Відео

Theoretically much of the postclassical music could be played without pedal, but the use of pedal in this sort of music is a vital aspect that was left out in the scores for several reasons, commercial purposes (less skilled provincial organists publishers needed to sell to), limited instrument some organists had (Gervais-François Couperin did not have an independent pedal at St Pierre de Charonne), and "lazy notation", why write the whole thing out when "the student will understand what to do" (Benaut for example spells this sort of thing out in the preface to his pieces), a good organist of the time, processing a good knowledge of harmony, and as usual wishing to play a piece to the greatest effect, would know what to play on the pedal. For example in this piece, I used it at the last measures even though it is not specifically indicated. There are several other pieces that are good examples, particularly a Voix Humaine by Lasceux: ua-cam.com/video/oycld1B7zm0/v-deo.htmlfeature=shared

Pierre Gouin made a version for IMSLP. I would however caution you that for his scores of the GF Couperin pieces, ambiguous notations present in the manuscripts and retained in the original Chanvrelin edition (now out of print after Mr. Gorenstein passed away) were realized. ks15.imslp.org/files/imglnks/usimg/1/12/IMSLP757966-PMLP1202219-Couperin,_G.-F._Nazard_14.pdf

I ordered scans of it from the National Library of France some time ago, they recently uploaded said digitization to Gallica, here's the links to both volumes: gallica.bnf.fr/ark:/12148/bpt6k1506818p gallica.bnf.fr/ark:/12148/bpt6k1506816v Nicolas Gorenstein made a good recording of the Second Offertoire of this collection ua-cam.com/video/tHYcSP0ztvA/v-deo.htmlfeature=shared

This piece was written for an older style of French organ, which would have had five manuals (in addition to the Pédales): Positif, Grand-Orgue, Bombarde, Récit, and Écho, it is this Bombarde Clavier that this refers to (which only the largest organs in France would have had). The Grand-Chœur registration of that time would have had three successive "levels" so to say: Positif only, Grand-Orgue (+ Positif coupled), and Bombarde (+ Grand-Orgue and Positif coupled). Playing from this Bombarde would essentially be using the full force of the organ, as should be done in the beginning of this piece (and end, Bombarde indication probably left out), so it would apply to both hands. However, it was common at this time for organists, especially when playing Fugues, to bring out one voice on one hand on the Bombarde.

@@lorganistepost-classique5807 Thanks a lot for this interesting explanation.

Pierre Gouin made a free edition on IMSLP, he does realize certain ambiguous notations however if you're fine with that, if you want the original publication from 1997, its out of print and you will probably have a hard time locating a second hand copy.

The only place I know it to be readily available is the Edition by Publimuses of Boëly's Op. 10 and 12, these editions are somewhat expensive but worth it. Alternatively you could find a copy of the original publication (1842 I think), but good luck trying to do that. Only library I know of that has it is Carpentras, and that might only be the first volume. Eric Lebrun told me he has originals in his collection as well, he might get around to scanning them if I ask him again. Until there's something PD to share, I'll put a PDF of the Magnificat here, know however that I'm not always very accurate at music engraving. drive.google.com/file/d/1WNpOwTCLFDcWu4Jp5XAbPCUCjlpjJ2eX/view?usp=drive_link

there's a re-engraving you can find for free on IMSLP, just look under Op. 42 and Op. 39

If I remember correctly some of the pedal I played an octave higher, while I could've used a 32 reed an octave above to fake a Ravalement, I didn't since the sample set of is of the organ in Caen, the actual organ did not have a 32 reed (one was digitally added in the set, but it is unsatisfactory and unnecessary in my opinion so I never use it)

@@lorganistepost-classique5807 Too bad we don't have access to Cameron Carpenter's pedalboard; seeua-cam.com/video/wRc-EzKxGWk/v-deo.html

thats me playing

This is in fact intended for use during the liturgy at the Offertory (and would have been played not sung)

It’s beautiful and nice to hear this piece of organ music 🎶

Voici essentiellement tout ce que je sais ou peux théoriser sur cette pièce (ces points peuvent également s'appliquer aux autres pièces publiées de G.F. Couperin). Il existe un article de Paul Brunold "Paléographie Musicale - Manuscrits Inédites de Gervais-François Couperin et Armand-Louis Couperin" publié dans L'Écho musical en 1919. Je suppose que parmi les onze cahiers identifiés, cet Offertoire fait partie d'un cahier de Deux Offertoires, l'autre restant probablement inédit (probablement pas l'Offertoire en ré majeur de la Messe du Jour de Saint Pierre, et le Deuxième Offertoire, écrit sans doute pour l'orgue de Saint Gervais). Il semble destiné à l'un des petits orgues dont Couperin était titulaire, probablement Saint Pierre de Charonne, un orgue à deux claviers et sans pédale indépendante. Évidemment, le présent enregistrement est réalisé sur un orgue virtuel de quatre claviers, contenant un troisième clavier de Bombarde, on joue certains passages comme un Echo sur le Récit etc. en effet un orgue considérablement plus grand que pour lequel cette pièce était destinée. Concernant les manuscrits d'orgue de G.F.Couperin, ils sont passés aux mains du successeur de Couperin à Saint Gervais, J.N. Marrigues, puis A.P.F. Boëly. Un descendant d'un ancien élève de Marrigues les remit à Paul Brunold, qui avait déjà réuni une partie considérable des manuscrits des organistes de Pontoise (y compris d'autres manuscrits de Marrigues, Beauvarlet-Charpentier, Lasceaux, etc.) Après la mort de Paul Brunold, son successeur Ver Hasselt acquiert sa collection. Après sa mort, Nicolas Gorenstein a acheté une partie de cette collection et fait paraître en 1997 un choix de ces pièces (cette partition présentée dans la vidéo est malheureusement indisponible après la mort de M. Gorenstein), ces manuscrits sont aujourd'hui en possession de la famille Gorenstein. Où se trouve le reste, un mystère, peut-être en possession des descendants de Ver Hasselt. M. Gorenstein a réalisé un enregistrement exceptionnel de cette pièce à l'orgue d'Albi : ua-cam.com/video/07QI7I9QL3A/v-deo.htmlfeature=shared

Merci beaucoup d'avoir mis cette musique en lumière ! L'enregistrement sur l'orgue d'albi est formidable@@lorganistepost-classique5807

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Old French tuning, sounds a whole tone lower compared to modern standard.

drive.google.com/file/d/1i6CsyzvLCIT3iowtEjEIo_z3AYIq72Gh/view?usp=sharing

thx!!!@@lorganistepost-classique5807