Скачать с ютуб François Couperin: L'art de toucher le clavecin - Scott Ross (1977, STIL) в хорошем качестве

François Couperin: L'art de toucher le clavecin - Scott Ross (1977, STIL)

*The track order of 'L'art de toucher le clavecin' presented in Scott Ross' recording is somewhat different from tradition, It didn't follow the sequence "Allemande, Premier, Deuxieme, Troisieme...." Rather, Scott Ross had his own preference in this matter. Indeed, those preludes are not continuously presented in the album, they spread within ordres. (Unlike Christophe Rousset, putting all of them at the end of the 2nd Livre in traditional order). I personally quite like the act that he put "Troisieme Prelude" at the opening of the album, which Michael Borgstede also followed with his Brilliant recording. A grand opening indeed & extremely match with the first track. (Premier livre: Premier ordre - 'Allemande l'Auguste') Please also note that the Cinquieme Prelude is somehow omitted from L'Intégrale de Clavecin au Château d'Assas. If you have any ideas please feel free to mention here. Finally, I discovered there are more completed recordings of Scott Ross' Couperin's Album available on YouTube. If you are fond of these pieces de clavecin, I highly recommend you to take a look with those uploads. The reason for me to upload L'art de toucher le clavecin in separated manner is for a clearer overview of these works & to reveal them as unmeasured preludes. I hope all of you will enjoy them; Track Listing: 1. Troisieme Prelude 2. Allemande 3. Deuxieme Prelude 4. Premier Prelude 5. Quatrieme Prelude 6. Septieme Prelude 7. Sixieme Prelude 8. Huitieme Prelude L'art de toucher le clavecin (English: The Art of Playing the Harpsichord) is a didactic treatise by the French composer François Couperin. It was first published in 1716, and was followed by a revised edition in 1717. The treatise was written to instruct keyboard players in performance practice, particularly for Couperin's Pièces de Clavecin; Couperin, upon its publication, noted that it was "absolutely indispensable for playing my Pièces in the style most suitable to them". With the early music revival, it became one of the primary sources for the keyboard fingering system which prevailed in Europe during the Baroque era. It also sheds light on the ornamentation used at the time. It is considered one of the most significant surviving treatises of the period.