Extracts from some reviews of the second edition of The Mirror of Human Life
by Jane Clark and Derek Connon

Derek Adlam, writing in Classical Music, 4 June 2011:
Jane Clark and Derek Connon give us keys to the elusive, allusive titles of Couperin’s solo harpsichord music, titles that indicate the content, atmosphere and character of these works of subtle genius … for me, the pages of the Ordres now teem with actors and actresses, characters from the Commedia dell’arte, courtiers and courtesans, all portrayed in Couperin’s witty, punning, sly, amused, sympathetic, loving commentary on his life and times … This neatly produced work is essential for players and listeners alike.
 
Mark Kroll, writing in Early Music America, Summer 2011:
In just a few hundred pages the authors create a compelling portrait of Couperin and his world, providing an invaluable service, not only to harpsichordists (and all les amis de Couperin) but to everyone interested in the music, art and theater of the period.
 
David Tunley, writing in Music and Letters, May 2012:
The picturesque titles that Couperin gave to his harpsichord pieces probably aroused curiosity from the time they were first published in the early eighteenth century. Couperin seemed to delight in coded references, ambiguities, and teasing possibilities that perplexed many (or most) of his contemporaries as they still do us today. This fascinating book may well be as close as we will ever get to understanding their significance … This book has much to say about this gifted and amiable composer, his society, and his music, and should be within arm’s reach in every studio where Couperin’s music is loved and practised.
 
Douglas Hollick, writing in The Journal for Eighteenth-Century Studies, June 2012:
We glimpse here something of the hidden world of Couperinís time, particularly that of the court and the aristocracy. His delight in portraying people in music is brought vividly to life, and sex, satire and hidden meanings are often part of this. Couperin found the mistresses of his patrons, often his own colleagues, an endless source of inspiration, as were aspects of the opera, theatres and Paris fairs.
 
Penelope Cave, writing in The Consort, Summer 2012:
If musicians are to perform Couperin’s music … they need to be informed, and this book, offering the insights of two experts in their field, not only provides detailed interpretations of many of the ambiguous titles of his pieces, but also provides insight into the society in which the composer lived, particularly the Parisian theatre which was such a strong influence upon Couperin … This is an invaluable resource to assist one’s interpretation of François Couperin, justly known as le Grand, and to activate further research into this beguiling repertoire and this fascinating period of artistic creativity. No harpsichordist should be without it, but nor should anyone who is interested in France in the early 1700s.
 
David Chung, writing in Early Music, August 2012:
The Mirror of Human Life, co-authored by Jane Clark and Derek Connon, is the result of some 20 years of research into the background of François Couperinís harpsichord music … I find this dual authorship to be a particular strength, and the cross-references throughout the book sharpen our awareness of a number of issues singled out for close inspection. For example, Connonís fascinating account of the Fair theatrical companies in France (pp.82–90) adds significance to Clarkís deduction of Couperin’s possible involvement in the Fair Theatre, as suggested by ‘Le Tic-Toc-choc ou les Maillotins’ of the 18th Ordre … Likewise, the wit and humour that Clark identifies in Couperin and his music echoes Connon’s remarks on the importance of satire in the literary and theatrical works of this period … This book will appeal strongly to a wide readership, including harpsichordists, students and all who would like to comprehend how music, literature and the arts connected in the French Baroque period … Mysteries, uncertainties and ambiguities do remain, but the insight that it offers into Couperin’s personality and the events and circumstances shaping his life and works will be invaluable to all.