F. COUPERIN - Le Dodo, ou L'amour au berceau (Ordre XV) - Simone Stella скачать в хорошем качестве

F. COUPERIN - Le Dodo, ou L'amour au berceau (Ordre XV) - Simone Stella

Simone Stella plays "Le Dodo, ou L'amour au berceau" of François Couperin (1668 - 1733) on a french harpsichord made by Jim Hall and Bruce Kennedy in 2005 after Henri Hemsch. With a special dedication. #baroque #harpsichord #simonestella "Le Dodo, ou L'amour au berceau" is the second piece from the 15th Ordre of harpsichord musics. Couperin's music acknowledged his debt to the Italian composer Corelli. He introduced Corelli's trio sonata form to France. Couperin's grand trio sonata was subtitled Le Parnasse, ou L'apothéose de Corelli ("Parnassus, or the Apotheosis of Corelli"). In it he blended the Italian and French styles of music in a set of pieces which he called Les goûts réunis ("Styles Reunited"). His most famous book, L'art de toucher le clavecin ("The Art of Harpsichord Playing", published in 1716), contains suggestions for fingerings, touch, ornamentation and other features of keyboard technique. Couperin's four volumes of harpsichord music, published in Paris in 1713, 1717, 1722, and 1730, contain over 230 individual pieces, and he also published a book of Concerts Royaux which can be played as solo harpsichord pieces or as small chamber works. The four collections for harpsichord alone are grouped into ordres, a synonym of suites, containing traditional dances as well as pieces with descriptive titles. They are notable for Couperin's detailed indication of ornaments, which in most harpsichord music of the period was left to the discretion of the player. The first and last pieces in an ordre were of the same tonality, but the middle pieces could be in other closely related tonalities. These volumes were admired by Johann Sebastian Bach, who exchanged letters with Couperin, and later by Brahms and by Ravel, who memorialized their composer in Le Tombeau de Couperin (Couperin's Memorial). Many of Couperin's keyboard pieces have evocative, picturesque titles (such as "The little windmills" and "The mysterious barricades") and express a mood through key choices, adventurous harmonies and (resolved) discords. They have been likened to miniature tone poems. These features attracted Richard Strauss, who orchestrated some of them. Johannes Brahms's piano music was influenced by the keyboard music of Couperin. Brahms performed Couperin's music in public and contributed to the first complete edition of Couperin's Pièces de clavecin by Friedrich Chrysander in the 1880s. Modern English composer Thomas Adès took three pieces from different sets of Couperin suites and orchestrated them in his work "Three Studies from Couperin". The early-music expert Jordi Savall has written that Couperin was the "poet musician par excellence", who believed in "the ability of Music to express itself in prose and poetry", and that "if we enter into the poetry of music we discover that it carries grace that is more beautiful than beauty itself".