|
List Of Compositions By François Couperin
The following is a complete list of compositions by François Couperin. Instrumental compositions For harpsichord '' L’Art de Toucher le Clavecin (1716)'', a didactic treatise that includes eight Préludes and an Allemande amounting to about 14 minutes of music. ''Premier Livre, or First Book (1713)'' — ''Ordres'' 1 to 5 — about 180 minutes of music *''Ordre 1er de clavecin'' in G minor: ''Allemande L'Auguste; Première courante; Seconde courante; Sarabande La majestueuse; Gavotte; La Milordine, gigue; Menuet (et double); Les silvains; Les abeilles; La Nanète; Les sentimens, sarabande; La pastorelle; Les nonètes (Les blondes, Les brunes); La bourbonnoise, gavotte; La Manon; L'enchanteresse; La fleurie, ou La tendre Nanette; Les plaisirs de St Germain en Laÿe'' *''Ordre 2ème de clavecin'' in D minor: ''Allemande La laborieuse; Premiere courante; Seconde courante; Sarabande La prude; L'Antonine; Gavote; Menuet; Canaries (avec double); Passe-pied; Rigaudon; La Charoloise; ... [...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] |
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] |
Prelude (music)
A prelude (german: Präludium or '; la, praeludium; french: prélude; it, preludio) is a short Musical piece, piece of music, the musical form, form of which may vary from piece to piece. While, during the Baroque era, for example, it may have served as an introduction to succeeding movements of a work that were usually longer and more complex, it may also have been a stand-alone piece of work during the Romantic era. It generally features a small number of rhythmic and melodic Motif (music), motifs that recur through the piece. Stylistically, the prelude is improvisatory in nature. The term may also refer to an overture, particularly to those seen in an opera or an oratorio. History The first preludes to be Musical notation, notated were Organ repertoire, organ pieces that were played to introduce church music, the earliest surviving examples being five brief ''praeambula'' in the Ileborgh Tablature of 1448. These were closely followed by freely composed preludes in an Mus ... [...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] |
Concerts Royaux (Couperin)
The ''Concerts royaux'' (singular: ''Concert royal''; English: Royal Concerts) are chamber music suites by François Couperin written for the court of Louis XIV. Each consists of a prelude and a succession of dances in the order allemande, sarabande or courante, followed by others – but the suites are intended for listening more than dancing. Four were produced in 1714 and published in 1722. Another ten followed in 1724, now called ''Nouveaux concerts, ou les Goûts réunis'' (referring to the "reunited" French and Italian musical tastes). Neither of the two sets has fixed instrumentation: each suite can be played by solo harpsichord or an ensemble with a bass and three melody instruments, such as a violin, a viol, and an oboe or flute. (This freedom is found also in works by Marin Marais and Gaspard Le Roux.) The first and more frequently played of the sets is as follows: ;''Premier concert'' in G Major *''Prélude'' *''Allemande'' *''Sarabande'' *''Gavotte'' *''Gigue'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'Apothéose De Lully
''L'Apothéose de Lully'', or ''Concert instrumental sous le titre d'Apothéose composé à la mémoire Immortelle de l'incomparable Monsieur de Lully'' (English: ''The Apotheosis of Lully'' or ''Instrumental concert with the title of an Apotheosis composed in the immortal memory of the incomparable Monsieur de Lully'') is a trio sonata composed by François Couperin. The piece was first published in 1725 in music, 1725, a year after the L'Apothéose de Corelli, Apotheosis of Corelli, to pay homage to Jean-Baptiste Lully. Background Lully, a master of French Baroque music and the father of the French overture, famously disavowed any Italian influence in French music of the period. Couperin, however, wanted to accomplish a ''réunion des goûts'': reconciling the national distinctions of style, tradition, and forms of interpretations that differed between France and Italy. He said, "I have always esteemed meritorious things irrespective of author or nation." Despite hailing from a la ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leçons De Ténèbres (Couperin)
The ''Leçons de ténèbres pour le mercredi saint'' ("''Tenebrae Readings for Holy Wednesday''") are a series of three vocal pieces composed by François Couperin for the liturgies of Holy Week, 1714, at the Abbaye royale de Longchamp. Couperin's ''Leçons de ténèbres'' use the Latin text of the Old Testament Book of Lamentations, in which Jeremiah deplores the destruction of Jerusalem by the Babylonians. Musical settings of the Lamentations of Jeremiah the Prophet were common in the Renaissance, famous polyphonic examples being those by Thomas Tallis, Tomás Luis de Victoria, Lassus, and Carlo Gesualdo. Leçons de ténèbres were a particular French subgenre of this music with other similar settings being composed by Marc-Antoine Charpentier, Michel Delalande and others. Those by Couperin are for two high vocalists and basso continuo. They are composed of three lessons (two other sets of three for Thursday and Friday having been lost)."Je ne donne à présent que les trois d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lists Of Compositions By Composer
A ''list'' is any set of items in a row. List or lists may also refer to: People * List (surname) Organizations * List College, an undergraduate division of the Jewish Theological Seminary of America * SC Germania List, German rugby union club Other uses * Angle of list, the leaning to either port or starboard of a ship * List (information), an ordered collection of pieces of information ** List (abstract data type), a method to organize data in computer science * List on Sylt, previously called List, the northernmost village in Germany, on the island of Sylt * ''List'', an alternative term for ''roll'' in flight dynamics * To ''list'' a building, etc., in the UK it means to designate it a listed building that may not be altered without permission * Lists (jousting), the barriers used to designate the tournament area where medieval knights jousted * ''The Book of Lists'', an American series of books with unusual lists See also * The List (other) * Listing (di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
