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François Couperin 8ême Ordre

From his Seconde Livre, ca. 1717, the Eighth Ordre, in b-minor, represents the very best of a composer who bears the predicate "Le Grand" - most deservedly - no questions asked! One can speculate about the 'motivation' and sentiment behind his Huitiême Ordre - this music is serious, sounds like having something to do with grief, sorrow and tragedy - even personal, perhaps, who knows? The disposition of movements is rich, grandiose and profound: Two Allemandes, representing an exquisite French 'gravement' and an Italian 'legére' - actually mocking the Ausoniéne for a certain shallowness, despite the dark tessitura - willfully 'wrongly written' articulations and ditto cumbersome ornamentation. The two Courantes, not lacking anything - just perfect - segway into a truly unique Sarabande grave, by the same name. The two 'autres gallanteries' - a sad Gavotte, tendrement and a spirited Minuet-en-Rondeau, gayement - leads into the intricate and pointed Gigue. From then on, the heavy, 'marqué' and relentless Passacaille leads us to a destiny-laden, tragic climax. What do we make of the quasi resigned, final 'Gigue' under the name La Morinéte? It ends in a literal nothing - as it 'could have had' a final note that it didn't get. François Couperin's music is painstakingly notated, exactly as the composer intends it to be played - full of tiny, but essential details that cannot be overlooked. We players are obliged to understand his intentions - not only in these carefully crafted details, but also very much in the feel and the hue of his style, the Zeitgeist and 'what is going on' in French music of that time - so much more than a mere inégale. Time-stamps: Prelude 0:00 La Raphaéle 1:54 Allemande l'Ausoniéne 7:18 Courante 9:40 Seconde Courante 11:22 Sarabande L'Vnique 13:50 Gavotte, tendrement 16:20 Rondeau, gayement 18:10 Gigue 19:42 Passacaille 22:00 La Morinéte 28:32 Acknowledgements 30:44 This video was recorded for the 2021 edition of the Bucharest Early Music Festival - for web streaming, substituting a presence, concert hall performance, in lieu of the still threatening Covid-19 pandemic. Played on a double-manual instrument in 'Late-Flemish' style built by Ketil Haugsand in Oslo, 1971. Unequal temperaments - tuning pitch 394Hz. The recording took place at home, in Cologne - No studio or 'professional', broadcast video or audio has been or could be pretended. This is by no means a "TV show", either! Video recorded on a Leica M240P with a Summilux 1,4/35 'AA' lens; Audio on a Zoom H6 with standard stereo microphone; Audio mix in Audacity - Video edit in iMovie. Production: Ketil Haugsand, 2021 - All rights reserved.