Igor Kipnis (harpsichord) ‘Music for the Kings of France’
Recorded on original instruments in September 1982 at the Museum of Fine Arts, Boston.
Released 1984 by Elektra/Asylum/Nonesuch Records
The harpichord played by Mr.Kípnis ín the Couperin Suites is a Couchet1680 enlarged by Blanchet. 1758, rebuilt by Taskin, 1781 (liner photo). ln the Marchand Suítes, Mr. Kipnís plays a Henrí Hemsch, 1756 (cover photo).
Performed on original instruments from the Boston Museum of Fine Arts.

Side One. (28” 00)
Louis Couperin (1626-1661) Suite in G min (1658) (15’10)
00:00 Prelude
03:13 Allemande
05:20 Courante
07:04 Sarabande
08:52 Passacaille
13:12 Chaconne

Louis Marchand (1669-1732) Suite No. 1 in D minor (12’53)
15:03 Prelude
17:24 Allemande
20:22 Courante I
22:02 Courante II
24:18 Sarabande

Side Two (27’40)
Louis Marchand Suite No. 1 in D minor
27:50 Gavotte en Rondeau (sorry for the bad quality)
29:15 Menuet
30:20 Gigue
32:58 Chaconne

François Couperin (1668-1733) Ordre No.2ó in F-sharp minor Book IV (18’35)
36:22 La Convalescente
41:41 Gavotte
43:33 La Sophie
46:33 L’Epineuse
51:03 La Pantonime

The tunings used are unequal. in contrast to the comparatively modern equal temperament, in which all tonalities are equal in quality. Meantone temperament, in which the Couchet harpsichord was tuned for the Louis Couperin, favors tonalities with at most two sharps or flats in their signatures. Major thirds are pure {to unfamiliar ears perhaps somewhat “flat” sounding) while diminished fourths, which in equal temperament would sound iust like major thirds, have an expressive harshness. For the Marchand and François Couperin, the harpsichord was tuned in so-called temperamenl ordlinaire.This is basically a meantone temperament with certain notes adjusted slightly so that remote tonalities are playable. Each tonality has its own character Thus, the D minor of the Marchand has a rather benign quality, while the F# minor (and F# major) of the Couperin shows a poignancy well suited to the character of the pieces

Since his debut in 1959, harpsichordist IGOR KIPNIS has performed in recital and as soloist with orchestras throughout the world. He is a prolific recording artist with ó2 LPs to his credit (4O of f,them solo albums). Among the honors Mr. Kipnis has received are 6 ‘Grammy’ nominations, 3 “Record of the Year” awards from Stereo Review, and the Deutscher Schallplattenpreis. Contemporary Keyboard named him ‘Best harpsichordist’ in 1978, 1979 and 1980 and ‘Best Classical Keyboardist’ in 1982.

TWO GREAT HARPSICHORDS FROM THE MUSICAL INSTRUMENTS COLLECTION, MUSEUM OF FINE ARTS, BOSTON
The two harpsichords used for this recording aÍe among the finest surviving of their types. Together they represent the two main sources of the harpsichords used in seventeenth and eighteenth century France: the French makers of that period and the Flemish makers of the late sixteenth and seventeenth centuries. especially members of the Ruckers family and their successors the Couchets. The harpsichord used for the works of Louis Couperin and Francois Couperin on this record was built in Antwerp in 1680 by a member of the Couchet family, probably Petrus Joannes Couchet ( 1ó55/6-1680) or Joseph Joannes Couchet (fl.1666-1681), both of whom were sons of Jan Ruckers’s nephew, Jan Couchet, who died in 16655. This is the latest surviving instrument of the Ruckers dynasty. The harpsichord used for the Suite by Louis Marchand was made in Paris probably in 175ó {the third digit of the date is somewhat unclear) by Henri Hemsch (1ó70-17ó9), who emigrated from Germany to France in ca. 1720.
Eighteenth century French harpsichords by makers such as the Blanchets, Taskin, and Hemsch. are among the finest ever made.
Nevertheless, the Flemish instruments were so prized for their exceptional sound that, as French musicians came to demand more notes in the keyboard compass fuller and more varied registration. these instruments were rebuilt and enlarged by the eighteenth-century French makers. The rebuildings. called ravalements, were often radical. but the original soundboard and, if possible, the original bridges and internal bracings glued to it were always preserved and with them, presumably, the splendid sound.
The history oÍ the Couchet harpsichord is especially complicated. This instrument was built in ló60 as a single manual with one 8′ and one 4 ‘ register The compass was probably one of 5ó notes with 34 natural keys, possibly AA. BB-f”’ lt was most likely scaled to sound a whole step above the normal reference pitch. About 1700 another maker added a second 8′ regíster. probably in Flanders. A third hand, probably French, worked on the instrument about 1775 and altered the compass to one ending on e ”’ Possibly the instrurent was converted to a double manual at this time.
(excerpt from Barbara Lambert, keeper of Musical Instruments, Museum of Fine Arts, Boston)

#Couchet #Blanchet #Taskin #HenriHemsch #IgorKipnis