Chamber Music (Complete)

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Chamber Music (Complete)

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dc.contributor.other François Couperin es
dc.contributor.other Musica Ad Rhenum es
dc.contributor.other Jed Wentz es
dc.contributor.other Anna Starr es
dc.contributor.other Job ter Haar es
dc.contributor.other Michael Borgstede es
dc.coverage.spatial Utrecht, The Netherlands es
dc.date.accessioned 2012-08-21T15:06:30Z
dc.date.available 2012-08-21T15:06:30Z
dc.date.issued 2012-08-21
dc.identifier.uri http://hdl.handle.net/123456789/1944
dc.description.abstract François Couperin was the most important member of the illustrious Couperin family and was one of the leading composers of the French Baroque era. He is best known for his harpsichord works, all of which are found in the collection of more than 220 pieces entitled Pièces de clavecin, consisting of four books. His music showed the influence of Lully and incorporated elements from the Italian school. Indeed, both these sources would be acknowledged by Couperin himself in two chamber works, Apothéose de Corelli (1724) and Apothéose de Lully (1725). Moreover, he successfully integrated the French and Italian styles in his Les goût réunis ou nouveaux concerts (1724), a collection of chamber compositions for unspecified instruments. Many of his works were lost to posterity, as none of his original manuscripts has survived. Couperin was born in Paris on November 10, 1668. His father, Charles, was an organist, and young François' early musical training probably came from him. Only child François and his mother were reasonably well cared for following Charles' death (probably in 1679), in part because of the kindness of Jacques Thomelin, organist at Saint-Jacques de la Boucherie, who looked after the young boy and instructed him in music. Couperin became the organist at Saint-Gervais at age 17. In 1689, four years later, he married Marie-Anne Ansault, daughter of a wine merchant who had many relatives in other business endeavors. The following year, he published his so-called "organ masses," known as Pièces d'orgue, comprising two masses (Messe des Paroisses and Messe des Couvents) and several smaller pieces. It was around this time that the composer came under the sway of the Italian school. He would display this influence in several chamber works he wrote in 1692 that he called sonades, a name that is a Gallic version of "sonata." On December 26, 1693, Couperin was appointed organist at the Royal Chapel by King Louis XIV, sharing the post with Buterne, Nivers, and Lebègue, and performing his duties only in the first quarter of each year. He maintained his position at Saint-Gervais for the other three-quarters of the year. He also taught the Duke of Burgundy on harpsichord and six other princes and princesses. The composer would later write an important treatise on playing the harpsichord entitled, L'Art de toucher le clavecin. Couperin wrote a fair amount of sacred non-liturgical vocal music for the Royal Chapel. Beginning around 1697, he wrote a series of motets, completed in 1702. They include Motet Saint-Barthélemy, Motet de Sainte-Anne, and Motet de Saint-Augustin. In the early part of the eighteenth century, Couperin began composing a large number of works for the harpsichord, which would appear in the Premier Livre from the Pièces de clavecin in 1713. The Second Book was published in 1717, and the final two came in 1722 and 1730. There is evidence that Couperin also found time for concerts in the early part of the eighteenth century in Versailles and other nearby locales. Actually, relatively is known about Couperin's life from about 1700 onward. There is record of his renting a country home in 1710 at Saint-Germain-en-Laye, confirming the view he was financially secure. In 1719, Couperin became harpsichordist to King Louis XV, a position he most probably had held in all but title for a number of years. By this time, he was recognized as the leading composer in France and the greatest exponent of organ and harpsichord teaching as well. Couperin died on September 11, 1733. © Robert Cummings, All Music Guide es
dc.description.tableofcontents CD4-- Les Goûts-réünis ou Nouveaux Concerts Cinquiéme Concert ; Prélude Gracieusem.t, Allemande gayëment et les croches égales, Sarabande Grave, Gavote Caulãment et les croches égales, Muséte dans le goût de Carillon-- Les Goûts-réünis ou Nouveaux Concerts Sixiéme Concert ; Gravem.t et mesuré, Allemande à 4.tems Légers vivement et les croches égales et marquées, Sarabande Mesurée noblement, Air de Diable Tres viste, Siciliéne [Tendrement et Loûré]-- Les Goûts-réünis ou Nouveaux Concerts Septiéme Concert ; Gravement et gracieusem.t, Allemande Gayement, Sarabande Grave, Fuguéte Légérement, Gavote Gayement, Siciliéne (Tendrement et louré)-- Les Goûts-réünis ou Nouveaux Concerts Huitiéme Concert dans le goût Théatral ; Ouverture, Grande Ritournéle Gravement, Air Noblement, Air Tendre, Air Léger, Loure pesament, Air animé et léger, Sarabande grave et Tendre, Air Léger, Air Tendre Lentement, Air de Baccantes tres animé-- es
dc.format.extent 55:52 min. es
dc.format.medium 1 CD Rom (55 min., 52 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 5028421921785 es
dc.subject.lcsh Trio sonatas, Suites, Chamber music, Harpsichord music es
dc.title Chamber Music (Complete) es
dc.title.alternative Les Goûts-Réünis Vol. 1 es
dc.title.alternative Les Goûts-réünis ou Nouveaux Concerts es
dc.title.alternative Música de Cámara (Completo) es
dc.language.rfc3066 eng es
dc.identifier.classification 5028421217840 es
dc.subject.cdu Cou.03 es


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Les Goûts-Réünis - Cinquiéme Concert.wav 9:48 98.86Mb WAV audio wav
Les Goûts-Réünis - Sixiéme Concert.wav 12:16 123.8Mb WAV audio wav
Les Goûts-Réünis - Septiéme Concert.wav 12:47 129.0Mb WAV audio wav
Les Goûts-Réüni ... dans le goût Théatral.wav 20:26 206.2Mb WAV audio wav

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