En fait, il n'y a pas d'erreur. A l'origine, le morceau était orthographié "Les Baricades Mistérieuses", même si en français moderne il faut écrire "Les Barricades Mystérieuses".
@stasafify "a horrible rendition" is really a matter of opinion. The performer is entitled to her own interpretation of the music. She is adhering 100% to the notes. Though you may not like this performance, I would not say it is "horrible" by any stretch of the imagination. Not my favorite interpretation, but I wouldn't say horrible. I really like Scott Ross' interpretation, definitely my favorite. Elaine's interpretation is a bit too "Romantic" for my taste, doesn't sound Baroque.
It's not syncopation, she's using a convention of French Baroque music called 'notes inégales,' in which eighth notes (or in some cases sixteenth notes) are 'swung,' i.e. the first note is given more time and the following one less. If you listen to recordings of more French music from this period on period instruments, it shows up all over the place. Modern performers rarely take the time to research how the composer originally intended for the music to be played...
@scgamba Well... I really thank you for this comment. I heard this and I didn't liked but it was because I dodn't understand it. By reading your comment and studying a little bit mor of the "unequal notes" I realised that this might be the best interpretation of this beautiful piece. Thank you for sharing such knowledge with us.
@oracle2world No, you lie. There is absolutely no syncopation written in the original score as everyone could verify it. There are only a slight possible tempo fluctuation during the performance to separate each part of the phrasing and create amusical breath . This "rubato" was used for long time in music but wasn't yet defined.
@oracle2world You can access for free on IMSLP site at Couperin complete harpsichord works score from Dover publication (p110-112). Here you could observe that "Les baricades ..." was composed using a regular and repetitive quaver motif without any syncopation. I precise too that in french baroque music, the unequal notes were very rarely used in the fast tempi (vivement). You've heard syncopations only in incorrect versions and what you call syncopation must be no more than slight agogic
@frenchiecocorico1 - Okay, I went to IMSLP and to IMSLP05903 and page 110. The eighth notes that have a tie is the syncopation. Syncopation = a note between the main beats. In this music, there are four quarter notes to a measure. The eighth notes played between the quarter notes is the syncopation.
@oracle2world It seems that you ignore totally what is a syncopation. A syncopation isn't a note between the beats but an accent placed out of the main beats of the meter.
Here the accents are exactly on the main beats of the measure. They are figured by each crotchet at the left hand. I think you must learn musical theory previous to tell nonsense.
@oracle2world I beg your pardon because the original scores isn't yet available on IMSLP. You can find the original score of "Les"baricades .." for free either on "WIMA" (Werner Icking Musical Archives) or "load.cd" sites.
If you agree I can send you for free Couperin complete works original scores plus "The art of playing the harpsichord" (in english). Please, send me your email adress on your You Tube personnal email box. Then I could join those documents to a returning mail
@oracle2world Easybyte.org site informed the scores available in .pdf format are arrangements from the original. But even in this case, "Les baricades mistérieuses" are written with a regular and repetitive quaver motif without any syncopation. So my previous assumption is right when I said that you lie to assert syncopations were written in the original score.
Couperin's music is supposed to be played with a touch of improvisation, so I've heard. I think he wrote it that way. Whatever the case, the music certainly does allow for a lot of improv.
@earthling111billion No Couperin himself wrote clearly he won't any improvistion in his piece (L'art de toucher le Clavecin). This is a pure invention of your mind. Learn first to tell tale.
@frenchiecocorico1 Not an invention of my mind; like I said, that's what I've heard. But thanks for referring me to Couperin's treatise. I'll get back to you once I read it to confirm whether or not he "clearly" writes this.
Also, I still would say that there is an amount of improv that will go on when people interpret the music, because the ornamental trills will probably not always be identical, and when you're playing in that feel your fingers might find another place for them, as well.
@earthling111billion No , there is no syncopation in the original score. The notes must be played regularly as written and not unequally. The tempo is "vivement" (swiftly). I repeat too François Couperin was a precise and fussy composer. He didn't suffer any change in his pieces and the rendition must be played absolutely as he wrote them. So ornaments couldn't be changed neither in form nor in place. Couperin's instructions are either in "the art of playing harp..." or in his book prefaces
@frenchiecocorico1 I didn't say that's how he wrote it. But that's how maybe it will be played by interpreters. Again, thanks for the reference. I'm definitely going to look it up.
@earthling111billion Interpreters can play in any manner they could imagine but an only right way to perform Couperin's pieces is valid, his one. There is no more than to follow his instructions.
One over the correct versions you could find on You Tube is played by Bruno Procopio ( BPROC1 channel) on the french historical harpsichord from 1748 by Collesse in Laurent Soumagnac private collection
@frenchiecocorico1 That's a nice version, thanks. Have you heard Angela Hewitt's piano versions of Couperin's works? You should look them up. They mayn't be performed in the "only right way", as you say, but I think you'll still enjoy them.
@earthling111billion Yes,I listened Angela Hewitt version on the piano. Thanks for your recommandation; These is a very respectful rendition. However I can't consider her tempo like to be "swiftly" but rather "moderato". Then, it can be a good model for you to learn.
@frenchiecocorico1 Also, since you seem to know how it SHOULD be played, can you refer me to a video or audio where it is played as you say it was intended to be played?
J'ai entendu, il y au moins une dizaine d'années, William Christie dire que la musique baroque française –contrairement à celle de J.-S. Bach, tellement bien charpentée qu'un boucher-charcutier ne pourrait l'abimer– était d'une si grande délicatesse qu'elle ne résistait pas à une vilaine interprétation, comme un soufflé mal cuit qui se dégonfle. Ce que je déguste-là ressemble à un soufflé trop cuit, brûlé à l'extérieur et mou à l'intérieur. Ni musicologue, ni cuisinier, j'adore Couperin :-)
Note that Prof. Comparone's instrument is a "standing" harpsichord - the legs are very long - it's a replica of a period instrument. Often these were played standing up in the Seventeenth century. I appreciate her interpretation - different approaches are what keeps the music fresh. I seriously doubt Couperin would have been offended.
@7777Scion That's absolutely false and stupid. No historical "long legs" harpsichord was ever built anywhere in Europe. This explanation is your personnal invention and this long legs harpsichord a US modern invention too. At the opposite all the harpsichord treatises of the period told about the obligation to be sit on a chair with the feet placed side by side on the ground while playing the instrument to assume a steady position of the body and consequently of the hands.
@frenchiecocorico1 Try not to embarrass yourself. Go look at a few 17th century paintings, just for starters. And I would trust Prof. Comparone over your amateur gibberish any day of the week and twice on Sundays.
@7777Scion III- Be sure, in my opinion this eccentric performance is absolutely uninteresting. There are in France and in Europe many harpsichordists (including US originated ones as William Chrisite or Skip Sempé who live in France to learn french cultural references and traditions) able to play according to Couperin’s instructions much better than E. Comparone could never perform.
@7777Scion II- It doesn’t exist any musical document, any treatise, any method, any harpsichord with long legs support proving that “OFTEN, these were played standing up in the Seventeenth century”. You couldn’t imagine 17th or 18th centuries were times for peculiar and unsual practises. Yesterday as today every of the billion harpsichordists, clavichordists, pianists, organists knew well how they must be sit down to play (this is the first lesson of any student). Indeed, you are an amateur.
@7777Scion I- I’m not more embarrass with my gibberish english than you with your nonexistent french. Very few painting shown harpsichordist standing up in front of instrument (i.e Jan Vermeer “Lady at the Virginal”). However, it cannot be concluded this was a frequent harpsichordist position but only a scenography of the painter. Despite of this exception, all the harpsichord methods of the period learned to be sit down to play.
@frenchiecocorico1 LOL. I wasn't making a comment about your "English" but about your opinions/theories. Better leave musicology to the experts. You are making yourself look foolish to try to state that in some cases "stand-up" playing was not utilized - it most certainly WAS. You don't own these compositions, nor are you the composer. Run along now.
@7777Scion IX- In fact, french music like musics of other nations, is full of idiomatic expressions that only french qualified musicians could understand easily (as the language pronunciation). This is true for every nation (ie. US musicians comprehend and feel USA country folk or jazz much better than anyelse foreign musician). For that reason, only french qualified musicians could judge easily whether Couperin pieces is well performed.
@7777Scion VIII- Even I’m not the composer and the owner of this pieces, this music isn’t universal but ethnically french and couldn’t be played any old how. Everyone could play the notes written on the sheet but this is not sufficient to achieve in a good performance.This repertoire makes part of my cultural heritage and as a french musician involved in this music I’m better than every foreigner qualified to defend it and to judge how it must be performed.
@7777Scion VII- As your pretentious self importance doesn’t make you an expert, as grand sounding titles of Elaine Comparone doesn’t make her a good artist.
Good harpsichordists avoid to do useless acrobatics like a clown in a circus.
I play myself Couperin’s harpsichord pieces much better than she performed here.
@7777Scion VI- Particularly Couperin never played on a standing up position because he never conducted an orchestra. In “L’art de toucher le Clavecin, 1722” he clearly specified to be seated while playing the harpsichord.
At least, you ignore that even in a drawing of a standing up harpsichordist, everytime and in all cases the instrument is placed on a usual high legs support, proving at the same time that the normal position is to be seated.
@7777Scion V- Above all, you ignore that the standing up position at the harpsichord wasn’t “often” or “in some cases” as you pretend. There is a unique and rare single case on which harpsichordist played on a standing up position. It was when at the same time he played harpsichord and conducted an orchestra. In these conditions musicians of the orchestra needed to see the conductor who had to stand up. In all other cases (accompaniement, recital), harpsichordists played seated on a chair.
@7777Scion IV- You ignore that for one painting of a standing up harpsichordist, there are 10 000 times more drawings of seated harpsichordists.
You ignore that all the great masters of the harpsichord in the 17th and 18th centuries (Bach, Händel, Purcell, Scarlatti, Couperin , Rameau, ...) used to play on a seated position.
@7777Scion III- You ignore that painters of the baroque period earned their life selling beautiful drawings at rich customers. So they painted aesthetic arranged views and not the reality. That is why in many portrait, musicians held or played their instrument with an impracticable position (Portait of Marin Marais, Charles Mouton, Hals or Gentileschi lutenists, ...).
@7777Scion II- You don’t know anything about me but you judge without any knowledge. I’m older than you and more 40 years experienced in organ playing and in musicology involving, notably of the french baroque repertoire for all this time. Although I’m not a professional musicologist, some of professional ones of various nationalities are friends of mine and none of them is able to assert such idiotic thing than you.
@7777Scion I- Only because you are bloated with your self-importance, you think to be an expert in musicology or in fine arts. But the numerous nonsenses and errors you’ve talked about, your ignorance, your confusion between my “gibberish” and “Couperin instructions in the third book of pieces for harpsichord”, the weakness and the stupidity of your reasoning demonstrate that you are no more than an ignoramus and a moronic novice.
@7777Scion II- None of this two books described an harpsichord support with long legs or a professionnal stand up position of the harpsichordist at any time.
Effectively you must leave musicology to the experts.
@frenchiecocorico1 Maybe you shouldn't be so strict and traditional. Suppose that you enjoy music from a culture which you know very little about and you enjoy the untraditional and forward looking approaches to playing it. Would you really not play them that way simply because they go against the strict ways in which the respective composer wanted them to be played?
@majav15mg I 've done yet many comments and many explanations but I repeat for you. This is historical musics, that means accomplished or utter musics and when the composer (François Couperin) indicated specially "Je déclare donc que mes pièces doivent être exécutées comme je les ai marquées " (So, I do declare my pieces must be performed as I wrote them), when you do the opposite, you play improperly. Though, it would better to play another style or to compose your own music.
@frenchiecocorico1 Look at it this way, I'm learning this piece on the guitar now, which Mr. Couperin might have not approved of himself, we will never know. And what if I like to play this piece without inegale or any other french related practice? What if I have other friends who also enjoy it that way? But anyway, if Couperin really meant it to be played that way then I can't blame you or anyone else for not liking this performance.
@majav15mg Evidently, everybody is free to perform according to one's own preferences then nobody can pretend to perform properly following the composer instructions.
Though it's a preconceived idea to think that french baroque music is filled only with unequal notes. This is particularly false in this piece.
May I suggest you to listen "Les barricades mystérieuses" version on classical guitar by the french pascalbicrel on You Tube which is very correct and excellent.
@frenchiecocorico1 Thanks for your suggestion, and you actually seem much more open minded that you would at first... many don't even acknowledge the freedom to play a piece according to one's personal preferences.
@majav15mg Who can be opposed to your freedom to play according your own preferences? We are both in democratic countries. However any performance cannot be considered as correct or respectful of the composer's intentions.
@majav15mg Some interpreters played in a different original style (i.e Swingle Singers, Rhoda Scott, Jacques Lousier played J.S Bach works in jazz style). Though this performances are arrangements or adaptations. In my opinion it is more difficult to perform a good arrangement than to play well the original work. That's why generally, a non traditional performance is often worthless. I don't consider to be "agressive" or non "open minded" because my opinion is at the opposite of yours.
@frenchiecocorico1 I didn't mean that anyone whose not with me is closed minded or aggressive. And I listened to the version you told me, and I'm trying to play similar to that, maybe with more variants in tempo.
@majav15mg If you want to discover another culture than your own, you must consult the original references. It is best to listen french performances to know Couperin's works not because they are of a higher quality but because they include french feeling and cultural references. . Personnaly I won't appreciate US culture looking an italian rodeo or a japaneese western film!
@7777Scion IV- "... I am always surprised ( despite the care I took to write the suitable ornaments for my Pieces, which I gave separately a quite comprehensible explanation in a specific method known under the title "L'art de toucher le Clavecin / The art of playing harpsichord") to hear some persons who learnt them without to compel. This negligence isn't pardonable, particularly as it isn't arbitrary to put ornaments according to one own's will.”
@7777Scion II- ".... Je suis toujours surpris (après les soins que je me suis donné pour marquer les agréments qui conviennent à mes Pièces, dont j'ai donné, à part, une explication assés intelligible dans une méthode particulière, connüe sous le titre de L'art de toucher le clavecin) d'entendre des personnes qui les ont apprises sans s'y assujettir. C'est une négligence qui n'est pas pardonnable, d'autant qu'il n'est point pardonnable d'y mettre tels agréments qu'on veut. »
@7777Scion I- Because you're as ignorant as pretentious you think to be allowed telling us any of idiotic tales. I 'm SURE this performance would offended F. Couperin because he gave his own opinion on such rendition. But you never read Couperin treatises previously to assert ineptitude as many non justified comments on the same style I read here.
With no doubt it's the worst performance i've ever heard. Just playing notes without any understanding on the nature of this piece. It results on the misunderstanding of this harpsichordist in the meaning of the title. It just remains unuseful register effects, inappropriates tempo and cadenza. In France this technique is called "mouliner de la musique" (to grind music). This is certainly not french culture and a performance Couperin wouldn't approve to listen.
I feel that this is the way Couperin wanted it played. Most renditions are too fast. The slight hesitancies in some bars convey the mysterious barriers, i.e. barricades, Just lovely and sensual.
Especially with the "swing". Notes inegales ("unequal notes") aren't an option in French Baroque music - they're mandated. If you play the notes as written, you're not playing what the composer meant. Many contemporary treatises tell you more-or-less how to do it. Basically, if you have a scale of equal notes (ta ta ta ta ta ta), you lengthen the first one and shorten the second one (Ta-te Ta-te Ta-te). The degree of "swing" is left to the musical context and to the performer's taste.
Especially with the "swing". Notes inegales ("unequal notes") aren't an option in French Baroque music - they're mandated. If you play the notes as written, you're not playing what the composer meant. Many contemporary treatises tell you more-or-less how to do it. Basically, if you have a scale of equal notes (ta ta ta ta ta ta), you lengthen the first one and shorten the second one (Ta-te Ta-te Ta-te). The degree of "swing" is left to the musical context and to the performer's taste.
@Anselm513 Unequal notes (les notes inégales) weren't the core of french baroque music. They were just a mean to increase expressivity and not an aim. The real core of french baroque music is "le bon goût" (good taste), meaning to have a sufficient intelligence and sensitivity to give musical discourse the fanciful sense author indicated in the title. This is not a technique which can be learned but a consequence of consideration and analysis about the music.
@Anselm513 No, no and no unequal notes (notes inégales) aren't obligatory and systematic in french baroque music. I fear foreign people is in error misunderstanding the french baroque musical uses and build up idiotic theories on this untrue conclusions. The use of unequal notes depends on "le bon goût" (good taste or good feeling) of the performer and could never be predetermined in any composition.
Les Barricades mystérieuses are more dependent on a rubato than unequal notes.
@frenchiecocorico1 Are you suggesting that all French musician performing this piece in the 'traditional' way only? This is NOT the Bouillabaisse, you know!? lol And please define what is 'good taste' !! Tradition is important, but what about a bit of "vive la différence" sometime?
@lostpebble I don't suggest anything from my own and certainly not a "Bouillabaisse" . Infortunately for the players thinking to have a free degree of performance, François Couperin was a very fussy composer. So he wrote an accurate treatise "l'art de toucher le clavecin" on the manners to play these pieces and containing precise instructions on how to stand in front of the instrument, to chose the tempo, to carry out ornaments... You must do it first previously any personnal option
@frenchiecocorico1 Has it ever occured to you that those whom that break (or improvise) on the traditional way of playing have mastered it first!? Your assumption is that they don't know the trational way, and you are here to enlighten them!? No, i don't think you are, you are just passionate about tradirion culture, that's fine....i understand. But sometime it's good to "storm the bastille". Hahahaha....
@lostpebble François Couperin or generally european baroque composers musics aren't improvisation but accomplished works. They must be performed with Baroque period uses and rules. They never must be performed as Jazz improvisations. Baroque musics as others historical musics aren't the field of unrestrained fanciful. Couperin harpsichord performance couldn't be a feeble excuse to stupid pranks or chimeric "Je ne sais quoi" (a hint of something). That's why those players do "Bouillabaisse"
Nach einiger Überlegung gefällt mir diese Version --- besser als der Pfusch von einigen Pianisten und die seelenlose Hast von einigen Cembalisten!
Eine sehr expressive und technisch gute Version hat jetzt Miguel Yisrael (auf der Barocklaute) vorgelegt, die wohl einen Maßstab für die nächste Zeit darstellen wird.
Well played, ma'am! Couperin himself said "We do not play as we write", giving the performer a freedom of interpretation that the detractors, below, cannot begin to comprehend. I'm pretty certain that Couperin, were he able, would be nodding his head and smiling at your use of dotted rhythms here!
I have listened to many many interpretation of this piece .... I always found Elaine's quite enjoyable. Her phrasing is quite unique and i think it's quite deliberate ... At the end of the day, it's her interpretation, you either like it or you don't, it's your right. But please don't say it's wrong, interpret a piece differently from the traditional way does not make it wrong. it's just different.
@angietihi you are French isn;t ? please .... behave yourself .. she really deserve the respect ! .. Elaine is a great preformer ... ! and you came to listing the music, not the languge I think ....
From what I read in the commentaries this piece is ushering in the end of the world,or at least the end of the world of music.I find it delightful however.Please,please,forgive me!
Of course, I guess we're not use to ear such a version with the «notes inégales à la française» but I think baroque music is about exploration of many possibilities in the interpretation (don't forget what mess Lully caused with liberty in ornamentation).
And surely our outstanding Lady Elaine documented herself properly before playing this piece this way. As for myself, I prefer Beauséjour's interpretation.
I don't think the interpretation is quite "on the spot". What we hear as the "melody" is in fact made up of two alternating voices. The "notes inégales" would apply to the individual voices, but not together and mixed-up. This concept is hard to explain without reading the score. So pick one up and you will understand what I mean
she plays the harpischord like a good secretary with its typewriter .without any sense of music. She does not understand the appropriate way to play french music, the way she plays the "notes inégales" is totaly a non sense ! II wonder if she listen to what she plays. There are 4 voices in the "barricades" ...try this version played by Luc Beausejour and do listen the difference of touch
This may well be how Couperin played it - as he said in his The Art of Playing the Harpsichord, "We do not play exactly as we write", leaving a great deal to player interpretation, each equally valid. This instrument has a lovely sounding lute stop. Thank you Elaine.
That's a really fascinating interpretation. I wonder if she's using the inégales to suggest the notion of "barricades"? The fist time I listened, I admit, I found it a little shocking, but it's definitely grown on me.
oh my... good for her, she feels alright... but well she hasn't studied very much about actual french baroque music... not a destructive critic, but well let's be clear and serious... she's not right, holy jesus! lol
I really enjoy the swing you add to the piece, I listened around because I am practicing this one now and I first thought it was in the sheets but it's not. But I like it, you syncopate it a little to add even more feel to it.
Bien d'accord avec Chris! Et si vous me permettez cet anachronisme: "vive la liberté!". Cette interprète, au moins, a de l'imagination, elle donne sa vision de la pièce, ouf! Et qu'est-ce que c'est que ce jugement "elle bouge comme une pianiste"? Je ne sais pas si ce sont les pianistes ou les clavecinistes finalement qui sont visés ici.
Please see other more standard interpretations of this piece before casting judgment ... I definitely prefer more orthodox performances of this beautiful piece, without all the body movement like a pianist would use ... and why is she standing while playing??? The inegal is inappropriate, too. As an artist, though, she has a right to do what she likes, and some people may actually like her interpretation better than those great ones like that of Scott Ross.
It's traditional harpsichord way of playing. You can find in some hand painted pictures people stand while playing. The harpsichord was originally lifted on tables. But that style has gone the way of old yeller. I actually like her standing while playing ^^' to each their own
her touch is very hard she is incontestable a pianist and not an harpsichordist! It's too slow couperin write "vif" when I write vif is fast! And the "inegalites" here is innapropriate!
Je comprends que cette interprétation "non conventionnelle" puisse déplaire à certains, moi j'adore! Au siècle de Couperin on était beaucoup plus libre qu'on l'imagine aujourd'hui, on s'appropriait les textes et partitions d'autrui et on en faisait ce que l'on voulait sans que cela pose problème à quiconque. Qui nous dit que cette interprétation n'aurait pas enchanté Couperin lui-même? Ni qu'il ne la jouait pas ainsi?
@chris3054 On peut toujours raconter n'importe quelle ânerie quand on est ignare. Il suffit de lire "l'Art de toucher le clavecin" de François Couperin lui même (qui donne des indications très précises sur la façon de se tenir, de moduler, d'orner, ect...) pour comprendre que cette interprétation et votre jugement sont ineptes. On est libre cependant de dire et de faire n'importe quoi, par exemple qu'on était libre de violer le privilège royal sur les partitions ou les livres sous Louis XIV.
I absolutely love this piece, you can actually, by listening to the piece understand the title. Everytime the piece tries to develop, it runs into a barricade and practically starts over. I like her interpretation, she's a great harpsichordist.
god piece but she play piano on the harpsichord , no baroque fingered.... hermosa pieza pero esta sra. toca el piano sobre el clavecin, mueve mucho los brazos y la posicion de las manos no es la correcta, levanta mucho los dedos del teclado todo lo contrario a lo que se enseña cuando aprendes a tocar clave (harpsichord)
This recording's rhythm and ornamentation of Les Barricades Misterieuses is very detached from how Couperin's original score mapped out this piece. A bit of a shocker but this performance is nothing to take offense of. Aside from the slight hiccups immediately following 1:57 and 2:44, her execution was good.
En fait, il n'y a pas d'erreur. A l'origine, le morceau était orthographié "Les Baricades Mistérieuses", même si en français moderne il faut écrire "Les Barricades Mystérieuses".
LuciaDaVincia 1 month ago
posture!!
manankocher90 1 month ago
so " barricades mystérieuses " BARRICADES ! ^0^
you can see one of the best vérsion on my channel , by Davitt Moroney's !
but here ; in this vdo the harpsishord is a very very beautiful instrument thanks for sharing
lepassant50 1 month ago
Appalling interpretation , Scott Ross was way better
joshuaPP00 2 months ago
I still don't understand why there is so much discussion. I guess that is the mysterious barricade...
portnoysplace 2 months ago
the harpsichord is so beautiful...
omoshiroidayo 3 months ago
Sorry but "Mystérieuses" takes a "Y" in french, beautiful harpsichord piece btw :)
Justplayfuckingmetal 3 months ago
@Justplayfuckingmetal "takes a "Y" in french"
Use capital letters and say: French, please, next time.
MucusFelidae 3 months ago
@MucusFelidae oh! sorry, it's because in French, we only use capital letters for country's name ;)
Justplayfuckingmetal 2 months ago
I now consider the harpsichord one of my favorite instruments, thanks
EspuelasDeOro 3 months ago 9
Gets me every time. Thank you Elaine, and merci beaucoup M Couperin!
akroatis 4 months ago
Why all this discussion? This is a horrible rendition of a rare and beautiful masterpiece. Full-stop.
stasafify 4 months ago
@stasafify
I completely agree.
snetzler 4 months ago
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@stasafify Why all this discussion? This is a marvelous rendition of a rare and beautiful masterpiece. Full-go.
MucusFelidae 3 months ago 2
@stasafify "a horrible rendition" is really a matter of opinion. The performer is entitled to her own interpretation of the music. She is adhering 100% to the notes. Though you may not like this performance, I would not say it is "horrible" by any stretch of the imagination. Not my favorite interpretation, but I wouldn't say horrible. I really like Scott Ross' interpretation, definitely my favorite. Elaine's interpretation is a bit too "Romantic" for my taste, doesn't sound Baroque.
DiegoVerisi 2 months ago
@stasafify : I do agree with you ! she should play be better with XX th century music ?
oliviertroubat 2 months ago
It's not syncopation, she's using a convention of French Baroque music called 'notes inégales,' in which eighth notes (or in some cases sixteenth notes) are 'swung,' i.e. the first note is given more time and the following one less. If you listen to recordings of more French music from this period on period instruments, it shows up all over the place. Modern performers rarely take the time to research how the composer originally intended for the music to be played...
scgamba 5 months ago 16
@scgamba No, but A-level students doing a bit of last-minute study are very grateful for that little nugget of information! :P
Greeblimus 4 months ago
@scgamba Well... I really thank you for this comment. I heard this and I didn't liked but it was because I dodn't understand it. By reading your comment and studying a little bit mor of the "unequal notes" I realised that this might be the best interpretation of this beautiful piece. Thank you for sharing such knowledge with us.
pabloa30 3 weeks ago
that is so beautiful :D I love Francois Couperin's work for the harpsichord
BellaTheOwl 6 months ago
Forgive me, but how does the instrument's sound change at 3:04?
TheWanderingNight 6 months ago
The syncopation is in the original. Certainly unlike anything written in the Baroque era. There is a simplified version at easybyte.org for piano.
oracle2world 6 months ago
@oracle2world No, you lie. There is absolutely no syncopation written in the original score as everyone could verify it. There are only a slight possible tempo fluctuation during the performance to separate each part of the phrasing and create amusical breath . This "rubato" was used for long time in music but wasn't yet defined.
frenchiecocorico1 6 months ago
@frenchiecocorico1 -Show me the original score. The one I have (and EVERY performance) has a syncopated right hand melody.
oracle2world 6 months ago
@oracle2world You can access for free on IMSLP site at Couperin complete harpsichord works score from Dover publication (p110-112). Here you could observe that "Les baricades ..." was composed using a regular and repetitive quaver motif without any syncopation. I precise too that in french baroque music, the unequal notes were very rarely used in the fast tempi (vivement). You've heard syncopations only in incorrect versions and what you call syncopation must be no more than slight agogic
frenchiecocorico1 6 months ago
@frenchiecocorico1 - Okay, I went to IMSLP and to IMSLP05903 and page 110. The eighth notes that have a tie is the syncopation. Syncopation = a note between the main beats. In this music, there are four quarter notes to a measure. The eighth notes played between the quarter notes is the syncopation.
Am I reading this score incorrectly?
oracle2world 6 months ago
@oracle2world It seems that you ignore totally what is a syncopation. A syncopation isn't a note between the beats but an accent placed out of the main beats of the meter.
Here the accents are exactly on the main beats of the measure. They are figured by each crotchet at the left hand. I think you must learn musical theory previous to tell nonsense.
frenchiecocorico1 6 months ago
@oracle2world Here is the right definition of syncopation from wikipedia dictionnary:
"A missed beat or off-beat stress in music resulting in syncopation"
You could read the "Syncopation" article on Wikipedia. It's very instructive.
frenchiecocorico1 6 months ago
@oracle2world I beg your pardon because the original scores isn't yet available on IMSLP. You can find the original score of "Les"baricades .." for free either on "WIMA" (Werner Icking Musical Archives) or "load.cd" sites.
If you agree I can send you for free Couperin complete works original scores plus "The art of playing the harpsichord" (in english). Please, send me your email adress on your You Tube personnal email box. Then I could join those documents to a returning mail
frenchiecocorico1 6 months ago
@oracle2world Easybyte.org site informed the scores available in .pdf format are arrangements from the original. But even in this case, "Les baricades mistérieuses" are written with a regular and repetitive quaver motif without any syncopation. So my previous assumption is right when I said that you lie to assert syncopations were written in the original score.
frenchiecocorico1 6 months ago
fortunatey they gave an translation for the amis
omoshiroidayo 6 months ago
Comment removed
dwftube 7 months ago
Couperin's music is supposed to be played with a touch of improvisation, so I've heard. I think he wrote it that way. Whatever the case, the music certainly does allow for a lot of improv.
earthling111billion 7 months ago
@earthling111billion No Couperin himself wrote clearly he won't any improvistion in his piece (L'art de toucher le Clavecin). This is a pure invention of your mind. Learn first to tell tale.
frenchiecocorico1 6 months ago
@frenchiecocorico1 Not an invention of my mind; like I said, that's what I've heard. But thanks for referring me to Couperin's treatise. I'll get back to you once I read it to confirm whether or not he "clearly" writes this.
Also, I still would say that there is an amount of improv that will go on when people interpret the music, because the ornamental trills will probably not always be identical, and when you're playing in that feel your fingers might find another place for them, as well.
earthling111billion 6 months ago
@earthling111billion No , there is no syncopation in the original score. The notes must be played regularly as written and not unequally. The tempo is "vivement" (swiftly). I repeat too François Couperin was a precise and fussy composer. He didn't suffer any change in his pieces and the rendition must be played absolutely as he wrote them. So ornaments couldn't be changed neither in form nor in place. Couperin's instructions are either in "the art of playing harp..." or in his book prefaces
frenchiecocorico1 6 months ago
@frenchiecocorico1 I didn't say that's how he wrote it. But that's how maybe it will be played by interpreters. Again, thanks for the reference. I'm definitely going to look it up.
earthling111billion 6 months ago
@earthling111billion Interpreters can play in any manner they could imagine but an only right way to perform Couperin's pieces is valid, his one. There is no more than to follow his instructions.
One over the correct versions you could find on You Tube is played by Bruno Procopio ( BPROC1 channel) on the french historical harpsichord from 1748 by Collesse in Laurent Soumagnac private collection
frenchiecocorico1 6 months ago
@frenchiecocorico1 That's a nice version, thanks. Have you heard Angela Hewitt's piano versions of Couperin's works? You should look them up. They mayn't be performed in the "only right way", as you say, but I think you'll still enjoy them.
earthling111billion 6 months ago
@earthling111billion Yes,I listened Angela Hewitt version on the piano. Thanks for your recommandation; These is a very respectful rendition. However I can't consider her tempo like to be "swiftly" but rather "moderato". Then, it can be a good model for you to learn.
frenchiecocorico1 6 months ago
@earthling111billion Eventually you may listen too the french canadian harpsichordist Luc Beauséjour good version on channel "PancrasRoyer"
frenchiecocorico1 6 months ago
@frenchiecocorico1 Also, since you seem to know how it SHOULD be played, can you refer me to a video or audio where it is played as you say it was intended to be played?
earthling111billion 6 months ago
Comment removed
GustavAdolphusRex 9 months ago
Comment removed
altrocanto 9 months ago
J'ai entendu, il y au moins une dizaine d'années, William Christie dire que la musique baroque française –contrairement à celle de J.-S. Bach, tellement bien charpentée qu'un boucher-charcutier ne pourrait l'abimer– était d'une si grande délicatesse qu'elle ne résistait pas à une vilaine interprétation, comme un soufflé mal cuit qui se dégonfle. Ce que je déguste-là ressemble à un soufflé trop cuit, brûlé à l'extérieur et mou à l'intérieur. Ni musicologue, ni cuisinier, j'adore Couperin :-)
altrocanto 9 months ago
Yaaaaaawn!
abdc1122 9 months ago
Tout ce qui peut être laid quand un pianiste s'essaye au clavecin...
MrPignolet 10 months ago
Note that Prof. Comparone's instrument is a "standing" harpsichord - the legs are very long - it's a replica of a period instrument. Often these were played standing up in the Seventeenth century. I appreciate her interpretation - different approaches are what keeps the music fresh. I seriously doubt Couperin would have been offended.
7777Scion 10 months ago
@7777Scion That's absolutely false and stupid. No historical "long legs" harpsichord was ever built anywhere in Europe. This explanation is your personnal invention and this long legs harpsichord a US modern invention too. At the opposite all the harpsichord treatises of the period told about the obligation to be sit on a chair with the feet placed side by side on the ground while playing the instrument to assume a steady position of the body and consequently of the hands.
frenchiecocorico1 10 months ago
@frenchiecocorico1 Try not to embarrass yourself. Go look at a few 17th century paintings, just for starters. And I would trust Prof. Comparone over your amateur gibberish any day of the week and twice on Sundays.
7777Scion 10 months ago
@7777Scion III- Be sure, in my opinion this eccentric performance is absolutely uninteresting. There are in France and in Europe many harpsichordists (including US originated ones as William Chrisite or Skip Sempé who live in France to learn french cultural references and traditions) able to play according to Couperin’s instructions much better than E. Comparone could never perform.
frenchiecocorico1 10 months ago
@7777Scion II- It doesn’t exist any musical document, any treatise, any method, any harpsichord with long legs support proving that “OFTEN, these were played standing up in the Seventeenth century”. You couldn’t imagine 17th or 18th centuries were times for peculiar and unsual practises. Yesterday as today every of the billion harpsichordists, clavichordists, pianists, organists knew well how they must be sit down to play (this is the first lesson of any student). Indeed, you are an amateur.
frenchiecocorico1 10 months ago
@7777Scion I- I’m not more embarrass with my gibberish english than you with your nonexistent french. Very few painting shown harpsichordist standing up in front of instrument (i.e Jan Vermeer “Lady at the Virginal”). However, it cannot be concluded this was a frequent harpsichordist position but only a scenography of the painter. Despite of this exception, all the harpsichord methods of the period learned to be sit down to play.
frenchiecocorico1 10 months ago
@frenchiecocorico1 LOL. I wasn't making a comment about your "English" but about your opinions/theories. Better leave musicology to the experts. You are making yourself look foolish to try to state that in some cases "stand-up" playing was not utilized - it most certainly WAS. You don't own these compositions, nor are you the composer. Run along now.
7777Scion 9 months ago
@7777Scion X- Below, you can appreciate the translation of some french comments about this performance
- “this performance looks like a spoilt cheese soufflé, burnt outside and hollow inside”
- “It’s so ugly. This is the result when a poor pianist tries to become a harpsichordist”.
frenchiecocorico1 9 months ago
@7777Scion IX- In fact, french music like musics of other nations, is full of idiomatic expressions that only french qualified musicians could understand easily (as the language pronunciation). This is true for every nation (ie. US musicians comprehend and feel USA country folk or jazz much better than anyelse foreign musician). For that reason, only french qualified musicians could judge easily whether Couperin pieces is well performed.
frenchiecocorico1 9 months ago
@7777Scion VIII- Even I’m not the composer and the owner of this pieces, this music isn’t universal but ethnically french and couldn’t be played any old how. Everyone could play the notes written on the sheet but this is not sufficient to achieve in a good performance.This repertoire makes part of my cultural heritage and as a french musician involved in this music I’m better than every foreigner qualified to defend it and to judge how it must be performed.
frenchiecocorico1 9 months ago
@7777Scion VII- As your pretentious self importance doesn’t make you an expert, as grand sounding titles of Elaine Comparone doesn’t make her a good artist.
Good harpsichordists avoid to do useless acrobatics like a clown in a circus.
I play myself Couperin’s harpsichord pieces much better than she performed here.
frenchiecocorico1 9 months ago
@7777Scion VI- Particularly Couperin never played on a standing up position because he never conducted an orchestra. In “L’art de toucher le Clavecin, 1722” he clearly specified to be seated while playing the harpsichord.
At least, you ignore that even in a drawing of a standing up harpsichordist, everytime and in all cases the instrument is placed on a usual high legs support, proving at the same time that the normal position is to be seated.
frenchiecocorico1 9 months ago
@7777Scion V- Above all, you ignore that the standing up position at the harpsichord wasn’t “often” or “in some cases” as you pretend. There is a unique and rare single case on which harpsichordist played on a standing up position. It was when at the same time he played harpsichord and conducted an orchestra. In these conditions musicians of the orchestra needed to see the conductor who had to stand up. In all other cases (accompaniement, recital), harpsichordists played seated on a chair.
frenchiecocorico1 9 months ago
@7777Scion IV- You ignore that for one painting of a standing up harpsichordist, there are 10 000 times more drawings of seated harpsichordists.
You ignore that all the great masters of the harpsichord in the 17th and 18th centuries (Bach, Händel, Purcell, Scarlatti, Couperin , Rameau, ...) used to play on a seated position.
frenchiecocorico1 9 months ago
@7777Scion III- You ignore that painters of the baroque period earned their life selling beautiful drawings at rich customers. So they painted aesthetic arranged views and not the reality. That is why in many portrait, musicians held or played their instrument with an impracticable position (Portait of Marin Marais, Charles Mouton, Hals or Gentileschi lutenists, ...).
frenchiecocorico1 9 months ago
@7777Scion II- You don’t know anything about me but you judge without any knowledge. I’m older than you and more 40 years experienced in organ playing and in musicology involving, notably of the french baroque repertoire for all this time. Although I’m not a professional musicologist, some of professional ones of various nationalities are friends of mine and none of them is able to assert such idiotic thing than you.
frenchiecocorico1 9 months ago
@7777Scion I- Only because you are bloated with your self-importance, you think to be an expert in musicology or in fine arts. But the numerous nonsenses and errors you’ve talked about, your ignorance, your confusion between my “gibberish” and “Couperin instructions in the third book of pieces for harpsichord”, the weakness and the stupidity of your reasoning demonstrate that you are no more than an ignoramus and a moronic novice.
frenchiecocorico1 9 months ago
@7777Scion II- None of this two books described an harpsichord support with long legs or a professionnal stand up position of the harpsichordist at any time.
Effectively you must leave musicology to the experts.
frenchiecocorico1 9 months ago
@7777Scion I- In my explanations I’ve forgotten to recommand you a look over the two most important books upon harpsichord by the best US experts
1°) “Makers of the harpsichord and Clavichord 1440-1840” by Donald H Boalch, Oxford University Press
a compendium of all the historical harpsichords through the world
2°) “Three centuries of harpsichord making” by Frank Hubbard, Harvard University Press
an history of harpsichord making in Europe during Baroque period.
frenchiecocorico1 9 months ago
@frenchiecocorico1 Maybe you shouldn't be so strict and traditional. Suppose that you enjoy music from a culture which you know very little about and you enjoy the untraditional and forward looking approaches to playing it. Would you really not play them that way simply because they go against the strict ways in which the respective composer wanted them to be played?
majav15mg 6 months ago
@majav15mg I 've done yet many comments and many explanations but I repeat for you. This is historical musics, that means accomplished or utter musics and when the composer (François Couperin) indicated specially "Je déclare donc que mes pièces doivent être exécutées comme je les ai marquées " (So, I do declare my pieces must be performed as I wrote them), when you do the opposite, you play improperly. Though, it would better to play another style or to compose your own music.
frenchiecocorico1 6 months ago
@frenchiecocorico1 Look at it this way, I'm learning this piece on the guitar now, which Mr. Couperin might have not approved of himself, we will never know. And what if I like to play this piece without inegale or any other french related practice? What if I have other friends who also enjoy it that way? But anyway, if Couperin really meant it to be played that way then I can't blame you or anyone else for not liking this performance.
majav15mg 6 months ago
@majav15mg Evidently, everybody is free to perform according to one's own preferences then nobody can pretend to perform properly following the composer instructions.
Though it's a preconceived idea to think that french baroque music is filled only with unequal notes. This is particularly false in this piece.
May I suggest you to listen "Les barricades mystérieuses" version on classical guitar by the french pascalbicrel on You Tube which is very correct and excellent.
frenchiecocorico1 6 months ago
@frenchiecocorico1 Thanks for your suggestion, and you actually seem much more open minded that you would at first... many don't even acknowledge the freedom to play a piece according to one's personal preferences.
majav15mg 6 months ago
@majav15mg Who can be opposed to your freedom to play according your own preferences? We are both in democratic countries. However any performance cannot be considered as correct or respectful of the composer's intentions.
frenchiecocorico1 6 months ago
@frenchiecocorico1 I was just saying since some people are very aggressive and consider anything performed nontraditionally to be worthless.
majav15mg 6 months ago
@majav15mg Some interpreters played in a different original style (i.e Swingle Singers, Rhoda Scott, Jacques Lousier played J.S Bach works in jazz style). Though this performances are arrangements or adaptations. In my opinion it is more difficult to perform a good arrangement than to play well the original work. That's why generally, a non traditional performance is often worthless. I don't consider to be "agressive" or non "open minded" because my opinion is at the opposite of yours.
frenchiecocorico1 6 months ago
@frenchiecocorico1 I didn't mean that anyone whose not with me is closed minded or aggressive. And I listened to the version you told me, and I'm trying to play similar to that, maybe with more variants in tempo.
majav15mg 6 months ago
@majav15mg If you want to discover another culture than your own, you must consult the original references. It is best to listen french performances to know Couperin's works not because they are of a higher quality but because they include french feeling and cultural references. . Personnaly I won't appreciate US culture looking an italian rodeo or a japaneese western film!
frenchiecocorico1 6 months ago
@7777Scion V- So I do declare my Pieces MUST BE PERFORMED AS I WROTE THEM ..."
frenchiecocorico1 10 months ago
@7777Scion IV- "... I am always surprised ( despite the care I took to write the suitable ornaments for my Pieces, which I gave separately a quite comprehensible explanation in a specific method known under the title "L'art de toucher le Clavecin / The art of playing harpsichord") to hear some persons who learnt them without to compel. This negligence isn't pardonable, particularly as it isn't arbitrary to put ornaments according to one own's will.”
frenchiecocorico1 10 months ago
@7777Scion III- "Je déclare donc que mes pièces doivent être exécutées comme je les ai marquées ...."
frenchiecocorico1 10 months ago
@7777Scion II- ".... Je suis toujours surpris (après les soins que je me suis donné pour marquer les agréments qui conviennent à mes Pièces, dont j'ai donné, à part, une explication assés intelligible dans une méthode particulière, connüe sous le titre de L'art de toucher le clavecin) d'entendre des personnes qui les ont apprises sans s'y assujettir. C'est une négligence qui n'est pas pardonnable, d'autant qu'il n'est point pardonnable d'y mettre tels agréments qu'on veut. »
frenchiecocorico1 10 months ago
@7777Scion I- Because you're as ignorant as pretentious you think to be allowed telling us any of idiotic tales. I 'm SURE this performance would offended F. Couperin because he gave his own opinion on such rendition. But you never read Couperin treatises previously to assert ineptitude as many non justified comments on the same style I read here.
frenchiecocorico1 10 months ago
@7777Scion Never in the history of youtube comments have i ever seen anyone get owned as badly as you have just been owned. How does it feel?
Umplestiltskin 6 months ago
@Umplestiltskin so ... you're a bit of an idiot, eh? Do people pat you on the head and feed you crackers, like a parrot?
7777Scion 5 months ago
7777Scion and you so ! my dog plays better !....with his tail !!!!!
jice0610 10 months ago
very bad awfull playing !
jice0610 11 months ago
@jice0610 You're an idiot.
7777Scion 10 months ago
Such a lovely instrument, this one.
locomotifx 11 months ago
With no doubt it's the worst performance i've ever heard. Just playing notes without any understanding on the nature of this piece. It results on the misunderstanding of this harpsichordist in the meaning of the title. It just remains unuseful register effects, inappropriates tempo and cadenza. In France this technique is called "mouliner de la musique" (to grind music). This is certainly not french culture and a performance Couperin wouldn't approve to listen.
frenchiecocorico1 1 year ago
I feel that this is the way Couperin wanted it played. Most renditions are too fast. The slight hesitancies in some bars convey the mysterious barriers, i.e. barricades, Just lovely and sensual.
prairiegrassworks 1 year ago
@prairiegrassworks Even with the "swing"?
nyo267n 1 year ago
Especially with the "swing". Notes inegales ("unequal notes") aren't an option in French Baroque music - they're mandated. If you play the notes as written, you're not playing what the composer meant. Many contemporary treatises tell you more-or-less how to do it. Basically, if you have a scale of equal notes (ta ta ta ta ta ta), you lengthen the first one and shorten the second one (Ta-te Ta-te Ta-te). The degree of "swing" is left to the musical context and to the performer's taste.
Anselm513 11 months ago
Especially with the "swing". Notes inegales ("unequal notes") aren't an option in French Baroque music - they're mandated. If you play the notes as written, you're not playing what the composer meant. Many contemporary treatises tell you more-or-less how to do it. Basically, if you have a scale of equal notes (ta ta ta ta ta ta), you lengthen the first one and shorten the second one (Ta-te Ta-te Ta-te). The degree of "swing" is left to the musical context and to the performer's taste.
Anselm513 11 months ago
@Anselm513 Unequal notes (les notes inégales) weren't the core of french baroque music. They were just a mean to increase expressivity and not an aim. The real core of french baroque music is "le bon goût" (good taste), meaning to have a sufficient intelligence and sensitivity to give musical discourse the fanciful sense author indicated in the title. This is not a technique which can be learned but a consequence of consideration and analysis about the music.
frenchiecocorico1 11 months ago
@Anselm513 No, no and no unequal notes (notes inégales) aren't obligatory and systematic in french baroque music. I fear foreign people is in error misunderstanding the french baroque musical uses and build up idiotic theories on this untrue conclusions. The use of unequal notes depends on "le bon goût" (good taste or good feeling) of the performer and could never be predetermined in any composition.
Les Barricades mystérieuses are more dependent on a rubato than unequal notes.
frenchiecocorico1 11 months ago
@frenchiecocorico1 Are you suggesting that all French musician performing this piece in the 'traditional' way only? This is NOT the Bouillabaisse, you know!? lol And please define what is 'good taste' !! Tradition is important, but what about a bit of "vive la différence" sometime?
lostpebble 11 months ago
@lostpebble I don't suggest anything from my own and certainly not a "Bouillabaisse" . Infortunately for the players thinking to have a free degree of performance, François Couperin was a very fussy composer. So he wrote an accurate treatise "l'art de toucher le clavecin" on the manners to play these pieces and containing precise instructions on how to stand in front of the instrument, to chose the tempo, to carry out ornaments... You must do it first previously any personnal option
frenchiecocorico1 11 months ago
@frenchiecocorico1 Has it ever occured to you that those whom that break (or improvise) on the traditional way of playing have mastered it first!? Your assumption is that they don't know the trational way, and you are here to enlighten them!? No, i don't think you are, you are just passionate about tradirion culture, that's fine....i understand. But sometime it's good to "storm the bastille". Hahahaha....
lostpebble 11 months ago
@lostpebble François Couperin or generally european baroque composers musics aren't improvisation but accomplished works. They must be performed with Baroque period uses and rules. They never must be performed as Jazz improvisations. Baroque musics as others historical musics aren't the field of unrestrained fanciful. Couperin harpsichord performance couldn't be a feeble excuse to stupid pranks or chimeric "Je ne sais quoi" (a hint of something). That's why those players do "Bouillabaisse"
frenchiecocorico1 11 months ago
Interesting interpretation...very nice!
Love your harpsicord videos
jamison94816 1 year ago
Please check out my channel for a clear TUTORIAL on how to play Les Baricades Misterieuses. I promise you it's the best on YouTube!
replace your current url with watch?v=xix03lDHKWg
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infiniteDefinitives 1 year ago
Beautiful Interpretaion, I've never heard it that way before...I think I love it :)
Classicalguy12 1 year ago
Nach einiger Überlegung gefällt mir diese Version --- besser als der Pfusch von einigen Pianisten und die seelenlose Hast von einigen Cembalisten!
Eine sehr expressive und technisch gute Version hat jetzt Miguel Yisrael (auf der Barocklaute) vorgelegt, die wohl einen Maßstab für die nächste Zeit darstellen wird.
DuoContinuo 1 year ago 4
Well played, ma'am! Couperin himself said "We do not play as we write", giving the performer a freedom of interpretation that the detractors, below, cannot begin to comprehend. I'm pretty certain that Couperin, were he able, would be nodding his head and smiling at your use of dotted rhythms here!
peteacher52 1 year ago
OMG, this is embarassing... but not as much as some "pseudo-connoisseurs" trying to justify an obvious complete misunderstanding of "inegalités".
AndreaSPitaim 1 year ago
I have listened to many many interpretation of this piece .... I always found Elaine's quite enjoyable. Her phrasing is quite unique and i think it's quite deliberate ... At the end of the day, it's her interpretation, you either like it or you don't, it's your right. But please don't say it's wrong, interpret a piece differently from the traditional way does not make it wrong. it's just different.
lostpebble 1 year ago
lame intro! but the music was inspiring.
shariotoflove 1 year ago
Did we have to listen to such a naff intro? Dreadful french and inadequate "translation". How embarassing
angietihi 1 year ago
@angietihi How's the translation at all "inadequate?"
LikuX 1 year ago
@angietihi I must disagree. I liked her Frech very much. Nothing wrong with the accent or translation. I really don´t see your point.
GermanoDeppe 1 year ago
This has been flagged as spam show
@angietihi I must disagree. I liked her Frech very much. Nothing wrong with the accent or translation. I really don´t see your point.
GermanoDeppe 1 year ago
@angietihi How is it dreadful? How is it inadequately translated?
Gonnakillyou 1 year ago
@angietihi you are French isn;t ? please .... behave yourself .. she really deserve the respect ! .. Elaine is a great preformer ... ! and you came to listing the music, not the languge I think ....
Darkboy2525 1 year ago
From what I read in the commentaries this piece is ushering in the end of the world,or at least the end of the world of music.I find it delightful however.Please,please,forgive me!
Squarerig 1 year ago
I wonder how many of these "critics" have even touched a harpsichord, let alone played one....
robicool 1 year ago
Of course, I guess we're not use to ear such a version with the «notes inégales à la française» but I think baroque music is about exploration of many possibilities in the interpretation (don't forget what mess Lully caused with liberty in ornamentation).
And surely our outstanding Lady Elaine documented herself properly before playing this piece this way. As for myself, I prefer Beauséjour's interpretation.
Hradrik 1 year ago
I freaking love the harpsichord <3
TheArcticChaosRaeix 1 year ago
This sounds like the music to Rolo to the Rescue
falmarri 1 year ago
@john1717171717
I don't think the interpretation is quite "on the spot". What we hear as the "melody" is in fact made up of two alternating voices. The "notes inégales" would apply to the individual voices, but not together and mixed-up. This concept is hard to explain without reading the score. So pick one up and you will understand what I mean
bartweisser 1 year ago
Lovely!
marcialitoperu 1 year ago
The syncopation is kind of weird, but I don't mind it.
plugee 1 year ago
the worse version I have never heard ! please don 't play franch music that way : it is a crime
oliviertroubat 1 year ago
@oliviertroubat What about this music is a crime? please explain?
OrganoAeternam 1 year ago
she plays the harpischord like a good secretary with its typewriter .without any sense of music. She does not understand the appropriate way to play french music, the way she plays the "notes inégales" is totaly a non sense ! II wonder if she listen to what she plays. There are 4 voices in the "barricades" ...try this version played by Luc Beausejour and do listen the difference of touch
oliviertroubat 1 year ago
@OrganoAeternam , they are only bitter and angry because they are failures.
luigiperso 1 year ago
This may well be how Couperin played it - as he said in his The Art of Playing the Harpsichord, "We do not play exactly as we write", leaving a great deal to player interpretation, each equally valid. This instrument has a lovely sounding lute stop. Thank you Elaine.
peteacher52 1 year ago
Best interpretation I've heard yet. Brilliantly done! I never would have thought to swing it quite like that at the start!
alexbericheath 1 year ago
That's a really fascinating interpretation. I wonder if she's using the inégales to suggest the notion of "barricades"? The fist time I listened, I admit, I found it a little shocking, but it's definitely grown on me.
KayDekker 1 year ago
I love the lute stop on this instrument!
CoyoteBuddy 1 year ago
At ~ 3:05, what does she do to change the sound of the harpisord?
plugee 1 year ago
@plugee she flips a lever, which places leather pads against the strings so they don't reverberate as much after being plucked.
ViktorDragmire 1 year ago
What's with the bizarre, intermittent syncopation?
k0rfuffler 1 year ago 10
@k0rfuffler I'm not hearing any unusual syncopation; just swing eighths from time to time. A very interesting idea I would not have thought of.
jjfingers 1 year ago
@k0rfuffler more of a swing, but I know what you mean - wierd!
dwftube 10 months ago
@k0rfuffler It's -jazz- Couperin. Bit freestyle, but I kinda like it.
ZGryphon 8 months ago
I think she's inadvertently making it 'swing' - it does sound very odd.
dwftube 7 months ago
Que bonito!!!
CyaniandBlack 1 year ago
The strings of thr lower set of keys she plays at the end, sound more like the harp..
maryvictorshoukry 1 year ago
@maryvictorshoukry
This is called a 'Lute Stop' where felt mutes are moved against the strings. You see her moving the lever just before playing the final theme.
Vsyevolod 1 year ago
oh my... good for her, she feels alright... but well she hasn't studied very much about actual french baroque music... not a destructive critic, but well let's be clear and serious... she's not right, holy jesus! lol
arpicordio 1 year ago
you're so right
dadalaidou 1 year ago
I really enjoy the swing you add to the piece, I listened around because I am practicing this one now and I first thought it was in the sheets but it's not. But I like it, you syncopate it a little to add even more feel to it.
M3sslah 1 year ago
It seems an awkward interpretation. Perhaps there is a medical reason she cannot sit down.
oobleXS 1 year ago
@oobleXS It's a historically accurate performance, they used to stand.
paulusvii97 1 year ago
No entiendo porque hay comentarios tan ofensivos....un clavecin no puede hacer matices, cual es la diferencia?....para mi es una buena interpretación
classic01101238 2 years ago
Bien d'accord avec Chris! Et si vous me permettez cet anachronisme: "vive la liberté!". Cette interprète, au moins, a de l'imagination, elle donne sa vision de la pièce, ouf! Et qu'est-ce que c'est que ce jugement "elle bouge comme une pianiste"? Je ne sais pas si ce sont les pianistes ou les clavecinistes finalement qui sont visés ici.
TheFibulette 2 years ago
Sorry, but it's Scott Ross ftw for me.
Korea4Me 2 years ago
Yeah he is also good but I prefer the stumbling performance of this piece by Elaine.
M3sslah 2 years ago
Please see other more standard interpretations of this piece before casting judgment ... I definitely prefer more orthodox performances of this beautiful piece, without all the body movement like a pianist would use ... and why is she standing while playing??? The inegal is inappropriate, too. As an artist, though, she has a right to do what she likes, and some people may actually like her interpretation better than those great ones like that of Scott Ross.
lcsanoian 2 years ago
"and why is she standing while playing???"
It's traditional harpsichord way of playing. You can find in some hand painted pictures people stand while playing. The harpsichord was originally lifted on tables. But that style has gone the way of old yeller. I actually like her standing while playing ^^' to each their own
Zayashuku 2 years ago
her touch is very hard she is incontestable a pianist and not an harpsichordist! It's too slow couperin write "vif" when I write vif is fast! And the "inegalites" here is innapropriate!
ruditure79 2 years ago 5
sorry im all for constructive criticisim but your comment makes no sence.
morbidcurios 2 years ago
i adore this song it puts my soul at ease
morbidcurios 2 years ago
Sbaglio o suona in piedi...?
musichiere70 2 years ago
Je comprends que cette interprétation "non conventionnelle" puisse déplaire à certains, moi j'adore! Au siècle de Couperin on était beaucoup plus libre qu'on l'imagine aujourd'hui, on s'appropriait les textes et partitions d'autrui et on en faisait ce que l'on voulait sans que cela pose problème à quiconque. Qui nous dit que cette interprétation n'aurait pas enchanté Couperin lui-même? Ni qu'il ne la jouait pas ainsi?
chris3054 2 years ago
@chris3054 On peut toujours raconter n'importe quelle ânerie quand on est ignare. Il suffit de lire "l'Art de toucher le clavecin" de François Couperin lui même (qui donne des indications très précises sur la façon de se tenir, de moduler, d'orner, ect...) pour comprendre que cette interprétation et votre jugement sont ineptes. On est libre cependant de dire et de faire n'importe quoi, par exemple qu'on était libre de violer le privilège royal sur les partitions ou les livres sous Louis XIV.
frenchiecocorico1 1 year ago
She swings with passion, i love this harpsichordist
enantiodrom 2 years ago
I absolutely love this piece, you can actually, by listening to the piece understand the title. Everytime the piece tries to develop, it runs into a barricade and practically starts over. I like her interpretation, she's a great harpsichordist.
mataplaa 2 years ago
Great insight. I can hear that now. Never paid attention to that before. Such a wonderful piece. Learn something new every day!! Thanks.
sosome57 2 years ago
Terrible.
io62 2 years ago
Why is this terrible?
majav15mg 2 years ago
"Les barricades mYstérieuses"
HorlogeDargent 2 years ago
A l'époque de Couperin, on écrivait "les baricades mistérieuses", qui est donc l'orthographe originale de l'œuvre.
Dannydoo199263 2 years ago
Elaine is a musician (what of a kind!) and, as any musician, any artist, she is free to feel and to play an interpretation as she wants to.
We like it. Or we don't.
Did anyone paid anything to see her having the kindness and the courage to share these videos on YT ?
Her skills don't need any conclusive opinion about the way she, or any interpreter, should feel the music.
toddao70mm 2 years ago 2
no questo non mi piace...non dice niente..
eloisacascio 2 years ago
Sorry folks... this is an abomination.
Bartach 2 years ago 2
god piece but she play piano on the harpsichord , no baroque fingered.... hermosa pieza pero esta sra. toca el piano sobre el clavecin, mueve mucho los brazos y la posicion de las manos no es la correcta, levanta mucho los dedos del teclado todo lo contrario a lo que se enseña cuando aprendes a tocar clave (harpsichord)
piriapolis2008 2 years ago
Hello
This recording's rhythm and ornamentation of Les Barricades Misterieuses is very detached from how Couperin's original score mapped out this piece. A bit of a shocker but this performance is nothing to take offense of. Aside from the slight hiccups immediately following 1:57 and 2:44, her execution was good.
infiniteDefinitives 2 years ago
This song was mentioned in Imprimatur book.
Max0Inq 2 years ago
Ugh, this one doesn't do it for me at all, I love this piece and have heard a few wonderful interpretations of it.
MatteusNova 2 years ago
Hermosa pieza.
God bless you and thanks for this video.
Anibaloide 2 years ago
What I love the most about these comments are the people who posted something cruel twice over just to say the same thing.
I have nothing against this woman.
I'd like to thank her for contributing what she has.
dogbreath19 2 years ago 10
Horrible in every way
fingaz000 2 years ago
She is nothing but a rank amateur looking for a different gimmick. Her touch is odious and harsh. Awful, truly.
Harpsicat 2 years ago