Couperin wanted to hear his music performed with taste, and filled his scores What on earth does Le Tic-Toc-Choc ou les Maillotins mean?. Couperin, F: Pièces de clavecin II: Ordre 6ème in B flat: Les baricades mistérieuses. Couperin, F: Le Tic-Toc-Choc ou Les Maillotins (18e ordre). Alexandre Couperin – Alexandre Tharaud Joue Couperin: Tic, Toc, Choc – Music. Le Tic-Toc-Choc ou Les Maillotins (18e ordre). by Alexandre.

Author: Arashira Dicage
Country: Mauritius
Language: English (Spanish)
Genre: Marketing
Published (Last): 28 February 2012
Pages: 323
PDF File Size: 1.17 Mb
ePub File Size: 19.1 Mb
ISBN: 147-3-23355-752-1
Downloads: 76987
Price: Free* [*Free Regsitration Required]
Uploader: Gajora

It is also full of wit, charm and humour, and these very French characteristics make it immediately appealing. Many musicians, though, would be grateful to have familiar clefs for both hands.

Others, tci as Les Moissonneurs The Reapers hark back to his rustic origins. To fully understand his music, we have to relate it to the manners and habits of the reign of the Sun King, and most importantly to the dance.

This score shares the neat appearance of the antique Augener edition, but has the advantage of later scholarship and greater accuracy. Revival vs historic harpsichord First go at the historic harpsichord First go at the modern harpsichord Harpsichord editions Music Books. On the piano this is even more difficult because its action is more cumbersome than the harpsichord’s.

In Couperin, I also find the lyricism and poetry that, as a player, I love to express Les Langueurs-Tendres is a beautiful example of Couperin’s long, expressive lines.

CBH Technical Library — Resources IV — Different harpsichord editions of Couperin’s Le Tic-toc-choc

So he became very scrupulous with his markings, and even published a treatise, L’Art de Toucher le Clavecin The Art of Playing the Harpsichordthat hcoc one of the most valuable guides on teaching keyboard skills ever written.

The facsimile is just that, so it obviously preserves the original clefs—the familiar treble for the upper stave right handand perhaps the not-so-familiar soprano for the lower, where the bottom line is middle c’. They are frequently found on the shelves of musicians, despite their expense, and until a few years ago when playing from facsimile became vogue, this quite fine edition was the only way many composers were available. Ther was a wide variety of couperjn represented, and my only wish was that the volumes were better bound.


The music is crisp and clear, almost sparse in appearance on the page without the expressive goop and fingerings of the other versions.

It was a daunting task. Couperin is a composer whose work pianists and music-lovers should know and understand, not just for its importance in the history of keyboard music, but for sheer pleasure and delight. One problem facing the modern interpreter is deciphering his ornamentation and markings and making them work. One of his most picturesque compositions is Le Rossignol en Amour The Nightingale in Lovealthough, as another Coupsrin composer, Olivier Messiaen, an ardent bird-lover, noted: I declare that in my pieces they ought to be played as I have marked them, and that they will never make a certain impression on persons of true taste, unless they have observed to the letter everything that I have marked, without adding or subtracting anything.

Of all the harpsichord repertoire, the works penned by the French Baroque composers were intrinsically wedded to the instrument. France led the way in dance music, thanks to the operatic ballets composed by Jean-Baptiste Lully and performed at Versailles.

Fingerings are kindly provided in the usual manner as though we are not capable or intelligent enough practices to decide our own, and there is the usual expressive goop that pianists seem to have trouble living without. After all, people play Handel and Scarlatti on the piano, but rarely Couperin dhoc Rameau.

Some were obviously pure harpsichord material; others were written for two players at once. One of the best may well be one of the first: Playing his music means immersing oneself in a large cast of characters and trying to find the secret to each one.

5 Pièces de Clavecin (Couperin, François)

Born in Paris inCouperin was a member of a musical dynasty, unique in France and only surpassed in the history of music by the Bach family. Tic toc; an indeclinable and artificial term, which expresses a beating, a reiterated movement, a pulse that beats, a horse that walks, the pendulum of itc clock, a hammer that knocks.


Harpsichords Australia Home Page. It is 33 from The portrait gallery series.

Angela Hewitt on the music of François Couperin | Music | The Guardian

Edited by Brahms and Chrysander, this scan was made from the Augener edition, first published aboutand frequently reprinted. So I got tlc scores to all keyboard pieces by Couperin and began reading them. His reasoning was logical: I have found internet chatrooms discussing the various possibilities of the last: Pieces of this kind, moreover, are suitable for two flutes or oboes, as well as for two Violins, two Viols and other instruments of equal tjc, it being understood that those who play them will adapt them to their own range.

It takes a couuperin time to absorb it naturally into the interpretation of a piece, let alone to memorise it. The two never met, although there is some record of a correspondence which evidently ended up as jam pot covers, thus lost forever.

Couperin – Tic Toc Choc & other pieces

Fluency and grace in movement, gesture and deportment were part of a general education, especially for the nobility. Woe betide the interpreter who thinks he knows better than the composer, who says: My next example was copyrighted inand is from Kalmus study scoreFrench Composers for the Clavichord.

Those who have a Harpsichord with only one Manual, or a spinet, will play the upper part as written, and the Bass an octave lower; when the Bass cannot be taken an coouperin lower, then the upper part will have to be moved up an octave.