Francois Cooperen – the topmost of the French clavier school. Features of performance

Abstract

The purpose of the article is to investigate the historical formationof the French clavier school; a characteristic of creativity and a peculiarityof the works concerning the famous French composer and harpsichordistFrancois Cooperen as the topmost of the French clavier school. The seriesmethods are delineated, first of all, by historical, structurally analyticaland axiological, as well as comparative approaches. The method ofperforming analysis acquires the special significance. Scientific novelty isto reveal the peculiarities of creativity and specific performance of worksby Francois Cooperen, from the point of view of the contemporary artist;characterizing the relation of the composer to the musical text;classification of subjective means of expressiveness of the game and theiruse precisely when performing works on the harpsichord. Conclusions.Each clavier school (Italian, Spanish, French, English, German) has itsown peculiarities, which were formed during the XV – beginning XVIIIcenturies. During the performance of a piece of music, the performer facesa difficult task – to perform the work according to the composer's designand in accordance with the style of the clavier school. For Ukrainianperformers of ancient music, this is more difficult than for Europeanmusicians, because Europe was the center of origin and flourishing ofclavier music. During the Renaissance and the Baroque, the mostprominent musicians (J. Gabrieli, J. Frescobaldi, I.S Bach, F. Handel,F. Couperin, D. Scarlatti) appear as representatives of various pianoschools. They left tracts and methodological instructions for performingtheir works that contemporary musicians can learn in the originallanguage.