François Couperin - L'Apothéose de Lully (1725)
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- Опубліковано 13 чер 2024
- Composer: François Couperin "le Grand" (November 10, 1668 - September 11, 1733)
Performers: Les Ombres directed by Margaux Blanchard and Sylvain Sartre
00:00 Lully in the Elysian Fields performing with the lyrical Shadows
02:33 Air for the same
03:43 Mercury flies to the Elysian Fields to warn of Apollo's impending descent
04:22 Descent of Apollo, who comes to offer his violin to Lully and a place on Parnassus
07:35 Subterranean rumblings caused by Lully's contemporaries
08:19 Lamentations of the same for flutes or very muted violins
11:47 Elevation of Lully to Parnassus
12:49 Welcome, both kind and guarded, given to Lully by Corelli and the Italian Muses
15:29 Lully's thanks to Apollo
18:24 Apollo persuades Lully and Corelli that the reunion of French and Italian tastes shall make perfection in Music: Essay in the form of an overture.
21:35 Lully plays the subject and Corelli accompanies it (First Air)
22:36 Corelli plays the subject and Lully accompanies it (Second Air)
24:09 The Peace of Parnassus, over the protest of the French Muses, is made on the condition that when their language is spoken, one will henceforth say Sonade and Cantade, as one says Ballade and Sérénade, etc. (Gravement)
26:41 (Saillie)
28:25 (Rondement)
30:00 (Vivement)
Couperin playlist: • François Couperin
Full title: Concert instrumental sous le titre d'Apothéose composé à la mémoire immortelle de l'incomparable Monsieur de Lully (Instrumental concert with the title of Apotheosis composed to the immortal memory of the incomparable Monsieur de Lully)
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When I was 15, having heard virtually nothing, I decided after listening to the radio late one night that Couperin was my favorite composer. Now, 55 years later, hearing him again for the first time since, and after hearing a lion's share of nearly all else, I'd have to say he's become my alltime favorite again. I have no idea why, but for the sound itself.
This particular recording was the first Apothéose I heard and the one I keep going back to. Wonderful as always to see the originally published engraving. Another great Couperin treasure.
(A fun thing to notice in the score is that all the "French" parts are written with French violin clef, French trills, etc. while the "Italian" parts are written with treble (presumably "Italian violin") clef, Italian trills, and even a "volti subito" thrown in.)
FYI, I have also made some revisions to my engraving of Couperin's La Piémontoise and uploaded it to IMSLP imslp.org/wiki/Les_Nations_%28Couperin,_Fran%C3%A7ois%29#La_Pi.C3.A9montoise_.28No.4.29
I noticed this, it threw me off a little since I've not actually seen the French clef in much literature
Interessant.
It's interesting to hear the leader pronounce the titles of the pieces. He is evidently French, but in many words he pronounces the final -s which would not be pronounced in modern French. I can only assume that he is being historically correct in his pronunciation as well as in his performance of this sublime music. (And the fact that those s's were pronounced at Couperin's period would explain why they are still there, though silent, today.)
The trilled (rather than the modern guttural) ‘r’ is also a historic pronunciation!
Interesting detail, I never would have known
I heard this 30 years ago, quietly playing in another room, and was mesmerized. Now I know exactly what it is/was-thx so much for posting this elegant piece!👍
Those treble clefs over the first line really messed with my head for a minute or two
It reads the same as bass clef 2 octaves up, but yeah it still took me some time to get used to it. I guess I had some association between the register and how to read the lines. Soprano clef (bottom line C clef) I still have some trouble with.
@@Cmaj7 Yeah once I figured it out I was able to place everything (though still getting used to it). But at first I was like, G-flat time signature?? What are there all these D-sharps doing here???
Don't get me started on soprano clef :P
Couperin was such a genius!
Marvelous
very nice!
J’ai vu & entendu des fontaines de lait chocolaté jaillir de son paradis, sans rire les étoiles ont commencé à discuter et ont cessé de défiler et nous de nous saisir de leurs ors dès l’aurore. Le soleil s’est étourdi et la lune, remuée, s’est camouflée derrière un pan de nuages en forme de barbapapa 🦄🌹
sweetly sodelicious...
What a fun piece!! And a creatively and inventively divined orchestration! I have to ask though- what’s going on here with the definitively “swung” or uneven rhythm of the eighth or sixteenth note in a couple places?? This is the first I’ve heard that sort of rhythm in a historically informed performance from this era. I didn’t notice anything indicating that rhythm in the score, either. Is there some extant evidence for this?? Not trying to dictate what is right or wrong in the performance- I just think it was really cool to hear and would love to see the sources if there are any!!!
The "swung" rhythm is "notes inégales" which is common practice for French baroque music. It says "notes égales" at places like 14:00 which means to play with straight rhythm, so there is an indirect indication that notes inégales is the default
@@Cmaj7 Woahhh!! I did notice “notes égales” but I did not know of “notes inégales” so I had no idea of the implication! Definitely going to look into that practice now!! Thanks for the info!
Wow, fast version!
What on Earth is that strange clef? Old version of the Alto clef? So many things in that score that is so weird. Never seen those key signatures too. I can't read that music at all.
what have I found...
What clef is the one at 14:00 in the bottom staff? The one that looks like a little ladder
Soprano clef, C clef on the bottom line
Wonderful piece. Though admittedly, it gets a tad irksome when the music is constantly interrupted by the non-sung voice in between sections.
This sounds two semitones lower than written
Not baroque pitch or concert pitch.
The pitch was very low at that time and place. A=392hz for Rameau's works.
Except for the insufferable narrator, it's pretty enjoyable
The narrator reads the text with the ancient French pronounce and declamation as in Molière e Racine!
I don't think the final s were pronounced. It's very surprising?