COUPERIN LE ROSSIGNOL EN AMOUR PDF

Zolot The work is thus brought to a hushed and tragic close. You may also enter a personal message. Here are several bird pieces that reflect various stages of being in love. Others, such as Les Moissonneurs The Reapers hark back to his rustic origins. If you believe that any review contained on our site infringes upon your copyright, please email us. Born in Paris inCouperin was a member of a musical dynasty, unique in France and only surpassed in the history of music by the Bach family.

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It was in the preface to his third book of pieces that Couperin begged his interpreters to follow closely all his indications in the score — especially the ornaments see the notes to volume 1, Hyperion CDA They were not to be added or subtracted in an arbitrary fashion. It is one of his best and most satisfying suites, perhaps because it has more of a sense of unity than many of the others. He was not a happy man. The Duc de Saint-Simon wrote of him, saying: When his ambitions were thwarted he took pride in licentiousness.

The rakes of Paris gained a hold over him. Resentment at being forced into an unsuitable marriage drove him to seek consolation elsewhere. Charm is in evidence here, and is heightened by the frequent use of a dotted-note motif that is obviously related to a poised gesture. Each variation depicts a character arriving at a masked ball. In the one portrayed here we have Virginity arriving in an invisible cloak or domino.

Then appears Modesty in pink, followed by Ardour in a flesh-coloured cloak. Hope comes next, sporting green, followed by Fidelity in blue. And after Fidelity? Perserverance arrives in flaxen grey, with Languor in purple not far behind. Coquetry livens things up a bit wearing different colours wonderfully portrayed by the use of three different time signatures in the first four bars. Then come the benevolent Cuckolds in yellow, accompanied by a cuckoo-like musical motif.

Silent Jealousy in Moorish grey takes to the bottom of the keyboard in a very sinister variation. The last character to arrive is Frenzy or Despair — in black.

Constant sighing figures weigh it down. There is no escape. The work is thus brought to a hushed and tragic close. Here are several bird pieces that reflect various stages of being in love.

Couperin writes at the end of this piece: One should not attach too much importance to keeping a regular beat in this Double. Everything must give way to taste, to the neatness of the passages, and to soften the accents caused by the ornaments.

He also says it cannot sound better than when it is played well on the transverse flute. It seems a mere trifle, but is not easy to play well, requiring great nimbleness of touch. It is amazing how much intensity and melancholy Couperin can muster with so few notes. It is certainly not happy-sounding, but rather pervaded by a melancholy that seems so deeply rooted in his music. Perhaps his happiness lay in solitary hours while others revelled in society.

Wilfrid Mellers writes: Couperin is the black-robed figure who, in some paintings of Watteau, beside the merry throng discoursing and flirting with such gracious urbanity, stands quietly in his corner, seeming to suggest not that the junketings are meaningless, the gestures empty, the urbanity a sham, but that, though the company may be delightful, one may be lonely, still.

On the piano, it is possible to play it as written, using a minimum amount of sustaining pedal; it is not necessary to play the right hand up an octave as in some of his other pieces of this type e. Le Tic-Toc-Choc , which would ruin the atmosphere altogether. It is a simple, gentle lullaby consisting of two rondeaux — one in the major, one in the minor.

I repeat the major one at the end not marked in the score but a convention at the time. Perhaps the jerky rhythm of this piece portrayed him in a drunken state. It stays in the lower half of the keyboard, never venturing far above middle C. She was a gifted harpsichordist and composer, known for her delicacy and brilliance. For her, Couperin writes a rondeau with a chromatic descending bass and three couplets, the last of which shows both of these qualities.

Obviously it was just as important then as now to get up in the morning, even with a hangover. The hardest thing here is to play all the trills in the tempo that the music demands. Rousseau states in his dictionary of that chaconnes used to be in either two or three beats to a bar, but that those in duple time were now extinct.

Austerity was the order of the day, as France was then involved in the War of the Spanish Succession. The refrain of the chaconne is interspersed with five couplets, and the noble, rather gloomy character remains throughout. The opening piece in this ordre — Les Graces incomparables ou La Conti not recorded here — is a depiction of him and his unaffected manners.

He was also in love with the married Duchesse de Bourbon, with whom he had an affair that lasted until death. This is musically one of his most interesting pieces, and is in two distinct parts. The first, marked majestueusement majestically , could be a portrayal of a wedding ceremony with the descending peal of bells heard for a fleeting moment. But then the mood changes abruptly: marked galamment gallantly , the descending figure is now joyous, jaunty, and accompanied by the interrupted drone of the bagpipe an erotic symbol at the time.

Some kind of whirling dance is suggested for sure. She was a gifted child who sang, danced, played the harpsichord and flute, and also composed.

At the age of nine she performed for the King. For her, Couperin wrote one of his loveliest rondos, full of tenderness and grace. That is one quality that is really possible to bring out when playing Couperin on the piano. There are ways, of course, of being expressive on the harpsichord and they are many and varied. But the piano has the potential to go one step further in making a phrase expressive. Couperin was the epitome of grace, of light and shade, of subtle inflections, of melancholy and lightheartedness.

Above all, Couperin wanted music to affect people: I love much better the things which touch me than those which surprise me. Jede Variation beschreibt eine Figur, die auf einem Maskenball erscheint. Dann erscheint Bescheidenheit in Rosa, gefolgt von Inbrunst in einem fleischfarbenen Mantel.

Und nach der Treue? Koketterie mit ihren diversen Farben wunderbar dargestellt durch die drei unterschiedlichen Taktarten in den ersten vier Takten bringt etwas Schwung ins Geschehen. Die schweigende Eifersucht in maurischem Grau begibt sich in einer sehr unheilvollen Variation in die Tiefen der Tastatur.

Raserei bzw. Verzweiflung ist die letzte Figur, die auftritt — in Schwarz. Es gibt kein Entweichen. Alles muss dem Geschmack, der Eleganz der Passagen und dem Aufweichen der durch die Verzierungen hervorgerufenen Akzente untergeordnet werden.

Le Tic-Toc-Choc. Offensichtlich war es damals genauso wichtig wie heute, am Morgen aufzustehen, selbst mit einem Kater. Das Schwierigste hier besteht darin, die Triller in dem von der Musik geforderten Tempo zu spielen. Damals stand Enthaltsamkeit auf der Tagesordnung, da Frankreich in den Krieg um die spanische Thronfolge verwickelt war.

Nun hatte sich der Prinz in die verheiratete Duchesse de Boubon verliebt, zu der er bis zu seinem Tod eine Beziehung unterhielt. Um sicher zu gehen, wird eine Art wirbelnder Tanz angedeutet. Das ist eine der Eigenschaften, die man wirklich gut herausarbeiten kann, wenn man Couperin auf dem Klavier spielt. Aber das Klavier kann bei der ausdrucksvollen Gestaltung einer Phrase noch einen Schritt weiter gehen.

EROSI PORSIO PDF

List of compositions by François Couperin

Arakus We do not use or store email addresses from this form for any other purpose than sending your share email. Review Guidelines Explain exactly why you liked or disliked the product. Coquetry livens things up a bit wearing different colours wonderfully portrayed by the use of three different time signatures in the first four bars. One problem facing vouperin modern interpreter is deciphering his ornamentation and markings and making them work. Orders, orders Some were obviously pure harpsichord material; others were written for two players at once. Verzweiflung ist die letzte Figur, die auftritt — in Schwarz.

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