Les Surprises were born under the lucky star of Jean-Philippe Rameau: the ensemble’s name refers to Rameau’s 1748 opéra-ballet, Surprises de l’Amour. That is why, after two first albums dedicated to Francœur and Rebel, the ensemble has decided to take on Rameau, but in a rather surprising way: by arrangement – or, if that term is a little too “varied”, by transcription. Rameau was himself a great transcriber, who re-wrote, re-modelled and re-worked many different versions of the same work throughout his life. In this way, many of his pieces for harpsichord would later find their way into his operas in the form of orchestral dances or choral pieces – and that’s only one example among many others. And so the organist Yves Rechsteiner suggested this daring gambit to the Surprises: bring (back) to life three “organ concertos” by Jean-Philippe Rameau from several of the master’s great works: Les Indes galantes, Dardanus, Hippolyte et Aricie, Platée and Zoroastre provide the framework. This allows a treatment of some of their most beautiful pieces, and at the same time, permits a proper appreciation of the organ, which at the time was an instrument in its infancy, and today is sadly rarely associated with orchestral music. This instrumental encounter creates unique colours and hues, with the organ almost taking on shades of oboe, bassoon or trumpets which mix and give a brilliance to the string section, and here and there to solo flautists. Alongside Rameau, the album presents pages of operas by François Rebel and François Francœur. Organised according to the style of the time, as a “Suite de Symphonie”, these dances are taken from the works that sealed their success: Pyrame et Thisbée, Le Ballet de la Paix, Scanderberg. Note that Rebel and Francœur, both friends of Rameau, often put on his works at their own concerts. Rechsteiner plays organ – a superb example of French late baroque art, with rich wood and brass sounds – built in 1782 by François-Henri Clicquot at Souvigny in Allier.