Elizabeth Anderson harpsichord with Douglas Lawrence organ Elizabeth Anderson is a tutor in Late Renaissance and Baroque Music at Ormond College, University of Melbourne, a teacher of harpsichord at the University of Melbourne and Mercy College and a continuo player with the State Orchestra of Victoria. She studied at the University of Melbourne under Roger Heagney and Geoffrey Cox, graduating in 1984 with a Master of Music degree in music performance. Further studies took her to Europe, where she followed courses with Ton Koopman, Alan Curtis, Luigi Tagliavini and Colin Tilney. As a concert performer, she has played extensively both at home and abroad. Concert tours in 1983 and 1986 have seen her playing in such venues as the Basilica dei Frari, Venice; Kaiser- Friedrich-Gedächtnis-Kirche, Berlin; the church of Saint Germain, Geneva; Frederiksborg Castle, Denmark and Leeds Town Hall. In Australia she performs regularly with two ensembles, and has appeared as solo artist with several orchestras. Some organizations which have engaged her are the Victorian Arts Council, Musica Viva and the Melbourne International Festival of Organ and Harpsichord. She records regularly for the Australian Broadcasting Corporation. Douglas Lawrence is Director of Music at the Scots Church. He enjoys an international reputation as organist, conductor and teacher, and has released several highly-acclaimed recordings. The harpsichord is a copy of an life of the monastery was closely allied Certain parts of the Minue are reminiscent instrument by Pascal Taskin, built in Paris to that of the royal household. The royal of Scarlatti’s harpsichord sonatas: in 1769, and now a part of the historical family spent each Autumn at El Escorial the trumpet-like motif, heard first on instrument collection at the University of with its musical entourage, which included harpsichord, and then on organ in the first Edinburgh. Originating from a Hubbard Soler’s teachers, Jose de Nebra and variation, the rapid repeated-note motif kit, the instrument used for this recording Domenico Scarlatti. During the remainder in the harpsichord part in the second was modified and assembled by Alastair of the year, Soler was often in Madrid, variation, and then the rapid scale and McAllister of Melbourne in 1984. It stands where the Jeronymites had an annexe, arpeggio passages of the fourth and final on a Louis XIV apron stand, and has a lid fulfilling his duties as a composer, and variation. painting by Iris and Warren Anderson. It later as harpsichord and organ teacher to has two manuals with shove coupler and the Infanta Gabriel (1752-1788), son of François Couperin: three choirs of strings: an 8’ and a 4’ on Carlos III (1759-1788). Born – Paris, 10 Nov. 1668 the lower manual and an 8’ on the upper Thus, as Scarlatti had formed a Died – Paris, 11 Sept. 1733 manual. lifelong relationship with the previous François Couperin belonged to a The Organ used on this recording generation of monarchs, Soler formed a dynasty of musicians second only to the was built by Knud Smenge in Melbourne lifelong musical symbiosis with Prince Bach family. in 1983. It has one keyboard and the Gabriel, the results of which were In 1686, he officially inherited the following registers: Gedackt 8’, Flote 4’, numerous keyboard sonatas, six string position of organist at the church of St Principal 2’, Nasat 1 1/3. quintets with organ, and the six concertos Gervais, where his uncle, Louis Couperin for two organs. (1626-1661) and his father and teacher, Charles Couperin (1638-1679) had Padre Antonio Soler: Concerto No. VI in D major for preceded him. In 1690, Couperin obtained Baptized – Olot, Gerona 3 Dec. 1729 two organs – Allegro-Minue his first royal privilege to print and sell Died – El Escorial, 20 Dec 1783 These concertos were designed to his music. He used the six year licence In 1736, at the age of six, Soler be performed by Soler and his royal pupil to publish a collection of organ pieces. entered the choir school at Montserrat, in the small palace built on El Escorial Interestingly enough, this was the only where he received his musical education. grounds in 1768-1772 for Prince Gabriel’s organ music that Couperin is known to In 1752 he joined the Escorial community private concerts. The works are style have written, despite the fact that at least of Jeronomyte monks. He succeeded galant pieces, in which Soler digresses until 1717 he performed primarily as an Gabriel de Moratilla as maestro de capilla from the Scarlattian virtuoso style often organist. on the latter’s death in 1757. The Escorial heard in his sonatas. It was as an organist that Couperin capitular acts noted Soler’s command of The Allegro from the Concerto No VI first gained a foothold at Louis XIV’s Latin, his skill as organist and composer, in D is a movement which aims to charm court, succeeding his teacher, Lalande, as his flawless conduct, and his indefatigable rather than to impress. The wistful D king’s organist in 1693. Having established application to music. minor interjections are accompanied by financial security with a position at court, During the reign of Ferdinand VI and colour changes which are enhanced by the Couperin concentrated on producing Maria Bárbara (1746-1759), the musical alternation of organ and harpsichord. harpsichord music, which would form the basis of his compositional output. were in triple metre, and this one is an from Clermont, and went to Paris. It was In 1713 he took out a twenty-year exception. It is in rondo form: the rondo probably due to this dramatic exit that printing licence, which, as it happend, theme itself is whimsical, each phrase he did not succeed in securing another sufficed to cover the publication of his beginning with a descending, three- organist’s post in Paris until nine years music up to the end of his life. His Pièces quaver figure. The first couplet treats later – 1732. de Clavecin, book one, appeared in this three-quaver figure contrapuntally, Nevertheless, Rameau made use of that year. A treatise, L’art de toucher le whilst the second uses the same figure in the ensuing years in Paris, publishing his clavecin was published in 1716, followed inversion as a starting point. The third Traité de l’harmonie in 1722, his second by a second book of harpsichord pieces couplet brings with it a more sprightly and third harpsichord books in 1724 in 1717. The third and fourth books were mood, then the fourth, more serious in and 1728, and his Nouveau Système de issued in 1722 and 1730 respectively. character, introduces a march-like leaping musique théorique in 1726. By this time, It seems strange that it was not figure with intervals of a fourth and a fifth. Rameau had become famous as a theorist, until 1717 that Couperin was officially The fifth and final couplet returns to the thus fulfilling one of his ambitions. He had recognized as a harpsichordist at court. elusive sadness of the opening. a second ambition though, which was to He had for some time been standing in for compose for the stage. d’Anglebert, whose eyesight was failing, Jean-Philippe Rameau: Opera and ballet performance, as Ordinaire de la musique de la chambre Born – Dijon; baptized, 25 Sept. 1683 however, required much greater financial du roi pour le clavecin. Now Couperin was Died – Paris, 12 Sept. 1764 resources than Rameau could muster. In offered the right to inherit the post on Rameau’s musical career divides into 1726, he met the patron he needed: The d’Anglebert’s death. two distinct periods. tax-farmer, Le Riche de la Pouplinière Little detail of Couperin’s personality In 1702, on his return from study ran a private orchestra, and his wife, and musical opinions is available, as in Italy, he was appointed organist at Marie-Thérèse Deshayes became one none of his correspondence has survived: Clermont Cathedral. From this time until of Rameau’s fervent admirers. Rameau Letters he is supposed to have exchanged 1715, he occupied various church-organist married in the same year – a girl of with J.S. Bach were allegedly used as posts in Lyons, Dijon and Paris. During 19, Marie-Louise Mangot – perhaps to jampot covers some years later. That this time, he wrote motets and secular enhance his respectability. The fruit of Bach knew Couperin’s music is evident cantatas, and published his first book of this colaboration with Pouplinière was from a copy and an arrangement of two of harpsichord pieces (1706). Rameau’s first opera, Hyppolyte et Aricie, Couperin’s pieces in Bach’s hand. 1715 saw him back at Clermont which was performed twice in 1733. Thus Cathedral, where he stayed for eight began the second period of Rameau’s life: La Favorite years. To secure his release before the end a period of living in Pouplinière’s mansion The title of this piece, from the first of his contract, Rameau is said to have and conducting his orchestra, writing book of Pièces de clavecin, suggests its created chaos at a feast-day service, by for the stage, and producing theoretical possible origin as an improvisation that first refusing to play, and then by pulling publications. Only five more pieces for Couperin was frequently asked to recall. out all the most unpleasing stops on the harpsichord were written after the first The composer labels it Chaconne a deux instrument and playing a discordant opera, these being published in 1741 and tems because traditional chaconnes improvisation. Thus, Rameau was released 1747. In spite of his enthusiasm for opera Carl Philipp Emanuel Bach: by private arrangement with the court and ballet, Rameau always regarded Born – Weimar, 8 March 1714 printer.