François Couperin La fleurie, ou La tendre Nanette Video
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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
François Couperin Piéces de Clavecin (http•••) 1. Les Tambourins 0:00 2. La Fleurie Ou La Tendre Nanette 1:53 3. L'Amazone 4:54 4. Les Tricoteuses 6:45 5. Les Barricades Mysterieuses 9:25 6. Menuets Croises 11:53 7. Les Vendangeuses 14:58 8. Les Bergeries 17:22 9. La Triomphante 21:26 10. Le Carillon De Cythere 24:15 11. Le Tic-Toc-Choc Ou Les Maillotins 28:18 12. Musette De Choisy - Musette De Taverny 30:43 13. Les Petits Moulins A Vent 35:11 14. Le Bavolet Flottant 37:20 15. Passacaille 29:29 Zuzana Růžičková, Harpsichord Rec. 1966 by Supraphon, Czechoslovakia,
01.L'Art de toucher le Clavecin / Troisieme Prelude Pieces de Clavecin, 1er Livre, 1er Ordre 02. Allemande l'Auguste 03. Premiere Courante 04. Seconde Courante 05. Sarabande la Majestueuse 06. Gavotte 07. La Milordine, Gigue 08. Menuet 09. Double du Menuet precedent 10. Les Silvains 11. Les Abeilles 12. La Nanete 13. Les Sentiments, Sarabande 14. La Pastorelle 15. Les Nonetes 16. La Bourbonnoise, Gavotte 17. La Manon 18. L'Enchanteresse 19. La Fleurie ou la tendre Nanette 20. Les Plaisirs de Saint-Germain-en-Laye L'Art de toucher le Clavecin 21. Allemande 22. Deuxieme Prelude Pieces de Clavecin, 1er Livre, 2e Ordre 23.Allemande la Laborieuse 24.Premiere Courante 25.Seconde Courante 26.Sarabande la Prude 27.L'Antonine 28.Gavotte 29.Menuet 30.Canaries 31.Double des Canaries 32.Passe-pied 33.Rigaudon 34.La Charoloise 35.La Diane 36.Fanfare pour la Suite de la Diane
François Couperin Christopher Hogwood Denis Gaultier Louis Couperin Anglebert Rondeau 1713 1716 1730 1966 1967
Released 1967 by Supraphon SUA ST 50807 stereo Recorded 26-29 September 1966 at the Domovina Studio, Prague, source (http•••) (in the documentation of the vinyl only the Supraphon studios without dates are mentioned) Musical direction: Zdenek Zahradnik Sound and cut: Miloslav Kulhan Cover Josef Kalousek 1967 Sleeve note Christopher Hogwood and Ludmila Vrkočová 1967 Side 1 00:00 1. Les tambourins 01:53 2. La fleurie ou La tendre Nanette 04:39 3. L'Amazone 06:25 4. Les tricoteuses - 08:59 5. Les barricades mysterieuses 11:20 6. Menuets croises 14:21 7. Les vendangeuses 16:37 8. Les bergeries 20:32 9. La triomphante Side 2 23:21 1. Le carillon de Cythere 27:21 2. Le tic-toc-choc ou les Maillotins 29:43 3. Musette de Choise' - Musette de Taverny 34:06 4. Les petits moulins a vent 36:12 5. Le bavolet flottant 38:21 6. Passacaille The four: books of "Pieces de Clavecin" which Fran~ojs Couperin published between 1713 and 1730 represent the culmination of the French school of harpsichord writing, and, together with his tutor-"L'Art de toucher Ie Clavecin" (1716)-document one of the most stylised and refined facets of art durin, 'Ie grand siecle'. Unlike the Italians and Germans, the French clavecinists had never tried to rival the sonority of the organ or the variety of the orchestra; rather, like the lutenists before them, they had taken advantage of the fragility of their instrument and sought to create, through its evanescent tones, scenes and portraits evocative of their precieux society. From lutenists like Denis Gaultier and Mouton , Chambonnieres, the first of the great keyboard writers, inherited an elegiac, improvisatory style; many devices of lute tech· nique (in particular the broken chord figuration -'Ie style luthe') found their way into his standardized succession of dance movements -the beginning of the suite. His pupils and successors (Louis Couperin, d' Anglebert, le Begue etc.) explored further the lutenists' free.prelude and rondeau forms, and shared their delight in fanciful titles -a reflection of the period's love of the obscure and cryptogrammatic. The four volumes by Couperin "Le Grand" were grouped into twenty· seven Ordres, loose collections of as many as twenty movements, arranged in a sequence of keys to facilitate the tuning of the instrument almost all of them bear programmatic or descriptive titles, and more than two-thirds are in the favourite rondeau form - a recurring refrain separated by varied couplets. "In the composition of my pieces I always had a definite object in mind: the occasions which suggested the ideas were of various-natures, but in each case the titles correspond to them ... The pieces pertaining to these titles were portrayals which were considered rather good likenesses, and most of the advantageous titles were to express the amiability of the originals rather than the success of my copies" (Introduction to Book I, 1713). Like all the French composers, he gives precise instructions for the interpretation of the exceedingly intricate ornamentation with which his phrases are embroidered; in all, refinement and 'good taste' are to be preferred to virtuosity and declamation. #ZuzanaRůžičková
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