"D'Anglebert's principal musical monument is his Pieces de clavecin (Paris, 1689), which was clearly intended to summarise his life's achievements. It is one of the most handsomely engraved of all early keyboard books, which is probably why so many copies have survived. D'Anglebert may have been helped with the expense of publishing it by the dedicatee, the Princesse de Conti, legitimated daughter of Louis XIV and Mlle de la Vallière. It was for her, a talented harpsichordist who later was also a pupil of François Couperin, that D'Anglebert says he composed most of the harpsichord pieces. These are arranged in four key groups and are of a richness and grandeur that place them among the most magnificent creations of the French harpsichord school. His activities as organist are represented by five fugues in which the same subject is worked in different metres, as it would be in the sections of a ricercare and canzona; and a Quatuor on three subjects derived from the Kyrie Cunctipotens, to be played with a voice on each of three manuals and one on the pedals. These demonstrate the mastery of expressive counterpoint that underpins the quality of all D'Anglebert's works.
His activities as court musician and his admiration for Lully are evident in harpsichord arrangements of pieces from Lully's stage works. They are the finest examples of many such arrangements, expanding the repertory of keyboard genres to include the overture and the character piece, and enriching keyboard textures to suggest orchestral sonority. The pieces must have been very familiar to him as continuo player or even participant on stage, as in the Mascarade de Versailles in which he appeared along with other musicians (18 January 1668) and whose overture is among those he arranged. The Pieces also includes a brief and practical basic tutor for continuo playing, which gives useful indications about the texture, tessitura and decoration of chords (...)
An important part of D'Anglebert's influence is the extreme care he took to represent performance detail in his notation, including the notation of préludes non mesurés (see Prélude non mesuré). The Pieces set a new standard in the engraving of keyboard music. Its table of ornaments is the most sophisticated before François Couperin's (1713) and provided a model into the 18th century for French harpsichord composers including Rameau, and also outside France, most notably for J.S. Bach, who made a copy of it around 1710 (D-F Mus.Hs.1538) and used it as the basis for his own system of ornament signs."
D'Angleberts style is indeed very ornamentous (one is tempted to define his music as the shortest distance between two ornaments!) Scott Ross plays with great virtuosity and with the right feeling for the french grandiose style. Enjoy!
This is not my rip. Many thanks to the original uploader!