June 4, 2023 at 7 p.m.
Saint-Lambert
St-Barnabas Anglican Church
95 Lorne Ave.
The court of Versailles was one of the rare places that employed woman musicians in the Baroque period. Archival documents contain the names of Marguerite-Louise and Marguerite-Antoinette Couperin, and Anne-Renée Rebel. However, women rarely published or composed works, save for a few notable exceptions like Élisabeth Jacquet de la Guerre. If we search a little further, we can find the occasional mention here and there of a celebrated woman harpsichordist, such as Mademoiselle Certain or Marie-Rose Dubois. In this harpsichord recital, Mélisande McNabney enters the world of these woman and retraces their history in music.
François Couperin (1668-1733)
Premier prélude, excerpt from L’Art de toucher le clavecin
Qui dat nivem (transcribed for harpsichord by Mélisande McNabney)
Troisième Ordre, (excerpts)
La Ténébreuse – Allemande
Premiere Courante
Seconde Courante
La Lugubre
Les Regrets
La Favorite – Chaconne a deux tems
La Lutine
Jean Henry D’Anglebert (1629-1691)
Prélude, (excerpt from the second volume of Pièces pour clavecin)
Transcriptions of opera arias by Lully:
Ouverture de Cadmus
Air d’Apollon du Triomphe de l’Amour
Les Songes agréables d’Atys
Passacaille d’Armide
Élisabeth Jacquet de la Guerre (1665-1729)
First volume of Pièces de clavecin
Prélude
Allemande
Courante I
Courante II
Sarabande
Gigue
Cannaris
Chaconne L’Inconstante
Antoine Forqueray (1672-1745) /pub. Jean-Baptiste Antoine Forqueray (1699-1782)
First suite in D minor
La Forqueray
La Cottin
La Bellmont
La Portugaise
Jean-Philippe Rameau (1683-1764)
La Dauphine