4. La Bersan

About the Work

François Couperin (1668-1733), often referred to as "Couperin le Grand," is a great Baroque composer, often mentioned alongside J.S. Bach. A commonality with Bach is that he was born into a family of musicians and produced many musicians within his lineage. Unlike Bach, who primarily composed sacred music, Couperin's specialty lay in works for keyboard instruments. His treatise, L'art de toucher le clavecin (The Art of Playing the Harpsichord), was a groundbreaking pedagogical work that revolutionized the performance practices of the time (by proposing the use of the thumb in harpsichord playing).

The collection of harpsichord pieces in which this work is included comprises four volumes, containing over 230 short pieces. While each volume includes conventional suites centered around dance forms, they more often resemble a miscellany of pieces with concrete and distinctive titles (e.g., "The Harvesters," "The Spinner," "The Gossip," "The Fluttering Ribbons," etc., some even bearing personal names). "La Bersan" is the fourth piece in the Sixth Ordre (Suite) of the Second Book.

The piece is in binary form (measures 1-11, 12-end), which is a common structure for Baroque suites. However, it is characterized by a scarcity of repeating elements throughout and an extremely improvisatory nature. Conversely, the codas of each section (measures 9-10, 27-28), where almost identical figures appear, should be performed with a conscious effort to unify their atmosphere.

As can be seen from a score analysis, the harmonic changes are quite rapid, making the piece appear chaotic at first glance. However, if the vertically sounding chords are not simplified and organized, the performance will become cluttered, contrary to the opening indication "Légèrement". This aspect presents a significant performance challenge.

Furthermore, unlike the music of Bach and later periods, this piece was written improvisationally, prioritizing the flow of phrases and coloristic effects over the logical connection of chords. A "lightness" that extends beyond mere timbre is required.

Performance Notes

• Measure 1: The opening melody, lacking the first beat, can be interpreted either as starting on the tonic chord or, by referencing the second section (latter half), as beginning on the dominant (V) chord. The opening features a canon at the octave between the left and right hands.
•  Measure 6: A sequence begins from the third beat. A natural crescendo accompanies the ascending harmonic motion.
•  Measure 9: This time, a descending sequence. This motion reappears (in a different key) in measure 27 towards the end of the piece.
• Measure 12: The second section begins in G minor from the second beat. Although there are no common melodic elements, this section should also be navigated without the tempo rushing.
•  Measure 15: The music abruptly enters C minor. This is where the French composer's emphasis on color over theoretical harmonic connection truly shines. The bass notes on the second and fourth beats are passing tones (non-chord tones) derived from the preceding notes, so harmonically, it is likely best to maintain the image of the chords on the first and third beats.
•  Measure 17: This is a sequence containing chromaticism; ensure the ascending line is organized and clear to avoid sounding overly cluttered. Furthermore, the interjecting inner voice movements from this point onward must be carefully differentiated in timbre and volume to avoid blending with the upper and lower parts.
•  Measure 20: The piece returns to the tonic key (B-flat major). The ornamental figures from this point necessitate the use of outer fingers (3, 4, 5), requiring sufficient practice to ensure clear and detached articulation.
•  Measure 27: This is the same descending sequence as in measure 9, but note that here, instead of a decrescendo, a crescendo leads towards the end of the piece.