quatriéme Acte—Les Invalides, ou gens Estropiés au Service de la grande—Mxnxstrxndxsx" (Act Four—The Disabled, or People Crippled in the service of the grand Mxnxstrxndxsx [Ménestrandise]) is printed in so-called "void" notation in which the normally filled-in black notes are drawn as empty circles like whole notes only connected by stems giving them eighth-note and smaller values. This type of graphic was readily embraced by sixteenth century printers who found it easily adaptable to printing from movable type. There is a further metaphorical title above the opening: "Les Disloqués" (The Dislocated Members) which must refer to the lopping, dotted rhythm (dotted eighth followed by a sixteenth) throughout the piece. The minor key evinces some feeling for the struggle of these people.

"Cinquiéme Acte—Desordre et déroute de toute la troupe, causés par les Yvrognes, les Singes et les Ours" (Act Five—Disorder and Total Collapse of the Whole Troupe, Caused by the Drunkards, Monkeys, and Bears) makes a big finish with flashy scale runs and undulating bass octaves in duple then triple meters.

© All Music Guide