CRC 3514

François Couperin: The Complete Pièces de Clavecin, Volume 2

Mark Kroll, harpsichordRecorded on a 1785 Jacques Germain harpsichord.

Huitiême Ordre (30:01)1 La Raphaéle 5:172 Allemande l’Ausoniéne 2:453 [Premier] Courante 1:494 Seconde Courante 2:305 Sarabande L’Unique 2:516 Gavotte 1:277 Rondeau 2:028 Gigue 3:249 Passacaille 6:1210 La Morinéte 1:39

Dixseptiéme Ordre (15:21)11 La Superbe ou la Forqueray 4:5212 Les Petits Moulins à Vent 2:2413 Les Timbres 3:1814 Courante 2:2815 Les Petites Chrémiéres de Bagnolet

2:17

Vingt-Troisiéme Ordre (17:15)16 L ‘Audacieuse 3:3617 Les Tricoteuses 1:3818 L’Arlequine 2:2919 Les Gondoles de Délos 6:04 20 Les Satires, Chevre-pieds 3:25

Total Time: 62:39

Recorded March 29 and May 3, 2015, at The National Music Museum, Vermillion SouthDakota. Produced and Engineered by Peter Nothnagle.

Cover Painting: Jean-Antoine Watteau: Gilles (1718 – 1719).

�� 2016 Centaur Records, Inc. www.centaurrecords.com4

women or carry them off by force, much to thedismay of the nymphs and shepherdesses ofArcadia. Couperin’s music vividly portrayswhat they looked like and how they behaved.

Grateful acknowledgement is given to JohnKoster, Professor emeritus at the University ofSouth Dakota, Vermillion, who restored the1785 Jacques Germain harpsichord so beauti-fully, and maintained and cared for it through-out the recording sessions; Dr. ClevelandJohnson, Director of The National Museum,and his staff for their help with all the detailsthat made this recording possible; PeterNothnagle, for his superb skills as a recordingengineer and producer; and violinist CarolLieberman, who listened many times to thesession tapes and was essential in choosing theversions that appear on this album.

—Mark Kroll

1 It is beyond the scope of these notes todescribe these references in detail. Two excel-lent sources for further reading on this subjectare Jane Clark and Derek Connon, The Mirrorof Human Life (London: Keyword Press, 2002,rev. 2011) and Wilfred Mellers, FrançoisCouperin and the French Classical Tradition, rev.Davitt Moroney (London: Faber, 1987).

Mark Kroll’s distinguished career as a per-former, scholar and educator spans a period ofmore than fifty years. He has appeared in con-cert worldwide as a harpsichordist and fortepi-anist, published numerous books, articles andeditions, and taught in the United States andabroad, including twenty-five years asProfessor of Harpsichord and Chair of theDepartment of Historical Performance atBoston University.

FrançoisCouperin

The CompletePièces

de Clavecin, Volume 2

Mark Kroll,harpsichord