TY - JOUR

T1 - «Основы клавесина» де Сен Ламбера (1702): перевод и комментарии. Часть II

AU - Панов, Алексей Анатольевич

AU - Розанов, Иван Васильевич

PY - 2025/6/27

Y1 - 2025/6/27

N2 - This publication presents the second part of the Russian translation of the renowned treatise Les Principes du Clavecin (“Principles of the Harpsichord”) by de Saint Lambert (Paris, 1702). The final seventeen chapters of this work address a number of important topics in harpsichord pedagogy: signs of repetition and accidentals, hand positioning, and fingering principles. However, the main focus of the concluding section is the interpretation of ornaments—a subject of crucial importance both for the Baroque practice and for modern performers striving for stylistic authenticity. The significance of Saint Lambert’s treatise lies in the fact that, by summarizing the guidance of his predecessors (d’Anglebert, Chambonnières, Nivers, and Lebègue), he presented a comprehensive doctrine of ornamentation in a manner exemplary of the French harpsichord tradition. In this regard, as well as in several others, Les Principes du Clavecin stands alongside François Couperin’s L’Art de toucher le clavecin (“The Art of Playing the Harpsichord”), whose material is extensively referenced in the translators’ commentary.

AB - This publication presents the second part of the Russian translation of the renowned treatise Les Principes du Clavecin (“Principles of the Harpsichord”) by de Saint Lambert (Paris, 1702). The final seventeen chapters of this work address a number of important topics in harpsichord pedagogy: signs of repetition and accidentals, hand positioning, and fingering principles. However, the main focus of the concluding section is the interpretation of ornaments—a subject of crucial importance both for the Baroque practice and for modern performers striving for stylistic authenticity. The significance of Saint Lambert’s treatise lies in the fact that, by summarizing the guidance of his predecessors (d’Anglebert, Chambonnières, Nivers, and Lebègue), he presented a comprehensive doctrine of ornamentation in a manner exemplary of the French harpsichord tradition. In this regard, as well as in several others, Les Principes du Clavecin stands alongside François Couperin’s L’Art de toucher le clavecin (“The Art of Playing the Harpsichord”), whose material is extensively referenced in the translators’ commentary.

KW - French Baroque music pedagogy

KW - French Baroque music theory

KW - French Baroque school of harpsichord

KW - Les Principes du Clavecin by de Saint Lambert

KW - Mr. de Saint-Lambert

KW - interpretation of French Baroque music

UR - https://www.mendeley.com/catalogue/94085cb3-082f-3a26-a2f4-f6c1b7ed80b1/

U2 - 10.26176/mosconsv.2025.61.2.01

DO - 10.26176/mosconsv.2025.61.2.01

M3 - статья

VL - 16

SP - 200

EP - 253

JO - Nauchnyy Vestnik Moskovskoy Konservatorii

JF - Nauchnyy Vestnik Moskovskoy Konservatorii

SN - 2079-9438

IS - 2

ER -