168:
66:
25:
275:(1638–1715). Although Bernard de Bury (1720–1785) lived after the reign of this monarch, the positions for musicians set up under the "Sun King" would continue well into the eighteenth century. There were over 150 official musicians at the court. Music as an institution on a grand scale at Versailles was thus set in place before Bernard de Bury was born.
306:
is not entirely certain. In his dedication, de Bury states that he was fifteen years old at the time the suites were written; this would place their composition in 1735 or 1736, since he would not reach his sixteenth birthday until well into the latter year. The publication was announced in the
583:. It was commonly believed that the vapors rising from the ground induced the priestesses to deliver the oracles in a frenzied state. This intensity is conveyed in this central movement conceived on a grand scale. The 18th-century loure was a slow, virtuosic, noble, majestic dance. This
282:
his entire life, and held various positions at the court. Many from his musical family also held court appointments. He studied music with his father, as well as with François Collin de
Blamont (1690–1760), to whom he dedicated his
335:
music of the eighteenth century. For example, most all of his movements are given titles, even when also identified as a dance movement (and even when the dance is not identified). In addition, ten times the popular form of a
531:("The Amusements") could also be translated as "Entertainment". Ornaments help provide forward motion to the opening cheerful syncopated rondeau theme. We will never know to what or whom the *** in
327:
by
Bernard de Bury, and he himself contributed to the legacy that would continue to be built throughout most of the century. He, like so many others, was influenced by François Couperin, as well as
291:("king's chamber harpsichordist") in 1741. He continued a long distinguished line of musicians who held this position, which had passes from Jacques-Champion Chambonnières (1601/2–1672) to
83:
38:
1139:
360:
progressions, and occasional frequent modulations. In keeping with French aesthetic, most suites end with tender sublimity rather than with impressive virtuosity.
44:
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Six of the eleven movements of this longest suite are rondeaux. They bookend this collection, with a paired set to open and a second paired set (plus
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which are immediately repeated for a total of eight in each unit. The chaconne in this collection comes a close second to one by
344:). Furthermore, frequent changes in texture can be seen, ornaments can be identified from the tables of Couperin and Rameau, and
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996:
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182:
176:
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547:, this triple time slow, serious piece, with balanced phrases and complex harmonies, sometimes places an
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are appropriate, unless a movement is in
Italian style. Examples of Italian influences can be seen in
1168:
437:
328:
296:
279:
256:
932:
On 19 February 2009, Dr. Ruta
Bloomfield became the first person in recorded history to perform the
400:("Graceful Triflers"). The title could be referring to "amorous badinage" or "amorous playfulness."
1173:
272:
299:(1668–1733), to his daughter, Marguérite-Antoinette Couperin (1705–c. 1778), and then to de Bury.
440:(1684–1721) produced two paintings on the same subject. This movement is one of a number marked
923:
Total Time: (77:45) Times based upon recording by harpsichord performer, Ruta
Bloomfield (2009)
1111:
959:
433:
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in
January 1737, leading one to believe that the suites were actually published late in 1736.
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424:. The title can be translated as "In Defense of Cythera". These movements, along with
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is certainly a "Brilliant" opening piece. Almost all of the first three sections (
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622:, with only the second movement and the middle section of the final movement in
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for each) to close. Centering on "G", seven of the eleven movements are in the
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287:, published when he was just fifteen years old. De Bury acquired the post of
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in 6/4 meter is characterized by many low-ranging thick chords. Also marked
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535:("The *** or the Sentiments" or "Feelings") refers. The indication of
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refers to a "child-like" manner, demonstrated by frequent shifts of
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Not to be confused with Pièces de
Clavecin (1735) by Claude Daquin.
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337:
638:) are written in the bright upper range of the harpsichord, both
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is a dramatic sarabande reminiscent of François
Couperin's
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which was a special place for lovers. In addition, artist
323:
compositions preceded the publication of the harpsichord
571:("The Pythoness") was the priestess presiding over the
567:, the latter more dramatic and complex harmonically.
428:
from the second suite as well as François
Couperin's
448:
implies the freedom to change the beat, or to apply
384:, a character piece, de Bury makes reference to the
1106:Bernard de Bury (1720–1785), ed. Ruta Bloomfield.
1086:
http://earlymusicla.passwordprotection.com/emat.htm
563:) are in the form of the popular French dance, the
487:which is serious in tone and complex harmonically.
372:has "A" as its home key, movements being in either
90:. Unsourced material may be challenged and removed.
432:, all make reference to this island birthplace of
1084:, Southern California Early Music Society, 2009,
682:of E minor. The form is built of groups of four
955:The New Grove Dictionary of Music and Musicians
551:on the second beat. The two movements entitled
690:(1715–1789) as the longest single, continuous
404:is a wonderfully inventive character piece in
1108:Four Suites for Harpsichord: Critical Edition
936:outside France since the eighteenth century.
694:of the seventeenth and eighteenth centuries.
8:
678:, but has an extended middle section in the
555:(the mythological West Wind of spring) and
480:("The Pretty Brunette") is followed by the
302:The publication date for Bernard de Bury's
53:Learn how and when to remove these messages
1144:International Music Score Library Project
230:Learn how and when to remove this message
212:Learn how and when to remove this message
150:Learn how and when to remove this message
495:. Both the first and second rondeaux of
289:ordinaire de la chambre pour le clavecin
175:This article includes a list of general
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539:adds further to the tender, expressive
340:is used (counting second rondeaux and
99:"Premiere Livre de Pièces de Clavecin"
1024:
1022:
1020:
1018:
958:. Macmillan Publishers. p. 496.
368:The first suite of Bernard de Bury's
7:
1140:Premiere Livre de Pièces de Clavecin
1061:"Music from Versailles Rediscovered"
244:Premiere Livre de Pièces de Clavecin
88:adding citations to reliable sources
934:Premier livre de pieces de clavecin
602:are followed by paired variations (
414:Le Plaidoyer de Cithere 1er Rondeau
370:Premier Livre de Pièces de Clavecin
304:Premier Livre de Pièces de Clavecin
285:Premier Livre de Pièces de Clavecin
1118:. Reviewed by David Chung (2016),
1082:Music from Versailles Rediscovered
181:it lacks sufficient corresponding
14:
984:. King's Music. 2006. p. 40.
822:Sarabande La *** ou les Sentimens
468:, with only the first rondeau of
319:A long, rich tradition of French
34:This article has multiple issues.
1110:, New York: Edwin Mellen, 2015,
444:("gracefully, not too slowly").
386:Roman goddess of wisdom and arts
166:
64:
23:
561:mythological Goddess of Flowers
75:needs additional citations for
42:or discuss these issues on the
543:of the movement. Typical of a
271:flourished during the time of
1:
618:The final suite is mostly in
267:Music at the French court at
255:at the French royal court of
1179:Compositions for harpsichord
331:, the two titans of French
278:Bernard de Bury resided in
1200:
1059:Blackwell, Claire (2009).
1001:musicweb-international.com
442:Gracieusement sans lenteur
15:
1128:10.1017/S1478570616000129
1120:Eighteenth Century Music
1091:11 December 2008 at the
1003:. Musicweb International
997:"Recording of the Month"
733:Le Plaidoyer de Cithere
670:("Youth") is a menuet.
533:La *** ou les Sentimens
464:The second suite is in
452:in accordance with the
196:more precise citations.
1159:1736 non-fiction books
952:Stanley Sadie (1980).
715:Sarabande, Les Regrets
499:are unnamed gavottes.
420:, close out the first
390:Sarabande, Les Regrets
293:Jean-Henri D'Anglebert
869:Double du 1er Rondeau
604:Double du 1er Rondeau
259:, published in 1736.
1184:Baroque compositions
1031:"Pieces de Clavecin"
875:Double du 2e Rondeau
662:is a lively, joyful
608:Double du 2e Rondeau
559:(a reference to the
438:Jean-Antoine Watteau
329:Jean-Philippe Rameau
84:improve this article
1040:. Due West Editions
828:Ƶephir – 1er Menuet
727:La Tendre Agitation
598:("The Seductress")
402:La Tendre Agitation
350:arpeggiated figures
1122:, 13(2), 316–318.
981:Early Music Review
765:Sarabande La Prude
721:Les graces Badines
485:Sarabande La Prude
398:Les graces Badines
263:Historical context
1164:1736 compositions
1116:978 0 7734 0081 8
995:van Veen, Johan.
965:978-0-333-23111-1
924:
834:Flore – 2e Menuet
692:Piéce de clavecin
392:is followed by a
309:Mercure de France
297:François Couperin
251:music written by
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315:Musical analysis
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798:Troisiéme Suite
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614:Quatrième suite
581:Mount Parnassus
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515:Troisième suite
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295:(1635–1691) to
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1042:. Retrieved
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82:Please help
77:verification
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36:Please help
33:
1169:Music books
1044:1 September
1007:1 September
908:La Jeunesse
902:La Michelon
896:La Dampiere
857:1er Rondeau
808:1er Rondeau
782:1er Rondeau
777:La Citherée
771:L'Enfantine
738:1er Rondeau
668:La Jeunesse
660:La Michelon
656:La Raphaéle
648:La Dampiere
644:treble clef
585:binary form
501:L'Enfantine
489:L'Enfantine
470:La Citherée
426:La Citherée
406:binary form
333:harpsichord
321:harpsichord
249:harpsichord
194:introducing
1174:Versailles
1153:Categories
1065:The Signal
940:References
863:2e Rondeau
814:2e Rondeau
788:2e Rondeau
744:2e Rondeau
709:La Minerve
642:requiring
525:minor mode
505:La Citheré
497:La Citheré
418:2e Rouneau
382:La Minerve
280:Versailles
269:Versailles
257:Versailles
177:references
110:newspapers
39:improve it
594:, paired
545:sarabande
472:being in
396:entitled
354:imitation
273:Louis XIV
45:talk page
1089:Archived
914:Chaconne
684:measures
672:Chaconne
636:couplets
600:rondeaux
410:rondeaux
676:E major
624:E minor
620:E major
521:doubles
474:C major
466:C minor
394:gavotte
378:A minor
374:A major
342:doubles
338:rondeau
190:improve
124:scholar
1114:
962:
916:(9:00)
910:(1:49)
904:(1:25)
898:(4:20)
892:(2:06)
877:(2:07)
871:(2:04)
865:(2:00)
859:(1:55)
848:(4:33)
842:(6:32)
836:(1:39)
830:(0:54)
824:(2:51)
816:(2:27)
810:(2:24)
790:(2:22)
784:(2:25)
773:(1:36)
767:(3:15)
761:(2:28)
746:(2:47)
740:(2:48)
729:(4:47)
723:(2:10)
717:(1:41)
711:(3:19)
674:is in
640:staves
577:Delphi
565:menuet
553:Ƶephir
549:accent
541:affekt
482:binary
454:affekt
450:rubato
325:suites
179:, but
126:
119:
112:
105:
97:
1034:(PDF)
846:Loure
698:Album
588:Loure
557:Flore
493:range
434:Venus
422:suite
380:. In
131:JSTOR
117:books
1112:ISBN
1046:2019
1009:2019
960:ISBN
654:and
503:and
416:and
103:news
1124:doi
610:).
575:at
376:or
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