François Couperin: 'L'Apothéose de Corelli' L'Apothéose de Corelli comprend sept épisodes se terminant par l'admission de Corelli parmi les Muses, auprès d'Apollon. 1. Corelli au pied du Parnasse prie les Muses de le recevoir parmi elles. Mouvement d'introduction lent, « gravement ». 2. Corelli charmé de la bonne réception qu'on lui fait au Parnasse, en marque sa joye. Il continue avec ceux qui l'accompagnent. Fugue de style libre, assez développée, « gaÿment ». 3. Corelli buvant à la Source d'Hypocréne ; sa troupe continue. L'eau qui coule de la fontaine est suggérée par un flux de croches égales ondulantes 4. Entouziasme de Corelli causé par les eaux d'Hypocréne. Un air joyeux, « vivement ». 5. Corelli après son entouziasme s'endort ; et sa troupe joue le Sommeil suivant. Air évoquant un sommeil paisible, « très doux ». 6. Les Muses réveillent Corelli, et le placent auprès d'Apollon. Air joyeux et enlevé, « vivement ». 7. Remerciment de Corelli. Fugue de style libre, jubilatoire dans un style qui se veut italien, « gaÿment ».
@@jenesuispassanslavoir7698 I'd rather they served as stables or, better still, quarries. But seriously, isn't it concerning that music that tries very hard to emancipate itself from christian indoctrination and bad taste (incl. hyperacoustics) should be forced back into such an awkward space?
@@jenesuispassanslavoir7698 Sir, please note, my name is not Dude. That Couperin worked as an organ player in a church is rather well known. Yet objectively the piece in question here is pagan. If someone would try to play Matthew passion in a synagogue one would find that a very strange and offensive project, wouldn't one?
@@danyelnicholas Such false dichotomies are entirely ahistorical. It would help to explore the intense and widespread tradition of Pico della Mirandola and Marsilio Ficino, whose Christian Platonism sought the Prisca Theologia, or Perennial Philosophy, in which all myths are envisioned as various forms and guises of one universal Truth - the Odyssey of Homer, for example, as an allegory of the soul's journey to the divine. Plato, like Xenophanes, rejected a literal reading of Greek myths, in favour of allegory (and compare Ovid's approach in the Metamorphoses). The Renaissance and Baroque Catholic imagination often embraced Pagan symbolism as a treasury of allegories, which is why fanatical Reformers and later Puritans tirelessly accused Catholics of being "Pagans" and "devil worshipers", and figures like Cromwell destroyed the art of centuries, seeing all images as "idols", which continues today among many fundamentalists. Couperin's Leçons de Ténèbres and his Masses are a clear embodiment of his spirituality, and L’apothéose de Corelli is a clear example of using pagan symbols to honour an eminent person. It is not "objectively pagan", but a classic example of the breadth of that tradition. And by the way, Jewish and Muslim music has often been performed in churches in Europe (note many of Jordi Savall's concerts - just as Bach has been played exquisitely by countless Jewish musicians, regardless of Luther's vicious anti-semitism). The Spirit bloweth where it listeth, and music is its voice.
@@danyelnicholas There are countless scholarly volumes about these matters by renowned Renaissance scholars, published by Oxford, Cambridge, Harvard Presses, if you should ever decide to learn, rather than making fatuous remarks. Look up Christian Platonism, and read some serious books before you go making a fool of yourself.
Sublime music! Hat's off to Couperin! And performers not bad either! Played with passion. Wonderful!
Une musique a l exquise douceur, tendresse d un autre temps...
Beautifull! Thanks for share!
Super!
Hi! amazing! What kind of temperament do you use in this work? Thanks!
François Couperin:
'L'Apothéose de Corelli'
L'Apothéose de Corelli comprend sept épisodes se terminant par l'admission de Corelli parmi les Muses, auprès d'Apollon.
1. Corelli au pied du Parnasse prie les Muses de le recevoir parmi elles.
Mouvement d'introduction lent, « gravement ».
2. Corelli charmé de la bonne réception qu'on lui fait au Parnasse, en marque sa joye. Il continue avec ceux qui l'accompagnent.
Fugue de style libre, assez développée, « gaÿment ».
3. Corelli buvant à la Source d'Hypocréne ; sa troupe continue.
L'eau qui coule de la fontaine est suggérée par un flux de croches égales ondulantes
4. Entouziasme de Corelli causé par les eaux d'Hypocréne.
Un air joyeux, « vivement ».
5. Corelli après son entouziasme s'endort ; et sa troupe joue le Sommeil suivant.
Air évoquant un sommeil paisible, « très doux ».
6. Les Muses réveillent Corelli, et le placent auprès d'Apollon.
Air joyeux et enlevé, « vivement ».
7. Remerciment de Corelli.
Fugue de style libre, jubilatoire dans un style qui se veut italien, « gaÿment ».
Bizarre, Corelli's apotheosis at Parnasse being played at a church, I don't quite get this. Playing is superb!
@@jenesuispassanslavoir7698 I'd rather they served as stables or, better still, quarries. But seriously, isn't it concerning that music that tries very hard to emancipate itself from christian indoctrination and bad taste (incl. hyperacoustics) should be forced back into such an awkward space?
@@jenesuispassanslavoir7698 Sir, please note, my name is not Dude. That Couperin worked as an organ player in a church is rather well known. Yet objectively the piece in question here is pagan. If someone would try to play Matthew passion in a synagogue one would find that a very strange and offensive project, wouldn't one?
@@danyelnicholas Such false dichotomies are entirely ahistorical. It would help to explore the intense and widespread tradition of Pico della Mirandola and Marsilio Ficino, whose Christian Platonism sought the Prisca Theologia, or Perennial Philosophy, in which all myths are envisioned as various forms and guises of one universal Truth - the Odyssey of Homer, for example, as an allegory of the soul's journey to the divine. Plato, like Xenophanes, rejected a literal reading of Greek myths, in favour of allegory (and compare Ovid's approach in the Metamorphoses). The Renaissance and Baroque Catholic imagination often embraced Pagan symbolism as a treasury of allegories, which is why fanatical Reformers and later Puritans tirelessly accused Catholics of being "Pagans" and "devil worshipers", and figures like Cromwell destroyed the art of centuries, seeing all images as "idols", which continues today among many fundamentalists. Couperin's Leçons de Ténèbres and his Masses are a clear embodiment of his spirituality, and L’apothéose de Corelli is a clear example of using pagan symbols to honour an eminent person. It is not "objectively pagan", but a classic example of the breadth of that tradition. And by the way, Jewish and Muslim music has often been performed in churches in Europe (note many of Jordi Savall's concerts - just as Bach has been played exquisitely by countless Jewish musicians, regardless of Luther's vicious anti-semitism). The Spirit bloweth where it listeth, and music is its voice.
@@chambermuses7802 You should propose this as a project to the Academy of Balnibarbi.
@@danyelnicholas There are countless scholarly volumes about these matters by renowned Renaissance scholars, published by Oxford, Cambridge, Harvard Presses, if you should ever decide to learn, rather than making fatuous remarks. Look up Christian Platonism, and read some serious books before you go making a fool of yourself.