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Track 12 on CDA [7'03]. Subtitled Mouvement de Pasacaille it certainly seems like a marvellous specimen of this dance, but on closer examination we realize that there is no ostinato bass — an essential ingredient of the true dance.
Nor is it a rondeau with a returning refrain. At times it seems like a set of variations, but then even that theory falls through. The title is a strange one, to say the least. In his keyboard piece, Couperin goes from the noble, to the frivolous, to the overtly sad perhaps with more than a touch of irony! Almost half of the piece is in the minor mode.
Track 15 on CDA [4'09]. This is perhaps the former mistress making some sly or malicious remark behind an expressionless face. Shostakovich Boris Petrushansky - Fugue No. Muzio Clementi - Sonata in F maj; oeuvre 1. At least it provides some energy after the rather languishing Couperin. Many of his close friends were now dead. In his keyboard piece, Couperin goes from the noble, to the frivolous, to the overtly sad perhaps with more than a touch of irony!
The title certainly has nothing to do with being semi-aquatic! Zuweilen hat man den Eindruck, als handele es sich um Variationen, jedoch kann auch diese Theorie nicht aufrecht erhalten werden.
Das Werk kann jedenfalls nicht als halb-aquatisch bezeichnet werden! Track 1 on CDA [3'47]. Written in French Overture style, the opening uses the characteristic dotted rhythms and flourishes. Track 2 on CDA [4'52].
It is, however, very Bachian in its use of sequences, pedal points, suspensions, sighing figures, and chromaticisms. The name of this piece is reflected in the tonal incertitude created by the strange oscillation between B flats and B naturals in the second section.
Quatrième livre de pièces de clavecin (Couperin, François) 1; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11 . London: Augener, No, .. Lucatesta (/1/21) La Princesse Marie; Air Polonois pour la Suite de la pièce précédente La Riene des Coeurs; La Bondissante; La Couperin; La Harpée; La Petite-pince-Sans rire. 2, La Misterieuse", "Pièces de clavecin, Book 4: 25e Ordre No. 3, La Monflambert " and many more. clavecin, Book 4: 21e Ordre No. 5, La petite Pince-sans-rire.
Track 3 on CDA [1'51]. It has a tinge of sadness, however, and is in the key of C minor.
The piece probably describes his wife rather than himself. Track 4 on CDA [2'30].
The joyful key of C major is used by Couperin. Who she is or what she has to celebrate is a mystery. Wer sie ist und was sie feiert, bleibt ein Geheimnis. Track 5 on CDA [4'03]. This is an extraordinary work, concise yet communicating a rare depth of expression. The shades in Greek mythology were those lost souls who could not descend into Hades because they had not received a proper burial. Was Couperin thinking of his theatrical friends to whom this had happened? In his day, people who had spent their lives in the theatre had to renounce their profession in order to receive a Christian burial.
This piece has a harmonic outline and expressive gestures that would not be out of place in a work of Schumann. Again we have weeping sighs, suspensions, and chromaticisms. Thus the ordre finishes in a very different mood than that in which it began. De nouveau, on retrouve les soupirs lourds de sanglots, les retards et chromatismes. In der griechischen Mythologie waren die Schatten die verlorenen Seelen, die nicht in den Hades hinabsteigen konnten, weil sie keine richtige Beerdigungszeremonie erhalten hatten.
Dachte Couperin an seine Freunde vom Theater, denen das gleiche Schicksal widerfahren war? Zu seiner Zeit mussten die Menschen, die ihr Leben am Theater verbracht hatten, ihrem Beruf entsagen, wenn sie eine christliche Beerdigung erhalten wollten.
Auf diese Weise endet dieser Ordre in einer vollkommen anderen Stimmung, als er begonnen hat. Track 13 on CDA [4'38]. It is one of his best allemandes, rich in harmony and texture, and of course with those ever-present chromaticisms. Towards the end, the downbeat rests followed by a three-note figure seem to tell us not to disturb he who is resting, and the ending in the lower part of the keyboard seems appropriate.
Track 14 on CDA [1'59]. Track 15 on CDA [4'09]. The latter was an order of mystic Muslims, the members of which were Sufis. In any case, whether it be a young demoiselle whirling about the room or an Islamic mystic involved in devotional practices, the music speaks for itself. Letzterer war ein mystischer, muslimischer Orden, deren Mitglieder die Sufi waren. Track 16 on CDA [4'17]. The structure of the work is really a rondeau within a rondeau, as half-way through Couperin switches from minor to major mode and introduces a new refrain.
Six sharps was almost unheard of at the time, so this would have been a major challenge to the player. Track 17 on CDA [3'49]. The character of Scaramouche was based on a Neapolitan Captain who had a tendency to flee, and whose vainglorious and military personality he mimicked by using a guitar instead of a sword. Evaristo Gherardi, the director of the Italian Troupe, described his art in the following words: Share your thoughts with other customers.
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