At last an harpsichord interpretation that does not sound like a big jumble of notes, but which plays them all very well and distinctly. And soulfully.
This is close to the perfect rendition of this lovely piece! The timing, the frasing, the execution of the ornaments ... all breathtaking. The low pitch and the deep, resonant and mellow sound of this harpsichord suits it so well.
Beautiful, perfect tempo, great recording, and what a magnificent harpsichord! When I saw the spelling of the title, I first thought: That's OK, they are not french. But in fact, I was wrong, and it's so respectful to write the original spelling! Much love from France!
Superb, Hanneke! I first heard this played by Aimee van der Wiele, when I bought her Nonesuch LP in 1966. Her style was rubato-driven and her instrument must have been a Pleyel or similar because of the constant registration changes she employed. I liked it at the time, but your interpretation and that of Kenneth Gilbert suits my taste and fancy much better.
Your instrument makes this piece sound so vibrant. It has been a favorite since my childhood days many decades ago. How wonderful to find such a beautiful performance here. Thanks for posting.
Les Barricades mystérieuses (or Les Baricades mistérieuses in its original spelling) is the title of a harpsichord piece composed in 1717, the fifth of the 6th Order in the key of B-flat major, from his second book of harpsichord pieces. It is characteristic of the broken style of French baroque keyboard music. The work is in the shape of a rondeau, a variation of the traditional romanesca in four beats in the bass rather than in the more usual ternary rhythm. It has a chorus and three verses, of unequal length. The four parts create a changing tapestry of melody and harmony. The overlapping melodies and different rhythmic arrangements create a seductive shimmering and kaleidoscopic effect, evoking an anticipation of images of fractal mathematics. The score is marked « vividly ». The piece therefore combines a certain liveliness with a melancholy and mysterious character. This piece performed by Hanneke van Proosdij is of great voluptuousness and beauty. Merci Hanneke ! *Lucien*
@@ducdeblangis3006 It is undeniable that Bach and Scarlatti in particular knew the Manuel work of Couperin. « La Fugue du chat » est une merveille d’écriture contrapuntique. La pièce est structurée comme une Fugue, une forme qui implique l’interaction complexe de plusieurs voix. Le sujet de la fugue est introduit dans la tonalité de sol mineur et se caractérise par ses sauts distinctifs et son chromatisme, qui ajoutent à la qualité énigmatique de la pièce. À noter que la dénomination « Fugue du chat » n'a jamais été utilisée par Scarlatti lui-même : l'appellation apparaît au début du 19ème siècle. Une image collectée et publiée par l'auteure et journaliste américaine Esther Singleton (1865-1930) nous montre Scarlatti en train de jouer du clavecin. *Lucien* On peut lire en vieux français : De ces grands Maîtres d'Italie Le Concert serait fort joli, Si le Chat que l'on voit icy N'y vouloit Chanter sa partie. De ces deux coeurs que ta chaîne lie C'est ainsy, petit Dieu d'Amour, Que quelque Animal chaque jour Vient troubler la douce harmonie. *Domenico Scarlatti*
I just love this piece. It's so soft and soothing, but in my humble opinion it needs to be about an hour or two longer. :-) Superb performance as always!
Just LOVE the Bass line from 1:17 - 1:28 and again from 1:45 - 2:13... with the ABSOLUTE best from 2:13 - 2:30.... that resounding DEEP foundation that supports the entire composition.
Beautifully played, thank you Henneke , it was flowing, measured and tempo that allowed the listener to flavour the harmonics, made more so by the beautiful register of your harpsichord. It was a treat to hear your rendition of ‘Les Barricades Mistérieuses’, such that Couperin’s mysteries were therein revealed. That too often is played vigorously at break neck speed.
This song makes me believe in reincarnation because it stirs up feelings that I have not encountered in this life-time. I feel I lived in the 17th century when I hear this. It feels so familiar from a time past. Thank you Francois Couperin.
Endlich eine Künstlerin, die verstanden hat, daß eine musikalische Textur Luft zum Atmen benötigt und gerade DIESES Stück keinen Tempowettbewerb verträgt: herzwärmend, zum wiederholenden Genießen einladend: musikalisches Glück pur, DANKE fürs Teilen.
YEARS AGO, a gentleman gave his determination that the phrase was used in a French play - his rendering was the batting of eyelashes by the coquettish character in the play. His video has been removed.
Don't know why, I sort of remember that--I think we asked for the name of the play so we could look it up and then post it, if it exists. There's always something to learn.
The comment is still there, the poster wrote: "All the titles in that Ordre come from the same stage play. The mysterious barricades are the eyelashes of a young woman while flirting." So we asked for the name of the play and that is as far as it went. I doubt there is such a play, but, having said that, if there is, we will surely post a facsimile and update the description.
I like to think that those pauses are actually the "barricades". They temporarily delay the forward of the music, but delay it and tgus give it more meaning when the momentum begins again.
How have I missed this recording of one of my favorite pieces until now! This is just exquisite. It's so lovely to hear the resonance of the harpsichord not being played too fast. Just scrumptious. Merci du fond du coeur!
I am studying this piece and I wonder if you can give me your opinion on the double ornament in m.23 in the right hand. I have Couperin's own 1717 edition and it does indeed show a turn over a tremblement on the cadence at the end of the first couplet.I am primarily a recorder player but have recently started learning harpsichord on my own (after 50 years of wanting to do so), and this is the first time I have ever seen paired ornaments that appear to apply to two different voices simultaneously. Couperin does not provide a fingering for Les Barricades in L'art de toucher le clavecin (apparently he considered it not difficult enough to bother doing so), but I have noticed that most performers seem to play these two ornaments sequentially rather than simultaneously. I can't quite see all of your fingers in the video and the sound of that marvellous instrument is so rich and full that it's difficult to hear every individual note, so I am not certain exactly what you did there. I only know that to trill that A simultaneously with a turn on the C I would need to cross my third and second fingers on the B-flat and I can't imagine how that would be possible.If you can take the time to offer any advice on this, I would greatly appreciate it. Your performance is lovely. Thank you.
Hi John, in this version I only played the Double, if you indeed want to play the Tremblement as well as the Double you would indeed play them consecutively.
Thank you so much, Mevrouw van Proosdij! There is always something new to learn about music, and it is from generous people such as you that we can do that. I hope you will be performing in Montréal sometime soon; I would like the opportunity to hear your group in person.
I came here from a comment on Alma Deutscher’s singing of this piece… each rendition sounds so different. They are both absolutely lovely though!! Bravo. Thank you! And the Harpsichord is a joy to both eyes and ears. Here is the link to Alma’s voice rendition - ruclips.net/video/Weauc3fVSFM/видео.html&feature=share
SUCH MUSICIANSHIP.... QUE MAGNIFIQUE !!!! Hanneke KNOWS exactly HOW to perform this composition. Bringing all of the emotion and SOUL that is necessary to PLUMB the depths of all the "moving parts." I remember when I first heard a recording of this in about 1968, when I bought a compilation of harpsichord music.... and this EXACT piece was integrated into the albums (being a 4 record set). I used to listen to it... over and over again... SO many times. To me, when I listen to it. It is like being in the presence of GOD ALMIGHTY.... so majestic, yet dripping with so MUCH emotion and tender love !
julien boutique In the last ten years, almost all of the original French dictionaries as well as French books from the baroque have been indexed by Google books, so we have a clearer idea what some of the terms meant. So, "eyelashes" sounds intriguing, but as yet there is no actual source for that theory (if you have an original source, please post it!) and many sources that talk about wine barrels :)
Barricades I once read a translation as which referred to a series (or progression) of chords. Either way, the Vivement translates as "deeply" and I enjoyed your tempo. Too many performers race through the piece as though the Tempo indication was Vive! Thank you for the wonderful interpretation.
Much has been made of the title of this piece. I had a breakdown crisis in my late 20’s. During the height or depths of which I had an epic vivid dream which contained rooms full of beautiful old harpsichords. I wanted to play them but was prevented by people who made me feel that I wasn’t “ good” enough to play them. Not my level of musical skill but more about my class. They seemed like they were “above” me. I so desperately wanted to play but they just wouldn’t let me. I awoke completely crestfallen. That dream stayed with me and really affected my psyche. Probably still does. I’m now 51. My musical barricade. Or just my mental barricade?
I've said it once and I'll say it again - I love it! I'll add this time because I forgot to say it last time - the harpsichord is beautiful with a glorious tone. Oh and by the way I just love it - thank you - again!
Too many people rush through Renaissance and Baroque harpsichord music and do not take the time to savor each note. It need not be dreadfully slow of course, but having a flow of notes that ring in a good and full way allows the music to be better enjoyed. Naturally there are many harpsichord showpieces, but it is important to distinguish that which is meant to show off one's speed, and that which is to show tenderness, precision, stability, and a good touch on such a delicate yet powerful instrument.
Bravo! Could the term be related to BARRACKS instead? It would come from Italian BARACCA in the 17th Century meaning soldier's tent. Evokes the image that there is drink and merriment going on inside the mysterious soldier's tent. Could be a night of escapade even...
Delightful and unhurried. I read last year that the title is a reference to a woman's eyelashes-I hope that was Couperin's meaning. Its totally beguiling. :-) That's a wonderful sounding instrument.
I don't understand. The instrument is nice, the recording quality is excellent, but you're playing a wrong note in the refrain, a g instead of an f. It totally messes up the cadence.
In addition to Sylviane Deferne's piano interpretation, this is the "original" harpsichord version I always return to. Wonderful, the best tempo. I play AT keyboard (a hobby, I suppose), but wish I could really play this piece. Listening to your version is the next best thing.
A few years ago I heard a French pianist explain that the barricades misterieuses were a reference to the flirting eyelashes of the ladies of the Court as they concealed their feelings and intentions from the hapless courtiers.
A completely made up story, but someone should collect all these stories :) The form of the music is like Marais Labyrinth, little excursions, and a ritornello as one works through a maze. And the barricades--barrels full of debris--created a maze out of city streets that changed overnight. You are walking home, and you have to go back and find another way.
I love and admire "The Mysterious Barricades", mainly for two reasons: - It's not a virtuoso piece of music, so there is no need for the interpreter to "show off". - Formally spoken, the music is quite simple, it consists of a repeated rondeau combined with three different couplets. On the other hand, it is really mysterious, and has a timeless beauty.
An astounding interpretation. François Couperin can be compared to J.-S. Bach as far as the harmonic subtility is concerned. And this no mean compliment!
This is indescribably beautiful. Without Hanneke's pauses, allowing the music to "breath", it wouldn't be the same piece. I would like to think that these are those barricades:it'snot a
I can't believe how beautiful this harpsichord sounds, especially in the lower notes. Sublime.
I love harpsichords tuned lower than modern pitch and this one has truly wonderful tone. Beautifully played
its a Blanchet!
Yeah, it sounds a lot more rounded then some other instruments.
Not a Blanchet, but those are lovely.
Yes I totally agree. There is so much variety in the way a harpsichord can sound. Some instruments sound so harsh & robotic..
At last an harpsichord interpretation that does not sound like a big jumble of notes, but which plays them all very well and distinctly. And soulfully.
:)
Is it just me, or is that one of the best sounding harpsichords ever?
Very nice performance - a nice gentle speed that makes it sing.
I agree. it's gorgeous! :-)
No, not just you.
Now that's what I call the Goldilocks tempo. Not too fast, nor too slow. Very nice indeed.
Beautiful. Harpsichord can be so underrated. You make it come alive.
This is close to the perfect rendition of this lovely piece! The timing, the frasing, the execution of the ornaments ... all breathtaking. The low pitch and the deep, resonant and mellow sound of this harpsichord suits it so well.
Yeah, it's really close to perfection. Such a vomplex poece
Outstanding artist. Her moderate tempo is the one I préféré. But WHO built this wonderful instrument ???
The tempo is just right for my taste.
The temptation seems to be to go too fast.
This harpsichord has an amazing rich sound, and I love the lid painting. beautiful playing. lovely to hear this music
ok
supr
French harpsichords we’re wonderful. The sound is enhanced by the low pitch.
Beautiful, perfect tempo, great recording, and what a magnificent harpsichord!
When I saw the spelling of the title, I first thought: That's OK, they are not french. But in fact, I was wrong, and it's so respectful to write the original spelling!
Much love from France!
Merci!
Superb, Hanneke! I first heard this played by Aimee van der Wiele, when I bought her Nonesuch LP in 1966. Her style was rubato-driven and her instrument must have been a Pleyel or similar because of the constant registration changes she employed. I liked it at the time, but your interpretation and that of Kenneth Gilbert suits my taste and fancy much better.
A teacher of mine played this in recital back in the 1960s. This is so very beautifully done..I could never tire of it. Thank you Ms van Proosdij.
You're very welcome!
What a sweet sound this harpsichord has and well handled by Hanneke van Proosdji. Thanks Ms van Proosdji for giving a fresh sound to Les Barricdes.
Your instrument makes this piece sound so vibrant. It has been a favorite since my childhood days many decades ago. How wonderful to find such a beautiful performance here. Thanks for posting.
Ok
Les Barricades mystérieuses (or Les Baricades mistérieuses in its original spelling) is the title of a harpsichord piece composed in 1717, the fifth of the 6th Order in the key of B-flat major, from his second book of harpsichord pieces. It is characteristic of the broken style of French baroque keyboard music. The work is in the shape of a rondeau, a variation of the traditional romanesca in four beats in the bass rather than in the more usual ternary rhythm. It has a chorus and three verses, of unequal length. The four parts create a changing tapestry of melody and harmony. The overlapping melodies and different rhythmic arrangements create a seductive shimmering and kaleidoscopic effect, evoking an anticipation of images of fractal mathematics. The score is marked « vividly ». The piece therefore combines a certain liveliness with a melancholy and mysterious character. This piece performed by Hanneke van Proosdij is of great voluptuousness and beauty. Merci Hanneke ! *Lucien*
Point de vue d'une musicologue, sans doute, très intéressant. Le rythme brisé évoque aussi la fugue du chat de Scarlatti
@@ducdeblangis3006
It is undeniable that Bach and Scarlatti in particular knew the Manuel work of Couperin. « La Fugue du chat » est une merveille d’écriture contrapuntique. La pièce est structurée comme une Fugue, une forme qui implique l’interaction complexe de plusieurs voix. Le sujet de la fugue est introduit dans la tonalité de sol mineur et se caractérise par ses sauts distinctifs et son chromatisme, qui ajoutent à la qualité énigmatique de la pièce. À noter que la dénomination « Fugue du chat » n'a jamais été utilisée par Scarlatti lui-même : l'appellation apparaît au début du 19ème siècle. Une image collectée et publiée par l'auteure et journaliste américaine Esther Singleton (1865-1930) nous montre Scarlatti en train de jouer du clavecin. *Lucien*
On peut lire en vieux français :
De ces grands Maîtres d'Italie
Le Concert serait fort joli,
Si le Chat que l'on voit icy
N'y vouloit Chanter sa partie.
De ces deux coeurs que ta chaîne lie
C'est ainsy, petit Dieu d'Amour,
Que quelque Animal chaque jour
Vient troubler la douce harmonie.
*Domenico Scarlatti*
I just love this piece. It's so soft and soothing, but in my humble opinion it needs to be about an hour or two longer. :-) Superb performance as always!
Love this piece - on this harpsichord with this sonority and this pace, it's even better. Hartelijk bedankt, Hanneke
Just LOVE the Bass line from 1:17 - 1:28 and again from 1:45 - 2:13... with the ABSOLUTE best from 2:13 - 2:30.... that resounding DEEP foundation that supports the entire composition.
that's called progression, a typical pattern in baroque music :)
2:13 - 2:30 has always been my favourite part too!
Beautifully played, thank you Henneke , it was flowing, measured and tempo that allowed the listener to flavour the harmonics, made more so by the beautiful register of your harpsichord. It was a treat to hear your rendition of ‘Les Barricades Mistérieuses’, such that Couperin’s mysteries were therein revealed. That too often is played vigorously at break neck speed.
Thanks so much!
This song makes me believe in reincarnation because it stirs up feelings that I have not encountered in this life-time. I feel I lived in the 17th century when I hear this. It feels so familiar from a time past. Thank you Francois Couperin.
Endlich eine Künstlerin, die verstanden hat, daß eine musikalische Textur Luft zum Atmen benötigt und gerade DIESES Stück keinen Tempowettbewerb verträgt: herzwärmend, zum wiederholenden Genießen einladend: musikalisches Glück pur, DANKE fürs Teilen.
Bitte.
Este tempo me gusta...gracias fantástico clave y deliciosa interpretacion
That's the most beautiful version of Les Barricades Mystérieuses. Perfect tempo and resonance.
Thank you very much!
Yes indeed! I think exactly the same.
But, of course, it can be a subjective feeling, as it's normally in music.
It was an answer to Kate.
Beautiful performance------a tempo that suits the piece's lyricism, unlike what one usually hears.
I agree
I very much like your Scarlatti, Elaine, the lady who stands up playing the harpsichord!
How is lyricism defined for a particular piece?
Yes indeed it's all about grace
YEARS AGO, a gentleman gave his determination that the phrase was used in a French play - his rendering was the batting of eyelashes by the coquettish character in the play. His video has been removed.
Don't know why, I sort of remember that--I think we asked for the name of the play so we could look it up and then post it, if it exists. There's always something to learn.
The comment is still there, the poster wrote: "All the titles in that Ordre come from the same stage play. The mysterious barricades are the eyelashes of a young woman while flirting." So we asked for the name of the play and that is as far as it went. I doubt there is such a play, but, having said that, if there is, we will surely post a facsimile and update the description.
Wonderful execution! Perfect tempo.
This piece is hundreds of years ahead of its time, it's hard to believe this was made in the baroque period
Thank you, I was able to use this to show my teacher what an actual harpsichord sounds like.
I like to think that those pauses are actually the "barricades". They temporarily delay the forward of the music, but delay it and tgus give it more meaning when the momentum begins again.
Excellent!
Confirmation qu'il n'est pas justifié de jouer cette pièce plus rapidement.
Entièrement d'accord. Vivement est indiqué au début de la partition et beaucoup d'interprètes se croient obligés de jouer presto.
Agreed.
oui 100% d'accord! "vivement" ne veut dire pas necessairement "courant pour sa vie" ;-)
Entièrement d'accord. Cette pièce est une merveille de délicatesse et de sensibilité il faut laisser respirer la musique (et les cordes)
@@jocelynjosssheehy2970 tout à fait , il faut le temps de la goûter , trop nombreux sont ceux qui font la course à l’échalote !
Truly beautifiul and masterful - I fully agree with other commentors!
How have I missed this recording of one of my favorite pieces until now! This is just exquisite. It's so lovely to hear the resonance of the harpsichord not being played too fast. Just scrumptious. Merci du fond du coeur!
wow, i've never heard such a full and lucious sound from a harpsichord
Beautiful performance.
Many thanks!
This is my favorite rendition of this masterpiece!
absolutely French 🔥🔥🔥👌👌👌🙏🙏🙏❤️❤️❤️❤️❤️👍👍👍👍👍👍👍
Ideal tempo, rich and wonderful sound. The depth! The resonance!
A very deep resonant instrument and very lovely performance
La peinture du clavecin est belle et l'interprétation fabuleuse
Great playing, and the harpsichord sounds absolutely wonderful.
I am studying this piece and I wonder if you can give me your opinion on the double ornament in m.23 in the right hand. I have Couperin's own 1717 edition and it does indeed show a turn over a tremblement on the cadence at the end of the first couplet.I am primarily a recorder player but have recently started learning harpsichord on my own (after 50 years of wanting to do so), and this is the first time I have ever seen paired ornaments that appear to apply to two different voices simultaneously. Couperin does not provide a fingering for Les Barricades in L'art de toucher le clavecin (apparently he considered it not difficult enough to bother doing so), but I have noticed that most performers seem to play these two ornaments sequentially rather than simultaneously. I can't quite see all of your fingers in the video and the sound of that marvellous instrument is so rich and full that it's difficult to hear every individual note, so I am not certain exactly what you did there. I only know that to trill that A simultaneously with a turn on the C I would need to cross my third and second fingers on the B-flat and I can't imagine how that would be possible.If you can take the time to offer any advice on this, I would greatly appreciate it. Your performance is lovely. Thank you.
Hi John, in this version I only played the Double, if you indeed want to play the Tremblement as well as the Double you would indeed play them consecutively.
Thank you so much, Mevrouw van Proosdij! There is always something new to learn about music, and it is from generous people such as you that we can do that. I hope you will be performing in Montréal sometime soon; I would like the opportunity to hear your group in person.
Love this piece - I want a harpsichord!!!!!!
I came here from a comment on Alma Deutscher’s singing of this piece… each rendition sounds so different. They are both absolutely lovely though!! Bravo. Thank you! And the Harpsichord is a joy to both eyes and ears.
Here is the link to Alma’s voice rendition - ruclips.net/video/Weauc3fVSFM/видео.html&feature=share
SUCH MUSICIANSHIP.... QUE MAGNIFIQUE !!!!
Hanneke KNOWS exactly HOW to perform this composition. Bringing all of the emotion and SOUL that is necessary to PLUMB the depths of all the "moving parts." I remember when I first heard a recording of this in about 1968, when I bought a compilation of harpsichord music.... and this EXACT piece was integrated into the albums (being a 4 record set). I used to listen to it... over and over again... SO many times. To me, when I listen to it. It is like being in the presence of GOD ALMIGHTY.... so majestic, yet dripping with so MUCH emotion and tender love !
muy bello
This music sounds very modern!
It does--maybe even some Django swing
It is actually baroque surprisingly, one of the things that gives it away is the trills and the harmony and the fact that it’s meant for harpsichord
Very gentle and full of hidden emotions performance! Many thanks! I think we've just heard sounds of those gorgeous times.
Many thanks!
it sounds so lovely with the beautiful melody combined with the hazy reverb
I was always told "Baricades mistérieuses" meant eyelashes in the vocabulary of the "précieuses" in XVIIth century french court.
julien boutique In the last ten years, almost all of the original French dictionaries as well as French books from the baroque have been indexed by Google books, so we have a clearer idea what some of the terms meant. So, "eyelashes" sounds intriguing, but as yet there is no actual source for that theory (if you have an original source, please post it!) and many sources that talk about wine barrels :)
Voices of Music I have no other sources but my former harpsichord teacher unfortunately. Beautifully played any way!
eyelashes, wine... whatever, it's nice. Un grand bravo de France pour cette interprétation. Merci.
So what IS the prevailing theory on the meaning of the term, just curious?
Barricades I once read a translation as which referred to a series (or progression) of chords. Either way, the Vivement translates as "deeply" and I enjoyed your tempo. Too many performers race through the piece as though the Tempo indication was Vive! Thank you for the wonderful interpretation.
Much has been made of the title of this piece. I had a breakdown crisis in my late 20’s. During the height or depths of which I had an epic vivid dream which contained rooms full of beautiful old harpsichords. I wanted to play them but was prevented by people who made me feel that I wasn’t “ good” enough to play them. Not my level of musical skill but more about my class. They seemed like they were “above” me. I so desperately wanted to play but they just wouldn’t let me. I awoke completely crestfallen. That dream stayed with me and really affected my psyche. Probably still does. I’m now 51.
My musical barricade.
Or just my mental barricade?
wow. Your comment really spoke to me. I hope you are well.
Exceptionally well played Bravo.
Wonderful! Thank you for the moderate tempo and the sound of this cembalo is magnificent!
The exact tempo that piece is supposed to be played and enjoyed
Muy bien ese es el tempo de las barricadas.
All I can say is "Wow!" Beautifully done, thanks for posting!
Thank you very much!
Ho sentito questo brano per la prima volta pochi minuti fa alla radio…tocca il cuore: è musica per gli angeli!
precioso! el tempo justo, el sonido perfecto, muchas gracias!
wunderbarer Cembaloklang - feinfühlig interpretiert. Chapeau !
Danke vielmals.
Beautiful, rich sound. And love the tempo; it gives you time to enjoy each note before the next one comes. Bravo!
Many thanks!
My favorite version. Harpsichord lid by Millicent Tomkins!
Harpsichord lid painted by Millicent Tomkins! www.millicenttomkins.com/
Mr. Couperin channeling Debussy, before there was a Debussy! quite an accomplishment! :P
Hermosa partitura, excelente ejecución e inmejorable explicación. Gracias.
I've said it once and I'll say it again - I love it! I'll add this time because I forgot to say it last time - the harpsichord is beautiful with a glorious tone. Oh and by the way I just love it - thank you - again!
I put on an orange shirt after viewing, brava!
;-)
Now this I think is the right speed for this piece. Lively but with reflection.
Agree!
@VoicesofMusic Some on RUclips seem to play this piece perhaps 20 per cent quicker than here. What speed on the metronome are you playing?
Too many people rush through Renaissance and Baroque harpsichord music and do not take the time to savor each note. It need not be dreadfully slow of course, but having a flow of notes that ring in a good and full way allows the music to be better enjoyed.
Naturally there are many harpsichord showpieces, but it is important to distinguish that which is meant to show off one's speed, and that which is to show tenderness, precision, stability, and a good touch on such a delicate yet powerful instrument.
En mi opinión la mejor interpretación de esta preciosa pieza
The piece is in B-Flat Major, but instead, it sounds like it's in A-Flat Major.
A=392 Hz
Brilliant ! You transmits absolutely gorgeous feelings, my soul thanks you my darling !
I would love to have a harpsichord like that in my living room. How grand!!
It is grand!
Une mélodie simple, mais elle capte l'essence de la vie paissante.
Peut-être que c'était censé être "naissante"?
Me imagino mis manos tocando su música con esa calma esa serenidad esa paz Me las imagino como si fueran un cuerpo de luz cristal
This is so beautiful to hear, it sounds close to Canon-Pachelbel.
Thank you
Bravo! Could the term be related to BARRACKS instead? It would come from Italian BARACCA in the 17th Century meaning soldier's tent. Evokes the image that there is drink and merriment going on inside the mysterious soldier's tent. Could be a night of escapade even...
Mysteries of sounds, mysteries of "lutherie", what wonderful records!
Delightful and unhurried. I read last year that the title is a reference to a woman's eyelashes-I hope that was Couperin's meaning. Its totally beguiling. :-) That's a wonderful sounding instrument.
Pppl like to make up stories about the title, eyelashes is very creative!
Play Couperin Le Tic Toc Choc in 2 minute 19 second.
dit klinkt heel bijzonder, prachtig ! ! ook bedankt voor de interessante tekst
Brava!!
Excellent performance and sound. I like the instrument, too.
Beautiful tone. Nice playing, too, of course.
A superb performance on a superb instrument. Bravo!
I don't understand. The instrument is nice, the recording quality is excellent, but you're playing a wrong note in the refrain, a g instead of an f. It totally messes up the cadence.
I prefer it the way it is in the video. But it's baroque music!
Œuvre intemporelle, baroque et moderne à la fois... Belle version.
Wonderful! Love this of all the most of all the harpsichord versions I've heard! Magnifique!
In addition to Sylviane Deferne's piano interpretation, this is the "original" harpsichord version I always return to. Wonderful, the best tempo. I play AT keyboard (a hobby, I suppose), but wish I could really play this piece. Listening to your version is the next best thing.
Perhaps we never get to know what the title means, but we can all agree it sounds lovely. Thank you
it's a reference to eyelashes.
+arjenbij eyelashes actually. They guard the eyes, the windows to the soul
Francois Arnaud Ye that's what I meant to say, sorry.
+arjenbij hahaha pretty easy mistake to make
Indeed- and that is merely another aspect of its charm, in that we can never know,
Très beau, vraiment... De France.
Merci!
A few years ago I heard a French pianist explain that the barricades misterieuses were a reference to the flirting eyelashes of the ladies of the Court as they concealed their feelings and intentions from the hapless courtiers.
A completely made up story, but someone should collect all these stories :)
The form of the music is like Marais Labyrinth, little excursions, and a ritornello as one works through a maze. And the barricades--barrels full of debris--created a maze out of city streets that changed overnight. You are walking home, and you have to go back and find another way.
Prachtig mooi🌷
this pieces is so Romantic even tho its Baroque...
I love and admire "The Mysterious Barricades", mainly for two reasons:
- It's not a virtuoso piece of music, so there is no need for the interpreter to "show off".
- Formally spoken, the music is quite simple, it consists of a repeated rondeau combined with three different couplets. On the other hand, it is really mysterious, and has a timeless beauty.
An astounding interpretation. François Couperin can be compared to J.-S. Bach as far as the harmonic subtility is concerned. And this no mean compliment!
this made me ugly cry i don't know why
This is indescribably beautiful.
Without Hanneke's pauses, allowing the music to "breath", it wouldn't be the same piece.
I would like to think that these are those barricades:it'snot a
Dolcissima interpretazione, suono magnifico 🤗
Grazie.
This really is an extraordinary performance of this piece.
Delicate, but forceful when required. I've listened to this countless times.
Best performance of this piece on RUclips!
Bravissima 🎼🎹🎶🎵
Thank you!
Thank you for letting this beautiful melody breathe. :)
:)