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

Stranger, Sarah (2016). Capturing the Spirit of the French Clavecin School: Interpreting Couperin’s Pièces de Clavecin, vingt-cinquième ordre and Ravel’s Le Tombeau de Couperin MPhil Thesis, School of Music, The University of Queensland. doi:10.14264/uql.2016.294

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Author Stranger, Sarah
Thesis Title Capturing the Spirit of the French Clavecin School: Interpreting Couperin’s Pièces de Clavecin, vingt-cinquième ordre and Ravel’s Le Tombeau de Couperin
School, Centre or Institute School of Music
Institution The University of Queensland
DOI 10.14264/uql.2016.294
Publication date 2016-05-20
Thesis type MPhil Thesis
Open Access Status DOI
Supervisor Simon Perry
Anna Grinberg
Total pages 60
Total black and white pages 60
Language eng
Subjects 1904 Performing Arts and Creative Writing
190407 Music Performance
190409 Musicology and Ethnomusicology
Abstract/Summary This critical commentary reports on a Performance-led research project which formed part of a Master of Philosophy in Music Performance (piano). The project involved the preparation and performance of François Couperin’s Pièces de Clavecin, vingt-cinquième ordre and Maurice Ravel’s Le Tombeau de Couperin in the same recital, with the intention of making explicit connections, both for the performer and the audience, between the two works. The first of these works could be considered to embody an expression of the spirit of the French Baroque; the second, an evocation of it. While Ravel’s work is clearly, not least by its title, related to Couperin’s music, or the music of the eighteenth century Clavecin School in general, the precise nature of this relationship and its meaning for the performer has not been given much systematic attention. This critical commentary begins with a discussion of the context and salient features of the Clavecin School. It then turns to Couperin’s vingt-cinquième ordre and considers what is involved in the interpretation and preparation of this music, including a discussion of the feasibility of its performance on a modern piano. Several features of Ravel’s work are then considered in light of Couperin’s work, and the effect of the performer’s research into and preparation of the Couperin on the performance and interpretation of the Ravel is documented. The critical commentary concludes with reflections of the process of preparing and performing the two works as a pair.
Keyword french clavecin school
performance practice
harpsichord
françois couperin
maurice ravel

Document type: Thesis
Collections: UQ Theses (RHD) - Official
UQ Theses (RHD) - Open Access
 
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Created: Fri, 06 May 2016, 10:01:20 EST by Sarah Stranger on behalf of Learning and Research Services (UQ Library)