François Couperin Les plaisirs de St Germain en Laÿe Vidéos
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2024-04-26
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François Couperin József 1913 1966 1967
François Couperin - Premier livre de pièces de clavecin - 1er ordre (G Minor) vinyl Schallplatte Gát József +••.••(...)) Qualiton LP 1966 Made in Hungary 0:05 L'Auguste - A fenséges 1:49 Première courante 3:27 Seconde courante 4:53 La majestueuse - A méltóságteljes 6:25 Gavotte 7:53 La Milordine - Az úrnő 8:55 Menuet 10:14 Les silvains - Erdei tündérek 13:20 Les abeilles - A méhek 14:17 La Nanète 15:09 Les sentimens - Az érzelmek 17:15 La pastorelle - Pásztorlányka 18:20 Les nonètes (Les blondes, Les brunes) - Apácanövendékek (Szőkék, Barnák) 20:04 La bourbonnoise 21:00 La Manon 21:53 L'enchanteresse - Az elbűvölő 24:39 La fleurie ou La tendre Nanette - A virágos vagy a gyengéd Nanette 25:51 Les plaisirs de St Germain en Laÿe - St Germain en Laÿe gyönyörei vinyl Schallplatte hanglemez csembaló harpsichord full album turntable: JVC AL-A151 amplifier: Technics SU-V500 recorder: Zoom H1 camera: Canon PS SX120 IS video editing software: iMovie '11
József François Couperin Kodaly 1612 1668 1733 1913 1949 1952 1961 1966 1967 1999
József Gát +••.••(...)) harpsichord 'François Couperin, Pièces de clavecin, Ordre I -II" The Original record realized on 02-09-1961 Released by Qualiton vinyl 1966, made in Hungary, Re-released on cd 1999 by Hungariton. Harpsichord type and builder not indicated in the documentation Tuman Misty wrote: about the Instrument cembalo pedal-harpsichord for sure is an Early model of German Family Ammer. Musical producer: Dora Antal, Recording engineer: Judit Lukács Cover: of recording Clavecin Ii 2 claviers J. Ruckers 1612 (Musée Instrumental du Conservatoire National de Musique, Paris) François Couperin +••.••(...)) Premier livre de pièces de clavecin - 1er ordre (G Minor) 00:00 L'Auguste - A fenséges 01:38 Première courante 03:12 Seconde courante 04:31 La majestueuse - A méltóságteljes 06:02 Gavotte 07:25 La Milordine - Az úrnő 08:25 Menuet 09:42 Les silvains - Erdei tündérek 12:41 Les abeilles - A méhek 13:37 La Nanète 14:29 Les sentimens - Az érzelmek 16:28 La pastorelle - Pásztorlányka 17:31 Les nonètes (Les blondes, Les brunes) - Apácanövendékek (Szőkék, Barnák) 19:12 La bourbonnoise 20:05 La Manon 20:57 L'enchanteresse - Az elbűvölő 23:37 La fleurie ou La tendre Nanette - A virágos vagy a gyengéd Nanette 24:47 Les plaisirs de St Germain en Laÿe - St Germain en Laÿe gyönyörei Deuxieme Ordre (in D Minor) 01. La Laborieuse (Allemande) - A dolgos lany 02. Premiere Courante 03. Seconde Courante 04. La Prude (Sarabande) - A szemermes 05. L'Antonine 06. Gavotte 07. Menuet 08. Les Canaries (gyors tanc) 09. Passepied 10. Rigaudon 11. La Charolaise 12. La Diane 13. La Terpsichore 14. La Florentine Firenzei lany 15. La Garnier 16. La Babet 17. Les Idees heureuses - Boldog abnindok 18. La Mimi 19. La Diligente 20. La Flatteuse A hizelgö 21. La Voluptueuse Az erzeki 22. Les Papillons - A pillangók József Gát +••.••(...)) was a pupil on the Hungarian Academy of Music. He studied piano witb Bela Bartok and composition with Zoltan Kodaly. Since 1949 Gat was professor on the Hungarian Academy of Music. From among his pedagogical works "The technique of piano playing" has been translated into several la nguages. Since 1952 he gave con(:erts on clavichord and harpsichord. These instruments have been equipped by him with a special amplifying system, in order to make them sound in their full tone-quality even in the big concert halls of our days. In the preface to the first volume of the "Pieces de Clavecin" Couperin writes among others the follo wi ng:" "'When creating these pieces] had in mind the occasions which gave me the material to them. Thus the titles correspond to the ideas I had in mind, and you will certainly forgive me for not giving account of them. However. since there are some ambng the titles which seem to be flattering to me I have to say that the pieces bearing the titles are practically portraits which are found sometimes rather resembling to the originals and so most of the advantageous titles have reference rather to the dear originals whom I wanted to represent, than to the copies I have made of them. I must confess that I prefer that which touches me to that which surprises. The clavecin is, as to its tone-compass perfect, and also taken in itself brilliant. But since its tone cannot be either increased or diminished I will be forever obliged to those who with an infinite art, based on the taste, will be able to render this instrument expressive" No better characterist can be given 'of these wonderfully expressive little masterpieces, elaborated with the exactitude of a miniature, than that of Couperin The pieces a re in fact. mostly character-sketches giving with a few strokes a perfect characteristic of their model. Unfortunately, only a few of such models are known to us and in the case of most of them we are compelled to have recourse to guessing. These titles were, however, a t that time perfectly comprehensible for everybody, their models were well-known celebrities whose characteristic features were recognized with amusement by the contemporaries in the pieces of Couperin. Before the col1ective edition of the pieces many manusuipts were in circulation and to some of them, e. g. to La Babet. several different texts have been written. The pieces were arranged by Couperin in Ordres" (suites). The pieces of each of these "Ordres" show not only an affinity of their keys but are arranged so as to be complementary to each other also in their atmosphere. "La Milordine" is most probably a recollection of avis it'ofCouper in in Saint Germain-en-Laye. That castle was the residence of the exiled King James If. whose court was probably frequented by Couperin because the last piece of this series has been entitled: "The pleisures of Saint Germain-en-Laye." Among the pupils of Couperin were the two daughters of the Duke of Bourbon, Mile de Bourbon a nd Mile de Charolais. "La Bourbonnaise" and "La Charolaise" have been composed most probably to the honour of the two duchesses. #Ammer #JózsefGát
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