Partition complète, Premier Livre de Pièces de Clavecin, Couperin, François

François Couperin

Description

Obtenez les partitions de musique Premier Livre de Pièces de Clavecin partition complète, pièces, par Couperin, François. Cette partition baroque célèbre dédiée aux instruments suivants: clavecin Solo
La partition aborde une variété de mouvements: 5 Ordres et l'on retrouve ce genre de musique classée dans les genres partitions pour clavecin, pour 1 musicien, pièces, pour clavecin
Redécouvrez en même temps tout un choix de musique pour clavecin Solo sur YouScribe, dans la rubrique Partitions de musique baroque.
Rédacteur: Johannes Brahms (1833-1897)Friedrich Chrysander (1826-1901)
Edition: London: Augener, No. 8100, 1888. Plate 8141.
Dédicace: Monsieur Payot de Villers

Sujets

• Baroque
• Solo (soft drink)
• Harpsichord
• Famille Couperin

Informations

• Publié par: COUPERIN
• Nombre de lectures: 598
• Licence : Libre de droits
• Langue: Français
• Poids de l'ouvrage: 6 Mo

Extrait

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Livre 1. Pan5 . 1713.x..
b Livre 2 . PaPI5 . 12161717.
a. Livre 3 . Paria. 1722.
1 Pansx> Livre 4 . 1Z30.
UNIVERSITY OF TORONTO
AUGENER
WW 4 1968
LONDON JOHNSONEDWARD
MUSIC LIBRARYPREFACE.
François Couperin is the first great composer for the pianoforte knowu in the history bf music.(1658-1733)
and many quite as much to theThe eminent masters who preceded him—Merulo, Frescobaldi others—applied their art
the whereas Couperin, though he played both instruments, wrote for the latter only. Heorgan as to harpsichord ;
stands, therefore, at the commencement of the modem âge, and must be regarded as clearing the way for a new art.
his in part his pupils were Scarlatti, Handel and Bach.Among younger contemporaries and
Couperin published his four books of pianoforte works at Paris under his own name as publisher. The first
This édition folio wasappeared in the second in the third in 1722, and the fourth in 1730. in large1713, 1716-1717,
engraved on copper, and formed of printed music that period. The press was correctedthe most beautiful spécimen of
with great care by the author, yet is not entirely free from errors.
Couperin's mode of writing music is very peculiar. It was his constant aim to set down the music with
possible fulness instrument. Even the manifold embellishments are mostthe greatest exactly as he played it on his
accurately indicated. AH this gives to his music-writing a more technical appearance than that ofany other master of
excessively difficult.the period. For this reason, moreover, the engraving of this music, if accurately done, is
But an édition which did not reproduce the original signs exactly in ail détail would be worthless for the knowledge of
Couperin's art.
Such a worthless, faulty and likewise very incomplète édition of Couperin's works appeared some time ago at
andParis. This it was which mainly induced me, in common with Johannes Brahms, to produce a really complète
faithful édition, which, for the time since édition prepared by Couperin himself, should introduce thefirst the original
""old master again in his true form to the musical public of the présent âge. le Grand can now again be
easily understood by every one and estimated at his full value.
To exhibit the various ornaments as clearly as the author himself noted them, new stamps hâve been eut,
corresponding exactly to Couperin's signs. But it is not possible in ail cases to take the original édition as a pattern for
the modem one. Couperin writes his music in no less than five clefs : !=!!=
w
which are perpetually alternating. At the same time he employs ail possible abbreviations and indications of répétition,
and gives variousmodesof executing the same melody, but without addition of the ground-bass, &c. so that his édition
;
illegible pointsis positively to a modem player. In thèse it was necessary to improve the old édition throughout in
accordance with the présent demands of cleamess,completeness and simplicity. the présentThus exhibits the
composer'» intentions far more clearly than the splendid original one did.
The sole slight want of clearness which still remains is in the value of the dotted notes. Couperin never putg two
dots wherever second dot occurs in the music, it is
; a to be regarded as an addition. But it is sometimes doubtful
whether his dot dénotes a full double dot, and whether the three following notes to be treated tripléesare as ; for figures
such as may be played equally well as rj~T*j
\ [ j or as
; | J J j J J J
Insteac* °f arbitrarily altering Couperin'sBBj I notation, we prefer to leave the déterminationES5
• • • 2J ' of the value of the notes to the discrétion of the performer : ail the more so becauseJ J J JJ J
small phrases of embellishment of this sort were in his time generally notedv2x ^ïs
down witn a. very inaccuiate mensuration, being treated by performers with great freedom. In things, itsuch therefore,
is best for the editor simply to stick to the text, and for playerthe to make use of the freedom left to him.
Couperin's descriptive titles and other observations (often eccentric and quaint) are generally given in his own
of letters,form so as to préserve their look of antiquity.
The Third Book, which appeared in the year 1722, contains observations on several the pièces writtenof by
Couperin himself. which are given at their proper places. On and with regard to the exécution of thepp. 34 83,
" pièces croisées," be refers to his préface, in which it is stated that such pièces are to be played on two pianos, i.e., on
a clavecin with two manuals otherwise, when; the instrument has only one manual, either the bass must be put an
octave lower or the treble an octave higher. At the same time he recommends that thèse pièces be played as duets for
two flûtes, hautboys, violins, violas and other unitone instruments : a new proof of the many modes of interprétation
of his music and the possibility of various kinds of exécution.
Departing from the practice of most of the pianoforte composers of his time, Couperin puts his pièces together
into larger " " 'groups not called Suites but Orders." The four books contain altogether twenty-seven of thèse Orders
with a continuous numération. Thèse compositions had as considérable an influence on their âge as those Corelli,of
especially on Couperin's younger contemporaries Handel and Bach.
This influence was further heightened by a Pianoforte School, which Couperin published in with the1717 title
"L'Art de toucher le Clavecin," to which he frequently refers in his pièces of music. It is the first printed work of its
•kind, and has, like the compositions for the elucidation of which it was written, a permanent value.
Bergedorf near Hamburg, Fr. CHRYSANDER.
Nov. 1, 1888.VORWORT.
Francis Couperin ist der erste grosse1668-1733 Klaviercomponist, den die Musikgeschichte kennt. Oie
beiûhmten Meister welche ihm vorangingen -Merulo, Frescobaldi unH viele andere—wandten ihre Kunst ebenso sehr an
die Orgel, als an Couperindas Harpsichord ; dagegen schrieb ausschliesslich fur das Klavier, obwohl er ebenfalls
Organist war. Er steht daher an der Spitze der modernen Zeit und ist als der Bahnbrecher einer neuen Kunst
anzusehen. Seine jùngeren Zeitgenossen und zum Theil seine Schùler waren Scarlatti, Hàndel und Bach.
Couperin gab seine vier Bûcher Klavierwerke im eigenen Verlage in Paris heraus. Das erste Buch erschien îni
Jahre das zweite das dritte das vierte1713; 1716-1717; 1722; 1750. Dièse Ausgabe in gross Folio ist durch
Kupferstich hergestellt und bildet das schônste musicalische Druckwerk der damaligen Zeit. Der Druck ist vom Autor
mit grosser Sorgfalt obwohl nicht fehlerfrei.corrigirt,
Hôchst eigenthûmlich ist Couperin's Notenschrift. Es war sein stetes Bestreben, die Musik in môglichster
Vollkommenheit so aufzuzeichnen, wie er sic auf seinem Instrumente spielte. Auch die verschiedenen Verzierungen
sind angegeben. Durch ailes dièses hatvon ihm aufs Genaueste seine Notenschrift ein kùnstlicheres Ansehen
bekommen, als die irgend eines anderen Meisters jener Zeit. Deshalb ist der Notenstich bei dieser Musik auch so
ie eine bisunendlich schwierig, wenn er genau sein will, und oh aufs Kleinste genaue Wiedergabe der Original-
Tonzeichen ist die Ausgabe fur die Kenntniss der Kunst Couperin's werthlos.
werthlose, fehlerhafte und zugleich sehr unvollstândige Ausgabe der Werke Couperin'sEine solche erschien vor
hat ineiniger Zeit in Paris, was mich auch zunâchst veranlasst Gemeinschaft mit Johannes Brahms eine wirklich
zu Stande zu bringen, welche also seitcomplète und originalgetreue Ausgabe der von Couperin veranstaltetcn
Originaledition zum ersten Mal den alten Meister wieder in seiner wahren Gestalt dem musikalischen Publikum der
" wird nunmehr von Jedermann leichtGegenwart vorfiïhrt. „ Couperin le Grand verstanden und nach seinem vollen
Werthe geschàtzt werden kônnen.
zuUm die mannigfaltigen Maniren ebenso deutlich erscheinen lassen, wie der Autor sie selber gegeben hat.
Couperin's Zeichen genau entsprechen. Aber nichtsind neue Stempel geschnitten, welche in allen Stûcken kann der
Originaldruck fur die moderne Ausgabe ein Vorbild 6ein. Zur Aufzeichnung seiner Musik gebraucht Couperin nicht
Schlûssel die unaufhôrlich wechseln Dabei bedieiitweniger als fûnf
ife—ft1i
er sich aller môglichen Abkûrzungen und Repetitions-Hinweisungen, giebt verschiedene Ausfûhrungen derselben
DruckMélodie, aber ohne Hinzufùgung des Grundbasses u. s. w., so dass sein fur den modernen Spieler gerade/u
unleserlich ist. Hierin musste der Orginaldruck ûberall nach den jetzigen Anforderungen an Deutlichkeit,
Vollstândigkeit und Einfachheit verbessert werden. Die gegenwàrtige Ausgabe legt daher die Intenlionen des Corn-
heutigen dar, als der erwàhnte prachtvolle Originaldruck.ponisten den Spielern weit deutlicher
Die einzige kleine Undeutlichkeit, welche bestehen bleibt, betrifft den Werth der p