COUPERIN LECONS DE TENEBRES PDF

Throughout his long reign indeed, the longest of any monarch of a sovereign nation in European history , he was acutely attuned to the power of spectacle. He was instructed to provide music that would glorify his king, and the Royal Chapel of the lavish Palace of Versailles saw some of the greatest spectacles of the 18th century in the daily celebration of High Mass. The settings we have been left with are some of the most expressively beautiful pieces of church music of the Baroque. The surviving small-scale pieces are scored for one, two or three voices and continuo, sometimes with concertante instruments and chorus.

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Deutsch It is not to be wondered at that the Italians think our music dull and stupefying, that according to their taste it appears flat and insipid, if we consider the nature of the French airs compared to those of the Italians. The French in their airs, aim at the soft, the easy, the flowing and coherent … but the Italians … venture the boldest cadences and the most irregular dissonance; and their airs are so out of the way that they resemble the compositions of no other nation in the world.

To this end he employed a large number of musicians, mostly to supply grand music in the Chapelle Royale at the daily celebration of High Mass—a spectacular musical affair, typified in the Grands Motets of Michel-Richard de Lalande — In Louis appointed Couperin as one of the four organists: his function was to provide music as well as to direct performances.

All of his surviving sacred music is scored for one, two or three voices and continuo, sometimes with concertante instruments and chorus.

The only large-scale sacred works he may have written, said to have existed in manuscript at his death, have not survived. This is the case with so much of his music: letters he exchanged with Bach were allegedly destroyed in later years when they were used as jampot covers!

Fifteen candles, fitted on a triangular frame, were extinguished one by one until Matins ended in darkness. The music has, within its own self-imposed limits, an intensity and power rarely found in baroque church music. The motet Laetentur caeli, in honour of the martyr St Bartholomew, is particularly Italianate, full of vocal melismas, and with the two voices imitating and chasing each other in thirds.

The Magnificat, with its variety of textual moods, inspires a remarkable setting by Couperin which contains eleven contrasting sections in as many minutes. Jahrhunderts geschrieben.

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Francois Couperin – Leçons de Ténèbres

Deutsch It is not to be wondered at that the Italians think our music dull and stupefying, that according to their taste it appears flat and insipid, if we consider the nature of the French airs compared to those of the Italians. The French in their airs, aim at the soft, the easy, the flowing and coherent … but the Italians … venture the boldest cadences and the most irregular dissonance; and their airs are so out of the way that they resemble the compositions of no other nation in the world. To this end he employed a large number of musicians, mostly to supply grand music in the Chapelle Royale at the daily celebration of High Mass—a spectacular musical affair, typified in the Grands Motets of Michel-Richard de Lalande — In Louis appointed Couperin as one of the four organists: his function was to provide music as well as to direct performances.

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