François Couperin’s Concerts Royaux “Quatrieme Concert”: Analysis and Interpretation

Abstract

This study of the musical masterpiece composed by the French Baroque composer François Couperin, explores one of the best French chamber music pieces from the period in which the flute acts as the main vocal line. The work not only demonstrates musical intelligence, but it also reverberates the musical potential of the composer. To analyse and understand the heritage of Baroque ensemble music, we need to deconstruct the composers works to look at them from the original sociocultural perspective. New, thinking patterns and individual interpretation can be developed over time through constant practice and personal experiences with the music. This research aims to: 1) study the concept and role of the flute through patterns of performance and repertoire reflecting the composer’s perspectives in relation to the musical era, as well as analyse several interpretations illustrating the progress and evolution of performing techniques. 2) to establish an approach for integrating those conceptions into musical performance through the process of choosing remarkably exceptional ensemble music repertoires for flute, instrumental forms, composer’s uniqueness, and perspectives toward the significance of masterpieces and instrumentations.

This recapitulation of the historical synthesis towards the concept in performing François Couperin’s Concerts Royaux “Quatrième Concert”, serves as the epitome that reflects the composer's perspective on the identity of the flute that brings about knowledge and creativity in musical performance in relation to the recognizably distinctive tradition that all musicians can integrate into their performing approaches. Not only does it establish sagacity but also creates an example for musical arts, aesthetics study and educational purpose that can be used as an iconic reference for further use.