François Couperin Les Goûts réunis Video
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Ensemble Baroque Paris Concert Royal Concert Spirituel Jean Pierre Rampal Pierre Pierlot Robert Veyron Lacroix Lacroix Joseph Bodin Boismortier François Couperin Jean Marie Leclair Michel Corrette Mondonville Corelli Lully Handel Gervais 1668 1689 1692 1697 1707 1711 1722 1725 1732 1733 1738 1739 1740 1744 1755 1758 1764 1770 1772 1795
Jean Pierre Rampal, flute - Pierre Pierlot, oboe - Robert Gendre, violin - Paul Hongne, bassoon - Robert Veyron-Lacroix, harpsichord 00:00 Concerto a 5 in E minor, Op. 37 (Joseph Bodin de Boismortier, 1689-1755) 08:32 Concert Royal No. 13 for Flute & Oboe (François Couperin, 1668-1733) 13:34 Sonata in D Major, Op. 9 No. 3 for Violin & Harpsichord (Jean-Marie Leclair, 1697-1764) 24:14 Sonata "La Steinkerque" for Flute, Oboe, Bassoon & Harpsichord (Couperin) 33:00 Sonatille in E flat major, Op. 19 for Flute & Harpsichord (Michel Corrette, 1707-1795) 39:36 Sonata in G major for Flute, Violin & Harpsichord (Jean Joseph Cassanea de Mondonville, 1711-1772) During the 18th century French instrumental music saw the transition from the suite form, that kaleidoscopic succession of dances (allemande, courante, sarabande, menuet, bourrée, gigue, and chaconne) to the sonata form as well as the transition from the baroque to the galante. The earliest work in this recording is Couperin’s sonata “La Steinkerque” written in 1692. The latest work is Corrette’s Sonatille, dating from about 1740, by which time the evolution of form and style was complete. Bodin de Boismortier achieved great success and popularity as a composer of instrumental music, much of it for the musette and vielle. He also wrote a number of motets and cantatas and four ballet operas, three of which met with great success. His output includes more than 100 opus numbers of sonatas, concertos, suites, and assorted chamber works. The work presented here was published as Op. 37 in 1732. This volume contains five trio sonatas followed by the present quintet (designated as “concerto’). Couperin’s “Concerts” were published in two volumes in 1722 and 1725. The first volume contained four suites and was titled Concerts Royaux. The second volume contained ten suites plus the two great sonatas, L’Apothéose de Corelli and L’Apothéose de Lully, and bore the title Les Gouts Réunis. They are not concertos in the Italian style but are concerted music derived from dance forms scored for a variety of instrumental groupings. The 12th and 13th concerts were originally scored for two viols and are in the tradition of French viol dances. In this recording a flute and oboe have been used instead of two viols; the difference in timbre reinforces the clarity of the counterpoint between the two staves. Leclair is the great figure in the French violin tradition, occupying much the same place as Tartini did in Italy. His compositions are exacting upon the performer, but are not mere display pieces; they have substantive musical values. He published four books of sonatas for violin and keyboard, two books of sonatas for 2 violins without keyboard, several books of trio sonatas, and an opera “Scylla and Glaucus.” The sonata recorded here is from his fourth book of sonatas for violin and keyboard published in 1738. Italianate in form, it is French in spirit with characteristic grace and vivacity. La Steinkerque, published in 1692, commemorates the victory of the Marshal of Luxembourg at that place in one of Louis XIV’s interminable wars. It relies mainly on the balance of spacious harmonic clauses in which even the fugal subjects are based on the notes of the common triad, much in the mode of Handel. Wilfrid Mellers describes it as “an Italianized version of Lully’s battle music, a work in the grand manner, befitting a ceremonial occasion¨. Little is known of the life of Corrette. He was born at Saint-Germain in 1707, received his musical education in Paris, and in 1758 became organist at the Jesuit College. He was a gifted teacher and was the author of numerous “methods” for the didactic program of a number of instruments, especially the flute, the violin, etc. The sonatille recorded here is from his Op. 19 published in 1739. The three movements are labelled allegro, largo, and rondo, a hallmark that it is not a baroque work, but purely rococo. Born in Narbonne in 1711, Mondonville showed early promise as a violinist. Little is known of his youth, but in 1733 he was known in Paris where he achieved success as a solo violinist at a Concert Spirituel. In 1738 he began to compose motets which appeared regularly on the programs of the Concerts Spirituels until 1770. In 1744 he succeeded Gervais as superintendent of the Royal Chapel. In 1755 he was appointed director of the Concerts Spirituels, and for the next 7 years achieved much success both as an administrator and as a conductor. He died at his villa “Belleville” in 1772 of a surfeit. Mondonville’s instrumental compositions are chiefly sonatas, for violin and keyboard or trio sonatas for 2 violins or flute and violin with continuo. The sonata recorded here is from a set of trio sonatas published sometime between 1733 and 1738. It is already in four-movement form, but the air and the gigue show its homage to the suite form.
Johann Sebastian Bach Hubbard Blanchet Taskin François Couperin 1685 1730 1733 1735 1750 1990
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time. Please support my channel: (http•••) Uploaded with special permission by performer Peter Watchorn (http•••) Ouvertüre nach französischer Art, BWV 831 (1733, rev. 1735) 1. Ouverture (0:00) 2. Courante (13:56) 3. Gavotte I – Gavotte II – Gavotte I (da capo) (16:35) 4. Passepied I – Passepied II – Passepied I (da capo) (20:47) 5. Sarabande (24:25) 6. Bourrée I – Bourrée II – Bourrée I (da capo) (27:21) 7. Gigue (31:08) 8. Echo (34:03) PETER WATCHORN, harpsichord (Hubbard & Broekman after Ruckers/Blanchet/Taskin, 1990 The French Overture, Bach’s biggest and arguably most impressive suite, a remarkably dark, even brooding piece, remains largely unknown, even to many harpsichordists, certainly in comparison to its sister-work, the ever-popular Concerto in the Italian Style, which is often played on the modern piano, transferring to that medium perhaps with more success than much of Bach’s other keyboard music. For the Partita-with-overture Bach re-used a composition that his wife Anna Magdalena had copied out in about 1730 – transposing it from its original C minor down a semitone and sharpening up the dotted notation in the opening movement. The resulting tonal juxtaposition of B minor with its F major companion work, the tonalities of the two works separated by the significant interval of a tritone, was calculated to maximize the contrast between both genre and national style, though by 1735 Italian and French elements (with native German ideas – especially contrapuntal complexity – thrown in) were well and truly mixed together in countless compositions that were representative of the ideal of the “reunion of the tastes” (Les goûts réunis), espoused by, among others, François Couperin and, by the 1730s, embraced by nearly everyone. Previously Bach had included a French Overture as the opening of the fourth Partita, but that work lacked the final return to the spirit and tempo of the opening, gravely-dotted section that typified the genre, and wore its counterpoint very lightly in the middle, fugal section, Bach introducing lighter, more “gallant”, homophonic episodes as relief from the “learned” fugal writing. In comparison, the B minor Overture is a much darker, more complex and serious piece. In BWV 831, Bach not only returns at the end to the opening material, but also specifies a repeat of both the fugal section as well as the slow ending that follows it, resulting in a massive six-part opening movement that takes around 14 minutes to perform. He also provides an extended, fully worked-out concerto fugue, which incorporates contrapuntal, solo “episodes”, clearly derived, along with the work’s overall bravura, from the Italian concerto concept, similar to the preludes from some of the English Suites. Following this magnificent piece, Bach, perhaps recognizing the opening movement’s function as an entrée to the suite proper, dispenses with the customary allemande (as do the four Overtures for orchestra, BWV 1066 – 1069). The dances are of the French persuasion: courante – gavotte – passepied – bourrée – gigue. These are paired in the case of three of them, the first of each pair repeated after the second (in this performance with all internal binary repeats provided along with appropriate ornamentation). After the French-style gigue (in compound time, like the Italian form of the dance, but non-imitative in character, and in simple two-part texture) the suite concludes with an Echo movement, with forte and piano dynamics specified (the upper manual, which controls only one set of strings is the “soft” manual, whilst the lower manual with the coupler provides the plein-jeu – full harpsichord for contrast).
Blom François Couperin Bach Jeremiah Clarke Prins Böhm 1978 2014
Sonata IV in C Major for Alto Recorder and Basso Continuo 1. Preludio (Andante) (0:06) 2. Corrente (Allegro) (2:44) 3. Sarabanda (Largo) (4:29) 4. Tempo di Gavotta (Vivace) (6:22) This was my fourth attempt to compose a four-movement sonate in the baroque style - his time written in the key of C major, and scored for alto (treble) recorder and basso continuo. I always knew how to play the soprano and tenor recorder. Then during the autumn of 1978, I acquired a second hand alto recorder. But there was no fingering chart available! So I decided to solve the problem myself, by writing down a couple of tunes, and then try to figure out the correct fingerings. This method actually worked! And within two weeks, I was able to play the alto recorder - almost just as confortably as playing my soprano recorder. The two pieces (Preludio & Tempo di Gavotta) that I used for learning the fingerings on the alto recorder, later formed the basis of this Sonata in C. The first movement (Preludio) was originally composed as a baroque march, and I primarily used even note-values in this music. When revising the sonate, I instead decided to alter between dotted rythm and even rythm. Thus creating a "Les Goûts Réunis"-like effect, with a relaxing mix of Italian and French taste. Now take that, François Couperin. ;-) The second movement (Corrente) is based primarily on imitation between the melody part and the bass part. J.S. Bach's Two-part Invention in D minor (BWV 775) provided the inspiration, in terms of form and also time signature. The third movement (Sarabanda) is based on a Sarabande in D major, composed for the piano. This music was then transformed into a piece, written in the key of A minor. Also the final movement (Tempo di Gavotta) was originally composed as a baroque march. The opening sequence reveals, that at that particular time I had developed a fondness of Jeremiah Clarke's 'Trumpet Voluntary' - in Denmark more commonly known as: "Prins Jørgens March". The sonata is here being performed with a Böhm flute, because the musical notation program (which is actually playing the music) Finale 2014's sound library doesn't contain a single usable recorder sound.
François Couperin Johann Sebastian Bach Jordi Savall Kraemer Barthold Kuijken Kuijken Wieland Kuijken Gustav Leonhardt Alessandro Marcello Georg Philipp Telemann Concert Nations 1668 1669 1681 1685 1733 1747 1750 1767
¿Música antigua? no. 16 - Ornamentación en la música barroca - Parte II En esta segunda parte, María Diez-Canedo y becarios de la Academia de Música Antigua de la UNAM abundan en la ornamentación y su importancia en la música barroca. En el caso de la escuela francesa, alcanzó tales niveles de sofisticación que compositores como François Couperin dejaron de confiar en el buen gusto de los intérpretes y comenzaron a escribir minuciosamente los adornos que se convirtieron en parte fundamental de sus obras. También se explica que los músicos alemanes buscaron fusionar lo mejor de la ornamentación francesa e italiana, con la obra de Johann Sebastian Bach como el más acabado ejemplo. En este video se escuchan fragmentos de las siguientes obras: François Couperin +••.••(...)) Troisième Concert Royal Séptimo movimiento: Chaconne légère Le Concert des Nations: Jordi Savall François Couperin Concert dans le Goût Théatral, de Les Goûts-Réunis Séptimo movimiento: Air La Fontegara: Manfredo Kraemer. Johann Sebastian Bach +••.••(...)) Sonata para flauta en mi menor BWV 1034 Primer movimiento: Adagio ma non tanto Barthold Kuijken Wieland Kuijken Gustav Leonhardt Alessandro Marcello +••.••(...)) Concierto para oboe y cuerdas Tercer movimiento: Allegro Georg Philipp Telemann +••.••(...)) Trietto methodico no. 3 en re mayor Segundo movimiento: Largo Parnassi musici / ¡Síguenos en nuestras redes sociales! Twitter: (http•••) Facebook: (http•••) Instagram: (http•••) Sitio Web: (http•••) #QuédateEnCasa #CulturaUNAMenCasa #MúsicaUNAM
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