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Louis Couperin Suites Et Pavane LOUIS COUPERIN SUITES ET PAVANE SKIP SEMPÉ MENU TRACKLIST TEXTE EN FRANÇAIS ENGLISH TEXT DEUTSCH KOMMENTAR REPÈRES / LANDMARKS / EINIGE DATEN ALPHA COLLECTION 34 SUITES ET PAVANE LOUIS COUPERIN (c.1626-1661) SUITE DE PIÈCES IN F 1 PRÉLUDE 2’25 2 COURANTE 0’58 3 SARABANDE 1’51 SUITE DE PIÈCES IN A 4 PRÉLUDE À L’IMITATION DE MONSIEUR FROBERGER 5’44 5 ALLEMANDE L’AMIABLE 3’05 6 COURANTE 0’55 7 COURANTE 1’50 8 PAVANE IN F SHARP MINOR 6’08 SUITE DE PIÈCES IN D PRÉLUDE 4’54 9 10 COURANTE 1’08 11 SARABANDE 2’54 12 CANARIES 0’59 SUITE DE PIÈCES IN A 13 PRÉLUDE ‘LE SOLIGNI’ (MARIN MARAIS) 3’31 14 SARABANDE 2’55 15 LA PIÉMONTOISE 1’24 MENU SUITES ET PAVANE SUITE DE PIÈCES IN F LOUIS COUPERIN (c.1626-1661) 16 PRÉLUDE 1’32 17 ALLEMANDE GRAVE 3’19 18 TOMBEAU DE MONSIEUR BLANCROCHER 6’24 19 GAILLARDE 1’37 SUITE DE PIÈCES IN C 20 PRÉLUDE 3’03 21 ALLEMANDE 2’32 22 COURANTE 1’15 23 SARABANDE 1’46 24 SARABANDE IN G 2’20 25 SARABANDE 2’26 26 TOMBEAU FAIT À PARIS SUR LA MORT 3’30 DE MONSIEUR BLANCHEROCHE (J.-J. FROBERGER) 27 GIGUE 1’31 28 PASSACAILLE 6’01 TOTAL TIME: 78’42 SKIP SEMPÉ harpsichord Bruce Kennedy, after a French model, 1985 tuning by Jean-François Brun Photos p. 8-9 : Jardin des Plantes, Paris, (1636) by Federic Scalberge, Paris, Bibliothèque de l’Arsenal, © BnF, Dist. RMN-Grand Palais / image BnF. Crown of Oliver Cromwell (1599-1658), English School, (17th century), Fitzwilliam Museum, University of Cambridge, UK, © Bridgeman Images. Armour, Musée Guimet - Musée National des Arts Asiatiques © RMN-Grand Palais (Musée Guimet, Paris) / Thierry Ollivier. Harmensz van Rijn Rembrandt, The Anatomy Lesson, Pays-Bas, La Haye, Cabinet Royal des Peintures Mauritshuis © BPK, Berlin, Dist. RMN-Grand Palais / Lutz Braun Le texte d’origine de cet enregistrement est disponible sur notre site / The complete original booklet notes for this recording are available on our website / Andere Texte zu dieser Aufnahme sind auf unserer Website abrufbar alpha-classics.com Recorded in April 2004, Chapelle de l’Hôpital Notre-Dame de Bon-Secours, Paris (France) Hugues Deschaux SOUND ENGINEER, RECORDING PRODUCER AND EDITING ALPHA CLASSICS Didier Martin DIRECTOR Louise Burel PRODUCTION MANAGER Amélie Boccon-Gibod EDITORIAL COORDINATOR Valérie Lagarde ARTWORK Claire Boisteau BOOKLET EDITOR Mary Pardoe FRENCH TRANSLATION Charles Johnston ENGLISH SUPERVISION Achim Russer GERMAN TRANSLATION Cover © Plainpicture/NTB scanpix/Magnus Renefl ot Alpha 333 Original CD: Alpha 066 Made in the Netherlands p Alpha 2004 & © Alpha Classics/Outhere Music France 2017 [2] Oliver Cromwell (1599-1658) [1] Jardin des Plantes, Paris, created on the initiative of Guy de La Brosse, physician (1586-1641) wird in Rom uraufgeführt. Ausbruch des Vesuvs. 1626 Renaudot gründet die erste Gazette de France. Naissance de L. Couperin, Mme de Sévigné. Mort de Dowland. Création du jardin des Plantes à 1632 Paris / Birth of L. Couperin, Madame de Sévigné. Naissance de Lully, Vermeer. Rembrandt peint Death of Dowland. Creation of the Jardin des La Leçon d’anatomie / Birth of Lully, Vermeer. Plantes in Paris / Geburt von L. Couperin und Mme Rembrandt paints The Anatomy Lesson / Geburt de Sévigné. Tod von Dowland. In Paris wird ein von Lully und Vermeer. Rembrandt malt Botanischer Garten (‚Jardin des Plantes‘) angelegt. Die Anatomie des Dr. Tulp. [4] [1] 1638 1631 Monteverdi publie ses Madrigali guerrieri e amorosi. Landi donne son Sant’ Alessio à Rome. Éruption Le Japon se ferme au monde extérieur / Monteverdi du Vésuve. Renaudot fonde la première Gazette publishes his Madrigali guerrieri e amorosi. Japan de France / Landi performs his Sant’ Alessio in closes its frontiers to the outside world / Monteverdi Rome. Eruption of Vesuvius. Renaudot founds the veröffentlicht seine Madrigali guerrieri e amorosi. fi rst Gazette de France / Landis Oper Sant’Alessio Japan schließt sich von der Außenwelt ab. [3] MENU [4] The Anatomy Lesson, Rembrandt van Rijn 1606-69) [3] Armour, Edo period (1603-1868) 1643 Mort de Frescobaldi, Monteverdi, Louis XIII. Lordprotektor von England, Schottland und Irland Naissance de Charpentier / Death of Frescobaldi, ernannt. In Paris tauchen die ersten Briefkästen Monteverdi, Louis XIII. Birth of Charpentier / Mort auf. [2] von Frescobaldi, Monteverdi, Louis XIII. Geburt von Charpentier. 1661 Mort de L. Couperin, Mazarin. Louis XIV entame 1653 son règne personnel et débute les travaux Naissance de Corelli. Cromwell est nommé chef à Versailles / Death of L. Couperin, Mazarin. Louis de la république anglaise. Les premières boîtes XIV commences his personal reign and begins aux lettres apparaissent à Paris / Birth of Corelli. construction at Versailles / Tod von L. Couperin Cromwell is appointed Lord Protector of the und Mazarin. Ludwig XIV. übernimmt die Führung Commonwealth. The fi rst letter boxes appear der Regierungsgeschäfte und lässt sich in Versailles in Paris / Geburt von Corelli. Cromwell wird zum ein neues Schloss bauen. MENU « DU POINT DE VUE STYLISTIQUE, LOUIS COUPERIN SUIT LA GRANDE TRADITION DES CLAVECINISTES DU XVIIE SIÈCLE. » FRANÇAIS LOUIS COUPERIN ET LE CLAVECIN FRANÇAIS Louis Couperin (v. 1626-1661) appartient à la première génération d’une illustre dynastie de musiciens, dont le représentant le plus célèbre est son neveu François Couperin, dit « Le Grand ». Du point de vue stylistique, Louis Couperin suit la grande tradition des clavecinistes du XVIIe siècle : française, représentée par des musiciens d’exception comme Chambonnières, d’Anglebert ou Marin Marais, mais surtout italienne, initiée par Frescobaldi, et allemande, fondée par l’élève de ce dernier, Froberger. La comparaison avec son cadet Marin Marais est intéressante à plusieurs niveaux. Marais a toujours été reconnu comme le grand génie de la viole alors qu’aucune œuvre pour viole de Louis Couperin ne nous est parvenue. Or ils jouaient tous les deux de cet instrument. De plus, ils partageaient un goût hors du commun pour la virtuosité débridée, allant de l’expression la plus sentimentale et la plus touchante à une brutalité et une violence inouïes. Ce jeu passionné ne correspond pas à la manière française : il n’apparaît ni chez les luthistes ni dans l’air de cour. Il est plutôt le fait des Italiens, avec leurs toccatas, et des Allemands, avec leur jeu du clavecin enrichi par le stylus fantasticus. Cette puissance expressive, pleine de contrastes, dont Louis Couperin est probablement le seul représentant parmi les clavecinistes français, ne se rencontre plus chez les musiciens de la génération de François Couperin « Le Grand ». 11 On s’accorde généralement à penser que le clavecin et la viole demandent un « toucher » plutôt léger et gracieux. Mais la légèreté n’est qu’un aspect du toucher : pour jouer les pièces de clavecin de Louis Couperin ou les œuvres pour viole de Marin Marais, il faut une grande maîtrise du clavier ou de l’archet. Le « charme », dans ces cas, ne suffi t pas, ces deux compositeurs préférant de toute évidence la virtuosité à la préciosité. Le clavecin et la basse de viole sont des instruments de grande résonance, et la force demandée à la main fait partie de la « belle manière de toucher ». Car il ne faut pas perdre de vue le fait que ce sont les cordes qui sont activées, et non pas les touches ou l’archet. Les multiples facettes du toucher, utilisées pour créer les nuances les plus expressives, sont mentionnées par les contemporains de ces deux compositeurs, et il faut donc les maîtriser toutes. Ce sont les Préludes, sans doute, qui ont éveillé l’intérêt pour Louis Couperin au XXe siècle. Ces pièces appartiennent au genre « non mesuré », style inspiré en partie des toccatas de Frescobaldi et de Froberger mais plus encore de la tradition du récitatif avec basse continue du XVIIe siècle. Ces pièces requièrent une longue préparation et une grande sûreté de jeu. On s’est souvent demandé s’il s’agissait d’une « improvisation ». Toute notation comporte une part de mystère : la notation, à cette époque, ne suffi t pas pour traduire toute l’expression musicale, il faut donc « improviser » tout ce qui n’est pas écrit. À travers la notation, le compositeur invite l’interprète à une étroite collaboration. 12 FRANÇAIS MENU Les pièces de clavecin de Louis Couperin n’ont pas été publiées de son vivant. Elles fi gurent pour l’essentiel dans les manuscrits Bauyn (BNF, Paris) et Parville (Université de Californie-Berkeley). Dans les détails d’ornementation et divers autres éléments, les textes varient énormément. Les deux manuscrits sont de la main de plusieurs copistes inconnus, à qui l’on doit également les partitions d’autres compositeurs comme Chambonnières, d’Anglebert, Frescobaldi, Froberger, Dumont, La Barre, Richard, Hardel, Lully. Nous ne possédons aucune information sur la source qui a servi à la compilation des manuscrits contenant ces pièces de clavecin. De plus, le compositeur n’est mentionné que sous le nom de « Monsieur Couperin ». Par conséquent, nous ne pouvons pas affi rmer que le compositeur est Louis Couperin plutôt que l’un de ses frères. Louis Couperin était connu comme joueur de viole et organiste alors que son frère Charles jouissait d’une excellente réputation comme claveciniste. Et pour compliquer davantage la question de la paternité ou de l’attribution des œuvres, lors de la publication des pièces d’orgue communément attribuées à Louis Couperin, on a émis l’hypothèse que la source manuscrite de ces œuvres pouvait être de sa main. D’après Skip Sempé, 2004 13 MENU ‘IN STYLISTIC TERMS, LOUIS COUPERIN STANDS IN THE GREAT SEVENTEENTH- CENTURY TRADITION OF HARPSICHORD PLAYING.’ LOUIS COUPERIN AND THE FRENCH HARPSICHORD ENGLISH Louis Couperin (c.1626-1661) belongs to the fi rst generation of an illustrious dynasty of musicians, the most famous member of which is his nephew François Couperin, ‘Le Grand’.
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