Suites and Chaconnes, Volume II (Suites IX to XVI): For Piano: 0 (Kalmus Edition)

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L, Diemer , 4 Bks. A student edition with dynamics added by the editor and the ornamenta- tion written out in small notes in place of the original graphic symbols. There are many reprints of single pieces all of which should be checked with the above editions.

Breitkopf and Hartel, Original French, modern German and English translations in parallel columns. Not available on the present market. An accessible English translation is badly needed. There are also eight Preludes illustrating the treatise that have been reprinted separately by Fuller -Maitland editor with incorrect ornamentation. The following selection does not mean that there are no other pieces by Couperin worth playing.

On the contrary, it has been a difficult task to make the following representative listing from his entire output. Sarabande La Prude Three voices, dignified quarter-note motion, solo melody. Rigaudon Alla breve, quarter -note motion, two voices, lively. Broken inter- vals, moderate motion. Cinquieme Ordre in A Minor Weighty, dense texture, pitched in deep regis- ter, chordal, sonorous. Pathetic genre, melody with two accompanying parts.

Serious, lyric rondeau with five couplets. Legato melody The French Clayecinists with light bass. Three couplets. Three voices, tender solo melody. Lively, light two voices, invention style, flowing sixteenths. Lively rondeau, broken chords throughout, no change of texture. Forerunner of Bartdk's From the Diary of a Flv! Compel ling chromaticisms, variety of textures. Stately eight -bar rondeau theme, unusual harmonies.

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Eight couplets of varying length and texture. Lengthy, difficult. Requires musicianship. Dissonant acciaccaturas.


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Ruiming passages and fast left-hand broken octaves. Separate reprint by Lyrebird Press. The pieces are variations over a ground set of The Earlier Keyboard Music 22 harmonies eight bars long. A unique work. Requires neatness of style, tonal imagination, and sensitivity.

Uneasy, agitated melody. Flowing sixteenths over walking eighths. Rapid, scurrying imitative figures, two voices, light, clear style. Euphonious, melodic rondeau, three and four voices, uniform texture. Melodic rondeau, simple accompaniment, three couplets. Quiet charm Two voices, animated invention style.

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Suites and Chaconnes, Volume II (Suites IX to XVI): Piano Book: George Frideric Handel

Changing tempo and textures. Allemande, suave, flowing sixteenths, three voices. Vigorous, marked, dotted rhythms. Lively, jumpy qualities. Three voices, some imitation. His works comprise a series of un- barred, improvisatory preludes, many dance movements not organized into unified suites , many passacailles and chaconnes, a fantaisie and a tombeau. All these are collected in a magnificent library edition published by Lyre- bird Press: Complete Keyboard Works in one volume P.

Many separate pieces have been reprinted in the usual anthologies. Passacaille in G Minor Stately four -bar ground bass with twenty double variations pre-eminently lyric in character. Some chromaticism. Tombeau de Monsieur Lament in F. Improvisatory, intense, de Blancrocher serious. Single reprint by Lyrebird Press. Chaconne in D Minor Dignified, serious, lyric eight-bar rondeau theme. Four interpolated couplets, varying in texture. Sarabande en canon Canon between upper two voices. They may be found in Les Clavecinistes francais. I Philipp , Oliver Ditson and Co. La Gemissante Melancholy, lyric rondeau in three voices.

Gretchen am Snimirad of Schubert! Running eighths against quarters, two voices. La Favorite Euphonious rondeau, two smooth voices. La Lyre d'Orphee Introspective, tender melody, three legato voices. Syncopated, broken line in soprano, steady quarters in bass.

Busily moving sixteenths in repeated tones simulating cackling. Les Tourbillons Buoyant, rapid, lively, good humopred. Pas- sageplaying, some imitative figures. Two and three lyric voices. Bold figuration. Requires some dexterity. The diffi- culties are only moderate. Pieces de Clavecin , P.

Senart through Salabert. Four suites containing from two to ten pieces assembled without any close relationship. Deux Rigaudons Rhythmic, buoyant, two -voiced rondeau, two couplets with three -voiced texture. Short Rigaudonin maior serves as trio. Fairly long.

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Les Trois Cadences An early experiment in double -note trills. Animated, lengthy. Courante Animated, sonorous.

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Arpeggios and broken chords. Close passage playing, imitative figures, two voices throughout. Le Coucou Lively rondeau on the call of the cuckoo. Close position finger passages. The entire suite from which this piece comes is reprinted in Art of the Suite Pessl. La Melodieuse Graceful, euphonious rondeau in C minor.

Pathetic genre. Bach and copied out by him in his own hand. Stately opening, fugued middle section. Square phrases, traditional sarabande rhythm. Gay, crisp Rhythmic. DUPHLY The three pieces by Duphly mentioned below have a flavor reminiscent of Domenico Scarlatti both from the viewpoint of formal structure and pianistic style. They all require finger dexterity, brilliance and neatness in phrasing.

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