Gigue @ 24:19 , Suite No. 4 So beautiful

Where can i buy a sheet music of this suites?

does anybody suggest an approximate year of recording, or a range?

Wow! Another gorgeous upload. 😊 This time some C.P.E. Bach, what a brilliant son of J.S. Bach. Different from his father musically, but not less fantastic in his own right. Thank you, Harpsichord Vinyl Gallery.

*_The liner notes for this recording 2/2_* Thus, there are two distinguishable form models, the rhyming binary (A in tonic, B in secondary key, double bar, A in secondary key, B in tonic), and the sonata, with tertiary key and recapitulation of the opening idea. There is, however, no sharp demarcation between them, and the binary model underlies both. Bach's forms are never mechanical, but, on the basis of the "rhyming binary" framework and its "sonata" expansion, each piece evolves in response to the suggestions of its own material and the interactions of its own characters. In the first movement of Sonata I the modern "sonata" articulation of the movement and the abb structure of its opening idea are lightly concealed under the flowing surface appearance of a J. S. Bach " Invention," and the music has the motivic density and coherence (if not the polyphony) that Emanuel learned from his father. (Rudolf Steglich discusses this in the preface to his edition of the sonatas.) The following Andante is a kind of operatic scena with vocal recitative literally transferred to the keyboard, along with the harmonic freedom characteristic of expressive recitative. Apart from a short passage suggesting recitativo accompagnato in the middle of the Adagio of Sonata 6, this Andante has the only actual recitative in the set, but the slow movements in general are declamatory in nature, with little trace of Italianate cantabilita or Gallant grazia. The Adagio of Sonata 3 resembles a Baroque trio, but orchestral tortes interrupt the serene flow, distancing the trio and placing it on a dramatic stage. Extremes of abrupt dramatic opposition are displayed in Sonata 6, particularly in its opening, which abandons the "Pergolesi" model described above, and in its finale, the allegro tempo of which is not felt until a rude torte interrupts its placid two-part counterpoint. Bach's abrupt gestures of this sort were not entirely assimilated into the general language of later music, and they retain for us a certain characteristically quirky color. The proper meaning of the term cembalo on the title page of the "Prussian" sonatas is, of course, harpsichord, but in manuscript sources of Bach's keyboard works it also has the general meaning of the German term Clavier, i.e. any stringed keyboard instrument: harpsichord, sometimes piano, and with Emanuel Bach more often than not clavichord. In the introduction to Part One of his Versuch über die wahre Art das Clavier zu spielen (1753), Paragraph 15, Bach assigns public and private roles to harpsichord and clavichord respectively, and in Chapter Three, paragraph 29, he explains that it is necessary on the harpsichord to ignore dynamic indications that are placed on single notes. Detailed clavichordistic dynamic markings of this kind do not occur in the "Prussian" sonatas; apart from a few pianissimo dying falls in the slow movements (e.g. Sonata 3 second movement), the only indications are forte and piano which undoubtedly represent the manuals of a two manual harpsichord. These works exploit the " terrace" dynamics available on a two-manual harpsichord, as does no other music. "Terrace" dynamics symbolize an objective difference in sound source: distance, as in echo effects (note the complex and subtle echos in the first movement of Sonata 4), or performing forces, tutti and solo, or characters on a musical stage, as in the already mentioned Sixth Sonata of our set. The subjective dynamics of speech and song, the nuances dictated by rhetorical expression of the passions, tan also be suggested on the harpsichord, as the literature for that instrument abundantly testifies, but only with a great deal of help from the composer. C. P. E. Bach's later works for solo keyboard, with their increasing reliance on rich, frequently even mannered dynamic inflection of a single line, grow away from the harpsichord. If, for example, one were to read the pianos and fortes in the slow movement of Sonata I (1773) of Kenner und Liebhaber, Volume I as indications of harpsichord manual changes, the result would be plain nonsense, since these dynamics symbolize not changes of sound source but shadings in a single voice. On the other hand, the clavichord is not to be excluded as an historically and aesthetically appropriate medium for the "Prussian" sonatas. There are passages which strain the expressive capacities of the harpsichord to their utmost. It is typical of the mid-eighteenth century situation with regard to keyboard music and instruments that the rather clavichordistic Andante of Son~ta 5 is followed by a highly cembalistic Allegro which is the most literal transcription in the set of orchestral tutti-solo texture. Bach's later keyboard sonatas evolve in a number of different directions, including, it must be said, a blandly "commercial" one. Among the more interesting later sonatas there are some which explore further the grandly orchestral style of the sixth of our set. On the other hand, we have the extreme intimacy and concentration of the late clavichord sonatas. The beginnings of both these styles are clearly present in these early masterpieces.

*_The liner notes for this recording 1/2_* Carl Philipp Emanuel Bach's "Sei sonate per il cembalo" were published at Nuremberg in 1742. Because of their dedication to Frederick the Second (the "Great"). of Prussia, they have come to be commonly known as the "Prussian" sonatas. Frederick II had just succeeded to the throne of Prussia and Bach had just entered his service, where he remained for twenty-seven years: The sonatas, numbers 21 through 26 in Beurmann's chronological listing of Bach's solo sonatas, were composed between 1740 and 1742 and represent his Opus One, his first significant publication and his coming of age as a creative artist. They are also an Opus One for the history of the solo keyboard sonata as a genre. True "sonatas" in the modern, not the Baroque, sense, they are all in three movements, fast-slow-fast, connected by strong, if often intangible, threads of texture and rhetoric. Their forms and musical speech are founded on the modern principle of multiplicity and contrast unfolding in the dimension of time: even in such a relatively unified and, in the ordinary sense, undramatic first movement as that which opens Sonata 5, there is a Haydnesque opposition between, on the one hand, the two rather similar " themes" and, on the other, a short motive, first heard in the "bridge" passage, which is used for developmental passages. Formal members, opening themes and closing phrases for example, use specialized kinds of material, and are clearly set off from their surroundings. Opening themes are usually set off by the kind of internal repetitions which Wilhelm Fischer (Mozart Jahrbuch 1960/61, p.7) traces back to Pergolesi's trio sonatas of ca. 1731 : abb or abbr (each letter representing an equal length of time, usually two bars). The first movements are unmistakable sonata forms, differing from the sonata forms of the "Viennese Classics" in their smaller scale and in their use of the principle of recapitulation. The "second theme" or "contrasting subject," so important to the pedagogical model of sonata form (based largely on Mozart and early Beethoven), is rare in Emanuel Bach. We may take the first movement of Sonata 3 as an illustration of Bach's "sonata allegro": an eight-bar opening sentence, abbr, ends in a dear tonic cadence and rest. The following paragraph modulates to and establishes the secondary key, the dominant. The Closing follows, set off in this movement less by a preceding cadential articulation than by its distinctive texture and material. The second section (after the double bar) begins, as virtually always in C. P. E. Bach, with a statement in the dominant of the opening idea (Ralph Kirkpatrick's "closed sonata," Domenico Scarlatti, p. 266). There is a passage of development (based on the dosing material) which moves to the tertiary key, as in the middle of a concerto movement. After a cadence in this relative minor, there is an abrupt return to the opening theme in the tonic. This return is handled in the manner of a Baroque Da Capo ; there is none of that flow of energy toward the tonic reprise of the main theme that we expect in a "Classical" sonata movement. The real burden of recapitulation is carried by the "rhyme" of the latter part of the exposition (Kirkpatrick's "crux," Domenico Scarlatti, p. 253ff) , in this case the closing paragraph. In this particular movement, the recapitulation of the first part of the exposition has the effect of a nostalgic reminiscence. This is made possible by the particular shape of the modulating paragraph, with its minoreecho of the opening. In the first movements of Sonatas 4 and 6, the opening sentences conclude with a half, not a full, cadence, and the recapitulations begin away from the tonic, as "false reprises," re-establishing the tonic at the half-cadence. (The apparent tonic reprise in bar 90 of the first movement of Sonata 6 is an optical illusion. ) In these movements there is indeed a powerful drive toward the re-establishment of the tonic key, but tonic and reprise of opening do not coincide as they characteristically do in Classical sonata movements. The recapitulation of the first movement of Sonata 5 begins with its exceptional "second theme," which functions as it did in the exposition, as a point of arrival and repose. The finales, generally shorter than the first movements, are like the first movements in using a statement of the opening idea in the secondary key to begin the second section of the movement, but then, instead of cadencing on a tertiary key, they often make a more or less direct return to the recapitulatory rhyme ("cr4x"). This kind of "rhyming binary" in its elementary form, with the movement divided into two equal halves, is to be seen in, e.g. the first movement of Sonata 5 (1772) in Kenner und Liebhaber Volume I ; the closest approximation to this in the "Prussian" set is the finale of Sonata 1.

This channel is a TREASURE. Thank you!

Such a wonderful rarity ... Such a fine musician ... Thanks a lot for your great work, as always and ever ... 💝💝💝 Typo: Neuen kleine Präludien BWV *924/932

🎼✨✨ grazie!

I've been waiting for this performance for a long time! thank you!

A personalidade de Bach...

💐

Thank you Harpsichord Vinyl Gallery for another Isolde Ahlgrimm recording of J.S. Bach. I always enjoy her performances, such a wonderful treat. 😊

*_Ahlgrimm-Fiala wrote for this publication in 1953 in Vienna 2/2_* THE TWENTY LITTLE PRELUDES If one were to enter Bach's home of over two centuries ago, he would undoubtedly think that he is stepping into a museum, or is calling pan a famous collector of musical instruments. He would find two violins, a violino piccolo, three violas, a small bass, two cellos, one viola da gamba and a lute strewn over the walls, or lying on tables. No less than five harpsichords and two "lute-harpsichords" fill the rooms. One of the harpsichords is even equipped with a pedal; that is to say, it is placed on top of another harpsichord, which stands on the ground and has large keys that can be manipulated with the feet, like the pedal of an organ. All these instruments in Bach's time were practiced on daily, and it is easy to imagine how impressed Bach's children were when the great musician performed on the big harpsichord with the pedal. Such an instrument was widely known in those days, and it was the desire of every organist to possess one. How much pleasanter to practice on it at home than on an organ in an icy cold church! In 1719 little Wilhelm Friedemann, Bach's eldest son, reached the age of nine. like any other child, he must have frequently attempted to produce some sounds on all these instruments. Finally, on the 22nd of January 1720, his father started giving him regular lessons and wrote for the boy a little clavier notebook. He began by noting down simple instructions on the position of the fingers and on how the various ornaments should be played. Then, during lesson hours, he jotted down nine of these little preludes in his son's notebook. The ninth was never finished - perhaps some unforeseen interruption occurred during the Of course, the boy was eager, ,to start playing immediately with his feet, like his father did. Therefore, Bach, in many of these little pieces arranged the bass in such a way that the pedal could be used even by a child without many difficulties. But more important is the fact that these little preludes gained in beauty from the use of the pedal. How skillful a teacher Bach must have been for his son! Only four years later, at the age of 13, Wilhelm Friedemann was able 'to master the six Trio sonatas for pedal-harpsichord that Bach had composed for him as exercises. Today, these sonatas are usually played on the organ and call for supreme ability in the art of organ playing. Very little is known about Bach as a teacher. Forkel, Bach's first biographer however does give us some insight which is based on accounts given him by the master's surviving pupils, and especially on what Bach's son, Carl Philipp Emanuel. told him. He writes: "I will start by saying something about his methods of instruction. The first thing he did was to teach his pupils how to acquire his own special kind of touch. No pupil of his was ever let off practicing exercises for the first few months. In fact. Bach firmly held that such exercises had to be kept up for at least six to twelve months. If however he noticed that alter some months a pupil was beginning to loose patience, Bach helped him along by devising little pieces that were complete in themselves whilst incorporating passages containing each of the exercises. The six little preludes for beginners from the manuscript by Lichnowsky are works of this type. These Bach jotted down himself during lesson hours, solely with a view to meeting some special need at a particular stage of his pupil's development. Later on, however, he transformed those preludes into beautiful and expressive miniatures of art. These finger exercises, either separately or worked into little pieces specially devised for them trained both hands to play all the various ornaments. The next step was to start his pupils off on his more ambitious compositions which, as he well knew, would be the best means of developing their powers. In order to lessen difficulties for them, he resorted to an excellent device: he first played through to them the whole of the piece they were about to study, and told them, "That's how it should sound". Thus the pupil knew what he was to aim at, and was helped over the technical difficulties. By this means, many a young clavier player, who might have taken years · to understand how a certain composition should be interpreted, may have managed to play it quite well in a month, thanks to having heard it performed once to perfection." "Lastly, as long as Bach's pupils were under his surveillance, except for his own compositons, he allowed them to study and acquaint themselves only with classical works that could claim to be art. Discrimination in matters of taste is slower to develop than feeling, and how often that discrimination can be misled or even ruined through constant contact with spurious art. Familiarity with what is genuinely first-rate is consequently the best way of teaching youth." Events proved that the great master's methods were right. His four sons had the reputation of being the world's greatest organists. They gained international fame in Milan, London, Hamburg and other places - a fame which Bach had never coveted for himself. Vienna, Ahlgrimm-Fiala

*_Ahlgrimm-Fiala wrote for this publication in 1953 in Vienna 1/2_* From the "Ritter-Lexicon" one learns that a C a p e II m e i s t e r of the later 17th and 18th century attached to a nobleman's court was responsible for providing all types of musical entertainment and instruction for the court. He was required to know enough Latin and Greek to be able to read and understand books on music written in those languages: He had to have such a mastery of French and Italian as to converse in them with the perfect fluency of a courtier and to translate them with skill. He had to be well-informed on the art of singing and to have a thorough knowledge of the clavier, the instrument specially useful to composers. In performing his musical duties, he had to display untiring zeal and diligence, and to devote himself especially to composition. When Bach composed his French Suites in 1722, he had already spent five years in the service of Prince Leopold of Anhalt-Cöthen as Capellmeister, where he received a salary equal to that of the Court's Marshall: 400 Thaler. In 1694, at the age of nine, he lost both parents and was left destitute. He came from a modest, middle class family : his father was Stadtmusikant at Eisenach, his mother was the daughter of a small furrier. How on earth then did the young Sebastian, without resources or aid, manage to acquire all the knowledge necessary to become a Capellmeister at a ducal court? A lucky coincidence helped him. After the death of his parents, Bach lived with his eldest brother Johann Christoph, Organist at Ohrdruf' There, he attended the Grammar School and started his lessons in music. Meanwhile, hi9 brother's family grew so large that they no longer had room for the orphan. Sebastian had no money; neither his schooling nor his musical studies had been completed. On the face of things, the situation seemed hopeless. He had, however, one great asset: "an uncommonly beautiful soprano voice"l Because of that, Herda, the Cantor at Ohrdruf, gave Bach a recommendation ' for admission to the choir of the wealthy cloister of St. Michael's at Luneburg. Full of confidence, Bach at the age of 15 set out on foot to Luneburg - a distance of 300 km . He was given an audition and was immediately accepted as a soprano in the choir. This honour gave him the privilege of enjoying free schooling at the Grammar School attached to the monastery, as well as free board and lodging and a little pocket money. Even when his voice broke, as it m~st have done soon after his entrance into the quire he was not to be thrown back on destitution : he was welcome to stay on to play organ and violin. Consequently, Bach was well provided for during the next years and could devote himself fully to his studies. Strictly separated from the commoner's school, SI. Michael's cloister also housed an Academy for the sons of noblemen. In its curriculum which differed vastly from that of the Grammar School, dancing was the main subject. Among the other subjects that were taught were French, Latin, ethics, politics and, lastly, fencing and riding. The ordinary pupils had no contact with the young noblemen, unless they hired themselves as a sort of "fag" to a boy of rank, acting as the latter's servant, polishing his shoes and waiting on him_ Though Bach never became a "fag", he managed to make contact with the Academy. The most influential teacher at the Academy was the famous French dancing master, Thomas de la Selle who was impressed by the boy's musical abilities. To this man, above all, Bach owes his comprehensive knowledge of French chamber music. Moreover, de la Selle gave him the opportunity of hearing the Duke's excellent French ensemble at Celle. Through daily contact with this Frenchman Bach learnt to speak French, for the dancing master hardly knew a word of German For more than three years Bach remained in Luneburg, breathing an atmosphere charged both with the religious and secular as well as thought of the day. Here he matured into a musician of extraordinary, almost worldwide culture of a scope never offered to Haydn, Mozart or Beethoven. Often Bach is described to-day as the lonely, embittered Cantor at the school of SI. Thomas in his later days at Leipzig . On the contrary J. S. Bach, young and successful, favoured and richly rewarded by his Duke, the composer of the vivacious, sparkling suites and chamber music, was quite a different person. His 'Courantes, Allemandes and Minuets are based on the actual dances of his time. Though they were scarcely ever used for dancing, they are not far removed from the music that people danced to in those days. In form and rhythm, they comply with all that de la Selle had taught him. They contain everything that a fastidious dancer could possibly demand of spirited and brilliant dance music . How well Bach succeeded in giving his works the power to endure. Though nothing can be more fleeting than fashions in dancing, what intense pleasure his dance music st ill gives us today, long after the dances themselves have been forgotten. The music, however, has lost none of its lustre.

I've admired this recording since the early 1980s when I found it in my parent's record collection. I took a tape dub of it with me when I went to boarding school and kept it through university into adulthood. The cassette eventually became unplayable. I waited in vain for it to be released to CD or digital. I'm very glad it's here, and I return to this video from time to time. Thomas's playing influenced my own amateur efforts (for example, I imitate many of his idiosyncratic ornaments). His playing shuns virtuosity but remains musical and engaging throughout.

This woman is related to me in some way, my great great aunt..

Very nice!

Stupendous

I enjoy it. It is simple and beautiful and the sound is great.

Excellently written and excellently performed. He had an exceptional - fluid melodic talent - one of the most important late baroque composers, sometimes with overtones of future elements, sturm und drang, gallant, classicist even romantic sound.

Wonderful music and clear rendition. Thanks for posting.

These sonatas of Dr Arne's are really beautiful works, expertly played. Thank you for sharing them.

Another gem,thanks.

Thank you! 🌼

14:29 y 40:44 , me gustan mucho, gracias

*_Eiji Hashimoto wrote for this recording 1/1_* THOMAS AUGUSTINE ARNE Eight Sonatas or Lessons for the Harpsichord Published by John Walsh in London, November 26, 1756 Thomas Augustine Arne (1710-1778) was among the most important English composers of the 18th century. An accomplished violinist, flutist, and harpsichordist, his chief musical fame rested on his operas and other vocal works. He wrote, however, numerous instrumental works as well, including 8 orchestral overtures, 6 concerti for keyboard instrument and orchestra, 8 Sonatas or Lessons for the Harpsichord (published by J. Walsh of London in 1756), and 7 Sonatas for two Violins with a Thorough Bass for the Harpsichord or Violoncello. Arne was the first English composer to write keyboard works under the specific title of "sonata," while on the continent, numerous composers of the time, including W. F. Bach, C. P. E. Bach, Galuppi, Platti, Martini, and D. Scarlatti, were abundantly using the word "sonata" for their keyboard works. The term "Lesson" was very widely but rather loosely used by many 17th- and 18th-century English composers for instrumental works, particularly for the harpsichord and organ. It was often a synonym for "suite" and consisted of successions of several dances, such as Alman (Allemande), Corante (Courante), Sarabande or Sarabrande, Minuet, Round-O, and Hornpipe, etc, Matthew Locke's Melothesia, A Choice Collection of the Lessons for the Harpsichord and the Organ (1673), Purcell's A Choice Collection of Lessons for the Harpsichord (1696), and Jeremiah Clarke's Choice Lessons for the Harpsichord or Spinet (1711) are examples of these. The term could also be similar to that of sonata, as it is in Arne's works, as well as in James Nares' Eight Sets of Lessons for Harpsichord (1747). It is quite possible to assume that "lesson" implies a pedagogical purpose, just as D. Scarlatti's first 30 sonatas were published under the collective title of "Essercizi" (Exercises) in 1737. Most of Arne's sonatas are quite miniature in size. Each movement is hardly more than a few minutes in length, even with all the repeats indicated in the original score; and, except for Sonata IV, all the sonatas consist of one, two or three movements. Slow movements are often merely transitional sections of a few bars, rather than complete and independent movements by themselves similar to that found in the Brandenburg Concerto No. 3 by Bach - and seem to suggest a short breathing moment with a little free improvisation, before dashing into the following movements (Sonata I, 2nd movement; Sonata III, 3rd movement; Sonata V, 2nd movement, which, incidentally, does not have a tempo mark). Nevertheless, one can find in almost all the movements a germ of the classical sonata, however condensed these elements may be. The movements are in binary form, and the second section is longer than the first. The second section begins with the opening thematic material in the dominant key, then it stretches and drifts away, and comes back to the recapitulative materials in the tonic key. The first part of the second section might be yet too meager to be called "development," or even "excursion;" it does not possess Scarlatti's bold harmony either. But these sonatas at least demonstrate the direction in which the classical sonata was developing. Arne's melodies in these sonatas are lyrical and expressive. The harmony is smooth and conservative. Dances are plentiful! Even without dance titles, certain movements suggest a dance character. For example, the opening movements of Sonatas V and VI are minuets, and the last movements of Sonatas IV and VI are unmistakable gigues (or jiggs in the English version). His favorite seems to have been the minuet, which had a fitting character for the rococo period. There are also numerous sections where the influences of his contemporaries are quite evident. Aside from the common idioms of the time, such as the Alberti Bass and smooth and round triplet figures, the styles of more famous composers are reflected in these sonatas. Handel, who was very active in London at the time, and who published harpsichord works (mostly suites, though) in the 1730's, certainly must have influenced Arne, for in Sonata III the extempore arpeggiated Prelude, followed by the rhythmically crisp Allegro which calls for left hand octave motion, could be mistaken for Handel's work. The Fugue of Sonata IV, too, resembles Handel (rather than Bach), because of the more chordally oriented theme, repetitious episode, and the harmonic rather than contrapuntal texture. It is rather curious, though, that, according to Pilkington, Arne was reportedly reacting against Handel's weightier keyboard style by a songful galant manner. (C. Vere Pilkington: A Collection of English 18th Century Harpsichord Music. This reference appears in W. Newman's The Sonata in the Baroque Era.) Scarlatti was very well known in England at the time, particularly for his early keyboard sonatas; and, again, Arne almost certainly adapted Scarlatti's hand-crossing technique (Sonata VIII) and the mixing of a minor mode in major key movements (Sonata VII, 2nd movement). Arne used trill ornaments abundantly. In a quick passage such trills give a tremendously active, vivid, and almost treacherous feeling to the music and create excitement, as in Scarlatti, EIJI HASHIMOTO

Harpsichord Vinyl Gallery it's 02:41 in the morning where I am and you uploaded. 😊 Thank you very much, I will enjoy this early morning video. Such a pleasant listening experience for me on this early Thursday morning.

I have a high def wav file of my record bought in 1968

I suppose "something" happened between this projected integrale and Scott Ross' robust and total remake of it equally for Erato just a few years later! I used to have irregular impressions by Luziano Sgrizzi's performances (and, evidently, he underwent aesthetic changes!) but, as a whole, I find his legacy really respectable.

41:08 mostly indexing for myself to come back to, but these first three notes of the fuge are intriguing. does anyone have an opinion or analysis of them?

That Neupert Harpsichord That Sgrizzi Plays Here Is Magnificent.....as is his Great Performance 📣📣📣📣

Sgrizzi was The Horowitz Of The Harpsichord 📣📣📣📣.....but I much Prefer The Brilliant Sparkling Neupert Harpsichord That He Used On most of his Other Recordings as opposed to this dry Sounding Harpsichord.

Thank you, Harpsichord Vinyl Gallery for another upload. I missed hearing another video from your marvelous channel. A perfect treat to start my days off from work. 😊🎉

Nestas horas o Google é brilhante! Um jeito suave de sublimar a Alma!

Quer dizer que muito antes de Bach, as almas já bebiam águas claras e cristalinas!

exxtraordinaria interpretacion . gran interprete.

I was a huge fan of George Malcolm and saw him perform many times. And this is one of his best recordings. I wore my original copy out over 40 years ago and have been looking for a reasonably playable replacement ever since, so mega thanks for this brilliantly cleaned up copy. Good luck, and good listening!

Excellent gift!

Sorry but Meh…

👏👏👏👏👏

*_Liner notes by Lionel Party 1/1_* The musical dynasty of the Champions seems to go as far back as the 15th century. The earliest Champion known to us is Nicolas Champion, Chantre de la musique to Francis the 1st. Thomas Champion was organiste de fa Chambre du Roi up to the last quart of the 16th century. His son, Jacques Champion, according to Mersenne, "sieur de fa Chappelle et Chevallier de l'Ordre du Roy, has shown his profound science and his beautiful touch on the epinette, and those who know the perfection of his playing admire him." On January 31, 1601, he married Anne Chartriot, daughter of Robert Chartriot, ecuyer and sieur de Chambonnieres. The following year, most probably, was born in Paris or in Chambonnieres the second Jacques Champion who, taking the nom de terre of his mother, became known as Jacques Champion de Chambonnieres. He spent his youth partly in Paris and partly on the estate at Chambonnieres -- the family's country residence in the commune of Plessis-feu-Aussoult. Later on in his life he lived in Paris during the winter in the rue Saint-Claude. The summer, however, he lived at Chambonnieres, a place that was to remain his favorite throughout his life, his beloved residence where he spent as much time as possible and where he preferred to receive his guests. We possess no concrete information with regards to who Chambonnieres was, though, most likely, he received his first musical education from his father. In 1638, he is listed already as survivancier with his father and, probably, had by then replaced him as joueur d 'epinette de fa Chambre du Roi. He kept until his death this position that soon became known as that of claveciniste de fa Chambre du Roi. He was the claveciniste par excellence, admired at the court, idolized in aristocratic circles of which he considered himself a member, and where he permanently performed and taught. It is around 1650 that, for his birthday, the Couperins surprised him with a serenade that pleased him to such extent that he took them as students and introduced them later in Parisian musical and aristocratic circles. In Paris Chambonnieres had founded a private Concert similar to those created by so many 17th century virtuosos. He called it "l'Assemblee des Honnestes Curieux" and about it Constantin Huygens has reported in inspired terms. To his already high salary of 600 pounds he added a pension of 1,000 crowns from the Royal Treasury which shows the esteem he enjoyed. At that time also, he played dancing roles in several ballets of the king, another sign of high appreciation. There he danced with the king, Lully, as well as with members of the nobility. In 1654, however, Chambonnieres tried unsuccessfully to get a position at the court of Queen Christina of Sweden. Huygens was in charge of making the necessary contacts. It is at this point that intrigues at the court attempted to make him resign his position in favor of his student Louis Couperin who refused such honor by a sentiment of friendship and gratitude towards his teacher. No doubt, this fact marked the decadence of Chambonnieres favor at the Court. Suddenly, in 1662, he saw his pension withdrawn possibly because of some high level grievance against him. D'Anglebert, another of his students, took his job at this point. Chambonnieres would never again appear at the Court. From then on, in concerts and ballets, it is always D'Anglebert who is mentioned. We have no precise information concerning this durable disgrace that put the c1aveciniste in such state of desperation, that at one point he thought of exiling himself in Brandenburg. There was no doubt some serious matter to grant so strong a punishment, such as banishment from the Court, as well as withdrawal of pension. In any event, Chambonnieres continued to support himself as a harpsichord teacher, a profession success he always enjoyed in Parisian salons. In spite of the fact that he 'always kept his title of harpsichordist to the king, he neglected to mention it in the title pages of both of his engraved books of harpsichord pieces. It is as late as 1670 that he brought himself to publishing his pieces in order to set a definitive text of his works, some of which circulated the world over in disfigured manuscript copies for at least forty years. However, he looked upon these two books, the first of which is the subject of this recording as a beginning only: they contain just a small portion of his works. The sources of the rest are still those manuscripts he so much despised. He did not have time to publish anything further. He died at 70 in the last months of 1672. The significance of Chambonnieres, not to mention his extant works, lies in the stunning number of his important students : G. Nivers, R. Cambert, J .H. D'Anglebert father, N.A. Ie Begue, three Couperin brothers (Francois, Charles, and Louis), Hardelles, Buret, and Gautier. His influence is felt upon the whole clavecin school of the 17th and 18th centuries. The harpsichord in this recording was built by William Dowd in Boston in 1973. It is tuned at a' equals 415 hz. The temperament used is called mean tone temperament and consists of narrow fifths and perfect, beatless major thirds. Lionel Party

Wonderful music! Why didn’t Erato release on CD?,I recorded my LP to CD and then to a music file. Thanks for sharing!

son du grand orgue historique de la cathédrale notre-dame de amiens

son du grand orgue historique de la cathédrale notre-dame de rouen

son du grand orgue historique de la cathédrale notre-dame de reims

Every time I re-visit Marlowe's Haydn D Major, I find I can't turn it off. In each movement she and Saidenberg wring every ounce of feeling out of the music. And I much appreciate you adding the album notes in text here. It's easier to read them than it is in the video. Thank you for this wonderful post.

Die Sonate G-Dur für 2 Cembali Opus 15 Nr. 5 von Johann Christian Bach ( die beiden letzten Stücke ) ist einfach ein Hammer! Jahrhunderte ihrer Zeit voraus! Da ist voll die Socke am dampfen! Habe das vor 40 Jahren oder mehr eher zufällig gehört und diese LP danach gesucht wie verrückt! Ich hab sie!

Wow! Thank you! 🌻

WARNING: ADVERTISEMENTS IMPUDENTLY BREAKING IN!