François Couperin - Concert royal no. 4 (1714) (Les Timbres)

[@Lucygeno]

simply beautiful!!! thanks for share this music and its score

[@cadenzalien4554]

My day is automatically better when Cmaj7 uploads Couperin.

[@chunR]

😄

[@Whatismusic123]

instead of some modernist trash

[@martineslava8642]

I’ve known these pieces for over a decade now. They bring great joy no matter what season. At the end of the Forlane in the Savall recording, there’s a transcendental “woosh.”. Thanks!

[@millennial8441]

The "Sarabande" (07:33) is the climax of the beauty. I get emotional. Couperin was accompanied by an spirit when was written this movement. This beauty is supernatural, it is not an earthy one.

[@fabriziomassicci660]

Totally agree

[@the-art-of-organ-playing]

Wow. I'm amazed at the beauty of these movements!

[@Alex_LionComposer]

A firm favourite of mine, the Forlane is fantastic!

[@filmscorefreak]

The Sarabande is gorgeous. And i love the Rigaudon that follows it. Love all of this music.

[@Cmaj7]

This is an absolutely beautiful piece, especially the sublime Sarabande and Forlane. Be sure also to listen to the Jordi Savall recording (on S.P.'s channel kzbin.info/www/bejne/iJ7HnXymj6eop9U ). The interpretations are very different, but each wonderful in their own right. The Les Timbres recording here is warm and intimate, while the Concert des Nations recording goes for a more rigorous and powerful approach.

[@danyelnicholas]

I would describe Savall as savage compared to this beautiful, charming rendition. Even if Savall’s rather crude approach had any merit whatsoever, certainly for this utterly subtle and understated music, he is inapt.

[@NerdsIsPown]

So interesting, you can really hear Ravel's Prelude in Allemande. I had no idea the influence for Le Tombeau was so direct.

[@mr.boogerbutt6667]

Same for the Forlane!

[@ana-ch3ie]

This the most underated concert of couperin

[@j9rq560]

how do read the key signature? Is it two sharps?

[@Cmaj7]

It's equivalent to modern day E minor. The practice at the time was to write the key signature accidentals on all octaves. (Also accidentals carried through reiterations of the same note, even across barlines, rather than through the measure.)