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By David Tunley

François Couperin's contribution to the literature of baroque keyboard track has lengthy been famous. François Couperin and "The Perfection of tune" updates and expands upon David Tunley's helpful 1982 BBC song consultant to the composer, and examines the full of Couperin’s output together with the organ lots, motets and chamber tune, as well as the well known works for harpsichord.

Taking as its point of interest Couperin's suggestion of the perfection of tune in the course of the union of the French and Italian types, this e-book takes a extra analytical method of Couperin's paintings. Early chapters define the most contrasting positive aspects of the 2 colleges within the 17th- and early eighteenth-centuries, and it turns into transparent that Couperin's expressive energy owed a lot to his fusion of the polarities of the French classical culture with that of the Italian baroque.

The ebook incorporates a variety of appendices, together with the prefaces to Couperin's paintings either within the unique French and in English translation, and a thesaurus of dances of the French baroque.

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Running to thirty-seven volumes (the last in 1693), the collection reflects new directions that French song was taking. Most songs were now simply called airs, the majority classified as either air sérieux or air à boire and although described as being in two parts, the lower voice (which could be sung or played) was merely the bass support, at first only implying the harmonies until much later in the series when figured bass was added. As might be expected, the interest lies in the melodic line, which seems not only to explore more expressive resources in order to draw out the poetry, but which follows its prosody with far more care than usually found in the earlier repertoire.

E. ending with e, es) – whether two or more syllables – is always long: Inutiles Silvie vie 2. The penultimate syllable of a masculine-ending word is usually short: Pensers enfants douleur croyez ôter désir d’abandonner désespoir 3. Monosyllables may be short or long (or semi-long) depending on context (which Bacilly describes in detail): de ma et (invariably short) la le In addition, Bacilly states that all syllables may be lengthened at the ends of lines, at the caesurae and if they contain an n or s.

Armide Vous m’apprenez à connaître l’Amour, L’Amour m’apprend à connaître la crainte. Vous brûlez pour la Gloire* avant que de m’aimer, Vous la cherchez partout (*) d’une ardeur sans égale; La Gloire est une rivale Qui doit toujours m’alarmer. Translation: Renaud Can you suffer from empty fears, You, who cause this shadowy place to tremble? Armide You teach me to know Love, Love teaches me to know fear. You burn for Glory before loving me. You search for it everywhere with unrivalled ardour. Glory is a rival who must always fill me with alarm.

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