From “Pièces de Clavecin” transcribed for descant-/tenor recorder and harpsichord, edited by Dagmar Wilgo with a basso continuo realisation by Friedemann Brennecke. In the preface of his Pièces de Clavecin, Couperin explicitly mentioned having the upper voice played by a flute, and leaving the continuo duties to the harpsichordist.

He refers to this in connection with pieces in which the hands cross. “Le Rossignol en amour” additionally bears this instruction quite clearly in a footnote. They...