A famous epithet of the early 18th century contrasted
Marais with his arch-rival Antoine Forqueray, stating that Marais played as much like an
angel as Forqueray played like the devil. The comparison is a useful one, but
oversimplifies the musical characters of both composers. In this piece by Forqueray you
can hear Forqueray both in his demonic, almost Paganinian pose, as in La Leclair, a
gigue-like character piece evoking the Italian-influenced violinist and composer.