Olivier Fortin – Couperin: L’art de toucher le clavecin (2018) [FLAC, 24bit, 96 kHz]

Olivier Fortin - Couperin: L'art de toucher le clavecin (2018) [FLAC, 24bit, 96 kHz] Download

Artist: Olivier Fortin
Album: Couperin: L’art de toucher le clavecin
Genre: Classical
Release Date: 2018
Audio Format: FLAC (tracks) 24bit, 96 kHz
Duration: 01:09:57
Total Tracks: 25
Total Size: 1,57 GB

Tracklist:

1-01. Olivier Fortin – L’art de toucher le clavecin – Premier prelude en Do Majeur (01:07)
1-02. Olivier Fortin – Premier livre de pieces de clavevin, 3e ordre – La Lugubre, Sarabande (03:11)
1-03. Olivier Fortin – Quatrieme livre de pieces de clavecin, 25e ordre – Les Ombres errantes (03:34)
1-04. Olivier Fortin – Premier livre de pieces de clavevin, 3e ordre – La lutine (02:12)
1-05. Olivier Fortin – L’art de toucher le clavecin – Second prelude en Re Majeur (01:34)
1-06. Olivier Fortin – Quatrieme livre de pieces de clavecin, 22e ordre – Les Tours de passe-passe (02:51)
1-07. Olivier Fortin – Premier livre de pieces de clavevin, 2e ordre – La garnier (04:20)
1-08. Olivier Fortin – Quatrieme livre de pieces de clavecin, 22e ordre – Menuets croises (02:09)
1-09. Olivier Fortin – L’art de toucher le clavecin – Huitieme prelude en Mi Mineur (01:17)
1-10. Olivier Fortin – Troisieme livre de pieces de clavecin, 17e ordre – Les timbres (03:27)
1-11. Olivier Fortin – Quatrieme livre de pieces de clavecin, 11e ordre – La couperin (03:30)
1-12. Olivier Fortin – L’art de toucher le clavecin – Quatrieme prelude en Fa majeur (01:39)
1-13. Olivier Fortin – Troisieme livre de pieces de clavecin, 18e ordre – Le Tic-toc-choc ou les maillotins (02:44)
1-14. Olivier Fortin – Quatrieme livre de pieces de clavecin, 23e ordre – L’arlequine (01:46)
1-15. Olivier Fortin – L’art de toucher le clavecin – Troisieme prelude en sol mineur (01:00)
1-16. Olivier Fortin – Premier livre de pieces de clavevin, 1er ordre – L’enchanteresse (02:29)
1-17. Olivier Fortin – Quatrieme livre de pieces de clavecin, 20e ordre – Les cherubins ou l’aimable lazure (03:13)
1-18. Olivier Fortin – L’art de toucher le clavecin – Cinquieme prelude en La majeur (02:42)
1-19. Olivier Fortin – Second livre de pieces de clavecin, 9e ordre – La seduisante (03:13)
1-20. Olivier Fortin – Quatrieme livre de pieces de clavecin, 26e ordre – La pantomime (04:21)
1-21. Olivier Fortin – L’art de toucher le clavecin – Septieme prelude en si bemol majeur (02:34)
1-22. Olivier Fortin – Second livre de pieces de clavecin, 6e ordre – La bersan (03:02)
1-23. Olivier Fortin – L’art de toucher le clavecin – Sixieme prelude en Si Mineur (02:08)
1-24. Olivier Fortin – Second livre de pieces de clavecin, 8e ordre – Allemande l’ausoniene (02:32)
1-25. Olivier Fortin – Second livre de pieces de clavecin, 8e ordre – Passacaille (07:09)

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“The harpsichord is perfect as to it compass, and brilliant in itself, but as it is impossible to swell out or diminish the volume of its sound, I shall always feel grateful to any who, by the exercise of infinite art supported by fine taste, contrive to render this instrument capable of expression”, writes Couperin himself in the foreword to his 1713 Premier livre de pièces de clavecin. If we discount the ornamentations which litter the world, Couperin’s music is not a “virtuoso” music, as Scarlatti’s can be, for example. Sometimes taking on a descriptive style, or going in for imitation or portrait, it requires a singular sense of expression: that very “expression” that the composer talks about here. In Art de toucher le clavecin, Couperin offers us precious information on how to interpret and play his music in particular, and French music of the period in general; an artist who aims to respect Couperin’s intentions will find indispensable lessons here. That being said, a fear of stepping outside the bounds set by the author, and a too-minute attention to every detail could rob the works of their vitality and fluency. “As there is a great distance from grammar to declamation, so there is an infinitely greater one between the tablature and good playing style.” Or, in other words, freedom within limits! That is the attitude that Olivier Fortin brings to this fine range of works from the great Couperin, drawn from various of his Livres de clavecin and L’Art de toucher le clavecin. As for the instrument being played, it is a “real fake”, made in 1984 by the manufacturer Martin Skowroneck based on a Hemsch (that is, 18th century French), but signed with the name of the Rouen artistan Nicholas Lefebvre, none of whose instruments survive to the present day, and which was built in 1755. Skowroneck’s aim was to prove to Gustav Leonhardt that it was still possible to build a harpsichord that was perfectly identical to one of the old style, and it seems that Leonhardt was taken with his attempt. Even the material’s ageing was completely artificial! But it is no less of a splendid instrument for all that, and moreover, splendidly recorded, which is not all that common in the harpsichord repertoire.

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