Tombeau (i)

Capturing the Spirit of the French Clavecin School: Interpreting Couperin’s Pièces de Clavecin, vingt-cinquième ordre and Ravel’s Le Tombeau de Couperin

“…The first book of ordres resembles more of a collection of selected pieces than a well-structured suite but, as Couperin composed the following books, each ordre gained an increased sense of unity between the movements. 8 This was achieved through continuity of character and mood within the ordre.…”

“…7 Tunley 105. 8 Philippe Beaussant, François Couperin, Ed. Reinhard G. Pauly (Portland, Oregon: Amadeus Press, 1990) 224.…”

“…The term was revived by some French composers in the twentieth century as a way to establish a connection to the French musical past. 8 Ravel's Le Tombeau de Couperin, which began as a tribute to the French Clavecinistes, was interrupted by the events of the First World War. Upon returning to the composition, Ravel dedicated each of the six movements to friends who had died in the fighting.…”

“…late seventeenth and early eighteenth centuries. 8 To complement this work in the recital, Couperin's twenty-fifth ordre was chosen because it is a fine example of Couperin's mature style of composition and closely resembles the familiar structure of a suite. The suites of the French Clavecin School were composed with more freedom and flexibility in the structure and many of Couperin's ordres are much longer than what is now typically included in a suite.…”