Thank you very much 🙏 I am pleased and honored to learn that! Yes it’s one of those jewels that could be turned in a thousand different ways, always discovering something new and unexpected of their beauty. Peace, Alfredo
Thank you so much for this tutorial. I am a beginner and this is really helpful. I love this piece and had been struggling with it . and I like you taking the time to go through each phrase slowly and with great insights. Thank you 🙏🏻
Thank you Francois, I am very glad for it, thank you very much for sharing your thoughts! I am pleased if this will be of a bit help for you to walk through the beauty of this piece to enjoy it more intimately, through your own feelings and rendition 😊👍🙏
Thank you! I am glad that you found it useful! This also encourages my intention to produce a video on a piece of similar level soon. Enjoy your study around Les Barricades!
This is the piece I am currently working on and excited to apply your lesson soon. For years I assumed this piece was written by some impressionist as their contemporary take on what baroque sounds like to themselves. I was blown away when I realized it was written at the same time JS Bach was in his prime! Easily one of the most fantastic pieces ever composed in my mind.
Yes I feel the same…this is one of those magic pieces that transcend their time and space…and yes I also felt while studying how the game of delayed notes that would otherwise express the harmonies with clarity create colors at times resembling what normally found much later in post romantic pieces…. All the best for your work, most of all enjoy it profoundly, and…well you are kind but mine are not meant to be lesson, but rather sharing my thoughts and passion on what I do at the piano, a bit like when at high school I was doing when meeting with friends to work on an assignment and discussing our views on what to do to get it done to the best of our possibilities… Again, thanks for visiting!
Vivement when F. Couperin wrote the piece in an 18th Century was defined as “Deepljy” and is so in the dictionary of Couperin’s day. Bravo, you didn’t use the 20th Century, which too many musicians fall into. I use finger substitution rather than the sustain pedal. I didn’t need the pedal, and didn’t have a pedal when I transitioned to the harpsichord, a completely different hand technique. Interesting video. You viewers might initially practice the piece an octave higher to ensure they develop the proper voice leading before descending to the murky depths of the modern piano.
Thank you for the insights! I am glad that you found the video interesting. It’s interesting for me as well to read in your comment about vivement in 18th century dictionary, thank you 🙏 …I hadn’t the chance of verifying that and in my case it was primarily a vivid inner perception developed through listening different renditions and especially to the music while working myself on it. I personally think that if the non-storical action of playing at the piano is undertaken, a thoughtful exploration of what the instrument allows with the entirety of its tools and features is desirable , although the musical result with same means might differ greatly from player to player. And yes, I see your good point that for who wants to perform the piece at the harpsichord or other instruments, a different technical approach is needed as the sound aesthetic is profoundly different, as well the instrument action properties.
@@mypianospacetime9977 The playing on the piano is historically correct…one need go no further than the Dover reprint (English edition) of the Fr. Chrysander and J. Brahms Vol. 3 of Pieces de Clavecin published in 1888 in Paris and London And other than using modern clefs it’s an Urtext edition to my knowledge before the term came into use. A bit of of not so trivial trivia, Brahms owned a clavichord, not just any clavichord, but one previously owned by W A Mozart. Schirmer in the USA had an Instructional edition (current euphemism for the heavily edited versions) aka edited by Louis Oestrerle (published separately as well as part of volume 2 Early Keyboard Music from copyright 1904 and renewed in 1932. My point, there’s 135 year tradition in Europe and 119 year tradition in the USA of playing Couperin on the piano.
Grazie Alfredo per il tuo video e complimenti per la tua competenza e la tua performance. Adoro questo pezzo ma è ben oltre le mie capacità. Conosci per caso una versione facilitata (o molto facilitata) da consigliarmi? Grazie mille Alfredo
Grazie Alfredo G per il commento e mi scuso sinceramente per la tardiva risposta! Per qualche ragione il tuo commento non mi era stato notificato (o forse mi è sfuggita la notifica, non saprei). Non sono a conoscenza di una versione facilitata, mi spiace. Un’idea per suonarlo a un “beginner level” potrebbe essere ignorare una voce (magari il tenore), inizialmente. Magari, per semplificare al massimo, iniziare anche solo con soprano e basso. Successivamente, aggiungere una voce intermedia. E, inizialmente, lentamente. Buona pratica!
Thank you for an excellent lesson. I really enjoy listening and thinking about the true expression of this piece.
Thank you very much 🙏 I am pleased and honored to learn that! Yes it’s one of those jewels that could be turned in a thousand different ways, always discovering something new and unexpected of their beauty. Peace, Alfredo
Thank you so much for this video and for celebrating this composition. Probably in my top 5 all-time favorite pieces.
@@jamiegodfrey1860 thank you Jamie for expressing your appreciation
Thank you so much for this tutorial. I am a beginner and this is really helpful. I love this piece and had been struggling with it . and I like you taking the time to go through each phrase slowly and with great insights. Thank you 🙏🏻
Thank you Francois, I am very glad for it, thank you very much for sharing your thoughts! I am pleased if this will be of a bit help for you to walk through the beauty of this piece to enjoy it more intimately, through your own feelings and rendition 😊👍🙏
Thank you so much, a beautifully fluid and subtly complex piece full of life, one of my favourite pieces of all music. And, well, mysterious.
You are very welcome! I am glad that you enjoyed the video!
I’m learning this now, and this was very useful, especially the explanation of the role of the various voices. Thank you so much!!!
Thank you! I am glad that you found it useful! This also encourages my intention to produce a video on a piece of similar level soon. Enjoy your study around Les Barricades!
That’s great to hear! I look forward to watching more of your tutorials! ☺️
This is the piece I am currently working on and excited to apply your lesson soon.
For years I assumed this piece was written by some impressionist as their contemporary take on what baroque sounds like to themselves. I was blown away when I realized it was written at the same time JS Bach was in his prime! Easily one of the most fantastic pieces ever composed in my mind.
Yes I feel the same…this is one of those magic pieces that transcend their time and space…and yes I also felt while studying how the game of delayed notes that would otherwise express the harmonies with clarity create colors at times resembling what normally found much later in post romantic pieces….
All the best for your work, most of all enjoy it profoundly, and…well you are kind but mine are not meant to be lesson, but rather sharing my thoughts and passion on what I do at the piano, a bit like when at high school I was doing when meeting with friends to work on an assignment and discussing our views on what to do to get it done to the best of our possibilities…
Again, thanks for visiting!
Thank you !
@@jljovano you are very welcome! Thank you for watching
This was very helpful. Thank you!
Thank you for your feedback! So glad to hear that 🙏Enjoy this beautiful piece
Vivement when F. Couperin wrote the piece in an 18th Century was defined as “Deepljy” and is so in the dictionary of Couperin’s day. Bravo, you didn’t use the 20th Century, which too many musicians fall into. I use finger substitution rather than the sustain pedal. I didn’t need the pedal, and didn’t have a pedal when I transitioned to the harpsichord, a completely different hand technique. Interesting video. You viewers might initially practice the piece an octave higher to ensure they develop the proper voice leading before descending to the murky depths of the modern piano.
Thank you for the insights! I am glad that you found the video interesting.
It’s interesting for me as well to read in your comment about vivement in 18th century dictionary, thank you 🙏 …I hadn’t the chance of verifying that and in my case it was primarily a vivid inner perception developed through listening different renditions and especially to the music while working myself on it.
I personally think that if the non-storical action of playing at the piano is undertaken, a thoughtful exploration of what the instrument allows with the entirety of its tools and features is desirable , although the musical result with same means might differ greatly from player to player. And yes, I see your good point that for who wants to perform the piece at the harpsichord or other instruments, a different technical approach is needed as the sound aesthetic is profoundly different, as well the instrument action properties.
@@mypianospacetime9977 The playing on the piano is historically correct…one need go no further than the Dover reprint (English edition) of the Fr. Chrysander and J. Brahms Vol. 3 of Pieces de Clavecin published in 1888 in Paris and London And other than using modern clefs it’s an Urtext edition to my knowledge before the term came into use. A bit of of not so trivial trivia, Brahms owned a clavichord, not just any clavichord, but one previously owned by W A Mozart.
Schirmer in the USA had an Instructional edition (current euphemism for the heavily edited versions) aka edited by Louis Oestrerle (published separately as well as part of volume 2 Early Keyboard Music from copyright 1904 and renewed in 1932.
My point, there’s 135 year tradition in Europe and 119 year tradition in the USA of playing Couperin on the piano.
@@Renshen1957 very interesting and informative. Thank you 🙏
It's great! Thank you!👏
Thank you!
Grazie Alfredo per il tuo video e complimenti per la tua competenza e la tua performance. Adoro questo pezzo ma è ben oltre le mie capacità. Conosci per caso una versione facilitata (o molto facilitata) da consigliarmi? Grazie mille Alfredo
Grazie Alfredo G per il commento e mi scuso sinceramente per la tardiva risposta! Per qualche ragione il tuo commento non mi era stato notificato (o forse mi è sfuggita la notifica, non saprei). Non sono a conoscenza di una versione facilitata, mi spiace.
Un’idea per suonarlo a un “beginner level” potrebbe essere ignorare una voce (magari il tenore), inizialmente. Magari, per semplificare al massimo, iniziare anche solo con soprano e basso. Successivamente, aggiungere una voce intermedia. E, inizialmente, lentamente. Buona pratica!
E a proposito, naturalmente… 2 battute alla volta, 1-2 righe max al giorno. Roma richiese un certo tempo per la sua costruzione😊