Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
(e 6 if ion.
N? 8100.
^d
"
.-
O'
-:>
revues par
x..
Livre
Livre 2
1.
a.
Livre 3
x>
Livre 4
Pan 5
PaPI5
1713.
12161717.
Paria.
1722.
Pans
1Z30.
UNIVERSITY OF TORONTO
AUGENER
WW
LONDON
1968
EDWARD JOHNSON
MUSIC LIBRARY
PREFACE.
Franois Couperin (1658-1733)
is
the
first
knowu
in
Merulo, Frescobaldi and many othersapplied their art quite as much to the
whereas Couperin, though he played both instruments, wrote for the latter only. He
;
stands, therefore, at the commencement of the modem ge, and must be regarded as clearing the way for a new art.
Among his younger contemporaries and in part his pupils were Scarlatti, Handel and Bach.
organ as to the harpsichord
Couperin published his four books of pianoforte works at Paris under his own name as publisher. The first
appeared in 1713, the second in 1716-1717, the third in 1722, and the fourth in 1730. This dition in large folio was
engraved on copper, and formed the most beautiful spcimen of printed music of that period. The press was corrected
with great care by the author, yet is not entirely free from errors.
Couperin's mode of writing music is very peculiar.
It was his constant aim to set down the music with
Even the manifold embellishments are most
the greatest possible fulness exactly as he played it on his instrument.
accurately indicated. AH this gives to his music-writing a more technical appearance than that of any other master of
For this reason, moreover, the engraving of this music, if accurately done, is excessively difficult.
the period.
But an dition which did not reproduce the original signs exactly in ail dtail would be worthless for the knowledge of
Couperin's
art.
Such a worthless, faulty and likewise very incomplte dition of Couperin's works appeared some time ago at
This it was which mainly induced me, in common with Johannes Brahms, to produce a really complte and
which, for the first time since the original dition prepared by Couperin himself, should introduce the
" Couperin le Grand " can now again be
old master again in his true form to the musical public of the prsent ge.
easily understood by every one and estimated at his full value.
Paris.
faithful dition,
To
ornaments as clearly as the author himself noted them, new stamps hve been eut,
But it is not possible in ail cases to take the original dition as a pattern for
the
modem
one.
in
no
less
than
fi
ve clefs
!=!!=
which are perpetually alternating. At the same time he employs ail possible abbreviations and indications of rptition,
and gives various modes of executing the same melody, but without addition of the ground-bass, &c. so that his dition
In thse points it was necessary to improve the old dition throughout in
is positively illegible to a modem player.
accordance with the prsent demands of cleamess,completeness and simplicity. Thus the prsent dition exhibits the
composer' intentions far more clearly than the splendid original one did.
;
The sole slight want of clearness which still remains is in the value of the dotted notes. Couperin never putg two
wherever a second dot occurs in the music, it is to be regarded as an addition. But it is sometimes doubtful
whether his dot dnotes a full double dot, and whether the three following notes are to be treated as triples for figures
dots
such as
BBj
[
;
J J
may
rj~T*j
j J J J
or as
ES5
I nsteac*
'
Couperin's descriptive titles and other observations (often eccentric and quaint) are generally given in his
form of letters, so as to prserve their look of antiquity.
own
The Third Book, which appeared in the year 1722, contains observations on several of the pices written by
Couperin himself. which are given at their proper places. On pp. 34 and 83, with regard to the excution of the
" pices croises," be refers to his prface, in which it is stated that such pices are to be played on two pianos, i.e., on
a clavecin with two manuals ; otherwise, when the instrument has only one manual, either the bass must be put an
octave lower or the treble an octave higher. At the same time he recommends that thse pices be played as duets for
two fltes, hautboys, violins, violas and other unitone instruments a new proof of the many modes of interprtation
of his music and the possibility of various kinds of excution.
:
Departing from the practice of most of the pianoforte composers of his time, Couperin puts his pices together
into larger groups not called " Suites " but ' Orders." The four books contain altogether twenty-seven of thse Orders
with a continuous numration. Thse compositions had as considrable an influence on their ge as those of Corelli,
especially on Couperin's younger contemporaries Handel and Bach.
This influence was further heightened by a Pianoforte School, which Couperin published in 17 17 with the title
"L'Art de toucher le Clavecin," to which he frequently refers in his pices of music. It is the first printed work of its
and has, like the compositions for the elucidation of which it was written, a permanent value.
kind,
Nov.
1,
Fr.
1888.
CHRYSANDER.
VORWORT.
Francis Couperin 1668-1733 ist der erste grosse Klaviercomponist, den die Musikgeschichte kennt.
Oie
beihmten Meister welche ihm vorangingen -Merulo, Frescobaldi unH viele andere wandten ihre Kunst ebenso sehr an
die Orgel, als an das Harpsichord
Couperin dagegen schrieb ausschliesslich fur das Klavier, obwohl er ebenfalls
Organist war.
Er steht daher an der Spitze der modernen Zeit und ist als der Bahnbrecher einer neuen Kunst
anzusehen. Seine jngeren Zeitgenossen und zum Theil seine Schler waren Scarlatti, Hndel und Bach.
;
Couperin gab seine vier Bcher Klavierwerke im eigenen Verlage in Paris heraus. Das erste Buch erschien ni
Jahre 1713; das zweite 1716-1717; das dritte 1722; das vierte 1750.
Dise Ausgabe in gross Folio ist durch
Kupferstich hergestellt und bildet das schnste musicalische Druckwerk der damaligen Zeit. Der Druck ist vom Autor
mit grosser Sorgfalt corrigirt, obwohl nicht fehlerfrei.
Hchst eigenthmlich ist Couperin's Notenschrift. Es war sein stetes Bestreben, die Musik in mglichster
Vollkommenheit so aufzuzeichnen, wie er sic auf seinem Instrumente spielte. Auch die verschiedenen Verzierungen
sind von ihm aufs Genaueste angegeben.
Durch ailes dises hat seine Notenschrift ein knstlicheres Ansehen
bekommen, als die irgend eines anderen Meisters jener Zeit. Deshalb ist der Notenstich bei dieser Musik auch so
unendlich schwierig, wenn er genau sein will, und oh ie eine bis aufs Kleinste genaue Wiedergabe der OriginalTonzeichen ist die Ausgabe fur die Kenntniss der Kunst Couperin's werthlos.
Eine solche werthlose, fehlerhafte und zugleich sehr unvollstndige Ausgabe der Werke Couperin's erschien vor
einiger Zeit in Paris, was mich auch zunchst veranlasst hat in Gemeinschaft mit Johannes Brahms eine wirklich
complte und originalgetreue Ausgabe zu Stande zu bringen, welche also seit der von Couperin veranstaltetcn
Originaledition zum ersten Mal den alten Meister wieder in seiner wahren Gestalt dem musikalischen Publikum der
Gegenwart vorfihrt. Couperin le Grand " wird nunmehr von Jedermann leicht verstanden und nach seinem vollen
Um
die mannigfaltigen Maniren ebenso deutlich erscheinen zu lassen, wie der Autor sie selber gegeben hat.
sind neue Stempel geschnitten, welche Couperin's Zeichen genau entsprechen. Aber nicht in allen Stcken kann der
Originaldruck fur die moderne Ausgabe ein Vorbild 6ein. Zur Aufzeichnung seiner Musik gebraucht Couperin nicht
ifeft
i 1
Dabei
bedieiit
bleibt, betrifft
Couperin
Wo
sind,
denn Figuren
bei
ihm wie
knnen ebensowohl
als
I
|
'i
J"3"53
BB
^^"3
Das dritte Buch, welches im Jahre 1722 erschien, enthlt bei mehreren Stcken Bemerkungen von Couperin,
die an Ort und Stelle mitgetheilt sind.
Seite 34 und 83 weist er hinsichtlich des Vortrages der ,, pices croises " auf
sein Vorwort hin, in welchem gesagt wird, dass solche Stcke aufzwei Klavieren, d. h. auf einem Clavecin mit zwei Manualen
zu spielen sind, oder, falls das Instrument nur ein Klavier hat. der Bass entweder eine Octave tiefer, oder der Discant
eine Octave hher genommen werden muss. Zugleich empfiehlt er dise Stcke als Duette fur zwei Flten, Oboen,
Violinen, Violen und sonstige einstimmige Instrumente: ein neuer Beweis von der Mehrdeutigkeit dieser Musik, und der
Mglichkeit verschiedenartiger Ausfhrung derselben.
Abweichend von den meisten damaligen Klaviercomponisten fgt Couperin seine Stcke nicht as Suiten,"
tondern als " Ordres " zu grsseren Gruppen zusammen. Die vier Bcher enthalten zusammen sieben und zwanzig
solcher Ordres in fortlaufender Zhlung. Dise Kompositionen haben auf die damalige Zeit ebenso bedeutend gewirkt,
wie die von Corelli, namentlich auch auf die jngeren Zeitgenossen Hndel und Bach.
"
Erhht wurde dise Wirkung noch durch eine Klavierschule, die Couperin als " L'Art de toucher le Clavecin
Dieselbe ist das erste gediuckte
1717 verffentlichte und auf welche er in seinen Musikstcken mehrfach hinweist.
Werk dieser Art und gleich den Kompositionen, zu deren Erluterung sie geschrieben wurde, von bleibender Bedeutung.
Fr.
CHRYSANDER.
TABLE DE PIECES.
Premier Livre.
Pag*
PREMIER ORDRE
2.
l'Auguste
la
6.
4.
2.
la
8.
7.
11.
15.
14.
16.
18.
17.
19.
en Laye
23.
SECOND ORDRE
24.
ides heureuses
La Mimi 44. La
La
La Flateuse 46. La Voluptueuse Les Papillons
Diligente
Allemande
Laborieuse 24.
la
26.
28.
la
28.
32.
30.
29.
33.
la
la
26.
34.
34.
36.
35.
40.
39.
30.
38.
42.
44.
47.
48.
TROISIME ORDRE
50.
Allemande
la
Tnbreuse
50.
51.
la
54.
54.
QUATRIME ORDRE
La Marche
des
G ris- vtus
68.
68.
Les
Bacchanales 69.
La
Pateline 74.
Le
Reveille-matin 76.
CINQUIME ORDRE
78.
Allemande
la
Logivire 78.
la
8141
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