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Preface concerts royaux - couperin

Preface concerts royaux - couperin

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Published by: 1rEn3 on Jun 14, 2010
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09/08/2010

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FRANCOISCOUPERIN
Les Goüts-Réunis
Nouveauxoncerts
Volume /BandI
for Flute/Oboe/Violin(FluteI/OboeIllViolinII adib.)andBassoContinuo
flir Flóte Oboe Violine(F1óteIlOboeIl/ViolineII ad ib.)undBassocontinuo
Preface
by von
DavidLasocki
Volume/BandIv-Vlll MR 18324Volu¡neI / Band I IX-XI.XMR 1832bVolumell / Band II X. XIT,XIII MR 1832c
ou
BREITKOPF&HARTEL
WIESBADEN. EIPZIG.PARIS
MUSICARARA
MR 1832a
Printed n Cerm¡ny
 
Contents/Scoring
Volumel-MR1832a
V for Flute/Oboe/Violinnd Basso ontinuoVlfor Flute/Oboe/ViolinndBasso ontinuoVll forFlute/Oboe/ViolinndBasso ontinuoVlll for Flute/Oboe/Viol¡nnd Basso ontinuo(Flute/Oboe/Violinl ad ¡bitumMovement
D
Volumel-MR 1832b
lX forFlute/Oboe/ViolinndBasso ontinuoX for Flute/Oboe/Viol¡nndBasso ontinuoXl for Flute/Oboe/ViolinndBasso onlinuoXIVfor Flute/Oboe/Violinnd Basso ontinuo
Volumell-MR1832c
XxtlPlaint€or3Violas a Gamba/Violoncellos/Bassoonslor 2 Violas a Gamba/Violoncellos/BassoonslBasso ontinuo d¡bitumMovement)Xlllfor 2 Violas a Gamba/V¡oloncellos/Bassoons
 
This ¿d¡tionhas beeñpreparedro¡racopyof the or¡ginatprintedédit¡on¡n rhe Bibtioth¡queNationate,¡ris{Vml1870ent¡tled:Les Goits{áüni!/ou/NOUVEAUXCONcEFTS/át'usas€de toures le_sortesd,¡nstrumensde l\¡ls¡que/ausmentésd'uñesrandeSoñade enTrio./tNTtTULÉE/Leparnasso/ou/L,APOTHEOSEDE CORELLI./Parl[4onrieurCouperin/Orsanistee taChapeédü ROy;ordinaire de lall4usiquede laChambre de sá I¡AJESTE;cvdevant/professeuFmaitreeComposirion, étd'accompasneñent de/feuMONSEIGNEURLE DAUPHtN Duc deBoursosn€/eractuellementmáiire de l'INFANTE-BElNE./Prixt5 tr. en bta¡c./ApARtS/Chez L'Auteur,au coinde la rue neuve des bons Enfans,prochetaptacedesVictoires/Le Sieur BOIVINá lá resled'or, rub St. Honorá, vis;vis ta rue des Eourdonnois/AvecPri\ilégedtrtoy./t724.The relevantportionofCouperintprefáces¡sfottows(mytranstat¡oñ):Thetitle of this new booklofp¡eces]serves otonty to distinguish t fromthosehavealreadypublished,but aho toshow the diversity of expressionouwjttf¡nd co ected n it.Theltalian styleand theFrenchstyle havesharedhe Repubticof tüusicinFrance}foralongtime. For rnyself,I havealwaysputvalue on th¡ngs rhat shouldmerit it, w¡thoutregard orthe composeror nat¡on. And the firrtltalian sonsrashat aooearedn Pars morethan th¡rtyyearsago, andrhat encouragedm€ to composeomeafterwards,omv minddidwrongo noone, neirhero the works of Lulty, nortothoseof rryancéstors, hich wilt atwaysbe moreadmirable han imitable.Thus by a r¡ght thatgiv€sme my neutratity, alw¿ys ¿ilunderhehappyauspiceshathaveguidedme untit now.lCouper¡n hus draw'attentionto the twoJold t¡rle ofthep¡eces-Les coirs-.4n¡iou Nouveauxconcé.6. Theconcartsare new ¡ñthat they ar€ a continuationof the four Concerbroyaux hepubtishedwoyearsprev¡ousty21hisisshownfurtherbythe number¡ngof thepres€ntworksasCoocartr¡ve to founeen)jand rh€y atso r€presentnattemptto reconcileheFrenchsryteand rhe ttatian styteof compos¡tion. An exceent discussionfthk re-conciliationof styles,aswellasd¿iailedco-mmentsn borh Concéns oyáüxand Nouvéauxconcc.t¡,wi befoundin Wilfrid[4ellers's ookon the composer.rAlthough rhe Frenchword concerrusu¿ymeans oncerto, n this case tsign¡fies concertedmusic indance ormscoredoran enssmbleroup..........Compos€d osofteñ and swoeten heKingt melancholy,hey áre conceivedn a eryte more Frenchhan ttatian..........one he tessheñus¡cthrouahout..........ndicates ow deeplyCouperin'sFrenchd¡orn s mpregnatsdwith tr3¡ianism.,,4ThetitlepageoftheNouveauxoncert3rateronty that theyare"forthe useof a sonrofmusicatnstrum€nts.,,betterclueo¡nstrumentationsprovid€dn heprefaceo the Concétü roy¡ux(mytranslation¡.Thep¡eces..........areuitable not only for¡heharpsichord,ut atso orthev¡otin,tute, oboev¡olada9amba,nd basoon.I composed hem forthetitttechamber onceGro which LouhXIVsummonedmealmosteverySundayof th€y€ar.Thesepieceswereperformedbv Duvát,Philidor,Alarius,and Dubois(l playedh€ harpsichord).5With rhe exceptionof the secondmovemsntof the e¡ghthconcort, he thkd movernentf the tenth conceÉ,and hetwelfth and th¡.teenthconcérts.heNouveauxcorc€rtsaresetout ¡n two staves nd may beconvenienttyerform€dontheharps¡chordshey stand.oBut Couperinsays hat they are ako suitabte or violin,ftute, obos. v¡otadagamb¿,dnd bassoon.hevirtuosiwhooriginallvpelormedthepieceswith him st courtwere heviolin¡stFranqoisOuvalorVal,' rhe obo¡rtand ba-ssoonistndráDanicánPhit¡dor,6heviotadagambaptayerAtariusor H¡taireVertoq€,andthe t¡assooñistDubois.g"The idealarrangemenrwoutd thusseem o be for two srr¡ns€d nstruments,wo wrndanstrum€nts,nd bassocont¡nuo-the strings ¡nd windptavinge¡ther tog€theror att€rnatety.Th€ choico of¡nstruments houlddependon the expressiveu¿litiesofthemovementnquestion."l0Dur¡ngCoup€rin,s ifet¡methe choice of woodwind¡nstrumenrwouldalsohavedependedonthekevof the movem€nt:heftutewasmostathome¡n the regionof¡$ hom€key, D rna¡or;he oboe was more coñlortabte inkey signaturss f fromone o threeThe secondmovementof theeighthconce(isset out¡n triosonataexture for two treble ¡ñstruments. he ed¡torsuggestshat it may beomittedát the dircretion of theperformers.The thifd movementof the tenth concert ¡s aPla¡nte "for violas dagambaor oth€r unison instruments." Thepartsare mark€d "t.ere Viole¡"2.eme V¡olé4¡and" Basse, a s accords," hat is, or two víolasdagámbaand a bass nstrument only.ln th ¡sedition ¡t¡spresentedorthr€€ violas dagambaor violoncollosor bassoons. he tw€lfth conc.rt k "for two violasdagambaor other unisoninstruments."Asain, a choiceofviolas d¿q¿mbaor violoncellosor b.$oons ispres€ntednthisedit¡on. The firstmovementhas a basso ontinuo, but we are warned hat "althoughyoucould add an accompániment f harpsichordor theorbo to th¡s concert, ¡t w¡ll alwaysbe best or two violasdagambaor similar inrtrumentsw¡thout anythingfunher."rrSurpris¡ngly, nepassageas bass ¡guresalthough ¡t ¡s clearly markedunaccompan¡ed.spaeragesenclos€d n brackets n this edit¡on. Th€thirteenthconcért s for "two unison ¡nstrum€nts," he clefsernployed gainimplyins a cho¡ceof viola, daqamba,ioloncellos, r bassoons.

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