#francois couperin

[journalofanobody]

Pieces de violes avec la basse chifree: Suite No. 1 in E Minor: I. Prelude

[gasparodasalo]

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François Couperin (1668-1733) - Le Steinquerque for 2 Violins and Continuo. Performed by Musica ad Rhenum on period instruments.

[worldsfastestbear]

Something lesser-known from Richard Strauss. We confess we stumbled across this item by having one of the music channels from our cable TV package playing. We were walking by, it caught our ear, we looked to see what was playing, and were a bit surprised. Wikipedia explains it much better than we could: https://en.wikipedia.org/wiki/Divertimento_for_Chamber_Orchestra_after_Keyboard_Pieces_by_Couperin

[noxaeternaetc]

[musicollage]

Couperin + Brandis, Holliger, Nicolet — Concerts Royaux.   1976 ~ Archiv.

! acquire the album ★ attach a coffee !

[bauerntanz]

Johann Blanchard

Reihe Weltklassik am Klavier: #Johann_Blanchard. Tombeau de Coupérin - und die letzte Sonate von Schubert!" #Lingen, Musikschule des Emslandes, Pfingstsonntag, 28. Mai, 17 Uhr, Restkarten

“Weltklassik am Klavier” Johann Blanchard Werke von Debussy, Ravel und Schubert Lingen (Ems) – Musikschule des Emslandes, Wilhelmstraße 49 Pfingstsonntag, den 28.05.2023 –  17:00 Uhr Karten: 30 Euro, Studenten 15 Euro, bis 18 Jahre frei Das “Grand siécle” mit den wohl bekanntesten französischen Barockkomponisten des 17. Jahrhunderts ließen Claude Debussy und Maurice Ravel musikalisch nicht…

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[the-music-keeper]

[musicainextenso]

Today’s recording is of the final movement of Francois Couperin’s 25th Ordre in E flat major/c minor, called Les Ombers Errantes (The Wandering Shadows). In this Ordre, every piece has interesting and exciting titles, for example: Le Visionnaire (The Visionary), Le Mysterieuse (The Mysterious). Such titles are commonplace in French baroque harpsichord music, and especially in Couperin’s case, these titles are programmatic.

Before getting into the details, I would like to write a few words regarding French clavecine music. It originates from earlier lute music, and uses similar sounding techniques to it. French harpsichordists’ magic is in its fine details: unique ornamentation which is frequently used, ‘inégal’ (uneven) rhythms, and the clever use of the rondeau form. These mentioned characteristics are true for Les Ombres Errantes too. It is important to mention that Couperin wrote a book about playing the harpsichord (L’art de toucher le clavecin, 1716).

Blandine Verlet, French harpsichordist, was famous for her performances of Couperin’s music which she felt deeply connected to, and I think that this connection can be heard in the intimate atmosphere of this specific recording too. In her interpretation, the piece’s ‘languissament’ (languish) and slightly mysterious character really stands out. We can hear a ‘wandering’ syncopation throughout the piece, creating suspended harmonies, always waiting to be resolved.

Noémi Baki-Szmaler, guest editor - @une-barque-sur-l-ocean