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Lionel Party : Music of François Couperin
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Unusual, moving, and fascinating French harpsichord music.
Genre: Classical: Baroque
Release Date: 2008
Music of François Couperin Record Label: La Mela Records
  • Download Album (MP3) - $9.99
  • Buy CD - $12.97
Preview Song Name Time Format Price Select
Prélude, Number Three from L\'Art de Toucher Le Clavecin 1:06 $0.99
Allemande L\'Auguste 3:14 $0.99
Premiere Courante et Double 3:20 $0.99
Seconde Courante 2:10 $0.99
Sarabande La Majestueüse 2:17 $0.99
Gavotte et Double 2:50 $0.99
la Milordine; Gigue 1:50 $0.99
Menuet et Double 2:08 $0.99
Les Sylvains 4:02 $0.99
Les Abeilles 1:22 $0.99
La Nanète 1:23 $0.99
Les Sentiments; Sarabande 2:35 $0.99
La Pastorelle 1:07 $0.99
Les Nonètes (Les Blondes et les Brunes) 2:24 $0.99
La Bourbonnoise, Gavotte 0:45 $0.99
La Manon 1:21 $0.99
L\'Enchanteresse 2:19 $0.99
La Fleurie ou la Tendre Nanétte 2:36 $0.99
Les Plaisirs de Saint Germain en Laÿé 3:15 $0.99
Prélude in A major, Number Five from L\'Art de Toucher le Clavec 1:50 $0.99
La Régente ou La Minerve 3:51 $0.99
Le Dodo ou L\'Amour au Berceau 3:36 $0.99
L\'Evaporée 1:41 $0.99
Muséte de Choisi 2:51 $0.99
Muséte de Taverni 2:26 $0.99
La Douce, et Piquante 3:08 $0.99
Les Vergers Fleüris 3:17 $0.99
La Princesse de Chabeüil ou La Muse de Monaco 2:21 $0.99
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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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