Lionel Party | Music of François Couperin

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Classical: Baroque Classical: Baroque Moods: Solo Instrumental
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Music of François Couperin

by Lionel Party

Unusual, moving, and fascinating French harpsichord music.
Genre: Classical: Baroque
Release Date: 

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Tracks

Available in: MP3, MP3-320, and FLAC file types.

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1. Prélude, Number Three from L\'Art de Toucher Le Clavecin
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1:06 $0.99
2. Allemande L\'Auguste
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3:14 $0.99
3. Premiere Courante et Double
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3:20 $0.99
4. Seconde Courante
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2:10 $0.99
5. Sarabande La Majestueüse
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2:17 $0.99
6. Gavotte et Double
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2:50 $0.99
7. la Milordine; Gigue
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8. Menuet et Double
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2:08 $0.99
9. Les Sylvains
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4:02 $0.99
10. Les Abeilles
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1:22 $0.99
11. La Nanète
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12. Les Sentiments; Sarabande
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2:35 $0.99
13. La Pastorelle
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14. Les Nonètes (Les Blondes et les Brunes)
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2:24 $0.99
15. La Bourbonnoise, Gavotte
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0:45 $0.99
16. La Manon
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1:21 $0.99
17. L\'Enchanteresse
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2:19 $0.99
18. La Fleurie ou la Tendre Nanétte
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2:36 $0.99
19. Les Plaisirs de Saint Germain en Laÿé
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3:15 $0.99
20. Prélude in A major, Number Five from L\'Art de Toucher le Clavec
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1:50 $0.99
21. La Régente ou La Minerve
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3:51 $0.99
22. Le Dodo ou L\'Amour au Berceau
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3:36 $0.99
23. L\'Evaporée
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1:41 $0.99
24. Muséte de Choisi
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25. Muséte de Taverni
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26. La Douce, et Piquante
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3:08 $0.99
27. Les Vergers Fleüris
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3:17 $0.99
28. La Princesse de Chabeüil ou La Muse de Monaco
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2:21 $0.99
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ABOUT THIS ALBUM


Album Notes
LIONEL PARTY, Harpsichord

THE FACTS: Born in Santiago, Chile, where he got his musical training. Received a Fulbright to study with harpsichordist Albert Fuller at The Juilliard School, earning a doctor of musical arts degree. Won first prize in the J.S. Bach Fourth International Competition in Leipzig. Active freelance musician. At the Philharmonic: Began playing with the Orchestra in 1984. Made solo debut in Poulenc’s Concert champêtre in 1991. On the faculty of Juilliard and The Curtis Institute of Music.

EARLIEST MUSICAL MEMORY: My mother practicing the piano for hours on end, and me
sitting on her lap as she practiced. When I was four, my parents took me to hear the pianist Alfred Cortot; I remember his warm and intense sound. The first piece I fell in love with was Haydn’s C-major Serenade.

WHAT MADE YOU CHOOSE THE HARPSICHORD? I began playing the piano at six. When I was eight, I heard Bach’s Prelude and Fugue in C-sharp major on the radio; my father said it was being played on a harpsichord. It was ravishing — too good to be true! I had to play that instrument. I started at 19; at 25, I had no time for both, and decided to focus on the harpsichord.

HOW MANY HARPSICHORDS DO YOU HAVE? I have a magnificent French-style harpsichord with a lush, deep, dark sound; a Flemish harpsichord; and a spinettino in the 16thcentury Venetian style.

WHO WAS YOUR MOST IMPORTANT MENTOR? My Chilean piano teacher, Elena Waiss

WHEN DID YOU KNOW THAT YOU WANTED TO BE A PROFESSIONAL MUSICIAN? I was trained as a professional musician from an early age, and always knew I would be one.

WHAT IS THE MOST DIFFICULT ASPECT OF THE HARPSICHORD? Maintenance and tuning — it is easily affected by any change in humidity.

MOST IMPORTANT MOMENT WITH THE ORCHESTRA: Playing Bach’s Brandenburg Concerto No. 3 with Zubin Mehta; he allowed me to improvise a second movement of my own.

MOST INSPIRING COMPOSERS: Bach, Couperin, and others. Lately, I’ve become infatuated with the music of Jean-Henry D’Anglebert, a late 17th-century organist and harpsichordist for Louis XIV at Versailles.



ARE THERE MUSICIANS IN YOUR FAMILY? My daughter plays Baroque violin; my son is a rock musician.
WHAT DO YOU LIKE TO DO OUTSIDE OF WORK? Teach, converse, learning to dance, cook, read, and practice calligraphy


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