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L'art De Toucher Le Clavecin
''L'art de toucher le clavecin'' (English: ''The Art of Playing the Harpsichord'') is a didactic treatise by the French composer François Couperin. It was first published in 1716, and was followed by a revised edition in 1717. The treatise was written to instruct keyboard players in performance practice, particularly for Couperin's ''Pièces de Clavecin''; Couperin, upon its publication, noted that it was "absolutely indispensable for playing my ''Pièces'' in the style most suitable to them". With the early music revival, it became one of the primary sources for the keyboard fingering system which prevailed in Europe during the Baroque era. It also sheds light on the ornamentation used at the time. It is considered one of the most significant surviving treatises of the period. Publication history and contents There are no known autograph copies of the treatise, but copies survive of the two versions published during Couperin's lifetime. The 1716 edition of the work included ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'art De Toucher Le Clavecin
''L'art de toucher le clavecin'' (English: ''The Art of Playing the Harpsichord'') is a didactic treatise by the French composer François Couperin. It was first published in 1716, and was followed by a revised edition in 1717. The treatise was written to instruct keyboard players in performance practice, particularly for Couperin's ''Pièces de Clavecin''; Couperin, upon its publication, noted that it was "absolutely indispensable for playing my ''Pièces'' in the style most suitable to them". With the early music revival, it became one of the primary sources for the keyboard fingering system which prevailed in Europe during the Baroque era. It also sheds light on the ornamentation used at the time. It is considered one of the most significant surviving treatises of the period. Publication history and contents There are no known autograph copies of the treatise, but copies survive of the two versions published during Couperin's lifetime. The 1716 edition of the work included ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ornamentation (music)
In music, ornaments or embellishments are musical flourishes—typically, added notes—that are not essential to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a song or piece. Many ornaments are performed as "fast notes" around a central, main note. There are many types of ornaments, ranging from the addition of a single, short grace note before a main note to the performance of a virtuosic and flamboyant trill. The amount of ornamentation in a piece of music can vary from quite extensive (it was often extensive in the Baroque period, from 1600 to 1750) to relatively little or even none. The word ''agrément'' is used specifically to indicate the French Baroque style of ornamentation. Improvised vs. written In the Baroque period, it was common for performers to improvise ornamentation on a given melodic li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compositions By François Couperin
Composition or Compositions may refer to: Arts and literature *Composition (dance), practice and teaching of choreography *Composition (language), in literature and rhetoric, producing a work in spoken tradition and written discourse, to include visuals and digital space *Composition (music), an original piece of music and its creation *Composition (visual arts), the plan, placement or arrangement of the elements of art in a work * ''Composition'' (Peeters), a 1921 painting by Jozef Peeters *Composition studies, the professional field of writing instruction * ''Compositions'' (album), an album by Anita Baker *Digital compositing, the practice of digitally piecing together a video Computer science *Function composition (computer science), an act or mechanism to combine simple functions to build more complicated ones *Object composition, combining simpler data types into more complex data types, or function calls into calling functions History *Composition of 1867, Austro-Hungarian/ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1716 Compositions
Events January–March * January 16 – The application of the Nueva Planta decrees to Catalonia make it subject to the laws of the Crown of Castile, and abolishes the Principality of Catalonia as a political entity, concluding the unification of Spain under Philip V. * January 27 – The Tugaloo massacre changes the course of the Yamasee War, allying the Cherokee nation with the British province of South Carolina against the Creek Indian nation. * January 28 – The town of Crieff, Scotland, is burned to the ground by Jacobites returning from the Battle of Sheriffmuir. * February 3 – The 1716 Algiers earthquake sequence began with an 7.0 mainshock that caused severe damage and killed 20,000 in Algeria. * February 10 – James Edward Stuart flees from Scotland to France with a handful of supporters, following the failure of the Jacobite rising of 1715. * February 24 – Jacobite leaders James Radclyffe, 3rd Earl of Derwentwater and Wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1716 Books
Events January–March * January 16 – The application of the Nueva Planta decrees to Catalonia make it subject to the laws of the Crown of Castile, and abolishes the Principality of Catalonia as a political entity, concluding the unification of Spain under Philip V. * January 27 – The Tugaloo massacre changes the course of the Yamasee War, allying the Cherokee nation with the British province of South Carolina against the Creek Indian nation. * January 28 – The town of Crieff, Scotland, is burned to the ground by Jacobites returning from the Battle of Sheriffmuir. * February 3 – The 1716 Algiers earthquake sequence began with an 7.0 mainshock that caused severe damage and killed 20,000 in Algeria. * February 10 – James Edward Stuart flees from Scotland to France with a handful of supporters, following the failure of the Jacobite rising of 1715. * February 24 – Jacobite leaders James Radclyffe, 3rd Earl of Derwentwater and Wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas Siret
Nicolas Siret (3 March 1663 – 22 June 1754) was a French baroque composer, organist and harpsichordist. He was born and died in Troyes, France, where he worked as organist in the Church of Saint Jean and the Cathedral of Saint Peter and Saint Paul. Both his grandfather and his father were organists in Troyes. Siret was a friend and admirer of François Couperin, and his first collection of harpsichord pieces, published approximately in 1709, was dedicated to Couperin. The suites of this collection all begin with a French overture, following the tradition established by Jean-Baptiste Lully. Siret's second volume of harpsichord pieces (''Second livre de pièces de clavecin'', published in 1719) was, along with Couperin's ''L'art de toucher le clavecin'', one of the last publications to include unmeasured preludes. Siret also wrote some "pièces de caractère" (pieces of descriptive character, not dances), stylistically reminiscent of Couperin, and a single organ work by him surviv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unmeasured Prelude
Unmeasured or non-measured prelude is a prelude in which the duration of each note is left to the performer. Typically the term is used for 17th century harpsichord compositions that are written without rhythm or metre indications, although various composers of the Classical music era were composing small preludes for woodwind instruments using non-measured notation well into the 19th century. The form resurfaced in the aleatory music of the 20th century, where various other aspects of performance are also left to free interpretation. Unmeasured preludes for lute The first unmeasured preludes appeared during the Renaissance era. They were short improvised compositions for lute, usually performed as an introduction to another piece of music or to test the instrument. Later unmeasured lute preludes retained the improvisatory character of the genre but became more complex and lengthy. Unmeasured preludes flourished into full-fledged compositions by the middle of the 17th century. Howev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allemande
An ''allemande'' (''allemanda'', ''almain(e)'', or ''alman(d)'', French: "German (dance)") is a Renaissance and Baroque dance, and one of the most common instrumental dance styles in Baroque music, with examples by Couperin, Purcell, Bach and Handel. It is often the first movement of a Baroque suite of dances, paired with a subsequent courante, though it is sometimes preceded by an introduction or prelude. A quite different, later, Allemande, named as such in the time of Mozart and Beethoven, still survives in Germany and Switzerland and is a lively triple-time social dance related to the waltz and the ''Ländler''.Scholes P., 1970, article: ''Allemande''. History The allemande originated in the 16th century as a duple metre dance of moderate tempo, already considered very old, with a characteristic "double-knocking" upbeat of two or occasionally three sixteenth notes.Bach. ''The French Suites: Embellished version''. Bärenreiter Urtext It appears to have derived from a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fingering (music)
In music, fingering, or on stringed instruments sometimes also called stopping, is the choice of which fingers and hand positions to use when playing certain musical instruments. Fingering typically changes throughout a piece; the challenge of choosing good fingering for a piece is to make the hand movements as comfortable as possible without changing hand position too often. A fingering can be the result of the working process of the composer, who puts it into the manuscript, an editor, who adds it into the printed score, or the performer, who puts his or her own fingering in the score or in performance. A substitute fingering is an alternative to the indicated fingering, not to be confused with finger substitution. Depending on the instrument, not all the fingers may be used. For example, saxophonists do not use the right thumb and string instruments (usually) only use the fingers. Instruments Brass instruments Fingering applies to the rotary and piston valves employed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pitch of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Early Music Revival
:''See Historically informed performance for a more detailed explanation of this topic.'' The general discussion of how to perform music from ancient or earlier times did not become an important subject of interest until the 19th century, when Europeans began looking to ancient culture generally, and musicians began to discover the musical riches from earlier centuries. The idea of performing early music more "authentically", with a sense of incorporating performance practice, was more completely established in the 20th century, creating a modern early music revival that continues today. Study and performance of ancient music before the 19th century In England, Johann Pepusch developed an " Academy of Ancient Music" in the 1720s to study music by Palestrina, Tomás Luis de Victoria, William Byrd, Thomas Morley, and other composers at least a century old. In Vienna, Baron Gottfried van Swieten presented house concerts of ancient music in the late 1700s, where Mozart developed h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François Couperin
François Couperin (; 10 November 1668 – 11 September 1733) was a French Baroque composer, organist and harpsichordist. He was known as ''Couperin le Grand'' ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family. Life Couperin was born in Paris, into a prominent musical family. His father Charles was organist at the Church of Saint-Gervais in the city, a position previously held by Charles's brother Louis Couperin, the esteemed keyboard virtuoso and composer whose career was cut short by an early death. As a boy François must have received his first music lessons from his father, but Charles died in 1679 leaving the position at Saint-Gervais to his son, a common practice known as ''survivance'' that few churches ignored. With their hands tied, the churchwardens at Saint-Gervais hired Michel Richard Delalande to serve as new organist on the understanding that François would replace him at age 18. However, it is likely Couperin b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
