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Mathrafal

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  1. As an update, the new edition will be published on 1 July and pre-orders (before 26/6) will be given a 20% discount. https://shop.cantando.com/WorkDetail/135579/
  2. Dear Colleagues and Friends, I hope you will forgive my posting an advertisement but a number of you asked for information concerning my forthcoming publication of Couperin's Pièces d'Orgue, which will be made available on 1 July this year. This is the first critical edition of the music to have appeared in nearly forty years and is released to commemorate the 350th anniversary of the composer's birth. Details are found below, but I thought it worthwhile mentioning that, until 26 June, any pre-orders placed will receive a discount of 20%. I apologise again if this is inappropriate to mention the edition on these pages but thought forum members would like to benefit from the pre-order offer. Jon NEW CRITICAL EDITION OF François Couperin’s two organ masses Pre-order before the 25.6 and get 20% discount on the price. Order here: https://shop.cantando.com/WorkDetail/135579/ PIECES D'ORGUE "The organ masses" Catalogue price NOK 348,- (ex VAT). Euro 37 Consistantes en Deux Meßes l’Une à l’usage ordinaire des Paroisses, pour les Festes Solemnelles, L’Autre propre pour les Convents de Religiuex, et Religieuses. François Couperin’s two organ masses were published in the autumn of 1690 when the composer was just 22 years of age. Although largely forgotten until the early years of the 20th century, they nevertheless mark a high point in the repertoire of French baroque organ composition that draws not only on the musical styles of his predecessor at Saint-Gervais, Louis Couperin, but also upon such popular contemporary musical genres as dance music, overtures and, above all, the sophisticated and lyrical intimacy associated with both the air de cour and concerted viol music. To mark the 350th anniversary of Couperin's birth, this new critical edition examines the background to the masses’ composition, reappraises both extant and lost source material and provides notes on performance practice, ornamentation and registration to help performers develop successful and stylistic interpretations. For the first time in an edition of French baroque organ music, the masses are provided appropriate chant settings to allow for their performance within a liturgical setting. Edition by Jon Baxendale Preface in English – Français Cover photo: Ken Schwarz Product information: Edition no.: C4441 ISMN: 979-0-2612-4441-1 Composer / Author: Couperin, François Title: Pièces d’orgue Detailed instrumentation: Organ Genesis of the work: 1690 Volume / Series: CANTANDO EARLY MUSIC Editor: Jon Baxendale Foreword / Introduction: Jon Baxendale Product format: Performance score(s), Anthology, Urtext edition Instrumentation: Organ Comments on the edition: With notes on performance practice by Jon Baxendale Language(s) of text: French, English Level of difficulty: 3 Publisher: Cantando Musikkforlag Binding: Hard back Pages: 186 Print run: 1st printing 2018 Availability: available on stock 1.7.2018
  3. You mnight also be interested to know that this particular volume contains Eugene Gigout's signature with the words "Souvenier de l'Abbé Jules Bonhomme | Avril 1876" on the flyleaf.
  4. Yes, it is interesting that we have been somewhat tainted by the Solemnes way of doing things. It seems to me that the tones were considerably longer in medieval and baroque days, which is why there are so many held tenors in the works of Dufay, Machaut etc., and why the quoted plainchant in the French organ masses is usually in semibreves. The Caeremonial Parisienne (1660? - I don't have my notes to hand) stated that the plainsong should be chanted at the same time the organ versets were played. This suggests that the norm was longish sustained notes, possibly supported by the organ, or that the pieces were so quick that no one noticed them happening!
  5. For the Couvents mass, the new edition uses Messe de Ste. Cecile by Paul D'Amance, which is in Tone VI and quite appropriate to work alongside Tone VIII. This is a very interesting example of neo-gallican chant and, although syllabically based, contains a number of trembelements and tremblements appuyées. As I mentioned, the edition will be published in June and contains the liturgical contexts with the correct chant and appendices with Cuntipotens, the propers for the Sainte-Vièrge and Ste Cecile mass in full. Incidentally, both masses are also being recorded in June by Jean-Luc Ho and Les Méslanges at Saint Michel en Thiérache (Paroisses) and Juvigny (Couvents). The label is Harmonia Mundi. This should prove to be an interesting performance: there have been several, notably with Marcel Pérez (although this is a little old-hat nowadays). Ho is a fine player and the scholarship of the conductor is quite something to behold!
  6. Thank you. This is AltMus, the same as AltNews! My apologies. I have updated the link and have also added it here>>>
  7. The problem with the sources is that there are only four known copies and two that are now lost. Only one copy of the original 1690 edition exists, which was hand-copied with an engraved title page, extrait du privilège and a certificat by Michel-Richard Delalande, who acted as a censor for the office of the chancellor (a necessary requirement when applying for the rights to publish). This is found in the Bibliothèque Inguimbertine in Carpentras. The masses were only allowed to be copied by a bookseller, who presumably employed a couple of copyists since each mass (they were sold separately) is in a different hand. The hand of the Couvent's mass has been dubbed by Catherine Massip as copiste Z , who was responsible for a number of manuscripts between c. 1690 and 1706, many of which are identified as coming from the atelier of André Danican Philidor. One other copy of the original edition was known to exist as late as 1837 and was mentioned in Fétis's Biographie Universelle; this cannot have been the Carpentras edition since both masses were in the same hand. Copiste Z was also responsible for another major copy, which has the attractive title of F-V Ms Mus 4, which is housed in the Bibliothèque royale, Versailles. This is closely linked to two other known copies, one of dubious quality that was made in c. 1720 of the Paroisses mass and which is littered with omissions and mistakes; and another from c. 1840, which was copied by Alexandre Boëly from another lost manuscript, F-V Vm 2057. Bibliographical evidence suggests that this lost manuscript consisted of two sources, one from the late 17th/early 18th century and another from much later on. None of these copies can be traced directly back to Couperin and are probably related to a copy of an earlier draft since a number of common errors as well as variants that appear to have been revised for the publication, exist. No other known sources are extant, which is possibly a good thing. The new edition, which comes out next month, contains over 1,200 entries in the commentary, so great are the differences.
  8. I read this with some interest as a new critical edition of the Couperin organ masses will be published in June by the Norwegian publishing house Cantando Musikkforlag. While researching for the edition, I came upon quite an interesting document in the Bibliothèque nationale de France in the hand of Guillaume-Gabriel Nivers, which is a gradual that is dated 1685-91. It describes the alternatim practice rather well. I thought it would be interesting to share with readers: The document may be found on Gallica's website in case anyone would like to see the original. It also contains the propers for the various masses, which – for those wishing to put at least the Paroisses mass into a liturgical context – may be combined with the setting of Cunctipotens genitor Deus, which is found on page cxvii of this document >>>.
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