Couperin: Suite for harpsichord No2; Suite for harpsichord No11 - Historical Recordings 1947-1977 played by Scott Ross, Paul Derenne, Wilhelm Kempff, Andre Marchal, etc.

On this CD:

1. La Visionnaire, for harpsichord (Pièces de clavecin, Book IV, Ordre 25)
Composed by Francois Couperin

2. Les Ombres errantes, for harpsichord (Pièces de clavecin, Book IV, Ordre 25)
Composed by Francois Couperin

3. Mass for the convents, for organ
Composed by Francois Couperin
Performed by Maurice Durufle

4. Mass for the convents, for organ
Composed by Francois Couperin
Performed by Maurice Durufle

5. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Allemande La Laborieuse
Composed by Francois Couperin

6. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Première Courante
Composed by Francois Couperin

7. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Seconde Courante
Composed by Francois Couperin

8. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Sarabande La Prude
Composed by Francois Couperin

9. Ordre 2, for harpsichord (Pièces de clavecin, Book I) L'Antonine
Composed by Francois Couperin

10. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Gavotte
Composed by Francois Couperin

11. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Menuet
Composed by Francois Couperin

12. Ordre 2, for harpsichord (Pièces de clavecin, Book I) Canaries: Double des Canaries
Composed by Francois Couperin

13. Mass for the parishes, for organ Dialogue sur la Voix humaine, 6th Couplet du Gloria
Composed by Francois Couperin
Performed by Andre Marchal

14. Le Carillon de Cythére, for harpsichord (Pièces de clavecin, Book III, Ordre 14)
Composed by Francois Couperin
Performed by Wilhelm Kempff

15. Qu'on ne me dise plus, air for solo voice & continuo (Recueil d'airs)
Composed by Francois Couperin
Performed by Paul Derenne

16. Doux liens de mon coeur, air sérieux for soprano voice & continuo
Composed by Francois Couperin
Performed by Paul Derenne

17. Zéphire, modére en ces lieux, air for voice & continuo
Composed by Francois Couperin
Performed by Paul Derenne

18. Les Folies françoises, ou Les Dominos, for harpsichord (Pièces de clavecin, Book III, Ordre 13)
Composed by Francois Couperin
Performed by Doris Rossiaud

19. Le Rossignol-en-amour, for harpsichord (Pièces de clavecin, Book III, Ordre 14)
Composed by Francois Couperin

20. Les Baricades Mistérieuses, for harpsichord (Pièces de clavecin, Book II, Ordre 6)
Composed by Francois Couperin

21. Ordre 8, for harpsichord (Pièces de clavecin, Book II)
Composed by Francois Couperin

22. Ordre 11, for harpsichord, (Pièces de clavecin, Book II) L'Étencelante, ou La Bontems
Composed by Francois Couperin

23. Mass for the convents, for organ Plein jeu
Composed by Francois Couperin
Performed by Scott Ross

24. Mass for the convents, for organ Petitte fugue sur le Chromhorne
Composed by Francois Couperin
Performed by Scott Ross

25. Mass for the convents, for organ Chromhorne sur les grands jeux
Composed by Francois Couperin
Performed by Scott Ross

26. Mass for the convents, for organ Dialogue sur les grands jeux
Composed by Francois Couperin
Performed by Scott Ross

27. Mass for the convents, for organ Offertoire sur les grands jeux
Composed by Francois Couperin
Performed by Scott Ross

28. Mass for the convents, for organ Tierce en Taille
Composed by Francois Couperin
Performed by Scott Ross

Tracks:

Si tu voulais
A l'aime
The Nightingale and the Rose
When I Have Sung My Songs
When I Have Sung My Songs
Ave Maria
On Wings Of Dreams
Ave Maria
Plaisir d'amour
Jeune fillette
Beau soir
Bonjour, Suzon
La chevelure
Carmen-Carmela
El Mirar de la Maja
La partida
La Molinara: Nel cor piu non mi sento
Star vicino
'A Vucchella
Ideale
Marechiare
Fa la nana, bambin
Dicitencello vuje
Could I

Tracks:

Amadis: Bois espais
Rosemonde
Guitares et mandolines
From: 'Poem de l'amour et de la mer': Le temps des Lilas
Von ewiger Liebe, Op 43 No. 1
Mir traumte von einem Konigskind, Op. 4 No. 5
Erlkonig, Op. I
In questa tomba oscura
Rispetto
O del mio amato ben
Aprile
Amuri, amuri
I battitori di grano
Drink To Me Only With Thine Eyes
The Night Wind
Homing
Interview With Ruby Mercer: Introduction And Announcement Of Lully's - 'Bois epais'
Interview With Ruby Mercer: Comments On Persico's - 'Rosemonde'
Interview With Ruby Mercer: Comments On Saint-Saens's - 'Guitares et mandolines'
Interview With Ruby Mercer: Comments On Brahms's - 'Von ewiger Liebe'
Interview With Ruby Mercer: Comments On Trunk's Mir - 'traumte von einem Konigskind'
Interview With Ruby Mercer: Comments On Schubert's - 'Erlkonig'
Interview With Ruby Mercer: Comments On Beethoven's - 'In questa tomba oscura'
Interview With Ruby Mercer: Comments On Wolf-Ferrari's - 'Rispetto'
Interview With Ruby Mercer: Comments ON Donaudy's - 'O del amato ben'
Interview With Ruby Mercer: Comments On Tosti's - 'Aprile'
Interview With Ruby Mercer: Comments On Sadero's - 'Amuri, amuri'
Interview With Ruby Mercer: Comments On Sadero's - 'I battitori di grano'
Interview With Ruby Mercer: Comments On - 'Drink To Me Only With Thine Eyes'
Interview With Ruby Mercer: Comments On Farley's - 'The Night Wind'
Interview With Ruby Mercer: Comments On de Riego's - 'Homing And Concluding Remarks'

Tracks:

Le nozze di Figaro: Voi che sapete
Tre giorni son che Nina
An die Musik, Op. 88 No. 4
Der Tod und das Madchen, Op. 7 No. 3
Traume, No. 5 From ' Wesendonck Lieder'
Morgen!, Op. 27 No. 4
Nur wer die Sehnsucht kennt, Op. 6 No. 6
L'invitation au voyage
Psyche
Tristesse eternelle
From 'Seven Popular Spanish Songs': Asturiana, No. 3
From 'Seven Popular Spanish Songs': Nana, No. 5
My Lovely Celia
In The Luxembourg Gardens
Angus Dei
Ave Maria
Ave Maria
Ave Maria
Ave Maria
Se
Colombetta

Amazon.com

Legendary soprano Rosa Ponselle recalled these sessions taped by RCA in her Baltimore home as the only time she enjoyed making records. Fourteen years after her abrupt retirement from opera, her voluptuous instrument (ruby red in the '39 Victors and now tinged with purple) soars to better advantage in the amplitude of her spacious music room than within the cramped confines of the recording studio. Whether in Beethoven, Schubert, Debussy, Mozart, or Tosti songs, or chestnuts like "Drink To Me Only With Thine Eyes," the vocalism is always informed by Ponselle's musical intelligence and sense of style. Romophone brings together all the material from these home sessions, including 75 minutes of music not issued by RCA, plus a promotional interview that reveals a warm, down-to-earth persona quite different from your typical diva stereotype. Ponselle fans need no encouragement to acquire this set. --Dan Davis

Customer Reviews:

Revealing.......2004-12-28

It must be remembered when approaching these recordings that we are not hearing the Ponselle of the Met singing her great roles, we are hearing the Ponselle of retirement, and a long retirement. She seems to have left her career right at its height, and for whatever reasons. She was not idle, but was active in the world of opera in other ways (including working with many now famous singers when they were students: Sherryl Milnes, Beverly Sills just to name two). She approached her music with the vibrancy of her time, which is often at odds with how we would sing such things today (the Mozart aria for Cherubino for example). However, even though we hear a voice that has now started to show wear, not from oversinging, but rather from not being used all that often and from age, we are not listening to someone who has "lost it all." Everything that made her great is still there for us to enjoy and wish we could experience. Her range is no longer seamless as it was during her active singing career (a thing she was noted for), but her legato is a wonder to behold, as it was during her most active singing years. It is no wonder that singing teacher tell students to listen to her recordings to learn what legato is all about (and as a result, Ponselle is one of the most immitated singers in history, but at no time has anyone ever captured her sound, her quality, her depth of tone, her ring, her anything; people may try to immitate the essence of her singing by copying what they hear -- even the great Maria Callas' interpretations in La Vesta sound like haunting echos of Ponselle -- but what was the depth of her interpretations or of her voice no one has ever come close to matching). Her chest notes are raw at times, but they do not ruin the music in any way. Her top notes (which always put terror into her heart, but for the life of me, after listening to all her recordings available, I cannot figure out why -- even after reading her story of why the High C in Aida scared her so much --- her high notes were extremely secure, even a high D flat in the trovatore arias, no strain is evident at any time, not ever!), well, her top notes are at time frayed and not centered as they were. Still, once again, that is not a bother. It is evident that at times she has to "work rather noticeably" to produce her top notes, but there again, we are not offended by what we hear.

What we do experience, and mostly because we have no arias from her great roles to listen to, is the Ponselle way with a song. She just seemed to embrace a song and make it her own. Her interpretation may be enjoyable to you, you may find other singers you like better, but her interpretation is NEVER common and without validity. Each piece is truly her own stamped completely with her emotional and vocal understanding of the text and the music.

That brings me to the diction part of the recording. Her RRRRRR (rolled R, or tongue trill by some) is very pronounced and now days may be seen as tasteless. However, it was the way things were sung then, and not just in Italian (even English actors rolled their R's beyond belief at that time). Personally, the well pronouced rolled R has never bothered me whatever, and in a way, I expect to hear it when singers are singing opera. It is so played down now days, one is sometimes completely unaware an R was even said. Ponselle's diction is incredible, and I don't just say that. Each and every word is completely understandable, even in English (which is crystle clear). It seems that was a common trait back in her day, for in many recordings of that time and earlier that I have the singers are exceptionally clear with their diction (even the Met manager, former singer, Edward Johnson is so clear while singing English -- a collection of Canadian songs -- one is stunned that the poor recordings quality didn't just eat up the words). Perhaps such singers as Renee Flemming and all the other greats of today should play some Ponselle recordings and learn what diction is all about.

These recordings, though made long after her retirement, are still a great testiment as to what she was like as a singer, for they give us all the greatness that was hers. It makes people like me, who were born after she retired (though quite a while before she died, as I remember her well on live from the met broadcasts on the radio Saturday afternoons) wish we could go back in time and hear some real singing.

In addition to the music, we have some interviews with Ruby Mercer, which are a real delight to listen to. No wonder people like Sills have nothing but great memories working with Ponselle. She is truly well grounded. She knows her contribution to the world of music for exactly what it is. There is no false modesty, nor is there any "high mindedness about self." We have a very down to earth person talking about things, even why she chose some of the music she did, in a very down to earth way.

I recommend the set to anyone who loves to hear great singing, even if it would have more appeal to collectors than average people. It is well recorded, and the sound is excellent. It is a treasure to have on any record shelf.

Villa Pace Recordings.......2003-05-15

This recording is a must for anyone who loves to hear art songs sung incredibly. Aside from Rosa Ponselle's voice being arguably one of the most beatiful, distictive, incredible sounding voices (so big that it was troublesome to record), the fact that she is also one of the greatest vocal artists in the world is also evident. Although most of the songs were recoreded when her voice wasn't as capable of stunning high high C's (there wasn't any Aida aria's on this one), her musicality, ability to act with her voice, and her use of language is breath-taking. Especially nice, is her french, it's so clear and clean, yet doesn't sound constricted or bothersome. The best track is the second lower version of "When I have sung my Songs". It is truly phenomenal, and her singing of this piece is a true testament to what this woman was capable of. Also her "o del mio amato ben" some of the most dramatically genuine singing I 've heard. Buy this CD if you want to hear some real singing and one of the greatest voices of the 20th century.