Plung'd in the confines of desire, Z. O praise the Lord, ye heathen, Z. My heart is fixed, O God, Z. I was glad when they said unto me; O consider my adversity, Z. Behold I bring you good tidings, Z. With sick and famish'd eyes, Z. How long, great God? Awake, and with great attention hear, Z. O God, thou art my god, Z. We sing to him, whose wisdom form'd the ear, Z. O, I'm sick of life, Z. O God, the king of glory, Z. Let the night perish Job's Curse , Z. When on my sickbed I languish, Z. Why do the heathen rage so furiously together?
George Malcolm (harpsichord), François Couperin Ordres 8, 14 & 21
Lord, who can tell how oft he offendeth, Z. Since God, so tender a regard, Z. Sleep, Adam, sleep and take thy rest, Z. Awake, ye dead, Z. The earth trembled, Z. The way of God is an undefiled way, Z. Lord not to us, but to thy name, Z. Lord, what is man? Sing unto God, Z. O, all ye people, clap your hands, Z. My heart is inditing, Z.
O Lord, rebuke me not, Z. Praise the Lord, O my soul, and all that is within me Z. Te Deum laudamus and Jubilate Deo Z. Blow up the trumpet in Sion Z. The Lord is king, be the people never so impatient Z. Begin the song and strike the living lyre Z. Hear my prayer, O Lord Z. Lord, I can suffer thy rebukes Z. O Lord our governor Z. Remember not, O Lord, our offences Z.
Hosanna to the highest Z. O God thou hast cast us out Z. O God, thou hast cast us out Z. The word is a lantern unto my feet Z.
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My Beloved Spake Z. My song Shall Be Alway Z. Pastora's beauties when unblown; 2. A thousand sev'ral ways I tried; 3.
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Urge me no more; 4. Farewell, all joys; 5. If music be the food of love; 6. Amidst the shades and cool refreshing streams. Draw near, you lovers; 2.
Second livre de pièces de clavecin (Couperin, François)
While Thiorsis, wrapp'd in downy sleep; 3. Love, thou can'st hear, tho' thou art blind; 4. I lov'd fair Celia; 5. What hope for us remains now he is gone? Suite from the play Bonducca Z. Chacony in G minor Z. Suite from the play The Virtuous Wife Z. Come all ye songsters; 2.
May ye god of wit; 3. Heark how all things; 4. Ground in G Z. One of the most baffling aspects to the study of Versailles is the cost — how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France.
While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In , the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture — disbursements to artists, final payments, delivery — as well as descriptions and weight of items purchased.
Entries for and concerning the silver used in the salon de Mercure serve as an example. Allemande — An allemande is a renaissance and baroque dance, and one of the most popular instrumental dance styles in baroque music, with notable examples by Couperin, Purcell, Bach and Handel. It is often the first movement of a suite of dances, paired with a subsequent courante. It appears to have derived from a German dance but no identifiable dance, a livelier version, the allemande courante, used three springing steps and a hop.
József Gát (harpsichord) François Couperin: Pièces de clavecin Ordre 1 & 2
Elizabethan British composers wrote many Almans as separate pieces, French composers of the 17th century experimented with the allemande, shifting to quadruple meter and ranging more widely in tempo. This slower allemande, like the pavane, was adapted to the tombeau or memorial composition, the German composers Froberger and Bach followed suit in their allemandes for keyboard instruments, although ensemble allemandes kept a more traditional style.
Italian and English composers were more free with the allemande, writing in counterpoint, in his Musikalisches Lexicon, Johann Gottfried Walther wrote that the allemande must be composed and likewise danced in a grave and ceremonious manner. Its music is characterised by absence of syncopation, combination of short motifs into larger units and contrasts of tone and motif.
Late in the 18th century, allemande came to be used for type of dance in triple meter. Mozart and Beethoven both produced sets of German Dances in this style, some of the close embraces and turns of the allemande were carried over to squaredance and contra dance.
George Malcolm (harpsichord), François Couperin Ordres 8, 14 & 21
In an allemande, couples hold one forearm and turn each other to the left or right. Bach - Allemande from the fourth French Suite. It was first published in , and was followed by an edition in