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In the concert hall the performer may well choose to take his or her cue from Couperin and additionally play the first four Concerts royaux of in an arrangement for unaccompanied harpsichord, together with three works arranged for two h. I used five different Inti psu holds for these recordings: for the pieces I mm I Art de toucher le clavecin and the Sicilienne, I opted lor a period instrument made by Albert Delhi and now in the private collection of Kenneth Gilbert; and for the four IJvres de clavecin, I chose four modern instruments by f.

Mean-tone temperament of a kind prevalent in France during the Baroque period was employed and adapted to the different tonalities.

A large number of harpsichord collections had appeared at the beginning of the eighteenth century — one thinks of those by Francois Dieupart, Louis Marchand, Louis-Nicolas Clerambault, Jean-Frangois Dandrieu, Gaspard Le Roux, Jean-Philippe Rameau, Elisabeth-Claude Jacquet de la Guerre and Nicolas Siret — but after such editions were distinctly thin on the ground, with only Rameau, Dandrieu and Siret still bringing their works to public notice. From his Premier Livre onwards, Couperin adopted the word ordre, a term for which many different interpretations have been advanced.

I hope I may be permitted to offer my own contribution to our understanding of its meaning.

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Essentially political in character, this not only allowed contemporaries to draw a parallel between the age of the Sun King and that of Alexander and Augustus, it also permitted them to break free from the Italian art of the period. Only Le Brun and Perrault were immediately 19 attracted by it. Unfortunately, the project came to nothing and the idea was quickly abandoned.


  • Full text of "Intégrale des Livres de pièces de clavecin : Ordres ".
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Or was it? Perhaps not in the case of a number of musicians of the time.

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It is not impossible that Couperin wanted to create a sort of suite which was even more French than the suite itself and that he chose the term ordre to describe not only the older dances but also, alongside them, character pieces with individual titles. Even if these titles were not new, Couperin was certainly the first to use them as such. In the Premier Livre , however, a different plan has been adopted.

The first part of each ordre is a succession of dances that could equally well be described as a suite, whereas the second is given over to character-pieces. One could perhaps retain the architectural analogy and say thnt in Couperin inherited a magnificent seventeenth-century chAlcau and that he enlarged it by adding apartments in the newer style.

In general, each ordre has its own tonality, usually with both major and minor modes in the case of the second ordre, for example, D minor and l major alternate. Only the sixth, eighth, thirteenth, seventeenth, twenty-first and twenty-seventh ordres remain in the same mode from beginning to end. The dances are often in the same mode, with frequent alternation between major and minor being reserved, above all, for the character-pieces.

The fact that Couperin places this type of diptych at the very heart of ordres in which major and minor tonalities already coexist has encouraged me not to repeat the first part after the second as is often done in a spirit of scholarly zeal or simply out of habit , except where the composer explicitly indicates a repeat, as in Les Tambourins in the twentieth ordre. In his preface to his Premier Livre Couperin himself states: In composing these pieces, I have always had an object in view, furnished by various occasions.

Thus the titles reflect ideas which I have had; I do not need to comment further. However, since among these titles there are some which seem to flatter me, it would be as well to point out that the pieces which bear them are in a sense portraits which, under my fingers, have on occasion been found fair enough likenesses, and that the majority of these flattering titles are given to the amiable originals which I wished to represent rather than to the copies which I took of them. Morning bells are ringing.

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Oh, God, please let him answer. Let his little heart be strong. Free download. Book file PDF easily for everyone and every device. Happy reading Frere Jacques Bookeveryone.


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This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Nursery rhyme interpretations were also reviewed. Harpsichord Pieces, Book 2, Suite 11, No. Grown Men Dont Cry.

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