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Couperin, François: Pieces de clavecin. Second livre (1717)

for Harpsichord

playing score

Edited by Herlin, Denis
Setting: Harpsichord
Instrumentation: harpsichord
Series: Bärenreiter Urtext
Period: Romantic
Language: English, German
Grade: 6
Weight: 0.723 kg
Publisher: Bärenreiter
Item number: BA10845
Other reference: BA10845
ISMN: 9790006505623

Edited by Denis Herlin
With notes on performance practice

Once again the French musicologist Denis Herlin, who mastered the harpsichord under the tutelage of such keyboard legends as Kenneth Gilbert and HuguetteDreyfus, has presented an exemplary edition of a classic from the harpsichord repertoire.’

Bärenreiter presents Book II of Couperin’s ''Pieces de clavecin'', first published in 1717. In addition the eight preludes and oneallemande from his treatise ''L’Art de toucher le

Contents

1.
Les Moissonneurs
2.
Les Langueurs Tendres
3.
Le Gazouillement
4.
La Bersan
5.
Les Baricades Misterieuses
6.
Les Bergeries
7.
La Commere
8.
Le Moucheron
9.
La Ménetou
10.
La Muse Naissante 1re [partie]
11.
L'Enfantine 2e partie
12.
L'Adolescente 3e partie
13.
Les Délices 4e partie
14.
La Basque
15.
La Chaze
16.
Les Amusemens
17.
La Raphaele
18.
Allemande L'ausoniene
19.
Premiere Courante
20.
Seconde Courante
21.
Sarabande L'unique
22.
Gavotte
23.
Rondeau
24.
Gigue
25.
Passacaille
26.
La Morinete
27.
Allemande A Deux Clavecins
28.
La Rafraichissante
29.
Les Charmes
30.
La Princesse de Sens
31.
L'olimpique
32.
L'insinuante
33.
La Seduisante
34.
Le Bavolet-flotant
35.
Le Petit deüil ou les trois Veuves
36.
Menuet
37.
La Triomphante, premiere partie
38.
Seconde partie de la Triomphante
39.
Troisiéme partie de la Triomphante
40.
La Mezangere
41.
La Gabriele
42.
La Nointéle
43.
La Fringante
44.
L'Amazône
45.
Les Bagatélles
46.
La Castelane
47.
L'etincelante Ou La Bontems
48.
Les Graces Naturéles. Suite de la Bontems
49.
La Zénobie
50.
Les Fastes de la grande, et Anciénne ╩ Mxnxstrxndxsx:
51.
Premier Acte. Les Notables, et Jurés ╩ Mxnxstrxndxurs
52.
Second Acte. Les Viéleux, et les Gueux
53.
Troisiéme Acte. Les Jongleurs, Sauteurs
54.
et Saltinbanques : avec Les Ours, et les Singes
55.
Quatriéme Acte. Les Invalides : ou gens Estropiés au Service de la grande ╩ Mxnxstrxndxsx
56.
Cinquiéme Acte. Desordre, et déroute de toute la troupe : Causés par les Yvrognes, les Singes, et les Ours
57.
Les Juméles
58.
L'Intîme
59.
La Galante
60.
La Coribante
61.
La Vauvré
62.
La Fileuse
63.
La Boulonoise
64.
L'Atalante
65.
Premier Prelude
66.
Second Prelude
67.
Troisieme Prelude
68.
Quatrieme Prelude
69.
Cinquieme Prelude
70.
Sixieme Prelude
71.
Septieme Prelude
72.
Huitieme Prelude
100 Years of Bärenreiter

In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.

During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.

When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.

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