This was written for harpsichord. The piano had not yet been invented in Couperin's time. On the harpsichord, there is no sustain pedal. But, the note would ring on as long as you held the key down after it was played, slowly dying away, until you lifted your finger. That's why the so-called "finger pedaling" is so effective in Baroque music. It provides for an illusion of a sustain pedal, when really, it is all done with the hands. And that is why Couperin notated it that way.
Bravo, excellent rendering and explanations. I agree, this is one of the most beautifu, intriguing pieces by Couperin . Apparently around the world we are many fans enjoying it . I play it on purpose a little slower to really relish the exquisite quasi dissonances and overlaps ; there are plenty of suprising turns and changes, in an almost modern, avant-garde way. By the way this is quite a sensua, quasi sexy music, because the hackneyed explanation about the mysterious barricades being the eyelids is wrong, it's about more intimate body "barriers". Congratulations for your good job. And thks , this music is so needed and comforting especially in those diffcult days.
Very informative and beautifully performed. You observe Couperin's direction of "lively" and maintain a relatively even tempo. Jean Rondeau could learn a lot from you. I'm playing this on the piano as well and I noticed the overlapping tones of half notes. But how does this work on the harpsichord? I thought they cannot play sustained notes?
I love the novel harmonic progression at 06:47. Such moments of feeling alive let me realize why people might have swooned at soirees where such masters of emotional literacy were playing--Rameau or Couperin, Schubert or Chopin, Brahms or Borodin. That lovely progression--a memento at 09:10.
