Hubert Bédard (harpsichord) Louis Couperin, Georg Boehm (Böhm)

Hubert Bédard (harpsichord), recorded in Canada on a XVII Century Andreas Ruckers, Antwerp harpsichord. Released on Pirouette (1964, not indicated in the documentation: Wikipedia Hubert Bédard) Stereo JAS 19019, distributed by Ambassador Record Corp., Newark S. N.J. The harpsichord heard on this record was built in Antwerp, in 1646, by Andreas Ruckers, and is shown on the jacket. It is tuned in meantone, according to the practice of the Baroque period. This historic instrument was renovated by its present owner, William Post Ross of Boston. Editor: It was shipped in 1976 back to Antwerp for the Museum Vleeshuis but it is no longer in playing condition unfortunately (source Timothy De Paepe, 2018) Louis Couperin (1626- 1661) Suite en sol mineur : 00:00 Prelude 02:46 Allemande 04:29 Courante 05:06 Courante II 05:47 Sarabande 07:08 Branle de Basque 07:49 Chaconne 10:13 Gaillarde 11:03 Gigue. Louis Couperin Suite en fa majeur : 12:00 Prelude 13:41 Allemande 14:52 Courante 16:24 Sarabande 17:56 Passacaille. Georg Böhm (1661-1733) Suite no. 4, en re mineur: 22:53 Allemande 24:20 Courante 25:10 Sarabande 26:50 Gigue. Georg Böhm Suite no. 7, en fa majeur: 27:41 Allemande 28:59 Courante 29:57 Sarabande et Double 31:30 Gigue. Georg Böhm Suite no. 8, en fa mineur: 32:32 Allemande 35:09 Courante 36:14 Sarabande 37:23 Ciacona Georg Böhm Suite no_ 11, en la mineur: 40:26 Allemande 42:50 Courante 43:48 Sarabande 45:24 Gigue It is a strange fact that while the lute was the most popular and most widely used instrument in 17th century France, the great harpsichord school of the same period has become much better known to us. 'The names of Chambonnieres, Le Begue, and the Couperin family especially, have remained as those of the founders of a style for the harpsichord, which was to become widespread all over Europe. --- Louis Couperin left a book of harpsichord pieces, in which there are no suites as such, but only pieces grouped in different keys. The performer has to make up suites as he chooses. A suite will usually begin with a Prelude, an Allemande, a Courante and a Sarabande, after which an indefinite number of dances may be added. Special mention should be made of the Preludes. They are written in a most unusual way: a series of notes, without bar lines nor rhythm, and linked together by phrasings which indicate only the harmonic progressions. Their interpretation is based on improvisation, and the player must choose the expressive phrases and oppose them to the strictly virtuoso on s, using his own tempo and feeling. Georg Boehm was born in Germany in the year of Louis Couperin's death. This fact is Significant, since the music of this northern composer is a perfect example of the influence of the French "Clavecinistes" outside their country. Boehm writes "French" music, as heard by German ears. Even the titles of his pieces are French, and in them we find all the characteristics of the French dances: the searching Allemandes, the ever-changing rhythms of the Courantes, the nostalgic Sarabandes and the near-diabolical Gigues. An exception to this is the Ciacona, which shows us the typical Italian long-flowing and singing lines. Hubert Bedard has studied the harpsichord in Canada with Kenneth Gilbert, and in Europe, with Isolde Ahlgrimm, Eta Harich-Schneider and Gustav Leonhardt, on a Canada Council scholarship. He has given recitals in Canada and in the United States, and has been heard frequently on the CBC radio networks. A scholar in the field of Baroque music and'instruments, he has edited, for the CBC, Rameau operas, "1'e·vising the complete scores from the original manuscripts and first editions, and has made a special study of the methods of construction of early harpsichords and their adaptability to modern instruments, with the internationally known Boston builder Frank Hubbard. #Ruckers #HubertBédard