Couperin - Complete Works on Piano + Presentation (Century's recording : Pierre Etcheverry)

[@classicalmusicreference]

François Couperin (1668-1733) Livres de Pièces pour Clavecin au piano : 27 Ordres / Orders *Click to activate the English subtitles for the presentation* (00:00-03:42) LIVRE 1 / BOOK 1 1er Ordre / en Sol / in G I.Auguste - allemande (00:00) II.Première - courante (01:48) III.Seconde - courante (02:30) IV.La Majestueuse - sarabande (03:36) V.Gavotte (05:35) VI.La Milordine gigue (06:23) VII.Menuet (07:14) VIII.Double du menuet precedent (07:50) IX.Les Silvains - rondeau (08:25) X.Les Abeilles - rondeau (11:19) XI.La Nanette (12:15) XII.Les Sentiments - sarabande (12:52) XIII.La Pastorelle (14:40) XIV.Les Nonetes, les blondes, les brunes (15:20) XV.La Bourbonnoise (16:39) XVI.La Manon (17:06) XVII.L’Enchanteresse - rondeau (17:39) XVIII.La Fleurie ou la tendre nanette (20:13) XIX.Les plaisirs de St.Germain en Laye (21:27) 2e Ordre / en Ré / in D I.La Laborieuse - allemande (23:05) II.Première - courante (25:06) III.Seconde - courante (25:56) IV.La Prude - sarabande (27:08) V.L’Antonine (28:33) VI.Gavotte (29:21) VII.Menuet (29:55) VIII.Canaries (30:35) IX.Double des canaries (31:11) X.Passe pied (31:48) XI.Rigaudon (32:52) XII.La Charolaise (33:42) XIII.La Diane (34:06) XIV.Fanfare pour la suite de la Diane (34:40) XV.La Terpsichore (35:10) XVI.La Florentine (37:33) XVII.La Garnier (38:21) XVIII.La Babet (40:24) XIX.Les Idées heureuses (41:27) XX.La Mimi (43:48) XXI.La Diligente (44:36) XXII.La Flateuse (45:49) XXIII.La Voluptueuse rondeau (47:24) XXIV.Les Papillons (49:41) 3e Ordre / en DO / in C I.La Ténébreuse - allemande (50:40) II.Première - courante (52:19) III.Seconde - courante (53:02) IV.La Lugubre - sarabande (53:56) V.Gavotte (55:22) VI.Menuet (55:55) VII.Les Pelerines (56:26) VIII.Les Laurentines (58:11) IX.L’Espagnolette (1:00:12) X.Les Regrets (1:00:53) XI.les Matelots provençales (1:02:32) XII.La Favorite chaconne a deux tems (1:04:00) XIII.La Lutine (1:06:54) 4e Ordre / en Fa / in F I.La Marche des gris vetus (1:07:50) II.Les Bacchanales (1:08:54) III.La Pateline (1:12:27) IV.Le Réveil matin (1:14:27) 5e Ordre / en La / in A I.La Logiviere - allemande (1:15:54) II.Premiere - courante (1:18:30) III.Seconde - courante (1:19:36) IV.La Dangereuse - sarabande (1:20:24) V.Gigue (1:22:05) VI.La Tendre fanchon - rondeau (1:23:11) VII.La Badine rondeau (1:26:16) VIII.La Bandoline - rondeau (1:27:23) IX.La Flore (1:29:08) X.L’Angelique (1:30:06) XI.La Villers (1:31:54) XII.Les Vendangeuses - rondeau (1:33:24) XIII.Les Agrements (1:35:02) XIV.Les Ondes - rondeau (1:37:44) LIVRE 2 / BOOK 2 6e ordre / en Si b / in B flat I.Les Moissonneurs - rondeau (1:40:31) II.Les Langueurs tendres (1:42:39) III.Le Gazouillement - rondeau (1:44:21) IV.La Bersan (1:46:03) V.Les Baricades Misterieuses (1:47:15) VI.Les bergeries - rondeau (1:49:30) VII.La Commère (1:52:46) VIII.Le Moucheron (1:53:48) 7e Ordre / en Sol / in G I.Le Ménetou (1:54:56) II.La Muse Naissante (11:57:24) III.L’Enfantine (1:58:51) IV.L’Adolescente - Rondeau (1:59:38) V.Les Delices (2:01:13) VI.La Basque (2:04:34) VII.La Chazé (2:05:54) VIII.Les Amusements - 1er et 2e rondeaux (2:08:12) 8e Ordre / en Si mineur / in B minor I.La Raphaele (2:11:12) II.L’Ausoniene - allemande (2:14:17) III.Premiere - courante (2:15:24) IV.Seconde - courante (2:16:13) V.L’Unique - sarabande (2:17:22) VI.Gavotte (2:18:53) VII.Rondeau (2:19:40) VIII.Gigue (2:21:02) IX.Passacaille - rondeau (2:22:49) X.La Morinéte (2:29:06) 9e Ordre / en La / in A I.Allemande (2:30:20) II.La Rafraichissante (2:32:14) III.Les Charmes (2:34:42) IV.La Princesse de Sens - rondeau (2:36:50) V.L’Olimpique (2:38:26) VI.L’Insinuante (2:39:42) VII.La Seduisante (2:40:46) VIII.Le Bavolet Flotant (2:42:02) IX.Le Petit Deuil ou les Trois Veuves (2:43:41) X.Menuet (2:44:19) 10e Ordre / en Ré / in D I.La Triomphante bruit de guerre (2:44:53) II.Allegresse des vainqueurs (2:47:15) III.Fanfare (2:50:00) IV.La Mézangère (2:51:11) V.La Gabriéle (2:53:19) VI.La Nointéle (2:54:05) VII.La Fringante (2:55:56) VIII.L’Amazône (2:57:53) IX.Les Bagatelles - rondeau (2:58:39) 11e Ordre / en Do / in C I.La Castelane (3:01:06) II.L’Etincelante ou la Bontems (3:02:38) III.Les Graces Naturéles (3:03:29) IV.La Zénobie (3:05:04) V.Les Fastes de la grande et ancienne Mxnstrxndxsx / 1er acte (3:07:13) VI.Les Fastes de la grande et ancienne Mxnstrxndxsx / 2e acte (3:07:54) VII.Les Fastes de la grande et ancienne Mxnstrxndxsx / 3e acte (3:09:03) VIII.Les Fastes de la grande et ancienne Mxnstrxndxsx / 4e acte (3:09:31) IX.Les Fastes de la grande et ancienne Mxnstrxndxsx / 5e acte (3:11:01) 12e Ordre / en Mi / in E I.Les Juméles (3:12:13) II.L’Intîme - courante (3:14:17) III.La Galante (3:15:24) IV.La Coribante (3:16:18) V.La Vauvré (3:17:31) VI.La Fileuse (3:18:20) VII.La Boulonoise (3:19:49) VIII.L’Atalante (3:21:21) LIVRE 3 / BOOK 3 13e Ordre / en Si mineur / in B minor I.Les Lis Naissans (3:22:26) II.Les Rozeaux (3:24:24) III.L’engageante (3:26:42) Les Folies Françaises ou les Dominos I.La Virginité sous le Domino couleur d'invisible (3:28:14) II.La Pudeur sous le Domino couleur le roze (3:28:47) III.L’Ardeur sous le Domino incarnat (3:29:25) IV.L’Esperanœ sous le Domino vert (3:29:58) V.La Fidélité sous le Domino bleu (3:30:23) VI.La Persévérance sous le Domino gris de lin (3:31:08) VII.La Langueur sous le Domino violet (3:31:43) VIII.La Coquéterie sous diférens Dominos (3:32:35) IX.Les Vieux Galans et les trésorieres suranées sous des Dominos pourpres et feuilles mortes (3:32:53) X.Les Coucous bénévoles sous des Dominos jaunes (3:33:42) XI.La Jalousie taciturne sous le Domino gris de maure (3:33:58) XII.La Frénésie, ou le Désespoir sous le Domino noir (3:34:45) XIII.L’âme-en-peine (3:35:16) Quatorzième Ordre / en Ré / in D I.Le Rossignol en amour & Double (3:38:13) II.La Linote éfarouchée - Rondeau (3:41:34) III.Les Fauvétes Plaintives (3:43:00) IV.Le Rossignol vainqueur (3:45:00) V.La Julliet - Rondeau (3:46:53) VI.Le Carillon de Cithère (3:48:15) VII.Le Petit Rien - Rondeau (3:50:34) 15e Ordre / en La / in A I.La Regente ou la Minerve (3:51:53) II.Le Dodo, ou l'amour au Berceau (3:54:09 III.L’Evaporée (3:56:59) IV.Muséte de Choisi (3:57:48) V.Muséte de Tavemi (3:59:28) VI.La Douce, et Piquante (4:00:32) VII.Les Vergers Fleuris (4:01:30) VIII.La Princesse de Chabeüil ou la Muse de Monaco (4:03:06) 16e Ordre / en Sol / in G I.Les Graces incomparables, ou la Conti (4:04:19) II.L’Himen-Amour (4:06:06) III.Les Vestales - Rondeau (4:08:44) IV.L’Aimable Thérése (4:11:35) V.Le Drôle de Corps (4:13:05) VI.La Distraite (4:15:07) VII.La Létiville (4:16:29) 17e Ordre / en Mi / in E I.La Superbe, ou la Forqueray (4:17:28) II.Courante (4:19:22) III.Les Petit Moulins à vent (4:20:33) IV.Les Timbres - Rondeau (4:21:23) V.Les petites Chrémiéres de Bagnolet (4:24:09) 18e Ordre / en Fa / in F I.La Verneüil - Allemande (4:25:10) II.La Verneüilléte (4:27:05) III.Sœur Monique - Rondeau (4:27:53) IV.Le Turbulent (4:30:35) V.L’Atendrissante (4:31:26) VI.Le Tic-Toc-Choc, ou les Maillotins (4:33:07) VII.Le Gaillard-Boiteux (4:35:09) 19e Ordre / en Ré / in D I.Les Calotins et les Calotines, ou la Pièce à tretous (4:36:54) II.Les Calotines (4:37:56) III.L’Ingénue - Rondeau (4:38:49 IV.L’Artiste(4:41:36) V.Les Culbutes Jxcxbxnxs (4:43:17) VI.La Muse-Plantine - Rondeau (4:44:35) VII.L’Enjouée (4:46:38) 20e Ordre / en Sol / in G I.La Princesse Marie (4:47:55) II.La Bouffonne (4:49:33) III.Les Chérubins ou l'aimable Lazure (4:50:23) IV.La Croûilli ou la Couperinéte (4:51:49) V.La fine Madelon (4:54:25) VI.La douce Janneton (4:5537) VII.La Sezile (4:56:53) VIII.Les Tambourins (4:57:59) 21e Ordre / en Mi mineur / in E minor I.La Reine des Cœurs (4:58:53) II.La Bondissante (5:00:48) III.La Couperin (5:01:38) IV.La Harpée (5:03:09) V.La petite Pince-sans-rire (5:04:43) 22e Ordre / en Ré / in D I.Le Trophée (5:05:56) II.Le Point du jour - Allemande (5:07:40) III.L’Anguille (5:08:54) IV.Le Croc-en-jambe (5:10:17) V.Menuets Croisés (5:11:19) VI.Les Tours de passe-passe (5:12:28) 23e Ordre / en Fa / in F I.L’Audacieuse (5:13:44) II.Les Tricoteuses (5:15:54) III.L’Arlequine (5:17:00) IV.Les gondoles de Délos (5:17:41) V.Les Satires (5:22:18) Livre 4 / Book 4 24e Ordre / en La / in A I.Les Vieux Seigneurs - Sarabande grave (5:24:14) II.Les jeunes Seigneurs / Cy-devant les petits Maître (5:26:15) III.Les Dars-homicides (5:27:46) IV.Les Guirlandes (5:30:09) V.Les Brimborions (5:35:12) VI.La Divine Babiche ou les Amours Badins (5:37:10) VII.La Belle Javotte, autrefois l'infante (5:39:15) VIII.L’Amphibie - Mouvement de Passacaille (5:40:07) 25e Ordre / en Do / in C I.La Visionaire (5:46:19) II.La Misterieuse (5:48:27) III.La Montflambert (5:50:26) IV.La Muse victorieuse (5:51:38) V.Les Ombres Errantes (5:52:51) 26e Ordre / en Fa dièse / in F sharp I.La Convalescente (5:54:54) II.Gavotte (5:57:06) III.La Sophie (5:58:07) IV.L’Epineuse - Rondeau (5:59:37) V.La Pantomime (6:03:37) 27e Ordre / en Si mineur / in B minor I.L’Exquise - Allemande (6:05:33) II.Les Pavots (6:07:13) III.Les Chinois (6:10:01) IV.Saïllie (6:11:41) L’Art de toucher le Clavecin Premier Prélude (6:13:02) Second Prélude (6:14:00) Troisième Prélude (6:15:19) Quatrième Prélude (6:16:04) Cinquième Prélude (6:17:36) Sixième Prélude (6:19:50) Septième Prélude (6:21:12) Huitième Prélude (6:23:59) Allemande (6:25:11) Piano : Pierre Etcheverry Recorded in 2006 at Doubs, France Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr *PRESENTATION COMPLETE : VOIR CI-DESSOUS.* Louis & François Couperin PLAYLIST (reference recordings) kzbin.info/www/bejne/Z6LKiI2ufr6FfMU

[@classicalmusicreference]

François Couperin (1668-1733) Livres de Pièces pour Clavecin au piano : 27 Ordres / Orders *Click to activate the English subtitles for the presentation* (00:00-03:42) Surnommé "le Grand" en raison de sa maîtrise exceptionnelle de l'orgue, François Couperin est le membre le plus illustre d'une grande famille de musiciens et est considéré comme l'un des plus grands compositeurs français de son temps. Les Pièces pour clavecin restent son œuvre maîtresse et un des sommets de la musique tonale pour clavier. Ami de Delalande, Couperin s'affirme d'abord dans la tradition française mais est bientôt influencé par l'Italie notamment Albinoni et Corelli. Sa période de maturité se caractérise par une fusion des styles français et italiens. Le style d'écriture de Couperin repose sur la basse continue avec un mode d'ornementation inventif, dans le style galant de l'époque. La parution de son premier volume de Pièces pour clavecin annonce la dernière période de sa vie qui est la plus prolifique, exclusivement consacrée à la musique instrumentale, domaine où il s'est particulièrement distingué. Des ennuis l'obligent à céder ses charges. Il meurt dans l'indifférence publique et son œuvre tombe dans l'oubli. Redécouvert par Brahms, il doit à Wanda Landowska sa résurrection. Pierre Etcheverry : « Les quatre livres et préludes pour clavecin de François Couperin (1668-1733) représentent sans doute la part la plus intime de son œuvre. Les titres des pièces restent souvent énigmatiques. Portraits, dédicaces ? La littérature musicologique a proposé de nombreuses interprétations mais aucune certitude. Les sujets mythologiques, parodiques sont certainement plus aisés à cerner ainsi que le bestiaire couperinien qui nous entraîne dans une poésie en quelque sorte plus concrète. Des miniatures qui ne doivent pas nous faire perdre de vue l'Ordre les reliant - unité tonale dans un même Ordre (majeur/ mineur) et certaines parentés motiviques (certes très discrètes) pouvant alors constituer un parcours cohérent. Le mot Ordre marque une différence avec le mot Suite très fréquemment utilisé à l'époque. Pur souci d'originalité ? La concision de certains Ordres est impressionnante alors que d'autres (ex. les deux premiers) s'apparentent à la suite (simple compilation de danses). Je comparerais volontiers chaque Ordre à un diamant brillant de plus ou moins de "facettes", une œuvre ouverte que le compositeur se refuse à nous livrer clé en main. Musique mouvante, ductile et essentiellement poétique. On a parfois tendance à séparer les quatre livres de clavecin du reste de son œuvre. Il n'en est rien. Couperin orchestre volontiers son clavecin, en le colorant ici d'une texture flûtée, ailleurs d'une viole de gambe quand ce n'est pas l'orchestre lulliste tout entier. N'oublions pas l'organiste qu'il fût pouvant se retrouver aisément au clavecin, et viceversa. Le fétichisme instrumental n'existait guère du temps de Couperin. Il m'a semblé naturel depuis toujours de jouer son oeuvre au piano; l'instrument moderne (Steinway) ayant l'avantage (entre autres) de traquer toute la versatilité du discours couperinien. » Louis & François Couperin PLAYLIST (reference recordings) kzbin.info/www/bejne/Z6LKiI2ufr6FfMU Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel PAINTED. Discover and Empower classical music Artists all around the World ! kzbin.info/door/TdFciYWomCnjgKtOT6idXg

[@alainspiteri502]

In fact j don't known if those pieces are writen for : Clavicorde - piano forte or Clavecin ; to day it's the Steinway of course ; Wanda landowska recorded J S Bach on clavecin if j remember 1960' j have

[@bulehbuleh1440]

@@alainspiteri502 Couperin wrote exclusively for the harpsichord, the French word for harpsichord is "clavecin", the clavichord is a different instrument entirely, and has a different mechanism (harpsichords pluck, pianos strike, and clavichords strike, but the hammer remains pressed to the string, unlike a hammer on a piano, which immediately falls back). "Cembalo" is another term from that era that essentially means "any keyboard instrument", but in practice was virtually always the harpsichord. Wanda Landowska, an early promoter of historically accurate music, tried to recreate the harpsichord by essentially replacing the piano's keyboard with a harpsichord's mechanism,but the remainder of the piano's steel frame etc. were unchanged, so not accurate per se, though she did help spur the modern movement of historically accurate interpretations on historical instruments. Search KZbin for Robert Levin's lectures on historical keyboards and performance, really good stuff!

[@alainspiteri502]

@@bulehbuleh1440 thank's very much to write about mecanisme- Keyboard very interesting for me ; it's possible TO TRY j repeat to try only to play on the piano with a hard-sonority of old keyboard to try only ! Thank's very much Cordialement à vous

[@רותיסוקולוב]

ררר

[@paultah1]

It's amazing. Always wanted listen to complete keyboard music of Couperin and Rameau on modern piano. Here it is 6.5 hrs.

[@richardrickford3028]

I come to Couperin because I have read how much Thomas Ades loves him and has been influenced by him. I find the music on this recording very beautiful and also ruthlessly adventurous. I can now understand why Ades says one of the things he really likes to do in his leisure time is to sit at the piano and play Couperin. The most important thing is to enjoy this music in its own right but I think it has taught me a lot about Ades too and what he is getting up to.

[@weric8219]

Quel incroyable cadeau vous nous faites... Autant de travail offert à tous pour découvrir et apprécier cette oeuvre. Une très belle sensibilité, un magnifique grand moment de musique. Merci.

[@Musicaesabedoria]

Fantastique! Formidable et très agréable écouter le pianist aussi comment savoi un peu de Couperin. Bravo Pierre! 👏👏👏

[@shin-i-chikozima]

These performance are where my soul rests

[@bluebird5361]

Thank you. This is other-worldly, which in this world is a soothing thing.

[@excelsior999]

Well said.

[@weric8219]

What an incredible present you give us. Such an amount of hardwork puted here for everyone to listen. A wonderful sensitivity, a great moment of music. Thanks.

[@bentewindelboe1806]

Så fint beskrevet

[@planet_earth_2023]

► 25:57 ♥ 26:26 ♥ 52:19 ♥ 53:02 ♥ 1:10:02 ♥ 1:25:34 ♥ 1:25:45 ♥ 2:10:43 ♥ 2:18:54 ♥ 2:22:13 ♥ 2:22:24 ♥ 2:22:50 💗3:04:02 ♥ 3:27:46 ♥ 3:33:58 ♥

[@mariandrake]

Thank you for your beautiful playing and for your generosity to share with KZbin piano fiends like me. I love Couperin, and have a CD of his harpsichord music, too.

[@Jimmy-pr3kh]

I'm loving every minute of this. 😍

[@alvarogaleano7863]

Extraordinarily beautiful. Couperin on piano sounds great too. ¡Thanks!

[@getulioferreira]

Merveilleux.

[@nodepe]

Classical Music/ /Reference Recording, you have posted yet another carefully selected and stunning performance! Several hours after its release it already has 477 viewers. You have quite an army of devotees (including me), Classical Music/ /Reference Recording! Thank you!

[@classicalmusicreference]

We are happy to count you among our subscribers :-) Thks !

[@fernandofernandezgar]

Absolutamente maravilloso. La versión en piano moderno mejora, aún mas, la obra de Couperin. Gracias y felicitaciones por el extraordinario trabajo que se hace en este espléndido canal.

[@classicalmusicreference]

Obrigado Fernando por nos seguir tão regularmente :-)

[@jasg7550]

No conozco mucho de Couperin, pero estas magníficas grabaciones, con un muy buen sonido, son para mi una revelación, Gracias mil veces por subir estas bellezas.

[@pedrosalinas992]

¡Grandioso! Increíble desborde inconmensurable de belleza barroca, magistralmente interpretado.

[@ЮрийОтрепьев]

От этого тонкого и филигранного исполнения Пьером Этчеверри на полнозвучном рояле музыка Франсуа Куперена расцвела полными оттенками нежнейших пастельных тонов Рококо! Сердечнейшие благодарности исполнителю и выложившему эту запись!... 👍👏

[@senpengeu]

When I play Couperin on the piano I often omit most delicate ornaments. Yes I know ornaments are essential on claviers and in Couperin's music. But on piano sometimes a pure melody with simple harmonies works much better, as the acoustics of piano is very different from that of a clavier and too many ornaments on the piano may blur the music. Also fewer ornaments may leave more space for imagination. Hope that there will be some bold pianist who may deliver such a piano version. Anyway thanks for this version --- I like Couperin's clavier pieces very much, they are so simple and elegant.

[@melindalemmon2149]

I once felt that way. Now, the ornaments feel no less than perfectly simple, and essential to Couperin.

[@alainbrochet3120]

À l'origine cette musique était destinée au clavecin et ces "ornements" conviennent mieux à cet instrument, vous avez certainement raison.

[@ronaldsanjuan8174]

Agreed. So many ornaments got me dizzy. Lol

[@weiliu7319]

Let me say the obvious: please don't play these music. They are not for you.

[@rsjmd]

Interesting point regarding ornaments possibly blurring the music. That has never occurred to me, and, thinking about it, I don't think I could agree, although I'd love to hear some A/B versions of some of the classics done with or without them, if only to judge for myself. Thanks

[@Eric-ch9yu]

Une merveille.

[@류순열-h6i]

아름다운 피아노 연주곡 잘 들었읍니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤

[@Arteshir]

PHENOMENONALITY 🎉🎉 👏 👏 👏 👏

[@AloysiusEmanuel-.-]

Belíssimas composições!

[@vitoroliveirajorge368]

Une merveille

[@lorentebondelarsen]

Maravilloso... Mil gracias! 🌞🌞

[@LaTesea]

Maravilloso canal. Perfecto para mi sensibilidad❤️❤️❤️. Miles de Gracias 👏🏽👏🏽👏🏽👏🏽

[@classicalmusicreference]

muchas gracias. Disfruta :-)

[@excelsior999]

Formidable!

[@Arteshir]

Great job my friend 👏 👍 👏👏👏

[@parkch1123]

I always listen well Thank you

[@gabrielnoriega3767]

LOVE IT!!!

[@christianrenaud-dit-louis402]

Couperin🎶Etcheverry 🎵 Clavecin 🎵 Piano 🌞J o l I s 🌻 d u o s 🎹

[@thomasc390]

Waouh! Thank you!

[@seamushealy1535]

. . . Waouh? what language is that word?

[@thomasc390]

Again, thank you! 🏵

[@petbent9946]

Excelente

[@dejanstevanic5408]

Thank you.

[@alvarogaleano7863]

¡Very beautiful! ¡Thanks!

[@omaryamil2778]

Pinceladas melodicas cortas,delicado ornamento,muy expresivo .me gusta en el piano

[@giorgiodebastiani8617]

Grande

[@Nodalema]

Wow!!

[@alainspiteri502]

Couperin- Khulau - Clementi Haendel - Czerny - Scarlatti- - Karl Emmanuel Bach and his father J S Bach : the names known names by all very young student pianists ( before ten years old )

[@excelsior999]

Correct. More than a few students, however, wish that they had never heard of Cherny or Clementi - if you know what I mean.

[@excelsior999]

Czerny.

[@LuisEPulgarMatos]

Bellísimas piezas

[@mantictac]

If Couperin were given a piano I'm sure he would have played it. The only practical difficulty with playing on the piano is that the ornaments require a lot of force to play at a decent volume. Regardless of the instrument however, this is an _extremely_ modern performance.

[@usaroman]

Couperin music reminds me of the Salieri's scene in the Amadeus movie where he presents the king with a composition of his only to be ridiculed by Mozart.

[@КириллЧибисов-г2у]

💎

[@poplife123]

I gave up playing Couperin et al on piano and invested in a harpsichord.....its the subtleties you just can't get on the piano no matter how hard you try .....

[@couperino]

Superbe ! L’engageante (3:26:42) aurait put etre du Duphly !

[@canman5060]

There is a way to make the modern grand piano to sound 'Couperin' in one of his best known Lic Tic Doc Choc. You put some weight on the piano strings to be played to lessen the broadness of sound but take care not to snap the strings !

[@ezzovonachalm7038]

Jai eu la chance de disposer d'un piano à CADRE DE BOIS, absolument merveilleux pour jouer la musique pour clavecin, car le cadre en bois atténue les vibrations metaliques, mais pas la pureté du son !

[@excelsior999]

If you have not heard "Le Tic Toc Choc" played by Grigory Sokolov you must do so immediately. (It's on YT.) I am not a keyboard player, but since Couperin wrote the piece for a two-manual harpsichord I always assumed that when it is played on a pianoforte the pianist has to "cheat" a little bit, maybe by leaving out a couple of notes so as not to cause a finger "traffic jam." Would you happen to know?

[@canman5060]

@@excelsior999 Maybe I try with only 2 fingers !!

[@canman5060]

@@ezzovonachalm7038 Bon idee. Je peut essayer !!!

[@canman5060]

@@ezzovonachalm7038 Oui ! Bonne Idee.

[@stefanomadrau3683]

I'm in heaven

[@giovannicossu430]

Couperin fine d epoca chi verra dopo.

[@HarpsichordVinylGallery]

"Century's Recoding"? Yes François Couperin played on the piano is like Debussy on the electric guitar. Maybe it fills the need as background in a candle light restaurant, an elevator or a supermarket

[@classicalmusicreference]

you're back :)

[@HarpsichordVinylGallery]

@@classicalmusicreference Sorry I went through the ceiling when I prepared myself to listen to François Couperin. It might be a good exercise to train reflections and mental strength :-) BWT You have a good memory ;-)

[@classicalmusicreference]

@@HarpsichordVinylGallery :-)

[@canman5060]

@@classicalmusicreference If you have a chance to listen to the many harpsichord music upload on Harpsichord Vinyl Gallery. They are great and such a great variety of harpsichord sounding.

[@canman5060]

@@classicalmusicreference He is an expert on harpsichord.

[@labananiere]

Omage à SCOTT ROSS..... Scott Ross un des claveciniste du siècle, château D'Assas Hérault

[@excelsior999]

Harpsichordist/organist Scott Ross was incredible. Everyone who likes Baroque music should listen to his classic recordings, most of which are on YT, which also has the one hour French film about him. It is truly amazing how much he accomplished during his 38 years on this earth. I never met Scott Ross but I miss him. I feel that I got to know him through the music that he left behind.

[@МихаилМатюхин-ш3ъ]

Благодарю

[@classicalmusicreference]

с пластиком :-)

[@AEPMUSlC]

Imagine clicking on a video named "Couperin works on piano" only to shit on the musician for not playing with the intended instrument. While I for the most part do prefer harpsichord for these works I think it sounds fine and the pianist plays very articulate with nice interpretations.

[@canman5060]

I still prefer Couperin to be played on clavichord or harpsichord rather than modern piano.

[@classicalmusicreference]

We can understand, we love them both :-)

[@Astor962]

@@classicalmusicreference It is not possible to love two such contrasting visions. The modern piano destroys the delicate texture of these suites. This is not Couperin, this is an easy listening version for an unwary and unprepared audience.

[@classicalmusicreference]

@@Astor962 We don't agree with you. But we do not seek to debate because you have already demonstrated your inflexibility on another occasion. If you don't like it, then don't listen.

[@Astor962]

@@classicalmusicreference I take great care not to listen to this disgrace. When someone makes a music channel entitled Reference Recording, he should pay attention to what is going to post, avoiding such poor versions that do not do justice to the work of the composers. Music is a serious discipline and not a matter for improvised divulgers.

[@classicalmusicreference]

@@Astor962 We may have mistaken you for someone else. If that's the case, we're sorry. Yes the music is serious : kzbin.info/www/bejne/hpWyZnSIj8qDjs0

[@gracet.1883]

At what number is Berceuse (cradle song) - Classiques No. 27?

[@dahye.jeong.klavier]

53:56

[@bentewindelboe1806]

Det er utroligt hvad man kan få af vidunderlig musik ud af sin mobiltelefon

[@Cantbuyathrill]

That's a lot of trills, to a point that they just get in the way of concept development and tire the ear.

[@dahye.jeong.klavier]

8:26

[@ezequielstepanenko3229]

Baroque music plus piano always produces great results

[@excelsior999]

Actually, most people who know about Baroque keyboard compositions would disagree with you, but hey - "Whatever floats your boat." The main thing is that you enjoy it, which is great.

[@ezequielstepanenko3229]

@@excelsior999 yes, who cares what so called "experts" think. Baroque composers wrote for most available instruments of their time, if they would've had pianos available they would compose for it too

[@excelsior999]

@@ezequielstepanenko3229 That's debatable.They would have witten differently for the piano. Can you imagine Debussy writing his keyboard works to be played on a harpsichord?

[@huyhoang8265]

chào buổi sáng an lành giàu có

[@fransmeersman2334]

A marvellous,upload, pity I can't get the presentation for whateverr reason. I clickes on 00.00. In any case thank you very much.

[@classicalmusicreference]

First you have to activate the subtitle icon :-)

[@fransmeersman2334]

@@classicalmusicreference Thank you, it works.

[@bentewindelboe1806]

Jeg har ikke ord, men hvor er det smukt

[@95tupolev]

I think I could have enjoyed this if a french, modified meantone has been used.

[@Cantbuyathrill]

I love the pretentious name given to each work, the latter hardly descrptive of its appellation.

[@peacemaker7645]

I have news, i am not sure if it is good news or bad news - for me there is no new things in life - i think no one can create new things - maybe it is good news, because maybe new things can be more harmful than the old things, who knows ?! 🤔

[@antoniovandoni5410]

El intérprete es muy bueno pero entre otras cosas la ornamentación barroca pierde su brillo en un piano y están ausentes los recursos del clave en cuanto a registros, F. Couperin hacía un variado uso de los registros del clave.

[@juanpablovelez7656]

Why don't you choose historically informed performances/recordings for this repertoire?

[@excelsior999]

@@ymaysernameuay1113 I think that many people who don't like historically-informed performances have never taken the time or made the effort to learn more about them. Nonetheless, I am glad that such people enjoy the music.

[@jeanpierre7203]

@@ymaysernameuay1113 Très drôle !

[@watching7650]

So-called historically correct playing has its interest. Mainly as a history lesson; sometimes -- but by no means always -- because it fits better the music itself according to one's sensitivity. But then, instruments and techniques are by definition nothing else than the best means available at a given time to musical invention. Later improvements often reveal a lot of things that were like hidden by the straitjacket of the old means. Also, what we know of historically-informed performances is only hypothetical, like all reconstructions. We may well be wide of the mark sometimes.

[@labananiere]

Pourquoi dénaturer Couperin avec le piano, pourquoi pas Ciuperin en jazz?

[@ezzovonachalm7038]

Couperin avec le piano : Couperin sans casseroles !

[@excelsior999]

Back in the days when people were allowed to go to concerts one of Yuja Wang's favorite encore pieces was a jazz/pop "version" of Mozart's "Rondo alia Turca. Mozart does not need to be "re-imagined" by someone with considerably less imagination the Master. She is undoubtedly very talented, but I have to wonder if this woman has any taste at all, especially since she chooses to drees like a pianist working in a second-rate cocktail bar.

[@gareauxmorilles8944]

@@excelsior999 It's been a long time since a sexist and racist dusty old pervert had expressed his unhealthy interest in this talented and lovely young female pianist's outfits. I thought they were all dead!

[@excelsior999]

@@gareauxmorilles8944 Just give it a few more years and I'll probably be out of here, just in time for me to escape the Brave New (Globalist) World which is right around the corner.

[@gareauxmorilles8944]

@@excelsior999 Prepare for the worst in the afterlife with all these damned female souls walking around naked in the flames of the underworld.

[@labananiere]

Couperin au piano, c'est faire du vélo sur le periférique, Bach très souvent massacré au piano, maintenant Couperin prends sa roue, dommage./

[@excelsior999]

Exactemente.

[@ydesdev1]

C’est pas vrai pour tout Couperin quand même. Les Barricades Mystérieuses au piano ça reste quand même assez incroyable par son intemporalité dans l’harmonie et on ne peut s’en rendre compte qu’en passant par le piano.

[@francoisfiniels9898]

Je pensais comme vous (et je continue à préférer le clavecin). On "fait corps" avec le clavecin, on sent la corde au bougt de ses doigts comme sur un luth ou une guitare , au piano on "frappe" ; les ornements au piano sont "lourds", au clavecin ils sont aériens ou accrochent davantage. Quelle aurait été l'attitude ce Couperin devant un piano ?

[@Ari-je3zu]

French Baroque Music never sounds well at the piano.

[@petrusllorenz1505]

On piano ??? NO PLEASE I dislike. I prefer OF COURSE HARPSICHORD OR CLAVECIN...

[@mantictac]

WHY DO YOU capitalize like this IN RANDOM words?

[@ymaysernameuay1113]

@@mantictac boomers

[@excelsior999]

@@mantictac I don't onsider them to be random. They certainly got YOUR attention.

[@josephcambron7060]

Couperin works for piano should be a blank disc.