This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 Excerpt: ...in the finger touch. A similar proceeding may be followed in practicing all five-finger exercises. O / r' 5 a ' vv t 531 Copyright, MCMXXU, by Civtr Ditson Company International Copyright Secured FRANCOIS COUPERIN (koo-pran) was called THE GREAT, since he was the most noted member of a distinguished family of French ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 Excerpt: ...in the finger touch. A similar proceeding may be followed in practicing all five-finger exercises. O / r' 5 a ' vv t 531 Copyright, MCMXXU, by Civtr Ditson Company International Copyright Secured FRANCOIS COUPERIN (koo-pran) was called THE GREAT, since he was the most noted member of a distinguished family of French organists and clavier players. Born in Paris, November 10, 1668, he studied with prominent teachers, and occupied several important positions, becoming organist and clavecinist to the king, Louis XIV, in 1701. He died in 1733. He is said to be the first great composer for the harpsichord as distinct from the organ. According to the French fashion of the day, many of his little pieces are given fanciful titles, such as the one above. Of his compositions, Isidor Philipp, the modern French musician, speaks as follows: "His works surpass all others of his period in nobility and purity of style, in the charm of melodic ideas, in the frequently dramatic emotion, in simple and genuine sentiment. Couperin's harmony, without possessing the strong, closely-knit texture of the great German masters, is ingenious, faultless and rich. In his pieces the ornaments are always applied with definite design to the melodic fabric. His compositions may with truth be termed masterpieces, and they exerted a powerful influence, not only upon the harpsichord school, but upon music in general." Couperin was accustomed to string a number of his dances together in the manner of a Suite; and to such combinations he gave the name ORDRES. The titles which he uses in these ORDRES cover a wide variety of subjects. Some portray real or imaginary persons, such as NANETTE, the FLORENTINE, BABET, MIMI. Again, certain qualities are personified in THE PRUDE, THE MAJESTIC ONE...
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