Dale Carr | Prélude non mesuré in F major by Louis Couperin performed by Dale Carr on 17 October, 1972 @dalecarr6361 | Uploaded April 2024 | Updated October 2024, 1 hour ago.
Prélude non mesuré in F major, for harpsichord, by Louis Couperin {~1626 - 1661}, performed by Dale Carr in Spaulding Auditorium at Dartmouth College on 17 October, 1972 on a harpsichord built in 1964 by Wm. Dowd, modeled on 18th-century French instruments
The préludes non mesurés are some of the greatest works of the 17th-century French harpsichord repertoire, and Louis Couperin was perhaps their greatest master. His préludes are bundled together in the Bauyn MS separately from the suites of dances they were probably intended to precede. Their unusual notation may appear puzzling at first, but it has the great advantage of allowing, even encouraging, the player to strive for an improvisatory effect, while still precisely indicating harmony and melody and even inner voices. The basic 'rule', I believe, is that a slur means to hold down the keys till the end of the slur, which is also frequently the point at which the harmony changes, or maybe is inflected in an inner voice. The player may decide whether the changes of harmony are clarified or benefitted by being placed at more or less regular intervals of time.
The intervening decades have not been kind to this recording; my apologies for that.
Prélude non mesuré in F major, for harpsichord, by Louis Couperin {~1626 - 1661}, performed by Dale Carr in Spaulding Auditorium at Dartmouth College on 17 October, 1972 on a harpsichord built in 1964 by Wm. Dowd, modeled on 18th-century French instruments
The préludes non mesurés are some of the greatest works of the 17th-century French harpsichord repertoire, and Louis Couperin was perhaps their greatest master. His préludes are bundled together in the Bauyn MS separately from the suites of dances they were probably intended to precede. Their unusual notation may appear puzzling at first, but it has the great advantage of allowing, even encouraging, the player to strive for an improvisatory effect, while still precisely indicating harmony and melody and even inner voices. The basic 'rule', I believe, is that a slur means to hold down the keys till the end of the slur, which is also frequently the point at which the harmony changes, or maybe is inflected in an inner voice. The player may decide whether the changes of harmony are clarified or benefitted by being placed at more or less regular intervals of time.
The intervening decades have not been kind to this recording; my apologies for that.