Page 84 - (DK) The Classical Music Book - Big Ideas Simply Explained
P. 84
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THE UNITING OF THE
FRENCH AND ITALIAN
STYLES MUST CREATE
THE PERFECTION OF MUSIC
PIÈCES DE CLAVECIN (1713), FRANÇOIS COUPERIN
ntil François Couperin’s technical virtuosity and the formal
IN CONTEXT Ordres, or suites, French modulation of melodies, rather than
U keyboard music had largely changes of mood and feeling.
FOCUS taken the form of Baroque popular
French Baroque dances, such as the allemande, Ornamental flourishes
harpsichord music
courante, and sarabande. However, Although he used the sonata
BEFORE in part due to his connections at structure in his music, Couperin
1670 Jacques Champion de the French court, Couperin was concentrated on grace and gesture,
Chambonnières publishes also familiar with Italian music, swayed by the prevailing French
Les pièces de clavessin (“Pieces including the sonata, a piece in view of music as a sophisticated,
for Harpsichord”), the first major several movements for a small elegant, and even frivolous pastime.
French work on harpsichords. group of instruments, which Many of his works have descriptive
involved no dancing or singing. titles, which he claimed were ideas
1677 Nicholas-Antoine Sonatas of this period usually that occurred to him as he was
Lebègue writes Les pièces had a two-part structure, with each writing. The careful balance he
de clavessin, the first dance half repeated. As seen in the more struck between the lighthearted
suites published in France. than 500 sonatas of Domenico French sensibility and the more
Scarlatti, they tended to focus on formal, structured Italian approach
AFTER gave his work wide appeal.
1725 J.S. Bach includes The keyboard works were
Les bergeries (from Sixième written entirely for harpsichord or
Ordre 1717) in his Notebook spinet. On these instruments, the
for Anna Magdalena under player has no control of volume.
the title of Rondeau. Couperin incorporated subtle
I like better what embellishments into his music to
1753 C.P.E. Bach pens volume touches me than control its flow and intensity and,
1 of Versuch über die wahre what surprises me. unusually for the period, expected
Art das Clavier zu spielen, François Couperin performers not to add to, or
a treatise influenced by Pièces de clavecin (1713) improvise around, what he had
Couperin’s L’art de toucher le written. Furthermore, he published
clavecin (“The Art of Playing detailed instructions for these
the Harpsichord”). “ornaments,” marking the notes
precisely as they should be played,
thereby codifying such signs for
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