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Les Nations, Volume 2
FRANÇOIS COUPERIN
(1668-1733)
1.
Second Prélude from 'L'Art de Toucher le Clavecin'*
1:27
in D minor - in d-Moll - en ré mineur
Les Nations, Troisième Ordre 'L'Impériale'
30:44
2.
I
Gravement -
2:14
3.
II
Vivement -
1:33
4.
III
Gravement, et marqué - Tres lentement -
1:17
5.
IV
Rondeau. Légérement -
2:14
6.
V
Rondement -
1:14
7.
VI
Vivement
2:26
8.
VII
Allemande. Sans lenteur
2:30
9.
VIII
Courante
1:54
10.
IX
Seconde Courante. Plus marquée
1:53
11.
X
Sarabande. Tendrement
2:44
12.
XI
Bourée. Gayment
0:47
13.
XII
Gigue. D'une légéreté moderée
1:10
14.
XIII
Rondeau. Gayement - Premier Couplet -
2:18
15.
XIV
Chaconne. [ ] - Mineut - Gayement
5:11
16.
XV
Menuet
1:13
Treizième Concert à 2 instruments à L'unison†
9:21
17.
I
Vivement
1:00
18.
II
Air. Agréablement
2:25
19.
III
Sarabande. Tendrement
3:41
20.
IV
Chaconne. Légere
2:13
21.
Troisième Prélude from 'L'Art de Toucher le Clavecin'*
1:00
in G minor - in g-Moll - en sol mineur
Mesuré
Les Nations, Quatrième Ordre 'La Piémentoise'
22:56
22.
I
Gravement -
1:49
23.
II
Vivement
0:47
24.
III
Gravement
1:28
25.
IV
Vivement, et marqué - Lentement
1:17
26.
V
Air. Gracieusement
0:49
27.
VI
Second Air
0:49
28.
VII
Gravement et marqué -
0:40
29.
VIII
Légérement
0:58
30.
IX
Allemande. Noblement, et sans lenteur
2:45
31.
X
Courante
1:31
32.
XI
Seconde Courante. Un peu plus gayement
2:01
33.
XII
Sarabande. Tendrement
3:03
34.
XIII
Rondeau. Gayedment - Premier Couplet -
2:33
35.
XIV
Gigue. Affectuëusement, quoy que légérement
2:19
65:26
Chamber: Purcell Quartet
Catherine Mackintosh violin
Catherine Weiss violin
Richard Boothby bass viol
Robert Woolley harpsichord
with
Rebeka Rusó bass viol†
29-31 October 2004
Notes
Couperin: Les Nations, Volume 2 The Purcell Quartet brings us volume 2 of this set of four suites, Les Nations. Each suite written about a particular place in Europe and in Couperin’s unique mix of French / Italian style.
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Reviews
The Purcell Quartet responds naturally to the rhetoric of the music, particularly in the way they grow towards and relish Couperin’s expressive dissonances
Early Music
These are attractive works whose idiom nonetheless often eludes convincing performance. Couperin was a stickler for detail and was meticulous in matters of ornamentation. The Purcell Quartet have taken trouble over this and the results are rewarding.
BBC Music Magazine
Indeed, these are lovely readings, the Purcell Quartet’s elegant restraint perfectly suited to Couperin’s civilized musical language. Each movement is cleanly sculpted, the sinuous lines of the slower material (even when disrupted by profuse ornamentation as in the Sarabandes) contrasted with the sharply defined articulation of faster passages and Woolley’s sonorous utterances. You’re not looking at a sculpture; your not even running your hands over its smooth surfaces; you’re witnessing the shape unfolding in time. This is unexpectedly powerful: listen to the fugal textures of the second ‘Vivement’ of ‘L’Imperiale’ or the ‘Chaconne’ from the same ‘ordre’… Jonathan Copper’s sound recording is intimate and detailed and Richard Langham Smith’s booklet notes are a pleasure to read. And if that’s not enough, you get a marvellous Poussin on the front cover!
International Record Review
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