With this disc London Baroque and BIS are continuing a very successful collaboration which has so far resulted in six releases. On this present disc London Baroque turn their eyes and ears to François Couperin, also known as 'le Grand'. But this CD also invokes two other Baroque giants, namely Corelli and Lully. The main works are the two Apothéoses, in which Couperin portrays the ascent to Parnassus of his two great predecessors. Apart from them being intended as compliments to the composers, one might see in the works - and especially in L'Apothéoses de Lulli - an attempt to advocate and create a fusion of the French style with the Italian, which during the early 17th century was all the rage in Paris. This is music with a history indeed - performed in the ever fresh manner of London Baroque.

Classical Music

COUPERIN, F. and L.: Clavecin des Couperin (Le)

Christmas Organ Music - Marchand, L. / Daquin, L.-C. / Dandr

Classical Music

After the success of the Red, Yellow, Blue and Pink collections (a total of 56 reissues), which brought the pearls from the Baroque catalogues of the house labels back into the spotlight, here are fourteen new titles offering a chance to rediscover more Baroque treasures and rarities. Like the last series, this fifth installment also opens up to the Classical (Mozart) or Renaissance (Dufay) repertories - recordings that are an integral part of Alpha's identity and history. This series' reissues are performed by the finest musicians in the field; most of these recordings received one or more awards on their first release. The albums come with proper booklets, including notes in three languages (French, English, German). Photographers from many different backgrounds illustrate the covers of the series with their works: this time the main theme is the color white. The present album features Francis Couperin's Pieces for Harpsichord performed by Blandine Rannou.

Classical Music

Fran�ois Couperin (1689-1755) 'Couperin le Grand' was a master of the Baroque era, and this release offers us a fresh recording his chef-d'oeuvres: the harpsichord trios. Couperin was born into a musical family. He followed in his father's footsteps as organist at the Saint-Gervais Church in Paris, and before long his musical talent led him to the court of King Louis XIV. His appointment as court musician introduced him to a network of composers, with whom he regularly corresponded and shared ideas. Johann Sebastian Bach, for example, greatly admired his volumes of harpsichord music. L'Apoth�ose de Lully and L'Apoth�ose de Corelli open this set and are among the earliest examples of programme music. The former is dedicated to Jean-Baptiste Lully (1632-1687) who had defined the sound of French Baroque music, while L'Apoth�ose de Corelli pays homage to the Italian virtuoso, Antonio Corelli (1653-1713). The pieces depict the esteemed composers reaching the summit of Mount Parnassus. Then, guided by the God Apollo, they merge the French and Italian styles. Relations between Italy and France had soured following the Spanish War of Succession and the scramble to claim new territory, but Couperin's piece favors integration over individualism, as each composer's style compliments the other, raising the music to divine greatness. Les Nations follows in this vein, as it draws influence from both styles, featuring Corelli-inspired forms with alternating slow and quick tempos as opposed to the French-style suites of dances. It was dedicated to France, Spain, the German Empire and to Piedmont, part of the newly reformed Kingdom of Sardinia. In the wider context, Couperin's music is tinged with political ideology as he paints a picture of harmony flourishing from European unity. Couperin's pioneering music has inspired composers for generations; a century after his death, Johannes Brahms was programming Couperin's keyboard works on his concerts, and Maurice Ravel paid homage to the composer in Le tombeau de Couperin.

Classical Music

Classical Music

François Couperin, one of the most significant and important composers of French Baroque music, composed fourteen concertos between 1714 and 1724, known as "Concerts Royaux" and "Les Goûts-réunis, ou Nouveaux Concerts." The fantastic oboist Emanuel Abbühl has selected five of these for his new GENUIN CD. For his album, he takes advantage of the composer's decision to allow performers the freedom to choose whether the main voice should be played with harpsichord, oboe, violin, flute, or bassoon. Abbühl collaborates with fellow musicians David Tomàs (bassoon), Carla Sanfelix (Baroque cello), Miklós Spányi (harpsichord), and Benoît Fallai (theorbo), combining modern and historical instruments with the utmost respect for style, colors, and tempi: truly ear-opening!

Franois Couperin’s Concerts Royaux (1722) and Les Nations (1726) use open scoring, indicating that they could be performed by whatever instruments were at hand. + He later confessed that he himself preferred to perform them on two harpsichords. + This suggestion had to wait for these two CDs to be taken up in a recording (the second CD is being readied for future release). + Also presented are a number of his Pices de clavecin, also in rarely heard realizations for two harpsichords.

Louis XIV enjoyed holding private concerts for himself, performed by the musicians in his service. In 1714, François Couperin composed an ensemble of short pieces for this very purpose, brought together in four Concerts, each one a marvel of the King’s Chamber Music. By turns dancing or mysterious, the pieces by Couperin, who presided over the harpsichord during these musical moments in the twilight years of the Sun King’s reign, form a veritable compendium of Grand Siècle music. They dazzle like never before at the hands of Patrick Cohën-Akenine and his Folies Françoises…

When the Messe à l’usage des Paroisses pour les Fêtes Solennelles [Solemn Mass for the Parishes] was published in 1690, François Couperin was just 21 years old, yet he had created a masterpiece of French organ music. Enhancing the tradition of alternating organ music with liturgical singing during the service, he created opulent pieces, each more inventive than the next, and on a truly royal scale. Accompanied by the Chant sur le Livre [Singing upon the Book] technique, magnificently improvised as was customary, and recreated here in all its splendour, this legendary mass is performed by the charismatic Olivier Latry on the Great Organ of the Royal Chapel of Versailles, which was inaugurated by Couperin the elder in 1710.

This latest MarchVivo release is a remastering of the concert given by Benjamin Alard at the Fundación Juan March on 1 February 2020 as part of a series entitled The Couperins at the harpsichord. The album focuses on the stylistic connections between different members of the most significant family in the history of the French Baroque: the Couperins. The harpsichord epitomized the intimacy and sophistication of salon music and, with the repertoire they composed for their instrument, the clavecinistes français helped forge a distinctive national style. This was renewed and enlivened by successive generations of the Couperin dynasty as they introduced innovative aspects of contemporary Italian style into their works, thereby creating an eloquent new idiom that was to have a lasting influence on the history of keyboard music.