Couperin wanted to hear his music performed with taste, and filled his scores What on earth does Le Tic-Toc-Choc ou les Maillotins mean?. Couperin, F: Pièces de clavecin II: Ordre 6ème in B flat: Les baricades mistérieuses. Couperin, F: Le Tic-Toc-Choc ou Les Maillotins (18e ordre). Alexandre Couperin – Alexandre Tharaud Joue Couperin: Tic, Toc, Choc – Music. Le Tic-Toc-Choc ou Les Maillotins (18e ordre). by Alexandre.

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His reasoning was logical: Playing his music means immersing oneself in a large cast of characters and trying to find the cjoc to each one. Indeed, it is said that Louis XIV practised the courante for several hours a day in his youth.

As a dancer cojperin throughout my childhood, I am drawn to any music that is dance-like. This score shares the neat appearance of the antique Augener edition, but has the advantage of later scholarship and greater accuracy. While it is unashamedly pianistic, here is a version by a man that has obviously looked something close to the original source, and preserved as much of the architecture of the music as he could.

Couperin – Tic Toc Choc & other pieces

To fully understand his music, we have to relate it to the manners and habits of the reign of tuc Sun King, and most importantly to the dance. Revival vs historic harpsichord First go at the historic harpsichord First go at the modern harpsichord Harpsichord editions Music Books.

The manager of my record company, the late Ted Perry, suggested I look at his music. Many musicians, though, would be grateful to have familiar clefs for both hands.

So I got the scores to all keyboard pieces by Couperin and began reading them. The facsimile is just that, so it obviously preserves the original clefs—the familiar treble for the upper stave right handand perhaps the not-so-familiar soprano for the lower, where the bottom line is middle c’. Sentiment rules over thematic discourse. It takes a long time to absorb it naturally into the interpretation of a piece, let alone to memorise it.


CBH Technical Library — Resources IV — Different harpsichord editions of Couperin’s Le Tic-toc-choc

There is more to it than that, however. In that coupedin, it made its largest contribution to the history of 17th-century music, and had a huge influence on other composers, including Bach. Ornamentation is the very essence of his music. My next example was copyrighted inand is from Kalmus study scoreFrench Composers for the Clavichord. This is an unpardonable negligence, the more so since it is not at all an arbitrary matter to put in what ornaments one wishes.

I declare that in my pieces they ought to be played as I have marked them, and that they will never make a certain impression on persons of true taste, unless they have observed to the letter everything that I have marked, without adding or subtracting anything.

Orders, orders

Many are musical portraits of friends, court acquaintances or the King himself. Couperin often found that it did not, and became irritated by poor performances of his music.

My parents, my first teachers, no doubt told me something about him: Born in Paris inCouperin was a member of a musical dynasty, unique in France and only surpassed in the history of music by the Bach family. We used to make the various harpsichord volumes of this Le Pupitre series available. Harpsichords Australia Home Page.

Angela Hewitt on the music of François Couperin | Music | The Guardian

Edited by Brahms and Chrysander, this scan was made from the Augener edition, first published aboutand frequently reprinted. Thanks, but no thanks: Tic toc; lw indeclinable and artificial term, which expresses a beating, a reiterated movement, a pulse that beats, a horse that walks, the pendulum of a clock, a hammer that knocks. Couperin’s music is tinged with melancholy – perhaps due to his declining health, which seems to have bothered him for the last 20 years of his life, or perhaps brought on by the disappearance of his son, who disowned his parents we do not know why.


France led the way in dance music, thanks to the operatic ballets composed by Jean-Baptiste Lully and performed at Versailles. I have found internet chatrooms discussing the various possibilities cho the last: Woe betide the interpreter who thinks he knows better than the composer, who says: Pieces of this kind, moreover, are suitable for two flutes or oboes, as well as for two Violins, two Viols and other instruments of equal pitch, it being understood that those who play them will adapt them to their own range.

Fluency and grace in movement, gesture and deportment were part of a general education, especially for the nobility. One of the best may well be one of the first: Ther was a wide variety of composers represented, and my only wish was that the volumes were better bound.

This scan was made from the facsimile edition published by Anne Fuzeau Productionsand as it is a direct photographic rendition, it obviously reproduces the elegant engraving of the original edition which was supervized by Couperin himself. A succession of Ke held the post of organist at the church of Saint-Gervais in Paris for years