József Gát (1913-1967) harpsichord ‘François Couperin, Pièces de clavecin, Ordre I -II”
The Original record realized on 02-09-1961
Released by Qualiton vinyl 1966, made in Hungary, Re-released on cd 1999 by Hungariton.
Harpsichord type and builder not indicated in the documentation
Tuman Misty wrote: about the Instrument cembalo pedal-harpsichord for sure is an Early model of German Family Ammer.
Musical producer: Dora Antal, Recording engineer: Judit Lukács
Cover: of recording Clavecin Ii 2 claviers J. Ruckers 1612 (Musée Instrumental du Conservatoire National de Musique, Paris)

François Couperin (1668-1733)
Premier livre de pièces de clavecin – 1er ordre (G Minor)
00:00 L’Auguste – A fenséges
01:38 Première courante
03:12 Seconde courante
04:31 La majestueuse – A méltóságteljes
06:02 Gavotte
07:25 La Milordine – Az úrnő
08:25 Menuet
09:42 Les silvains – Erdei tündérek
12:41 Les abeilles – A méhek
13:37 La Nanète
14:29 Les sentimens – Az érzelmek
16:28 La pastorelle – Pásztorlányka
17:31 Les nonètes (Les blondes, Les brunes) – Apácanövendékek (Szőkék, Barnák)
19:12 La bourbonnoise
20:05 La Manon
20:57 L’enchanteresse – Az elbűvölő
23:37 La fleurie ou La tendre Nanette – A virágos vagy a gyengéd Nanette
24:47 Les plaisirs de St Germain en Laÿe – St Germain en Laÿe gyönyörei

Deuxieme Ordre (in D Minor)
01. La Laborieuse (Allemande) – A dolgos lany
02. Premiere Courante
03. Seconde Courante
04. La Prude (Sarabande) – A szemermes
05. L’Antonine
06. Gavotte
07. Menuet
08. Les Canaries (gyors tanc)
09. Passepied
10. Rigaudon
11. La Charolaise
12. La Diane
13. La Terpsichore
14. La Florentine Firenzei lany
15. La Garnier
16. La Babet
17. Les Idees heureuses – Boldog abnindok
18. La Mimi
19. La Diligente
20. La Flatteuse A hizelgö
21. La Voluptueuse Az erzeki
22. Les Papillons – A pillangók

József Gát (1913-1967) was a pupil on the Hungarian Academy of Music. He studied piano witb Bela Bartok and composition with Zoltan Kodaly. Since 1949 Gat was professor on the Hungarian Academy of Music. From among his pedagogical works “The technique of piano playing” has been translated into several la nguages. Since 1952 he gave con(:erts on clavichord and harpsichord. These instruments have been equipped by him with a special amplifying system, in order to make them sound in their full tone-quality even in the big concert halls of our days.

In the preface to the first volume of the “Pieces de Clavecin” Couperin writes among others the follo wi ng:” “‘When creating these pieces] had in mind the occasions which gave me the material to them. Thus the titles correspond to the ideas I had in mind, and you will certainly forgive me for not giving account of them. However. since there are some ambng the titles which seem to be flattering to me I have to say that the pieces bearing the titles are practically portraits which are found sometimes rather resembling to the originals and so most of the advantageous titles have reference rather to the dear originals whom I wanted to represent, than to the copies I have made of them. I must confess that I prefer that which touches me to that which surprises. The clavecin is, as to its tone-compass perfect, and also taken in itself brilliant. But since its tone cannot be either increased or diminished I will be forever obliged to those who with an infinite art, based on the taste, will be able to render this instrument expressive” No better characterist can be given ‘of these wonderfully expressive little masterpieces, elaborated with the exactitude of a miniature, than that of Couperin The pieces a re in fact. mostly character-sketches giving with a few strokes a perfect characteristic of their model. Unfortunately, only a few of such models are known to us and in the case of most of them we are compelled to have recourse to guessing.
These titles were, however, a t that time perfectly comprehensible for everybody, their models were well-known celebrities whose characteristic features were recognized with amusement by the contemporaries in the pieces of Couperin. Before the col1ective edition of the pieces many manusuipts were in circulation and to some of them, e. g. to La Babet. several different texts have been written. The pieces were arranged by Couperin in Ordres” (suites). The pieces of each of these “Ordres” show not only an affinity of their keys but are arranged so as to be complementary to each other also in their atmosphere. “La Milordine” is most probably a recollection of avis it’ofCouper in in Saint Germain-en-Laye. That castle was the residence of the exiled King James If. whose court was probably frequented by Couperin because the last piece of this series has been entitled: “The pleisures of Saint Germain-en-Laye.” Among the pupils of Couperin were the two daughters of the Duke of Bourbon, Mile de Bourbon a nd Mile de Charolais. “La Bourbonnaise” and “La Charolaise” have been composed most probably to the honour of the two duchesses.

#Ammer #JózsefGát