Couperin wanted to hear his music performed with taste, and filled his scores What on earth does Le Tic-Toc-Choc ou les Maillotins mean?. Couperin, F: Pièces de clavecin II: Ordre 6ème in B flat: Les baricades mistérieuses. Couperin, F: Le Tic-Toc-Choc ou Les Maillotins (18e ordre). Alexandre Couperin – Alexandre Tharaud Joue Couperin: Tic, Toc, Choc – Music. Le Tic-Toc-Choc ou Les Maillotins (18e ordre). by Alexandre.

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Some were obviously pure harpsichord material; others were written for two players at once. I have even heard it explained as “ladies’ underwear” or, to be more precise, “chastity belt”.

Fingerings are kindly provided in the usual manner as though we are not capable or intelligent enough practices to decide our own, and there is the usual expressive goop that pianists seem to have trouble living without. Most baroque keyboard composers were content to write with minimal ornamentation, phrasing, tempo markings and other clues to interpretation, hoping that the “good taste” of the performer would take over. After all, people play Handel and Scarlatti on the piano, but rarely Couperin and Rameau.

It was 30 years couprrin that I encountered Couperin seriously again.

5 Pièces de Clavecin (Couperin, François)

To fully understand his music, we have to relate it to the manners and habits of the reign of the Sun King, and most importantly to the dance. Edited by Brahms and Chrysander, this scan was made from the Augener edition, first published aboutand frequently reprinted. His ccouperin was logical: Those who have a Harpsichord with only one Manual, or a spinet, will play the upper part as written, and the Bass an octave lower; when the Bass cannot be taken an octave lower, then the upper part will have to be moved up an octave.

They are frequently found on the shelves of musicians, despite their expense, and until a few years ago when playing from facsimile became vogue, this quite fine edition was the only way many composers were available. This is an unpardonable negligence, the more so since it is not at all an arbitrary matter to put in what ornaments one wishes. Couperin’s music is tinged with melancholy – perhaps due to his declining health, which seems to have bothered him for the last 20 years of his life, or perhaps brought on by the disappearance of his son, who disowned his parents we do not couperjn why.


Others, such as Les Moissonneurs The Reapers hark back to his rustic origins. Pieces of this kind, moreover, are suitable itc two flutes or oboes, as well as for two Violins, two Viols and other instruments of equal pitch, it being understood that those who play them will adapt them to their own range.

tpc Harpsichords Australia Home Page. Couperin is a composer whose work pianists and music-lovers should know and understand, not just for its importance in the history of keyboard music, but for sheer pleasure and delight. It takes coyperin long time to absorb it naturally into the interpretation of a piece, let alone to memorise it.

There is more to it than that, chco. It serves an expressive purpose, emphasising one note, making you wait for another, all relating once more to gesture and mood. Fluency and grace in movement, gesture and deportment were part of a general education, especially for the nobility.

In Couperin, I also find the lyricism and poetry that, as a player, I l to express Les Langueurs-Tendres is a beautiful example of Couperin’s long, expressive lines. Many are musical portraits of friends, court acquaintances or the King himself.

I have found internet chatrooms discussing the various possibilities of the last: One of the best may well be one of the first: Born in Paris inCouperin was a member of a musical dynasty, unique in France and only surpassed in the history of music by the Bach family.

The clavichord was not terribly popular in France.

One problem facing the modern interpreter is deciphering his ornamentation and markings and making them work. Instead, we must cross the Channel. Ornamentation is the very essence of his music. Indeed, it is said that Louis XIV practised the courante for several hours a day in his youth. For many modern musicians, we can safely return tod the French, and use the Heugel Le Pupitre series, the four Couperin volumes edited in the early s by Kenneth Gilbert.

Another thing that immediately strikes us when we open a volume of Couperin’s harpsichord pieces is the fanciful use of titles, many of which seem completely baffling.

While it is unashamedly pianistic, here is a version by a man that has obviously looked something close to the original source, and preserved as much of the architecture of the music as he could. The two never tkc, although there is some record of a correspondence which evidently ended up as jam pot covers, thus lost forever. This scan was made from the facsimile edition published by Anne Fuzeau Productions coupefin, and as it is a direct photographic rendition, it obviously reproduces the elegant engraving of the original edition which was supervized by Couperin himself.


I find it fascinating how this music obviously influenced Toc, who admired Couperin enough to copy one of his pieces Les Bergeries into a notebook for his wife, Anna Magdalena. It is 33 from The portrait gallery series. On the piano this is even more difficult because its action is more cumbersome than the harpsichord’s.

Troisième livre de pièces de clavecin (Couperin, François)

Ciuperin that domain, it made its largest contribution to the history of 17th-century music, and had a huge influence on other composers, including Bach. As a dancer myself throughout my childhood, I am drawn to any music that is dance-like.

Sentiment rules over thematic discourse. My next example was copyrighted inand is from Kalmus study scoreFrench Composers for the Clavichord.

Angela Hewitt on the music of François Couperin | Music | The Guardian

The manager of my record company, the late Ted Perry, suggested I look at his music. The facsimile is just that, so it obviously preserves the original clefs—the familiar treble for the upper stave right handand perhaps the not-so-familiar soprano for the lower, where the bottom line is middle c’. Couperin left no clues and asked to be forgiven for not explaining.

Revival vs historic harpsichord First go at the historic harpsichord First go at the modern harpsichord Harpsichord editions Music Tc.

CBH Technical Library — Resources IV — Different harpsichord editions of Couperin’s Le Tic-toc-choc

Of all the harpsichord repertoire, the works penned by the French Baroque composers were intrinsically wedded to the instrument. Thanks, but no thanks: His 27 suites, or ” Ordres ” as he called them, all contain between four and 24 miniatures. So he became very scrupulous with his markings, and even published a treatise, L’Art de Toucher le Clavecin The Art of Playing the Harpsichordthat remains one of the most valuable guides on teaching keyboard skills ever written.

At the start, I thought I would be lucky to find enough material for one disc, but I gradually fell in love with the music. Couperin often found that it did not, and became irritated by poor performances of his music.