Digital Sheet Music for Harpsichord Pieces, Book 4, Suite 23, No Les satires chevre-pieds by Francois Couperin, scored for Piano Solo, id
Table of contents
- harpsichord pieces book 1 suite 5 no 4 la dangereuse sarabande Manual
- Welcome to Naxos Records
- Works on This Recording
- Recommandé
These works exist in slightly different versions in numerous other manuscripts, where they are said to be by Monsieur Couperin. They have traditionally been attributed to Louis Couperin.
harpsichord pieces book 1 suite 5 no 4 la dangereuse sarabande Manual
It seems logical now to question whether all the doubles written by Monsieur Couperin and normally attributed to Louis may not be by his nephew, Marc Roger Normand Couperin. The discovery of this new source throws light on a much wider repertory than just the 57 pieces it contains. Apart from its fine new music, its new composers, and its historical significance for the glorious Couperin dynasty, it is also important evidence of the influence of the French art of harpsichord playing in Italy in the closing years of the reign of Louis XIV.
This leaves us with a final question, to which for the moment there is no clear answer. On what kind of instrument were these works played in Turin — a French or an Italian harpsichord? Even if Couperin had access to a French instrument, it is surely inconceivable that these works were not also heard sometimes, perhaps even often, on Italian instruments. I have therefore played some on a fine little anonymous Italian virginal dating from the seventeenth century.
For this recording, the order of pieces has been changed from that found in the manuscript but the principle of grouping pieces by key has been retained. One short work at the start of the manuscript is incomplete and has been omitted. The mixture of works by different composers in a group of pieces is typical of seventeenth-century practice.
The folio numbers following the titles refer to the numbers found in the Minkoff facsimile. Anonymous, but possibly composed by Couperin. The Sarabande survives in at least nine other sources, but is anonymous in all of them except one, where there is a clear attribution to Mr Monnard; it is not known which member of the Monnard family might have written it. These are two of the works specifically identified as being composed by Couperin. The double or variation f. This is probably an arrangement made by Couperin of an instrumental work from the Balli di Combattenti in the otherwise lost opera Silvio Re degli Albani , performed at the Turin court in The arie dei balli are known to have been composed by M.
The double, or variation f. Several of the concordances for this famous piece, known as Le Moutier , call it an allemande. Even a cursory glance at Le Moutier confirms it to be a rather strange allemande, quite unlike other allemandes in the repertoire. Moreover, it resembles Frobergerian and Bachian gigues in having conspicuously imitative textures not only at the start but also at the opening of the second half. No doubt an arrangement by Couperin of an instrumental work composed for a court ballet.
This must be an arrangement from the otherwise lost Balli di Giardinieri in Gemelli rivali , performed at the Turin court in By far the longest and most difficult piece in the collection, this work is a series of variations on the well-known theme and bass of La Folia.
Some of these correspondences are extremely close, even down to the little ornamental notes, and cannot be the result of coincidence. The work is conceived according to a solid plan, not without its own internal subtlety.
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After the opening statement of the theme, there follow four groups of six variations couplets 2—7; 8—13; 14—19; 20—25 , followed by a short coda the last two variations. Each group of six is different as a result of the increasing virtuosity but is nevertheless built in the same way structurally and organised identically: The most elaborate and rapid figuration is reached in the 23rd couplet, after which the intensity relaxes somewhat.
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One of the few works specifically identified as being composed by Couperin. This dance by the oldest of the la Pierre sons is no doubt an arrangement made by Couperin of an instrumental work composed for a court ballet.
The music of the dances is known to have been composed by M. These two dances are no doubt arrangements made by Couperin of instrumental works composed by the la Pierre sons for court ballets.
Works on This Recording
The Entree , one of the few works specifically identified as being by Couperin, is probably an arrangement of an instrumental work he wrote for one of the court ballets. It makes a useful complement to his first published book of harpsichord pieces Paris, , which lacks an allemande in G major. This fine work is one of the few pieces specifically identified as being composed by Couperin.
It survives in different versions and in many sources. This beautifully ornamented version is not directly derived from any other known copy. The form here is not the same as that found in the other two known sources, which are also in a different key. The Dance Allemande f.
Recommandé
These movements are probably arrangements made by Couperin of dances from the balletto che formano i medesimi Satiri in the otherwise lost opera Amore deluso , performed at the Turin court in Be the first to review this item. To enable Prime Music, you must have JavaScript turned on in your browser. Go Unlimited Start your day free trial. Add to MP3 Cart. Add gift card or promotion code. Add to Wish List. Give Album or Song as Gift. Share Facebook Twitter Pinterest. Your Amazon Music account is currently associated with a different marketplace.
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