Pieces De Clavecin. Premier Livre COUPERIN FRANCOIS

Classique

Contenu

Préface
Preface
Glossaire / Glossary
English Translation of the Preface to Couperin's First Book
Pièces de clavecin. Premier livre:
Preface
Premier Ordre:
Allemande l'Auguste
Premiere Courante
[Première Courante avec] Dessus plus orné sans changer la Basse
Seconde Courante
Sarabande la Majestüeuse
Gavotte
Ornemens pour diversifier la Gavotte précédente sans changer la Basse
La Milordine Gigue
Menuet
Double du Menuet précéndent
Les Silvains
Les Abeilles
La Nanète
Les Sentimens Sarabande
La Pastorélle
Les Nonètes
Les Bourbonnoise Gavote
La Manon
L'Enchanteresse
La Fleurie ou la tendre Nanètte
Les Plaisirs de Saint Germain en Laye
Second Ordre:
Allemande la Laborieuse
Premiere Courante
Second Courante
Sarabande la Prude
L'Antonine
Gavotte
Menuet
Canaries
Double des Canaries
Passepied
Rigaudon
La Charoloise
La Diane
Fanfare pour la Suitte de la Diane
Le Terpsicore
La Florentine
La Garnier
La Babet
Les Idées Heureuses
La Mimi
La Diligente
La Flateuse
La Voluptüeuse
Les Papillons
Troisiême Ordre:
Allemande la Ténébreuse
Premiere Courante
Second Courante
Sarabande la Lugubre
Gavotte
Menuet
Les Pélerines
Les Laurentines
L'Espagnolète
Les Regrets
Les Matelotes Provencales
La Favorite Chaconne
La Lutine
Quatriême Ordre:
La Marche des Gris-vêtus
Les Baccanales
La Pateline
Le Réveil-matin
Cinquiême Ordre:
Allemande la Logivriére
Premier Courante
Seconde Courante
Sarabande la Dangereuse
Gigue
La Badine
La Badine (1707)
La Tendre Fanchon
La Bandoline
La Flore
L'Angélique
La Villers
Les Vendangeuses
Les Agrémens
Les Ondes
Explication des Agrémens, et des Signes
Appendice / Appendix:
La Diane (1707)
Critical Commentary:
Sources
Special comments

Description :

The high point of French clavecin musicThe original edition of the first volume of Couperin’s “Pièces de clavecin”(1713), supervised by the composer himself, is noteworthy for its extraordinary notational precision. It contains exacting performance instructions, for which Couperin createdhis own symbols. This new Urtext edition in a modern engraving retains the essential features of the original print, such as the distinction between curved ties and straight legato slurs, thereby giving today’s players fascinating insights into thespecial sound of this music. The editor has, for the first time, closely analysed the various proofs of the original edition, some of which he discovered himself. He lists these alternative readings in the Critical Commentary. The edition also presents conflicting versions of several pieces as well as an anonymous work possibly attributable to Couperin. A detailed Foreword, notes on period performance practice and facsimile illustrations round off this edition, making itindispensable to all admirers and performers of French clavecin music. - First evaluation of an extensive number of sources - With Couperin’s original expression marks - Contains optimum page turns - Notes on performance practice, detailed trilingual Foreword (Fr/Eng) and a Critical Commentary (Eng) Edited by Denis Herlin With notes on performance practice The original edition of the first volume of Couperin ’s Pièces De Clavecin (1713), supervised by the composer himself, is noteworthy for its extraordinary notational precision. It contains exacting performance instructions, for which Couperin created his own symbols. This new Urtext edition in a modern engraving retains the essential features of the original print, such as the distinction between curved ties and straight legato slurs, thereby giving today’s players fascinating insights into the special sound of this music. The editor has, for the first time, closelyanalysed the various proofs of the original edition, some of which he discovered himself. He lists these alternative readings in the Critical Commentary. The edition also presents conflicting versions of several pieces as well as an anonymous work possibly attributable to Couperin. A detailed Foreword, notes on period performance practice and facsimile illustrations round off this edition, making it indispensable to all admirers and performers of French clavecin music. First evaluation of an extensive number of sources With Couperin ’s original expression marks Contains optimum page turns Notes on performance practice, detailed trilingual Foreword (Fr/Eng) and a Critical Commentary (Eng)