Couperin, François: Pieces de clavecin. Second livre (1717)
for Harpsichord
playing score
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
内容目录 | ||
---|---|---|
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 |
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.
