Canaries in d minor for harpsichord by Louis Couperin, performed by Dale Carr on 7 October, 1989 @dalecarr6361

Dale Carr | Canaries in d minor for harpsichord by Louis Couperin, performed by Dale Carr on 7 October, 1989 @dalecarr6361 | Uploaded November 2021 | Updated October 2024, 3 hours ago.
Canaries in d minor for harpsichord by Louis Couperin {~1626 - 1661},

performed by Dale Carr in the Pelstergasthuiskerk in Groningen on 7 October, 1989, on a harpsichord built in 1975 by Hendrik Broekman, modeled on an instrument by Michel Richard, 1688

In addition to the 'basic' movements of the 17th-century French suite {allemande, courant, sarabande, gigue, with a chaconne or passacaille to conclude} there are sometimes 'extra' movements available, such as the present 'canaries'. But in fact we know little with absolute certainty about how obligatory the 'basic' movements were, for example, or whether movements were always played with the notated repeats, whether repeats were expected to be ornamented, whether the player might choose more than 1 movement of the same type....

The basic rhythm of the canaries is that of the siciliano, only faster & more energetic, and with an upbeat. It's heard throughout the movement & can be seen clearly at the beginning of the score.
I've never had a canary, so I don't know whether this is the rhythm they chirp in, but I think we should imagine that it is. In this performance we might also imagine that the 4' stop sounds rather like a canary.

I used the dogleg 8' register for the 1st and last sections & the 4' alone in between. Since the 4' is playable on the upper manual, a dialog is possible with the dogleg played from the lower manual, as here.

Thanks to Frans Driesens {youtube.com/channel/UCmXEELNhALXg1vf2MBdLqHA/videos }
for the recording!

Other movements from this suite:
- prélude non mesuré : youtube.com/watch?v=Fpy1vuL5zVM
- piece de trois sortes de mouuements : youtube.com/watch?v=kTRmz31GSBQ
- allemande : youtu.be/eYi4zl68uhE
- courante : youtube.com/watch?v=lgiSBntdQtM
- sarabande : youtube.com/watch?v=Tv82QY2y4RM

The movements from another suite by Louis Couperin, in b minor, can be heard here:
- allemande : youtube.com/watch?v=4sZ9-TZs-PI
- courante : youtube.com/watch?v=vkEeUc9jvB0
- sarabande : youtube.com/watch?v=8SBI263Y2Ec

$Suite in F major : Chaconne, by Louis Couperin, performed by Dale Carr on 25 April, 1987 Suite in F major : Chaconne, by Louis Couperin {~1626-1661}, performed by Dale Carr in the church in Middelbert {Groningen} on 25 April, 1987, on a harpsichord made by Hendrik Broekman in 1975 In harpsichord suites of the period, the general opinion is that the player may choose which and how many of each dance type to play, and that the allemande, courante, sarabande, & chaconne or passacaglia are generally included, though other types may well be omitted. An aspect of the over-all form that is worthy of mention is the matter of repetitions. Most of the dances are in ‘binary form’ with an interior cadence on the dominant or another closely related key, and each of the 2 §s is marked with repeat signs {which may or may not be obligatory}. The chaconne is, in contrast, generally in a rondo form, as A-B-A-C-A-D-A. In this F-Major example the main couplet {generally indicated in the MS by 𝄋} is 4 measures long with repeat signs, and the alternating sections are each 8 measures long, divided into 2 clear 4-bar phrases. The final section {https://youtu.be/Kf4PpaZ4KyA?t=140}, appearing when one would expect the “D” in the scheme above, is marked “derniere mesure du 1er Couplet”. This “D” is extended by 4 measures having the same harmony as the 𝄋, but transposed to the dominant, before merging directly into the final appearance of the 1st couplet. This final appearance of the 1st couplet is not a literal repetition, as before, but a variation on the same harmonic progression. The harpsichord was tuned to a=~415Hz, in meantone. The plectra were crow quills. The allemande from this concert can be heard @ https://www.youtube.com/watch?v=ZRXU_KkBDz8 The courante is @ https://youtu.be/CG9C4D6kNpY Sarabande: https://www.youtube.com/watch?v=ZXO89bzvslQ Gaillarde: https://www.youtube.com/watch?v=K09skrh2dkc$

Echo Fantasia in d by Jan Pieterszoon Sweelinck

Ricercar in d minor by Froberger performed by Dale Carr on on a harpsichord made by Frank Hubbard

Recercar sopra Ave maris stella, for organ, by Ascanio Mayone {1609}

Sailors Song, by Joseph Haydn, performed by James Fankhauser, tenor, and Barbara Shearer, piano

Courante by Froberger from the suite in D, performed by Dale Carr in Groningen on 7 October 1989

$Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi, performed by Dale Carr Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi, from his Primo libro / delle fantasie / a qvattro {Milano, 1608}, performed by Dale Carr on the Schnitger organ {1695} in Nieuw Scheemda {province of Groningen} on 6 June, 1979. This Fantasia undecima comes from Frescobaldis 1st keyboard publication, Il primo libro delle fantasie a quattro, published in 1608. The work has three sections and makes use of 4 subjects. These 4 subjects are presented together in a single exposition ; see 023 for the incipit. The subjects can be understood as: - 1: sol - ut - fa - mi; - 2: sol - fa - mi - la - sol; - 3: ut - re - mi - fa - re - mi - fa - sol - mi; - 4: ut - mi - fa - sol. The 1st section flows in half- and whole-notes, with very little contrapuntal material that is not directly related to the subjects. The rhythm of the subjects, individually, is quite free. In the 2nd section {208}, the basic note-value is halved, which makes the tempo appear as if doubled. As in the 1st section, the rhythm of the subjects, individually, is quite free. The 3rd section {341} returns to the pace of the 1st, moving predominantly in half- and whole-notes, with the essential exception of the cantus-firmus voice, which is in double-measures. Here the subjects are presented one after the other in very long notes, each in a different voice, with motives derived from the subjects in the other voices. The work ends with an incomparable coda {624}, a tour-de-force which presents the 4 subjects simultaneously in the last 2½ measures. The performance, on the Schnitger positive in Nieuw Scheemda, was recorded on 6 June, 1979, by Michiel Timmer. At the date of this recording, the organ was tuned in a modified meantone temperament. Registration: 8 Holpijp, 4 Praestant. Thanx are due to Allen Garvin who provided an open score in modern clefs {at ISMPL https://imslp.org/wiki/Category:Frescobaldi,_Girolamo} and granted permission to use it for this video. Another recording of this organ is at https://www.youtube.com/watch?v=Yx66hWdlcK4 More of Frescobaldis keyboard works are at - https://www.youtube.com/watch?v=5D1sJc9zdHI ; - https://www.youtube.com/watch?v=EZt-roCsVJE ; - https://www.youtube.com/watch?v=E7rQRLLofik ; - https://www.youtube.com/watch?v=FxSZRo4pBeI .$

Piercing Eyes, by Joseph Haydn, performed by James Fankhauser, tenor, and Barbara Shearer, piano

Meine Seele erhebt den Herrn, BWV648, by J.S. Bach, performed by Dale Carr in Noordwolde

La Pastourelle for harpsichord by Louis Couperin, performed by Dale Carr on 7 October, 1989,

$Chaconne in d minor by Louis Couperin performed by Dale Carr in Groningen on 7 October 1989 Chaconne in d minor for harpsichord by Louis Couperin {~1626 - 1661} Performed by Dale Carr in the Pelstergasthuiskerk in Groningen on 7 October 1989 on a harpsichord built in 1975 by Hendrik Broekman, modeled on an instrument by Michel Richard, 1688. Most keyboard suites by Louis Couperin end with a chaconne or passacaille, if the order of the movements in the manuscript indicates the order in which the movements are to be played. Many of these types of movements, generally in triple meter, consist of a refrain alternating with couplets : schematically abacadaea.... {This is essentially the same form that later became known as rondo in the later 18th & the 19th century.} The refrains of several of Couperins other chaconnes have, as here, a clear subdominant bias: - C major {called Grand Couplet}; - D major {called 1er Couplet}; - F major; - g minor. In this particular chaconne, the refrain appears {209} transposed up a 5th after the modulating 3rd couplet, followed by the untransposed form {228} preceding the 4th couplet. The repeats of the refrain are sometimes written out, sometimes assumed without being specified. The 1st & 2nd couplets {035 ; 112} of this d-minor chaconne are masterful examples of style brisé (a French term meaning arpeggiated, to oversimplify). The harmony and the individual voices and the arpeggiation are wonderfully coördinated and each-and-all essential to the total effect. Thanx to Frans Driesens for the recording! The rest of this suite can be found here: - prélude non mesuré @ https://www.youtube.com/watch?v=Fpy1vuL5zVM ; - allemande @ https://www.youtube.com/watch?v=eYi4zl68uhE ; - piece de trois sortes de mouvements @ https://www.youtube.com/watch?v=kTRmz31GSBQ ; - courante @ https://www.youtube.com/watch?v=lgiSBntdQtM ; - sarabande @ https://www.youtube.com/watch?v=Tv82QY2y4RM ; - canaries @ https://www.youtube.com/watch?v=KDQxtEQk4Ao ; - la pastourelle @ https://www.youtube.com/watch?v=OrvZB_GBlAQ . The movements from another suite by Louis Couperin, in b minor, can be heard here: - allemande : https://www.youtube.com/watch?v=4sZ9-TZs-PI - courante : https://www.youtube.com/watch?v=vkEeUc9jvB0 - sarabande : https://www.youtube.com/watch?v=8SBI263Y2Ec$