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David Ponsford - French Organ Music in the Reign of Louis XIV, Inbunden

Inbunden, Engelska, 2011

French Organ Music in the Reign of Louis XIV

Av David Ponsford

Del i serien Musical Performance and Reception

1832 kr

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Beskrivning
Presenting a fresh approach to French organ music, David Ponsford analyses the repertory from the reign of Louis XIV by genre. The colourful French organ was so consistent in design that the very titles of pieces that were constituent parts of organ masses, Magnificats and suites prescribed the registrations: plein jeu, fugue, duo, récit, trio, fond d'orgue and grand jeu. Particular examples from published livres d'orgue and important manuscript collections are analysed chronologically, so that influences from Italian as well as French sacred and secular music can be traced. This analysis reveals the dynamic development of compositional styles in which each composer developed, modified or reacted against the exemplars of his predecessors. Composers discussed include Louis Couperin, François Couperin, Raison, Clérambault and Marchand. The reader will gain an enhanced understanding of performance practices such as notes inégales, fingering and ornamentation, and the influence of French composers on J. S. Bach.
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David Ponsford is a renowned organist and harpsichordist who has been engaged in academic research and performances of French Baroque music throughout his career. He teaches at Bristol University and is Associate Lecturer at Cardiff University, where he directs courses in performance practice and conducts the University Choir and Chamber Orchestra. He has made a number of solo organ and harpsichord recordings, including J. S. Bach's Clavierübung Part 3, Parthenia and J. S. Bach's complete violin sonatas with Jacqueline Ross. His edition of Biber's Mystery Sonatas was published in 2007.

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'Here is a book the organ world has been waiting for: an authoritative account of French Baroque organ music from Louis Couperin to Clérambault, based on an examination of the repertoire by genre rather than simply by composer, thus revealing many new insights. Moreover, the links between stylistic analysis and performance practice make the book essential reading for both performers and scholars.' Kenneth Gilbert

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