François Dieupart Vídeos
compositor, clavecinista, violinista
- clavecín
- Reino de Francia
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The F Major tonality of the Fourth Suite – the midpoint of the tonally ordered sequence of Suites II-VI – creates an atmosphere of sunny and less earnest repose after the minor-key tonalities of the Second and Third Suites. The prelude (marked vitement in several early sources – rather more an indication of mood than tempo) is the third movement of the English Suites with a thematic connection to Dieupart’s set, here the overture to Suite III in B Minor. The »solo« episodes of Bach’s prelude employ figuration similar to that found in the Brandenburg Concerto No. 5 in D Major, BWV 1050, whose original version, BWV 1050a, might date from this time. The allemande displays its common-time running demisemiquavers (32nd notes) against a semi quaver (16th note) triplet- based melodic figure – a fashionable device that recurs in the allemande from the Fourth Partita (BWV 829/ii). After a French-style courante (the norm for the English Suites) comes the unadorned sarabande, whose repeats are supplied with improvised embellishment. The paired minuets, performed alternativement (the second in the relative minor, D), are followed by a brilliant giga da caccia – F Major being, of course, the key of the hunting horn. The octave leaps in both treble and bass recall the Aria di postiglione from the Capriccio sopra la lontananza del suo fratello dilettissimo (BWV 992). Suite No. 4 in F Major, BWV 809 (Robert Levin, piano) 1. Prélude 0:00 2. Allemande 4:25 3. Courante 7:15 4. Sarabande 8:46 5. Menuett I 12:26 6. Menuett II 13:35 7. Menuett I repetatur 14:47 8. Gigue 15:58 Suite No. 4 in F Major, BWV 809 (Alan Curtis, harpsichord) 1. Prélude 19:09 2. Allemande 24:44 3. Courante 28:40 4. Sarabande 30:39 5. Menuett I 33:36 6. Menuett II 34:59 7. Menuett I repetatur 36:25 8. Gigue 37:10
Edith Picht Axenfeld Bach Parry Henry Purcell Charles Dieupart Schweitzer Reeves Fairchild Dam 1951
Edith Picht-Axenfeld (harpsichord) The English Suites No. 1 in A Major (BWV 806) and No. 2 in a minor (BWV 807) J.S. Bach Released 1951 on the Mercury Classics label MG10091, mono recording BACH'S SIX English Suites constitute his largest keyboard works in suite form. "They certainly represent his highest pitch of mastery," writes Parry. "The immense scope of all the preludes ... and the wide range of resource which they display, the weight, variety, and unvarying high level of material of the allemandes and courantes, the supreme dignity, pathos, and warmth of color and expression of the sarabandes, the sparkling vivacity of the bourrees and the gavottes, and the superb texture of the gigues combine to make this series of suites stand entirely alone as representing the very highest examples of the type in existence. The two last French suites have a special charm and lightness, and admirable consistency of style; but the whole series does not give the impression of uniform high quality, certainty of resource, and nobility of expression which is given by the so-called 'English Suites.' " Where they acquired the name of "English Suites" is not known. Parry conjectures that Bach may have been familiar with the suites of Henry Purcell, which were fine examples of the form. He may also have been conscious of the fact that the English were the first to develop the suite. But the English Suites were never published during Bach's lifetime, and the title was, in all probability, derived from the words, "fait pour les Anglais," written above the Prelude to the Suite No.1 in A Major in the mamiscript copy in the possession of Bach's youngest son, Johann Christian. This inscription led to the belief that the suites were written for an English nobleman, but there is no evidence to support this claim. It so happens, however, that the aforementioned Prelude is based on a gigue in a suite by Charles Dieupart, a contemporary of Bach and a prominent teacher and composer in England. It is most likely, therefore, that the words, "fait pour les Anglais," applied only to this one movement and not to the suites in general. The origin of the title of the French Suites, it might be noted, is equally obscure, the only reason advanced being that they are of a compact and dainty character akin to examples of French art. The English Suites were probably composed, together with most of Bach's other instrumental works, in Cothen, though they may have been completed during his Leipzig period. At any rate, they came after the slighter French Suites, and perhaps some of them even saw the light of day after the six Partitas. Schweitzer declares that in the English Suites, Bach "raises the suite· form to the plane of the highest art, while at the same time he preserves its primitive character as a collection of dance-pieces." It is true that he ad· heres rather closely to the basic structure of the suite, but there are a few exceptions which are worth noting. The Prelude in the Suite No.1 in A Major was founded on a gigue by Dieupart, and is considerably shorter than any of the five other opening movements. In place of the customary single Courante, there are two in this suite, and .the second is augmented by two doubles-the double, as its name implies, being a simple form of variation on the original dance, with embel· lishments usually in double time. Another form of variation is found in the Sarabande in the Suite No.2 in A Minor. Here the Sarabande proper is followed by a more elaborate variation, marked Les Agrements de la meme Sarabande. Agrements are simple musical ornaments. It is the custom to substitute the corresponding section of agrements for a repeat in each section of the Sarabande, thus lend· ing more variety to the music. The Gigue in this suite is of the Italian wiriet'y .. being less contrapuntal in treatment. In addition, after the customary reo peats of each section, the entire Gigue is played through from beginning to end without repetition. NOTES BY PAUL AFFELDER This MERCURY LONG PLAYING recording was made possible through the use of the REEVES·FAIRCHILD MARGIN CONTROL process-a technique whereby it has become possible for Mercury to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance, clarity, dynamic range and reliable stylus tracking. This record can be played on any 331/3 r.p.m. turntable equipped with micro· groove pick-up, as long as pick.lIp playing stylus is not WORN or DAM· AGED. It is recommended that sapphire or metal styli be checked for reo placement at least every SIX MONTHS. #EdithPichtAxenfeld
Deschamps Johann Pachelbel Henry Purcell Rondeau Charles Dieupart Georg Friedrich Haendel Jean Sébastien Bach Jean Philippe Rameau 1653 1659 1667 1683 1685 1695 1706 1740 1750 1759 1764 1985 2022
Concert du Festival d'Orgue d'Albi : Frédéric Deschamps, organiste titulaire. Cette année, le festival d'orgue organisé par l'association Christophe Moucherel se tient du 13 juillet au 21 août avec des concerts publics tous les dimanches (+ le 15 août) mais également des concerts le mercredi retransmis sur internet pour les personnes ne pouvant pas venir à la cathédrale d'Albi. Au programme d'aujourd'hui : Johann PACHELBEL +••.••(...)) Chaconne - P. 43 Henry PURCELL +••.••(...)) Rondeau (The Fairy Queen) Charles DIEUPART +••.••(...)) Allemande de la 6ème Suite pour Clavecin * Georg-Friedrich HAENDEL +••.••(...)) Gigue de la Suite en Ré Majeur - HWV 431 * Jean-Sébastien BACH +••.••(...)) Gavotte de la 3ème Suite d’orchestre - BWV 1068 Sarabande de la Première Suite Française - BWV 812 Jean-Philippe RAMEAU +••.••(...)) Chaconne des Indes galantes * Frédéric DESCHAMPS (né en 1985) Improvisation Vous souhaitez aider l'association Christophe Moucherel ? Vous pouvez faire un don à l'adresse suivante : (http•••) Web : (http•••)
Senny Dieupart Notre Dame 1923 1980 1984
Notre Père extrait de "Jésus" cantate populaire sacrée sur des airs anciens et nouveaux à chanter en latin, en français et en wallon, pour récitant, choeurs, 5 instruments et orgue musique d'Edouard Senny (Filot 1923 - Hamoir 1980) Ensemble vocal du Pays de Liège dirigé par Ghislain Zeevaert enregistrement public le 31 août 1984, Aywaille, église Notre-Dame de Dieupart image : église romane de Xhignesse (Hamoir)
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