By Francois Couperin
It is a really good selection of Francois Couperin's keyboard song, co-edited via Brahms within the Eighteen Eighties and republished through Dover within the traditionally appealing structure and occasional expense which are that publisher's hallmark. It incorporates a piece i have enjoyed and desired to research ever for the reason that I first heard it, might be twenty years in the past, on an outstanding 1970's recording of baroque harpsichord song by means of Sylvia Marlowe on Sine Qua Non. Les Baricades Misterieuses (the preface notes that Couperin's titles have been "often eccentric and old fashioned) is a gorgeous, hot, mellow meditation on cycles of fifths and different piquant chord adjustments B flat. however the quantity is a wealthy compendium with a lot else within the approach of fascinating, diverse, beautiful brief items.
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Extra resources for Complete Keyboard Works, Series I (Series one : ordres i-xiii)
Jeppesen's observation on the 4Ave maris Stella' melody again generalises too readily from limited evidence. The melody of 'Ave maris Stella' exists in a number of variants; and the Roman Antiphonale of 1912 is not a reliable guide to late sixteenth- or early seventeenthcentury sources. Three versions of the hymn melody are given in Appendix 2 (pp. 116-17), for comparison with the version set by Monteverdi. Melody (b) shows versions found in two Santa Barbara manuscripts - MSS 9 (f. 48V) and 11 (ff.
48V) and 11 (ff. 21 v and 48V), the Proprium Sanctorum for the periods December-June and June-August respectively. Even here there is a variant - the added C in the second phrase found in MS 11, f. 48V. Melody (c) is a version found in a late sixteenth-century Roman psalter-hymnal; melody (d) is from the Antiphonale of 1912. 30 To draw any firm conclusions from this limited evidence alone, however, would be to fall into the same trap that befell Jeppesen. Moreover, as is shown in the introduction to Appendix 2, 33 Vespers (1610) most of the variants in the texts set by Monteverdi are found in both Roman and Santa Barbara sources, suggesting that they would have been acceptable in either context, while the evidence of ligature variants in the psalm tones is inconclusive.
His public confrontation with Artusi and Braccino, while of no consequence to his work as a court composer, might well have raised doubts in the minds of ecclesiastical authorities, particularly in Rome, which was, after all, where most major church posts were to be found. Considerations such as these might well have prompted Monteverdi to make no verbal reply to Braccino's Discorso secondo of 1608, but instead to issue a collection of church music that would demonstrate not only his considerable musical gifts, but also that he was capable of writing a Mass in prima pratica style - and a particularly learned example at that - and Vespers music based on the authority of plainsong.