i love this.. ive tried to get this vinyl but never received it. its compositions irradiate me with feeling and contemplation. it is both elegant and daring, so romantic and yet still provoking lamentation. as with most harpsichord, it also has the notority to be so overlooked in the metamodern era.. which, as a contrarian, i revel in

Meraviglia!🎼✨✨ grazie!

Thank Harpsichord Vinyl Gallery and Robert Tifft again for a marvelous upload. 🥰 I'm listening after working my normal night shift schedule and are welcoming my days off. How appropriate, to listen to some harpsichord music. 😁

Wonderful to hear! I’m very fond of the Francesco Tasini recordings in my own collection, discs from the 1990s forward (lots of Merulo, some Mayone and Trabaci). Thank you for posting!

Thank you so much for your endeavor to share these masterpieces... indeed!

*_Francesco Tasini wrote for this vinyl in an automatic translation from Italian to English by the software Deep-I 1/1_* BONI, Pietro D. Gaetano - Sonata in E major. The manuscript from which this sonata is a collection of six sonatas (all in four movements); on the cover of the 43 sheets' is marked ’Sonatas for Harpsichord': harpsichord destination uncritically reported by various dictionaries musical biographical dictionaries (including the Dictionary of UTET. ‘71). Upon careful internal analysis, these sonatas must be considered, without any doubt, written specifically for solo violin and basso continuo: there are many reasons that lead to this conclusion - a precise chordal number always accompanies the bass line. - the upper part strictly observes the scope of the violin (it does not go beyond G 2 and to E 5). _ the harpsichord realization of the Ms. in the form ‘Iasciataci, without harmonic, shows a continuous excessive distance between the melodic line and that of the bass (not at all organic for an instrumentation), and often ‘gaps - of salient notes of the harmony. - the melodic intervals have the connotations characteristic of violin writing, and stylistic elements relatable to the the Corellian school with technical daring Tartinian technical daring (use of the octave preceded or followed by the fifth; bichords fifth; bichords, chords of three to four sounds used with due attention to the exploitation of the hollow chords, and in "Arpeggio"). The writer is of the opinion that the same indication "Sonate da Cembalo" is by different and recent hand (perhaps by Gaspari) to the writing of the sonatas, The Sonata in E major, therefore, is presented here in a kind of harpsichord transcription, or harpsichordistic transcription, or "translation" (according to the terminology of ,G. Bononcini); a practice legitimate and in vogue in the 18th century (cf. the 18th century (suffice it to mention the splendid testimony of the "Divertimenti da Camera traddotti for the Harpsichord from those composed for Violin, or Flute" that Bononcini himself published in London in 1722). We proceeded to dissolve the numerical of the bass in "poca e discreta armonia" as guide and support of the good melody. The fillings of parts were allowed in compliance with the clause that "non confondano (...) principale, ma solamente la secondano, la rinforzano, e l'accompagnano", so as not to diminish the expression of the "Vero Patetico" of the "speaking melody" of Boni, va- lid precursor of the "Good Taste" moder- no- (quotations from V. Manfredini, Defence of la Musica moderna ( ... ), Bo., 1788). MANFREDINI, Vincenzo - Sonata in C major. Manfredini left us a collection of six Sonatas for Harpsichord, published in Petersburg with a dedication "to the Sacred Mae- imperial majesty of Catherine II"; in fact, he was many years at the Russian court as harpsichord master of Her Imperial Highness Paul Petrovicz'. The fruit of this prolonged teaching activity is the interesting method for harpsichord entitled "Regole Armoniche" (Venice, 1775). The author, after an introduction on music theory (Principles of Mu- sica), he deals with elements of technique ("the portamento of the hand') with the use, as an exercise, of 14 short "Preludes"; the last part is dedicated to the theory and the practice of the continuo ("l 'accompagnamento del Basso sopra gli strumenti da Tasto"'). This is the typical scheme of keyboard treatises of the 18th century, motivated by the function of the harpsichordist, not only "soloist", but, and perhaps to a greater extent, "continuista". The sonata in C major presents the exemplary of Manfredini's style: a quality of writing that tends towards a refined and continuous invention of motifs, which gives rise to a kind of "collage" music. The "stile coupé", in hiccups, is the pulsating element of the motifs of the I and II movements: radically asymmetrical expansions; melodic momentum that reaches its top and finds fulfilment in the narrow space of a single bar. From the skillful sign variation of such cantabile shudders derives the scope of the language. RUTINI, Giovanni Placido - Sonata in A major. Of the shortlist of composers presented here, certainly the Florentine G. Placido Rutini is the best known. An appreciated and esteemed, he has left us a vast production of "Sonate da Cembalo" worthy of consideration. Upon listening to the first movement of the Sonata in A major, the instrumental quality of Rutini's writing: he oscillates continuously between a brilliant toccatism and an accompaniment design more compassed melodic accompaniment. A brief "incipit" melodic, only hinted at and placed in a minor key, has the obvious function of the theme; but the major interest lies in the capillary vivacity of the rhythm. Or, to quote Torrefranca, in the the "impressionismo ritmico". Francesco Tasini translated from Italian by Deep-L

*_Francesco Tasini wrote for this vinyl in the Italian language 1/1_* BONI, Pietro D. Gaetano, Sonata in Mi maggiore. Il manoscritto da cui è presa questa So· nata è una raccolta di sei Sonate (tutte in quattro movimenti) ; sulla copertina dei 43 .fogli» è apposta l 'indicazione .Sonate da Cembalo» : destinazione cembalistica acriticamente riportata da vari Dizionari biografici musicali (compreso il Dizionario della UTET, '71). Ad una accurata analisi interna, queste Sonate si devono considerare, senza om· bra di dubbio, scritte appositamente per Violino solo e basso continuo : sono molte le ragioni che portano a questa conclu· sione: - una precisa numerica accordale si ac· compagna sempre alla linea del basso. - la parte superiore osserva rigorosamente l'ambito della te ss itura violinistica (non scende oltre il sol2 e sa le sino al mi5). _ -la realizzazione al cembalo del Ms. nelia forma ' Iasciataci, senza riempimenti aro monici, mostra una continua eccessiva distanza tra la linea melodica e quel la del basso (affatto organica per uno strumento a t astiera), e spesso «vuoti - di note salienti dell'armonia. -l'intervallistica melodica ha i connotati caratteristici della scrittura violinisti ca, ed elementi stilistici rapportabili alla scuola corelliana con arditezze tecniche tartiniane (impiego di interva lli di de· cima, di ottava preceduti o segu iti dalla quinta; bicordi, accordi di tre·quattro suoni usati con la dovuta attenzione allo sfruttamento delle corde vuote, e in -Arpeggio -). Lo scrivente è del parere che la stessa indicazione .. Sonate da Cembalo- sia di mano diversa e recente (forse del Gaspa· ri) alla stesura deile SOnate ste s'se, La Sonata in Mi maggiore, pertanto, viene qui presentata in una specie di trascriziò· ne cembalistica, o .. traduzione- (secondo la terminologia di ,G. Bononcini) ; pratica, questa, legittima ed in auge nel XVIII se· colo (basti citare la splendida testimo· nianza dei «Divertimenti da Camera traddotti pel Cembalo da quelli composti pel Violino, o Flauto» che Bononcini stesso pubblicoò a Londra nel 1722). Si è proceduto allo scioglimento della numerica del basso in .. poca, e discreta armonia-. quale .guida e sostegno della buona melodia-; i riempimenti di parti sono stati ammessi nel rispetto della clausola che .. non confondano C ... ) la canti lena principale, ma so lamente la seconda no, la rinforzano, e l'accompagnano-, onde non diminuire l'espre ss ione del .. Vero Pateti· co- dellil .. parlante melodia- del Boni, va· lido precursore del .. Buon Gusto- .. moder· no- (cit3zioni da V, Manfredini, Difesa del· la Musica moderna ( ... ), Bo., 1788). MANFREDINI Vincenzo, Sonata in Do maggiore. Il Manfredini ci ha lasciato una raccolta di sei Sonate per Cembalo, pubblicate a Pietroburgo con dedica .. alla Sacra Mae· stà imperiale di Caterina IJ,.; in effetti egli rimase molti anni presso la Corte russa in qualità di • maestro di Cembalo di sua altezza imperiale Paul Petrovicz». Frutto di questa prolungata attività didattica è l'interessante metodo per clavicembalo dal titolo . Regole Armoniche- (Venezia, 1775). L'autore , dopo una introduzione su lla teoria musicale ( .. Principi della Mu· sica-), affronta elementi di tecnica digi· tale ( .. il portamento della mano») con l'ag· giunta, a modo di esercizio, di 14 brevi .. Preludi -; l 'u ltima parte è dedicata all'ar· monia ed alla pratica del continuo [..l'ac· compagnamento del Basso sopra gli stru· menti da Tasto»). E' lo schema tipico dei trattati per tastiera del XVIII sec., motivato dalla funzione del cembalista, non solo .. solista», ma, e forse in misura maggiore, .. continuista-. La Sonata in Do maggiore presenta in mo· do esemplare lo stile del Manfredini: una qualità di scrittura che tende ad una raffinata e continua invenzione di motivi , il cui concatenamento origina una specie di .. collage- musicale. Lo .. sti le coupé -, a singhiozzi , è l'elemento pulsante dei motivi del I e Il movimento: espansioni radicalmente asimmetriche ; slancio melodico che ragg iunge il suo cui· mine e trova compimento nello spazio ri· stretto di una sola battuta. Dalla sap iente variazione segnica di simili sussulti cantabili deriva l'ambito del di· scorso. RUTINI Giovanni Placido, Sonata in La maggiore. Della rosa d'autori qui presentati, certamente il fiorentino G. Placido Rutini è il più conosciuto. Compositore apprezzato e stimato, ci ha lasciato una vasta produzione di .. Sonate da Cembalo- degna di considerazione. AII'ascolto del I tempo della Sonata in La maggiore, subito appare la qualità strumentale della scrittura del Rutini: egli oscilla di continuo tra un brillante toccatismo ed un disegno d'accompagnamento melodico più compassato. Un breve - incipit - melodico, solo accennato. e posto in tonal ità minore, ha la funzione evidente di Il tema; ma l 'i nteresse maggiore sta nella vivacità capillare del ritmo. O. per dirla col Torrefranca, nel· l '.<impressionismo ritmico». Francesco Tasini

The Titanic label. Have not heard from them in a while. Thanks!

Notevolissima raccolta! Fosse anche soltanto per la riedizione di artisti assai poco frequentati fuori dalle sedi accademiche, credo in quegli anni e dopo ancora, si faticherebbe a trovarne di paragonabili!!... Davvero la scelta del repertorio mi pare ispirata al massimo livello!! Personalmente poi ritengo che la maestria e sensibilità dello Sgrizi raggiunga in queste interpretazioni un livello assolutamente impareggiabile!! Moltissime grazie!

Thanks for share all these musical treasures of your channel 😊

A NOTICE TO PERFORMERS by J.-P. Rameau translated from the 1741 edition as part of the Titanic-documentation. The success of recently published sonatas, which have come out as harpsichord pieces with a violin part, has given me the idea of following much the same plan in the new harpsichord pieces which I am venturing to bring out today. I have given them the form of little concerts for harpsichord, violin or flute, and viol or second violin; they are mostly in four parts and I have thought it well to give them in score because not only must the three instruments blend but the performers must hear each other, and especially the violin and viol must adapt themselves to the harpsichord, distinguishing what is merely accompaniment from what is thematic, playing Still more softly in the former case. All sustained notes should be sounded decrescendo rather than crescendo; curtailed notes should be clearly but very gently articulated and legato ones should be smooth. But it is by grasping the spirit of each piece that everything will be played as it should be. These pieces lose nothing by being played on the harpsichord alone; indeed, one would never suspect them capable of any other adornment; such, at least, is the opinion of several persons of taste and skill whom I have consulted on this subject, most of whom have done me the honor of giving names to some of them. I have had the second violin part engraved separately; it should be used only in the absence of a viol.

*_Liner notes by Paul Guglietti 2/2_* The dedicatee of the first piece of the Troisiéme Concert in A was Alexandre-Jean-Joseph Le Riche de La Pouplinière, a fermier-général (chief tax collector) of France, one of the great benefactors of the arts and letters of the middle of the eighteenth century, and for many years Rameau's Staunch patron. The many facets of his character surely are reflected in this move- ment - now Stolid, now pompous and now mercurial. There follow a pair of rondeaux bearing the characteristic title La Timide. The first of these appears in the 1744 revision of the opera Dardanus as Air gracieux et un peu vif. The second displays a remarkable development of mood from the ingenuousness of the refrain to the scintillating passion of the second reprise which flashes over the whole range of the harpsichord. La Timide also exists in a solo keyboard version. The orchestral nature of the concluding pair of Tambourins was well appre- ciated by Rameau, who used them in Act III, scene V of the revised Dardanus. Indeed, since the first dance originally had been used in 1737 in the prologue of Castor et Pollux, the 1741 concert version seems itself to be a transcription. La Pantomime, which opens the Quatriéme Concert in B-flat, is a piece of great variety: clarion calls, massive chords, acro- batic, sweeping scales and great dynamic variety all seem to evoke the variegated performance of a skilled mime. As Cuthbert GirdleStone points out in his monumental Study, Jean- Philippe Rameau, His Life and Work, this piece is actually in sonata form, with true development and recapitulation. The rondeau L'Indiscrete, of which there is also a solo version, suggests a spirited but carelessly wanton character: Rameau's caustic observation of one of his female acquaintances? The concluding La Rameau, as GirdleStone suggests, is probably a family joke. The scales, arpeggios and repeated notes which form the substance of this piece suggest the constant keyboard practice which must have prevailed in the Rameau household. It is a dry joke, quite in character with what we know of Rameau's temperament. The Cinquiéme Concert in D, the last in the series, begins with the grandest piece in the whole volume, a fugue entitled La Forqueray. The most famous members of the musical dynasty bearing this name were Antoine (1672-1745) and Jean- Baptiste Antoine (1699-1782). Both men were extraordinary virtuosi of the viola da gamba; the father was also a prolific composer of brilliant pieces for his instrument. As the latter had retired to the country in 1730, it is more likely his son, who moreover had remarried in 1741, who is honored by this piece. The designation fugue follows Rameau' s special sense of a piece in which a subject, here a bare repeated octave plus a downward scale, is repeated ad libitum in different voices and different keys. The Sternness of the subject is leavened by a great deal of wide...ranging, brilliant keyboard figuration. In view of the unusual density of this piece, Rameau directs that it be repeated immediately. The seriousness of mood is sustained in the exotic, sensitive La Cupis, which is also dedicated to some member of a large French family of musicians. As an Air tendre pour les Muses, with flutes and plucked Strings, this piece re- appeared in the Prologue of Le Temple de la Gloire of 1745. The final piece of the series, La Marais, gleams forth brightly in the major mode after two such somber pieces. The dedi- catee is presumably Roland Marais, son of the great French master of the viola da gamba and esteemed opera composer Marin Marais, and a notable gambist and composer in his own right Paul Guglietti

*_Liner notes by Paul Guglietti 1/2_* In the Pieces de Clavecin en Concerts of 1741 we have Jean Philippe Rameau 's sole con- tribution to the literature of chamber music, and characteristically the inspiration for this work came from another, lesser, composer. Just as a performance of Monteclair' s sacred opera Jepthé 1732 had fired his rich the- atrical talents, so the appearance before 1738 of Jean-Joseph Cassanea de Mondonville's Pieces de clavecin en sonates avec accompagnement de violon, opus 3, seems to have kindled Ra- meau's imaginative approach to the subject of accompanied harpsichord music. There exists in these concerts not only the effeCtive writing of a seasoned and skillful keyboard composer but also the daring experimentation of an imaginative theore- tician. The harpsichord writing shows development beyond even Rameau's solo collections of 1724 and c. 1728. There is great flexibility of texture and an athletic use of the full range of the instrument. The viola da gamba, not confined to its normal function of supporting the bass, more often plays inner or even upper voices. The violin has an analogous freedom within the musical texture, now predominating, now accompanying. It is in this total flexibility of role that Rameau's concerts show real development beyond the more Straightforward accom- panied harpsichord pieces of Mondonville, Corrette or de Boismortier. His years of operatic experience had no doubt left Rarreau sensitive to the problems of practical music making. In the several interesting prefaces t to the Concerts he writes that he has had the music printed in full score so that the players can always see their parts in relationship to one another. He advises on such matters as how to substitute a flute for the violin, how to simplify the gamba part if need be, and discusses many aspects of the harpsichord part. The suggestion is proudly made that the String parts may be omitted without damage to the musical sense of the pieces. The inclusion of special arrangements for harpsichord of several of the pieces indicates that even Rameau did not believe this fully, but it must be admitted that the sheer exuberance of musical ideas in these concerts makes their solo performance a serious possibility, if ideally only an occasional one. The opening movement of the Premier Concert in C, La Coulicam, is a musical evocation of Pere Jean-Antoine Du- cereau's Thamas Kouli Khan, nouveau roi de Perse, republished in 1741. The movement abounds in minor-mode fanfares and flourishes, repeated notes and hand crossings in the harpsichord part: all brilliant musical exoticisms recalling the Oriental fantasy of Ducereau' s novel. La Livri is a tombeau (memorial piece) for Louis Sanguin, Comte de Livri, a generous patron of the theater who died shortly before the publication of the Pieces en Concerts. Rameau included here a version for solo harpsichord wherein the cross ... rhythms of the original harp ... sichord part were eliminated in favor of the violin and gamba parts. This movement also was arranged as a Gavotte en rondeau gracieux in Rameau's Zoroaflre (1749 156), Act 11, scene vii. Le Vézinet was a favored suburb of Paris in the early eighteenth century. The last movement of this concert, the only one in the major mode, recalls the relaxed cheerfulness of this locale with easy handcrossings, scale passages, and a clarity of texture which is rather Italianate in style. The Deuxiéme Concert in G begins with two movements honoring two younger contemporary musicians of Rameau's acquaintance. The first, La Laborde, presumably is dedicated to Jean-Benjamin de La Borde, polymath and child prodigy who composed his first opera before the age of fifteen. He is best known for his Essai sur la Musique ancienne et moderne of 1780. The dramatic expansiveness of this piece is sharply contrasted by the next, La Boucon, in g minor, whose dotted rhythms and rushing ornamental scales convey a sense of great inner passion to this air gracieux. Anne-Jeanne Boucon, a fine harpsichordist, became the wife of Mondonville in 1747. She was also the dedicatee of a courante in Jacques Duphly's Pre- mier Livre for harpsichord of 1744. The title L' Agacante of the last piece was perhaps inspired by the buzzing, "irritating" sixteenth-note figure in thirds and sixths which runs through the movement. Rameau also wrote a solo version of this piece, and also arranged it for Act II, scene IV of Zoroastre as an Entree d'Indiens et d'Indiennes. A pair of Menuets conclude this concert, making it the only one to exceed three movements. The second Menuet, notable for its beautiful chromaticism, appears in orchestral guise in Act I, Scene IV of Rameau's Les Fetes de Polymnie of 1745.

Thank you Harpsichord Vinyl Gallery and Robert Tifft for another superb upload. 😀 I was just listening to an earlier upload on your channel of the English Suites nos. 1 and 2 with Edith Picht-Axenfeld playing and I saw this come through. Fantastic listening at 10 minutes until 5 in the morning. 😊

That's very lovely and delightful

L'Allemande de la deuxième suite en si mineur est un régal

Genius. Sheer unadulterated genius. Ralph Kirkpatrick's greatest recording. For my money, the greatest harpsichordist of the 20th century.

La fleur seraine musique française😊 Un grand merci à Monsieur Jean Philippe Rameau et Monsieur Robert Veyron-Lacroix🥰（＾ー＾）

В конце паваны и в начале гальярды пропуски, по одному в каждой. Скип на пластинке. У меня такая же, но в синем цвете. Купил, когда мне 18 было, в 79м.

How wonderful and inventive is that delightful little track #7, 'Hair Unplaiting'. An unexpected gem!

🎼✨✨👏👏👏 grazie!

Love this upload - thank you!

Thank you, Harpsichord Vinyl Gallery and Robert Tifft, for another brilliant upload. Always an enthusiastic listen when I come around to your channel. 😀

Vielen Dank, Paul für deine unermüdliche Arbeit!

*_Liner notes in Polish by Jan Prosnak 1/1_* Istnieje następujące nieudokumentowane podanie, odnoszą ce się do najdawnjejszego poloneza, jaki pojawił się na ziemiach polskich przed kilkuset laty: 15 lutego 1574 roku odezwały się w Krakowie podczas uroczystości koronacyjnych Henryka Walezjusza dźwięki nieznanego tańca. Tancerze wiedli tancerki za ręc e , a kaźda para , przechodząca przed tronem, składała królowi głęboki ukłon. Taniec ten był zapewne prototypem późniejszego autentycznego poloneza, o którym - jako o tańcu, nie mającym jeszcze wówczas swej właściwej, obecnej nazwy - pisał XVII-wieczny kronikarz francuskie Jean Le Laboureur, znający obyczaje polskie: " Je n 'ai vu jamais rien de plus grave, de plus doux, ni de plus respectueux". (Nie widziałem nic bardziej dostojnego, nic bardziej powabnego i nic bardziej budzącego respekt). Nie zachował się z owych czasów żaden zapis nutowy tego dostojnego tańca. Zachował się natomia st w żródłach nieco późniejszych zapis melodii polonezowej, będącej - jak twierdzi pomiętnikarz Julian Ursyn Niemcewicz - ulubionym ańcem króla polskiego Władysława IV Wazy (1632- 1648). Melodię tę , prawdopodobnie autentyczną, przekazały przyszłym pokoleniom dzieje kolęd polskich w postaci śpiewanej do dziś kolędy "W żlobie leży ". Ze ta polonezowa melodia pochodzi z XVII wieku dowodzą najstarsze jej zapisy zachowane w kancjonałach Archiwum Archidiecezja lnego w Poznaniu i z klasztoru Benedyktynek w Staniąt- kach z lat 1705-1707. Lata te są zarazem zapowiedzią pojawienia się na ziemiach polskich w tym wlaśnie XVIII stuleciu licznych polonezów, zarówno instrumentalnych, jak wokal- nych. I nie tylko w Polsce, ale i za granicą, zwłaszcza w Niemczech. A owa mnogość polonezów, jakie pojawiły się w XVIII wieku w Polsce i krajach ościennych, stanowi bogaty materiał do badań nad formą poloneza, jego dziejów i jego elementów strukturalnych, wielopostaciowych i różnoimiennych. W polonezach więc pojawiają się - by ograniczyć się tylko do polonezów staropolskich - pewne elementy rytmiczne charakterystyczne takźe dla XVI-wiecznych tańców polskich, zapisanych w niejednej ówczesnej tubulaturze lutniowej lub organowej, elementy w postaci punktowanych ósemek z szesnastką lub motywów o strukturze: ósemka i dwie szesnastki. Tego rodzaju elementy spotykamy m.in. w "Tańcach polskich" (chorea polonica), zanotowanych w lutniowej tabulaturze - z 1591 i 1592 roku - Mateusza Waisseliusa oraz w tabulaturze organowej z roku 1598 Augusta Nörmigera. Rytmy sarabandowe, synkopowe, mazurkowe, rytmy tańca "chodzonego", stosowany w akompaniamencie w partiach lewej ręki "bas Albertiego" (rozłożone akordy w obrębie kwinty, seksty septymy i oktawy) oraz stosowane w poszczególnych taktach równowartościowe grupy dźwiękowe stanowią organiczne cechy polonezów staropolskich. Dodajmy tu jeszcze inny szczegół, znamienny dla polonezów rdzennie polskich . Oto w związku głównie z sytuacją polityczną kraju dokonują się w samym tworzywie form polonezowych, w ich nawarstwieniach wyrazowych i emocjonalnych przemiany bardzo istotne. Liryczny, z wyraźną nutą melancholii, polonez z okresu porozbiorowego (polonez Ogińskiego) odzyskuje w okresie późniejszym, zwłaszcza w początkowych latach Królestwa Kongresowego, dawną posuwistość i majestatyczną dostojność (polonezy Karola Kurpińskiego) w stylu m.in. sławnego XVIII-wiecznego poloneza kontuszowego ,,Z wysokich Parnasów", nagranego również na prezentowanej płycie. Wszystkie utwory tej płyty pochodzące z XVII i XVIII wieku, zaczerpnięte są z wydanego w roku 1965 nakładem Polskiego Wydawnictwa Muzycznego w Krakowie zbioru pt.: "Z polo- nezów polskich" w opracowaniu muzykologa Karola Hławiczki. Publikacja ta zawiera także źródłowe informacje o poszczególnych utworach. Jan Prosnak

*_Liner notes by Jan Prosnak in a translation into English by L. Wiewiórkowski 1/1_* There is a following legend about the earliest polonaise to appear in Polish lands some centuries ago: on February 15, 1574, during the coronation ceremony of Henry of Anjou in Cracow, the melody of an unknown dance rang out. The noble dancers led their ladies in a procession, and each pair, while passing the throne, made 'a deep bow to the king. This dance must have been a prototype of the later, real polonaise. Of it, though it had not yet then its proper, present name, wrote a 17th-century French chronicler Jean Le Laboureur who knew Polish customs : "Je n'ai vu jamais rien de plus grave, de plus doux, ni de plus respectueux". (I have never seen anything more dignified, more sweet, nor more respectful). No score of that dance dating from that time has reached our day. But there is extant, in a little later sources, a score of a polonaise melody which, as the memorist Julian Ursyn Niemcewicz indicates, used to be the favorite dance of the Polish king Ladislas IV (reigned 1632-48). This melody, probably authentic, was passed on to future generations in the shape of a Christmas carol, sung also today, "W zlobie lezy" (Lying in the Manger). The fact that this polonaise melody really dates from the 17th century, is borne out by it scores being preserved in a song-book in the Archdiocesian Archives in Poznan and in the Benedictine nuns monastery at Staniatka, both documents dating from 1705-1707. It was precisely these years that initiated the appearance of numerous polonaises in the 18th century, both the instrumental and vocal ones. And they appeared not only in Poland, but also abroad, particularly in Germany. This multitude of polonaises in the 18th century, in Poland and the neighboring countries, provides plentiful material for a study of the polonaise, ·its history, structure, varieties and different names. So there are in the early Polish polonaises some rhythmic elements characteristic also of the 16th-century Polish dances, noted down in many a lute or organ tablature, elements in the shape of pointed quavers with a semiquaver, or motives of the structure: quaver and two semiquavers. Such elements are to be found in, among others, "Polish Dances" (chorea polonica) noted down in Matthiius Waisselius lute tablatures of 1591 and 1592 and in August Ntirmiger organ tablature of 1598. The organic features of early Polish polonaises are: rhytms of sarabanda, syncopated rhythms those of the mazurka, of the "chodzony" (walking) dance, and the "Alberti bass", an accompaniment for the left hand (broken chords within a fifth, sixth, seventh and octave), and, in particular staves, tone groups of the same value. We must mention here yet another feature of specifically Polish polonaises. The political situation of the country led to essential transformations of the very texture of the polonaise, influenced its expression and emotional contents. So the lyrical and rather melancholy polonaise of the post- partition period (Oginski 's polonaises) was replaced later, especially in the early years of the Congress Kingdom (after 1815) by an easy-paced, majestic dance (Kawl Kurpinski's polonaises), similar to the celebrated 18th century polonaise of Polish nobles Z wysokich Parnasow (From the Heights of Parnassus) which has also been recorded on this disc. All the pieces on this record come from the 17th and 18th centuries and have been taken from a collection entitled Z polonezow: polskich (Polish polonaises), edited by the musicologist Karol Hlawiczka. This publication includes also source information about particular pieces.

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❤️❤️❤️

RENOTTE... what a composer !!! and this magic, magic cembalo. Mercy, mercy !!!!

JOS... a giant and MARGA the queen

È la più grande interpretazione sul clavicembalo della storia. Sono senza parole. Dunque il gruppo si allarga un poco: SCHEURICH GOULD. KOROLIOV

Mai sentito un clavicembalista come questa musicista. Questa donna INTUISCE, SENTE...Ka un talento inspiegabile e pagherei x sentirla come pianista

A music not of this world a testimony of the presence of the Lord

heat

The music of my English ancestors! Although, I'm sure they never heard it. Hello from America!

Great stuff!!

🎼✨✨✨ grazie!

It's no wonder J.S. Bach was taken with these beautiful suites. Thank you so much for making this recording available!

Excellent! 👏👏👏👏👏

That is how Dieupart must be played!

Thank you, Harpsichord Vinyl Gallery and Robert Tifft, for another fantastic album uploaded to KZbin. The recording certainly hit the spot for me at 00:48 this early Sunday morning. 😀

It is always such a joy to hear the optimal sound of a harpsichord when it is recorded close to the strings and not somewhere in the corner of the next room. Mjammie!

*_Notes based in part on an article by David Fuller in The New Grove Dictionary of Music and Musicians, ed. S. Sadie {London, 1979) 1/1_* François Dieupart, French harpsichordist, violinist and composer was active in London during the first half of the eighteenth century. Though his English contemporaries knew him as Charles, an autograph letter in French found with the first edition of Six Suittes de Clavessin (Bibliothegue Nationale, Paris), is signed "F. Dieupart." A French notarial act of 1714 (cited by P. Hardouin in Revuede Musicologie, XLI, 1958) mentions a François Dieupart living in the parish of St. James, Westminster. It is possible, though by no means certain, that this is the same man. Hardouin also cites a François Dieupart, père, a Parisian candlemaker whose marriage in 1667 may provide a terminus a quo for the lifetime of the musician, whose dates remain unconfirmed. Dieupart's instrumental music for Motteux's interlude "Britain's Happiness" (performed at the Drury Lane Theatre in March, 1704) provides the earliest dated record of his activities in England. The following year he collaborated with Clayton and Haym at the same theatre in the production of "Arsinoe." The eighteenth century music historian, Sir John Hawkins, credits Dieupart, together with Clayton and Haym, with promoting Italian opera in England. The Drury Lane enterprise involved some of the leading performers of the day: Valentini, Nicolini, Signora Margarita de l'Epine and Mrs. Tofts sang in the productions; and among the orchestra players were Dieupart, Pepusch, Loeillet and Haym. After the collapse of the Drury Lane enterprise in 1711, Clayton, Haym and Dieupart established a concert series in the York Buildings, described in The Spectator (no. 258, December 26, 1711; no. 278, January 18, 1712). The details surrounding the next years of Dieupart's life are purely conjectural. Hawkins reports at one point that he divided his time between playing violin in the" opera band" and teaching harpsichord; and at another, that he devoted himself entirely to teaching harpsichord and "in the capacity of a master of that instrument had admission into some of the best families in the kingdom." Paul Brunold, in the introduction to the I'Oiseau Lyre edition (1938) of the harpsichord suites, recounts a bizarre story involving a trip to the Indies. Hawkins says that he died advanced in years and in "necessitated circumstances" about 1740. Dieupart's Six Suittes de Clavessin were published by Estienne Roger of Amsterdam (n. d.). They were dedicated to Elizabeth, Countess of Sandwich, daughter of John Wilmot, Second Earl of Rochester. The wording of the dedication suggests that she may have been Dieupart's pupil, or at the very least that she was already familiar with some of the suites at the time of publication. A second printing of the Roger edition, parts only, appeared in 1702 with the title Six Suittes à un dessus & basse. Nearly all the pieces were included in a manuscript written by the Englishman Charles Babell and dated 1702. And several of the pieces were reprinted by the English publisher Walsh in Select Lessons for the Harpsichord (again, without date). Dieupart's treatment of the suite as a form with a fixed number of movements in a fixed order was without precedent in French harpsichord music. In only one suite is the order altered: in the second suite (not included in this recording) a passepied is substituted for the menuet. Also without precedent, two versions were published simultaneously, one for solo harpsichord, and one for a treble instrument and figured bass. The practice of alternative instrumentation to a solo scoring came to be widespread within the next twenty years. Though Dieupart's influence was widely felt in his time, it is not generally recognized today. It would seem that François Couperin drew upon Dieupart's ideas, as did Le Roux and Händel. J. S. Bach copied two of Dieupart's suites in his own hand: the first in A Major and the sixth in f minor. It is difficult to hear the ouverture of Dieupart's b minor suite (no. 3) without remembering Bach's Ouverture in the French Style, also in b minor. The g minor and F Major English Suite preludes are reminiscent of Dieupart's ouverture l in e minor and b minor respectively. In the prelude of the A Major English Suite of Bach one hears a subject from Dieupart's A Major gigue. Bach even transcribed the earlier composer's trill at the same point in his own theme, as if in tribute. In addition to the Six Suittes de Clavessin, Schering, in his Geschichte des Instrumental Konzerts (Leipzig, 1927), reports a manuscript in Dresden containing five "Konzertierende Sinfonien," including a sonata in strict church Style for double orchestra and flutes and a heavily scored concerto with oboes and trumpets. Other works include: Six Sonatas for Flute (London, 1717); Overture and Chaconne for the opera "Thomyris" (London, 1708); thirty-three Airs and Chansons (some with flute parts), twenty-seven of which appeared in the Musical Miscellany from 1729 to 1731 Notes based in part on an article by David Fuller in The New Grove Dictionary of Music and Musicians, ed. S. Sadie {London, 1979)

I spent many years learning all these pieces because I found this album when I was 10. The only one I can't play is Couperin's Le-Tic-toc-choc because of the double manual issue. The same with several Goldberg variations! I can't figure out how to not have my hands run into each other!

Thanks for posting this amazing recording!

Thanks for posting this amazing recording!

Track listing with Rubio numbers Padre Antonio Soler (1729 - 1783) 00:00 Sonata in A Minor R118 (2'22) 02:23 Sonata in C Minor R18 (5'05) 07:27 Sonata in D Flat Major R22 (5'50) 13:16 Sonata in B Flat Major R3 (4'34) 17:51 Sonata in C Major R7 (2'42) (Total time, side one 20'33)

I just ordered the vinyl of this masterpiece. I was so lucky to find it! I knew Duphly well, but Blandine puts extreme passion into it.... I think Chopin listened to this great ancient French genius.

55:55

Wonderful sensitive intellectually consistent playing ... beautiful instrument ... Many thanks for this rare gift ... as always and ever ... 💝💝💝 TY