Skip Sempé - François Couperin: Pièces de Clavecin (1990)

”The method that I present here is a kind of restitution to the public, having profited as much as possible from the compliments they have so kindly given me concerning my art. I have added my little discoveries to this and thus I will feel that I have done enough in discharging my duty to them. Perhaps a few people will say that I work against my own best interests in these disclosures of my studies, but I will renounce them forever, without any reservations at all, whenever it is a matter of usefulness to others.” (Francois Couperin, L’Art de Toucher le Clavecin)

When Francois Couperin brought out his L’Art de Toucher Ie Clauecin in 1716, he was attempting to save a tradition of touch-inspired harpsichord playing which seems to have already been dying out. What did Couperin imply by the title? I am convinced that he is refering specifically to the Art of Harpsichord Touch, and only generally to the Art of Harpsichord Playing. Couperin was certainly aware that the two were inseparable, but, over the years, the issue has become confused.

Couperin wrote the Preludes of L’Art de Toucher le Clavecin as pieces to form the hand into making a certain very special sound - a sound he considered important from the very first contact with a harpsichord. Bach made the same point in his Inventions, where he refers to the central idea of ”cantabile art”, that very quality which makes keyboard instruments so illusionistic: the magic fusion of a lyrical effect and its accompaniment achieved by the diversity of sound created by the art of touch.

How can one best record Francois Couperin? The least imaginative, and therefore least successful answer would be to record his complete harpsichord works. On the other hand, it would be equally unsatisfactory to portray the greatest 18th century French claveciniste as a miniaturist by recording only his popular encores. Couperin’s 27 Ordres (Suites), published in four books, were not necessarily conceived to be performed one complete Ordre at a time: 17th and 18th century attitudes to publication and performance were very different to those of the present day. The composer provided the material grouped by key or genre and the performer made up his own Suite, observing or breaking certain traditions at will, to move his audience to laughter, reflection, or to tears: this is what is meant in the Baroque by ”technique”, as I have come to understand it. Though there is a current preoccupation with complete works, the 17th and 18th century performer often chose repertoire with which he could organize Suites in the ”French” manner, the Suite thus providing a vehicle for personal choice.

Very close scutiny of his four books will indicate how Couperin himself accomplished the task of leaving certain options open, despite the printed sequence, in the tradition of his predecessors: Chambonni‘eres, Louis Couperin, d’Anglebert. The preludes of L’Art de Toucher le Clavecin are printed in measured notation only for reasons of visual organization, a practical consideration that does not necessarily determine artistic decisions in performance.

”To conclude about playing the harpsichord, in general, my feeling is that one should not remove himself in any respect from the character which is most suitable to it.” Francois Couperin, in his L’Art de Toucher Ie Clauecin, is again referring to the sound created by the harpsichord - its capacity of resonance. What he wrote is for all informed styles of harpsichord playing regardless of place or time: Byrd, Frescobaldi, Froberger, Bach, Scarlatti… ~ Skip Sempé

Skip Sempé is acknowledged as a new master of the solo harpsichord repertoire and as an extraordinary continuo player. He is especially admired for his interpretation of 17th century music - particularly that of the French school, and for his authoritative knowledge of Baroque performance tradition, both historical and in the 20th century. Having performed on both harpsichord and clavichord since a very early age, he has developed a superb touch, perfectly suited to the refined and expressive instruments on which he performs and records. The unparalleled emotional depth of Skip Sempé’s playing represents a welcome reappraisal of the classic harpsichord literature.

Skip Sempé is the founder of Capriccio Stravagante, a chamber ensemble for 17th and 18th century instrumental and vocal music. They focus on Monteverdi, Lully, Purcell and the 17th century traditions that influenced Couperin, Rameau, Bach and their contemporaries. They are a well established and close-knit team of young virtuosi who have been internationally acclaimed for their unfettered musical imagination, brilliance and rigorous ensemble playing. The versatility and expressive range of their basso continuo accompaniment lend their sound a richness that has enthralled audiences on tours including London, Amsterdam, New York, Boston, Washington, DC, Paris, Versailles, Rome, Milan and Berlin.

Track List:
L'art de Toucher Le Clavecin
1 Prélude En Ut 1:02
2 Prélude En Ré 1:15
3 Prélude En Sol 0:58

Suite En Ut Mineur
4 Allemande la Ténébreuse 4:49
5 Première Courante 1:27
6 Seconde Courante 1:57
7 Sarabande la Lugubre 3:20
8 L'Espagnolète 1:22
9 La Favorite, Chaconne à Deux Tems 5:31

L'Art de Toucher Le Clavecin
10 Prélude En Si Bémol 2:38
11 Les Baricades Mystérieuses 2:36

Suite en si mineur
12 La Raphaèle 4:13
13 Allemande L'Ausoniène 2:19
14 Première Courante 1:46
15 Seconde Courante 2:34
16 Sarabande L'Unique 2:38
17 Gavotte 1:40
18 Rondeau 1:24
19 Gigue 2:33
20 Passacaille 6:54

Suite En la
21 L'Art De Toucher Le Clavecin: Prélude En La 2:39
22 Les Vieux Seigneurs, Sarabande Grave 4:00
23 Le Dodo Ou L'Amour Au Berceau 2:52
24 Sarabande la Dangereuse 3:08
25 Les Ondes 2:56

L'Art de Toucher Le Clavecin
26 Prélude En Fa 1:31
27 L'Arlequine 1:37



All thanks go to the Caterina Sforza

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