Couperin: L'Apothéose de Lulli ~ Works for two harpsicords / Christie, Rousset

On this CD:

1. L'Apothéose de Lully, for 2 treble instruments & continuo
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

2. L'Apothéose de Lully, for 2 treble instruments & continuo
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

3. Le Parnasse, ou L'Apothéose de Corelli, trio sonata for 2 violins & continuo (Les Goûts réunis)
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

4. Allemande, for 2 harpsichords (Pièces de clavecin, Book I, Ordre 9)
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

5. La Julliet, for harpsichord (Pièces de clavecin, Book III, Ordre 14)
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

6. La Letiville, for harpsichord (Pièces de clavecin, Book III, Ordre 6)
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

7. La Muséte de Choisi, for harpsichord (Pièces de clavecin, Book III, Ordre 15)
Composed by Francois Couperin
Performed by William Christie, Christophe Rousset

Editorial Reviews
Amazon.com
Francois Couperin is considered by many to be a composer of lighthearted, and therefore only lightly considered, music. It goes without saying that Couperin has, as a result, been underestimated. These recordings won't rectify the matter, but they do show how Couperin adapted a terrific sense of humor to the task of composition. The thesis of the two apotheoses (composed in 1724) is that one was for Corelli and one for Lulli, and that the pair addressed the debate between the Italian and French styles of composition in the 18th century. Couperin went to great lengths to make his intent clear, although he peppered the discursive titles here with humorous mythological associations. Musically, these are scintillating pieces--especially for fans of the harpsichord, but even for those who react negatively to the instrument's sometimes-tingly sensations. William Christie and Christophe Rousset move very quickly across the keyboards, following Couperin's pacing brilliantly. But they also play exceptionally hard, especially on parts of the Lulli piece, sometimes whipping the piece to a feverish intensity. This is also a fine point of contrast with the Astree chamber version of these pieces. --Andrew Bartlett

Tracks:

L'Apotheose De Lulli: Lulli Aux Champs Elises. Gravement
L'Apotheose De Lulli: Air Pour Les Memes. Gracieusement
L'Apotheose De Lulli: Vol De Mercure Aux Champs Elises. Tres Viste
L'Apotheose De Lulli: Descent D'Apollon. Noblement
L'Apotheose De Lulli: Rumeur Souteraine. Viste
L'Apotheose De Lulli: Plaintes De Memes. Dolemment
L'Apotheose De Lulli: Enlevement De Lulli. Tres Legerement
L'Apotheose De Lulli: Accueil Entre-Doux, Et-Agard, Fait A Lulli. Largo
L'Apotheose De Lulli: Remerciment De Lulli. A Apollon. Gracieusement
L'Apotheose De Lulli: Essai En Forme D'Ouverture. Elegamment, Sans Lenteur
L'Apotheose De Lulli: Lulli Jouant Le Sujet. Air Leger
L'Apotheose De Lulli: Corelli Jouant Le Sujet. Second Air
La Paix De Parnasse: Son En Trio. Gravement
La Paix De Parnasse: Saillie. Vivement. Rondement. Vivement
Le Parnasse Ou L'Apotheose De Corelli: Corelli Au Pied De Parnasse. Gravement
Le Parnasse Ou L'Apotheose De Corelli: Corelli Charme De La Bonne Reception. Gayment
Le Parnasse Ou L'Apotheose De Corelli: Corelli Buvant A La Source D'Hypocrene
Le Parnasse Ou L'Apotheose De Corelli: Entouziasme De Corelli. Vivement
Le Parnasse Ou L'Apotheose De Corelli: Corelli Apres Son Entouziasme S'Endort. Tres Doux
Le Parnasse Ou L'Apotheose De Corelli: Les Muses Reveilent Corelli. Vivement
Le Parnasse Ou L'Apotheose De Corelli: Remerciment De Corelli. Gayment
Allemande (9e Ordre)
La Julliet: Gayement (14e Ordre)
La Letiville (16e Ordre)
Musete De Choisi: Tendermant/Musete De Taverni: Legrement

Amazon.com

Francois Couperin is considered by many to be a composer of lighthearted, and therefore only lightly considered, music. It goes without saying that Couperin has, as a result, been underestimated. These recordings won't rectify the matter, but they do show how Couperin adapted a terrific sense of humor to the task of composition. The thesis of the two apotheoses (composed in 1724) is that one was for Corelli and one for Lulli, and that the pair addressed the debate between the Italian and French styles of composition in the 18th century. Couperin went to great lengths to make his intent clear, although he peppered the discursive titles here with humorous mythological associations. Musically, these are scintillating pieces--especially for fans of the harpsichord, but even for those who react negatively to the instrument's sometimes-tingly sensations. William Christie and Christophe Rousset move very quickly across the keyboards, following Couperin's pacing brilliantly. But they also play exceptionally hard, especially on parts of the Lulli piece, sometimes whipping the piece to a feverish intensity. This is also a fine point of contrast with the Astree chamber version of these pieces. --Andrew Bartlett

Customer Reviews:

Tremendous music !!!.......2000-08-27

The two "apothéoses" where composed by François Couperin, in honor of Lully and Corelli, two grand Italian composers who where well knowed at the court of the king Louis XIV. They try to recreate the Italian baroque style at the time, adding Couperin's exquisit composing. It is here played by two of the most famous harpsichordist, William Christie, who is passionate of the Baroque era and formed his well knowed orchestra : "Les Arts Florissants", and Christophe Rousset who is a very, less known, talented player.

In conclusion, this CD is really worth it's small price, to enjoy a home concert !

Music Track: