@Immortal I just did, following your suggestion. A very nice and creative version, smooth, delicate, with marvelous complicity between the two artists.
My brother used to play this on his Flemish harpsichord and it is one of my all time favorites. The only reason we could figure out why it is called "the mysterious barricade" is that the right hand or upper register is in bass clef--it never breaks into treble clef all the way through. Both staves in bass clef! This instrument is glorious. We have played on Dulckens and Ruckers from the 1600s and 1700s and this one is right there in the same class, if not better.
Thank you for this lovely interpretation. I think, for me at least, you've found a happy medium between too fast and too slow. This has to be my favourite recording of this beautiful piece of music.
Thank you for the lovely video as well. Couperin and the harpsichord are perfect mates. While piano renditions can be beautiful too, they lack the sororities that Couperin intended.
Wonderful. I know a lot of people like this piece faster and I like that as well. However, Nathaniel's tempo here is just right for my listening taste. Not in too much of a hurry. Gotta let those notes ring out! The Lexicon 480L interface on top of the mixing console brought a smile to my face, too.
@@NathanielMander I read an article a while back (musicology/historical performance practice orientation by an anonymous author) which had the insightful commentary that recommended using dictionaries and especially musical dictionaries contemporary or at least in the era of piece or prior/before. There’s a modern French usage for vivement quickly and or impatiently. Too many performances. Brahms Chrysander edition of Couperin’s ordre lists the last piece’s title translated as (street) urchins. A late friend and professor of French and laughed at its and said it’s Flies. It completely changed the way I performed the piece. .. I’ve seen others use the German word for to bow being interpreted as grind (“grind the string…”).
I would really like to know how you would play once Rameau's suite for harpsichord in E minor. I think it's a very difficult piece. Harpsichordists cannot solve the interplay of the right and left hands, it is difficult to find the rhythm, to coordinate the play of the two hands. I think there has been only one good recording so far, with William Christie. There are no disturbances in Christie's recording, the structure of the work is clear. I think you could do it...
I am amazed by the sound of this instrument! It's magical!
Yo are right! Harpsichord is magical.
This piece really showcases whatbthe harpsichord can do!
The most convincing and melodious rendition I've ever heard in 70 years. Thanks.
@Immortal I just did, following your suggestion. A very nice and creative version, smooth, delicate, with marvelous complicity between the two artists.
My brother used to play this on his Flemish harpsichord and it is one of my all time favorites. The only reason we could figure out why
it is called "the mysterious barricade" is that the right hand or upper register is in bass clef--it never breaks into treble clef all the way through. Both staves in bass clef!
This instrument is glorious. We have played on Dulckens and Ruckers from the 1600s and 1700s and this one is right there in the same class, if not better.
Amazing. Couperin is one of my favorites to play on the harpsichord. This was a beautiful interpretation and physically beautiful to watch too.
Thank you for this lovely interpretation. I think, for me at least, you've found a happy medium between too fast and too slow. This has to be my favourite recording of this beautiful piece of music.
L'une des plus belles interprétations de cette merveilleuse pièce. Merci et bravo.
You have a most beautiful harpsichord Mr.Mander!
These videos should have more views.
Beautifully expressive, I needed this version in my life. Thank you!
I’m so glad to hear this! It’s truly divine music
Thank you for the lovely video as well. Couperin and the harpsichord are perfect mates. While piano renditions can be beautiful too, they lack the sororities that Couperin intended.
Agreed!
Like your interpretation.
Excellent!
Wonderful. I know a lot of people like this piece faster and I like that as well. However, Nathaniel's tempo here is just right for my listening taste. Not in too much of a hurry. Gotta let those notes ring out! The Lexicon 480L interface on top of the mixing console brought a smile to my face, too.
such a beautyfull peace :)
And your performance is very tasteful - bravo!
What a rich tone harpsichord. I am guessing it is French. Lovely playing. Couperin at its best.
Delighted!
Vivement in the French language of Couperin’s time (from 18th century dictionaries) was defined as deeply. Your tempo reflects this bravo.
I've always wondered about this marking - this is wonderful to finally know this!
@@NathanielMander I read an article a while back (musicology/historical performance practice orientation by an anonymous author) which had the insightful commentary that recommended using dictionaries and especially musical dictionaries contemporary or at least in the era of piece or prior/before. There’s a modern French usage for vivement quickly and or impatiently. Too many performances. Brahms Chrysander edition of Couperin’s ordre lists the last piece’s title translated as (street) urchins. A late friend and professor of French and laughed at its and said it’s Flies. It completely changed the way I performed the piece. ..
I’ve seen others use the German word for to bow being interpreted as grind (“grind the string…”).
Every one of your video is such an enjoyment and makes my day :)
This makes me so happy!
This is how I envisioned it being played as I was learning it. People play it too fast.
So cool your harpsichord! Isaure
Un balsamo al alma escuchar an melody salusos is from argentina 😘
Great!
An melody wau nathaniel saludos desde el fin del mundo 👌
Gracias 🤗
Einfach super. Kein bisschen schneller! Damen in Reifröcken kokettiert. Perfekt gespielt.
Danke schön!
I would really like to know how you would play once Rameau's suite for harpsichord in E minor.
I think it's a very difficult piece. Harpsichordists cannot solve the interplay of the right and left hands, it is difficult to find the rhythm, to coordinate the play of the two hands.
I think there has been only one good recording so far, with William Christie. There are no disturbances in Christie's recording, the structure of the work is clear. I think you could do it...
Sorry for bringing it up!
healing frequencies
Starts 0:55
Calling oneself a master is a little pretentious. Let others be the judge.
I strongly objected but the director insisted!
So judged. He is a master.