Suites D Major A Minor C Major F Major

I de M. de Blancrocher

' . .xu ' , Harpsichord Louis Couperin (c. 1626 - 1661) Works for Harpsichord Little is known of Louis Couperin's first twenty-five years. Even the exact date of his birth is unclear, as the registers for Chaumes, the Couperin family home, are missing. Although Chaumes was in the very provincial region of Brie in North East France, there was at that time a large community of wealthy aristocrats who patronised the arts and no doubt Louis Couperin and his two brothers benefited from the talents of the court musicians, as well as the lessons they received from their musical father. Other indications of Louis Couperin's burgeoning talent are anecdotal, though charming. The story goes that, together with his brothers, he marched the fifteen kilometres to the chateau of Monsieur Chambonnieres and there performed one of his own compositions. The grand old harpsichordistwas so impressed that he persuaded Louis Couperin's father that the young should accompany him to and be presented at the Royal Court. This he duly did and the young man was received there to great acclaim. Louis Couperin became a full-time musician at court and as a result travelled widely outside Paris. He refused the post of resident harpsichordist, 'joueur d'espinette', in deference to his mentor Chambonnieres, who still held the position. Instead, he took a post as a treble- player, showing what a remarkably versatile musician he was. In fact Chambonnieres soon retired, as he was unable to play the ever more complicated figured bass (improvised harmonic patterns above a given bass line) so Louis Couperin became 'joueur d'espinette' in all but name. More recently Louis Couperin has been overshadowed by his nephew, Franqois le Grand. Though Fran~oisCouperin was indeed to bring a new elegance, he owed so much to his uncle, who had revived old genres and breathed new life into French harpsichord music. One of the principle reasons for Louis Couperin's neglect is the loss of a large proportion of his music. What we have consists mostly of harpsichord music, though there is also music for organ, viol consort and shawm choir. 215 pieces survive and these are found in two manuscripts, neither in Louis Couperin's own hand. The 'Parville' manuscript mixes movements by Louis ~ouperinwith musicof othercomposers. In the more com~rehensive'Bavn' manuscri~tthe Preludes amear tooether at the beginning, followed by groups of pi&es based arourid the t6rteen respective tonal centres represented. In neither manuscript are these Suites arranged in the order in which they would have been performed. The Preludes non mesures represent Louis Couperin's most profound and influential addition to the repertoire. They replaced the hitherto improvised preludes that players were expected to perform before a suite. Although these new preludes are notated, they at first appear to be a confusing yet beautiful succession of random notes. Further investigation reveals, however, that although the form is exceedingly free, the writing is very intricate, with interesting melodic material and rich harmonic patterns. Two of the Preludes, the A minor and the F major, have central fugal sections which interrupt the otherwise seamless flow. Of these two, the A minor acknowledges in its title the composer's indebtedness to Johann Jacob Froberger, a German composer greatly influenced by both Italian and French styles. Louis Couperin probably met Froberger in Paris in 1649 or 1652 and later paid hommage by imitating directly the most famous of Froberger's ltalianate Toccatas in this piece. The unmeasured prelude continued to flourish for another seventy years or so. Its demise was largely thanks to Fran~oisle Grand, who refused to compose free preludes, as he did not trust the good taste of the executant. The dance movements of Louis Couperin are in the conventionalforms of the day, though they exploit a more exotic harmonic language and show greater rhythmic interest than the models of Chambonnieres. The is a stately dance in four time, those in D major and F major to be played especially slowly. The is a lighter dance: basically in three time, it skips coquettishly into two time and then back out again. The Sawande and Menuet are both in three time, the former being noble and bold with a second beat emphasis and the Menuetinore spritely, in-this case with eccentric phrase lengths. The Gaillardeis another courtlv dance in three time and the Branle de Basque a snappy show-piece. La ~iemontoiseis a slight oddity, resembling an entree which formed part of an orchestral overture. The Chaconne and Passacaille, almost interchangeable as titles, are the crowning glory of the dance movements, being repetitions of a Grand couplet interspersed with variations. It is here that Louis Couperin really shows his control over long-term musical form. The Tombeau de Mr Blancrocher is a musical tribute to the great lutenist, who died in 1652. Blancrocher died falling downstairs and this is reflected in the large downward leaps in the bass voice, while the passages in the high registers of the harpsichord represent his ascent to heaven. This very special piece is in F major and when performed in a mean-tone temperament, as it is here, produces a lamenting melodic figure heard no less than six times. The Harpsichord The Mackinnon and Waitzman harpsichord used in this recording was supplied and tuned by Claire Hammett. It is based on the Colmar Ruckers, a double manual harpsichord with the range GG-d3. This instrument was made by Joannes Ruckers in 1624 and later modified by 'petit ravalement', a technique of the late 17th and 18th centuries in which the original case is maintained and the keyboards and action are replaced by those of a larger compass and of a more contemporary taste. The original is in Le Musee des Unterlinden, Colmar, France. It has been kept in the de Sade family for many generations since the eighteenth century. Temperaments: 114 comma meantone and an 18th century French temperament The 114 comma meantone and its related temperaments were ;robably the most common in use throughout Europe for a period of two hundred years. Undoubtedly, most keyboard music from the 16th into the 18th century was written with this temperament in mind. Eleven out of twelve fifths are reduced by 114 of the syntonic comma, causing the major thirds, made up of any four such fifths, to be pure. The remaining fifth as a consequence is very wide and too out of tune to be musically useful. It is known as a 'wolf' fifth. The French temperament is described by several musicians and theorists of the time, most notably J. La R. d'Alembert in Elemens de Musique, Paris 1752 and less accurately by Jean-Phillippe Rameau in 1726 and Jean Jacques Rousseau in 1765. This temperament has fifths of varying sizes, creating a hierarchy of thirds, ranging from pure and sweet to wide and pungent. Wolf intervals have been avoided. As this temperament favours the thirds in sharp keys, it has been chosen for several of these Suites. O 1994 Programme notes by Laurence Cummings, Claire Hammett and Mimi Waitzman. 5 8.550922 Laurence Cummings Laurence Cummings was born in Birmingham, England, in 1968. He studied at Oxford University as Organ Scholar in Christ Church Cathedral, graduating with a First Class Honours degree in Music. He went on to study with Robert Woolley at the Royal College of Music where he won the prestigious inter- collegiate Raymond Russell Prize. More recently he has been studying with Jill Severs. Laurence Cummings enjoys a successful career both as solo harpsichordist and continuo player. With the Sixteen Choir and Orchestra and the London Handel Orchestra he has toured extensively around the world as well as broadcasting on radio and television. This recording marks the debut of Cummings on the Naxos label. Louis Couperin Cembalowerke Sage Er, mein lieber Chambonnieres, wer ist dieser junge Mensch, der hier so arthig dar Clavicimbel tractiret? - Sire, ein schutzliig, den aus meiner Heimat mit an Dero Hochsten Hof aebracht mich aetraut und Dero allerhochst geschatztes Lob darfur zu findenwohl ganz u6terthanigst hoffe. - GewiO, gewi0, mein Lieber - ein ganz offensichtlicher Meister trotz seiner Jugend. Bien alors, sage Er ihm, er solle fortfahren mit seinem Spiel ... So konnte sich, freilich in franzosischer Sprache, ein Dialog zwischen seiner Majestat, Konig Ludwig XIV., und seinem Hofcembalisten Jacques Champion de Chambonnieres abgespielt haben, in dem ersterer letzterem sein Wohlgefallen an der musikalischen Kunst des jungen Louis Couperin zu verstehen gab. Bis hierher geht die reine Erfindung. Doch die iiberlieferte Biographie zeigt, daO Louis Couperin dem beruhmten Chambonnieres tatsachlich einiges zu verdanken hatte. Als er namlich 1650 im LandschloO des Hofcembalisten die Serenade spielte, wurde dieser durch die Qualitat des Gebotenen auf den jungen Mann aufmerksam. Um zu verhindern, daB der Sohn eines nordfranzosischen Kaufmanns sein Talent in der Provinz verschwendete, nahm er ihn nach Paris mit und fuhrte ihn dort in die einfluoreichen Kreise ein. Couperin wurde zum Organisten an Saint- Gervais ernannt (dieses Amt sollten im iaufe der nachstei 170 Jahre noch sechs weitere ~amilienmit~lieder bekleiden); ferner spielte er bei den Hofballetten Viola und Violine; spater wurde er Organist der Chapel Royal. Tragischerweise starb der weithin geschatzte Musiker schon mit 35 Jahren. Doch er hinterlief3 eine bemerkenswirt grof3e Zahl von Cembalowerken, die vor allem in zwei Manuskri~tenuberliefertsind. In einervon einem unbekannten Kopisten angefertigten ~bschriftfinden sich etwa 120 Stucke, in einem weiteren Band sindderen 52zusammengefaOt(wobei es allerdings zu gewissen

7 8.550922 ijber~chneidun~enkommt). lnteressant ist die Anordnung der Kompositionen: In demaro0erenSammelband hatder SchreiberaleicheTanzsatze(Allemanden, oura ant en usw.) entsprechend ihrer ona art en zusammengefaBt, in dern kleineren Manuskript wurden die ausgewahlten Satze zu konventionellen Suiten gereiht. Eine besondere Spezialitat von Louis Couperin waren seins Preludes, in denen er auf jegliche Taktangaben und rhythmische Gestaltungen verzichtete: Es bliebdem jeweiligen Spieleruberlassen,die mehroderwenigerangedeuteten harmonischen Geruste auszufullen und die quasi unendlichen Melodien sinn- und geschmackvoll zu rhythmisieren. Diese Praxiswarzwar in der Lautenmusik bekannt, doch Couperin war der erste, der das Verfahren auf das Cembalo ubertrug. Sein Neffe, der jungere Franqois Couperin (le Grand), erkannte spater die Schwierigkeiten, die eine derart freizuge Notationsweise mit sich brachte, und achtete bei seinen eigenen Preludesauf peinlich genaue Angaben. Offensichtlich war die Kunstfertigkeit, aus bloBen Hinweisen eine zufriedenstellende "Komposition" zu gewinnen, schon damals nicht allzu weit verbreitet, so daB man gut daran tat, den weniger Begabten mit klaren Richtlinien auf die Sprunge zu helfen. Doch zuruck zu Louis Couperin, der sich anscheinend urn derlei auffuhrungspraktische Dinge keine Gedanken gemacht hat. Wenn man die Cembalosatze zu den ublichen Suiten zusammenstellt, wird die Folge der Tanze von einem der unmensurierten, also 'Yakt=losen" Praludien eingeleitet. Daran schliel3en sich nach standardisiertem Muster Allemande, Courante und an, worauf ie nach Geschmack weiters Satze anaehanat werden konnen: etwa in der suiie D-dur eine Gaillarde und eine ~haconnegder in der Suite a-moll zwei CharaktersMcke. In diesen Tanzsatzen zeigt sich eine gewisse Melancholic des Kom ponisten, der von seinen Zeitgenossen wegen seiner kuhnen Harrnonik und vor allem seiner "belles dissonances" (schonen Dissonanzen) bewundert wurde. Ein "Gelegenheitswerk" der besonderen Art ist der Tombeau de Monsieur Blanrocher, eine Trauermusik auf den Tod des Lautenisten Charles Fleurv. Sieur de Blanchrocher, der 1652 bei einem unglijcklichen Treppensturz zu Tode kam. Neben Louis Cou~erinschrieb auch Johann Jakob Froberaer einen 'Tornbeau", in dem er so weii geht, diesen Sturz musikalisch nachzuieichnen. Couperin ist dezenter und beschrankt sich auf das Lauten der Totenglocken.

O 1994 Cris Posslac Louis Couperin Pieces pour Clavecin Louis Couperin est ne en 1626 et meurt en 1661. 11 occupe plusieurs fonctions: il est organiste a Saint-Ge~aiset dessus de viole dans les ballets de Lully. Louis Couperin est I'oncle de Franqois et le premier compositeur celebre de la famille. II subit I'influence de Jacques Champion de Chambonnieres, un grand representant de I'ecole franqaise de clavecin et claveciniste a la cour de France. Couperin cependant, revele une atmosphere plus grave que celle habituellement rencontree dans ce repertoire. Comme celles de Gaultier ou de Chambonnieres, les Suites de Couperin ne presentent pas de veritable unite (contrairement aux compositeurs allemands qui tentent de regir leur Suites par I'utilisation d'un theme present tout au long d'une m6me oeuvre). Les franqais recherchent la vivacite du contraste entre les differentes pieces. Ces dernieres sont principalement des danses (gaillarde, courante, allemande, sarabande, parfois une etc ...). L'unite de tonalite est respectee mais I'ordre n'a pas grande importance. Les habitudes du compositeur ne sont consignees clairement dans aucun document de I'epoque. Ces danses sont en deux parties, chaque volet etant repris (la fait exception puisqu'elle est tripartite). Lacouranteestsouventtrescomplexe rythmiquement: style brise, polyphonie libre, arpeges mesures (symbolises par un trait oblique sur la partition alors que Chambonnieres les notait), faisant entendre jusqu'a cinq voix differentes. Les chaconnes en rondeau representent selon I'avis de certains critiques, les plus belles pieces de danse du compositeur. La chaconne en Fa majeur est generalement attribuee au compositeur Chambonnieres, bien que le manuscrit soit anonyme et que la piece nefigure pas dans les ouvrages publies de ce dernier. LouisCouperinest le premieraecriredes preludes pourclavecin,certainement influence par les joueurs de luth qui composaient des preludes de style improvise. Son ecriture estdirectementdanslaligneedu style des improvisations de Gaultier. Les notes apparaissent en rondes et les liaisons indiquent les tenues et les articulations. Mais, le rythme a donner a la piece est fonction de chaque interprete. Aujourd'hui, ces derniers ne peuvent que se referer au peu que nous connaissons des habitudes et usages de I'epoque. La difficulte reside plus particulierement dans le fait que Louis Couperin avait une notation codee, assez approximative pour qui ne connait pas les usages de cette periode baroque. Fran~oisCouperin ne perpetuera pas ce mode de notation, le jugeant trop difficile a transmettre et a apprendre. Ces preludes sont relativement developpes, souvent ecrits sous la forme de toccatas encadrant une partie centrale fuguee. La piece a /'imitation de Monsieur Froberger, premiere morceau de la Suite en La mineur, est le plus long des preludes et melange le tombeau frangais (ou allemande grave) et la toccata italienne. II s'agit d'une citation, dans la m6me tonalite, de la toccata de Frescobaldi. Ensuite, Couperin cite une composition de Froberger: Plainte faite B Londres pour passer la MBlancholie, "laquelle se joue lentement et avec discretion". II faut noter I'harmonie audacieuse de La PiBmontaise, qui garde secrete, encore aujourd'hui, I'origine de son titre. Louis Couperin fait egalement usage du chromatisme, qu'il utilise comme moyen d'expression du dramatique. Son neveu Fran~oissera moins grave, rnoins sombre et austere que lui. II continuera de developper le style des ornementations, mais ses magnifiques preludes ne retrouveront jamais I'intensite, le mouvement de liberte et la profondeur de ceux de son oncle.

O 1994 Solvejg Pollet

Louis , diE8DIOITAL AUDIO COWERIN Playing Harpsichord Suites Time: Tombeau de M. de Blancrocher 73'50" Laurence Cummings, Harpsichord Suf te in D Major Tombeau de M. de (7:OS) r Prelude (4:03) Blancrocher fi Allemande (4:08) @I Courante (1:19) Suite in C Major Sarabande (2:05) Prelude Gaillarde (~~15) &I Allemande Chaconne (2:36) Courante Sarabande Suite in A Meor Passacaille Prelude a I'imitation de (6:27) suite in P war Mr Froberger Allemande I'Amiable (~~09) Prhlude Courante La Mignonne (1:35) @I Allemande grave Sarabande (2:20) Courante La Pi6montoise (1:53) Sarabande Menuet de Poitou et son Double (2:18) @I Branle de Basque Gigue Gaillarde Chaconne Recorded in Forde Abbey, Dorset, England from 13th to 15th June, 1993.

- Harpsichord provided and temperaments prepared by Claire Hammett.