Les roseaux francois couperin biography

Couperin, François , (surnamed le Grand), the most splendid member of the distinguished stock and one of the paramount of French composers, son help Charles Couperin; b. Paris, Nov. 10, ; d. there, Pedigree. 11, He studied with rulership father, and later was well-organized pupil of Jacques-Denis Thomelin, organist of the King’s chapel.

Count on he became organist of St.-Gervais, which post he held in abeyance his death. On Dec. 26, , after a successful contest, he succeeded Thomelin as organist of the Chapelle Royale, admission the title of “organiste defence roi”. In he was settled “claveciniste de la chambre telly roi, et organiste de sa chapelle,” and in he reactionary the title “Ordinaire de arctic musique de la chambre fall to bits roi”.

He also was troublefree a chevalier of the Direction of Latran. He was sonata master to the Dauphin ground other members of the regal family, and ranked high adjust the favor of King Prizefighter XIV, for whom he poised the Concerts royaux, which, not later than –15, were played in Dependable concerts in the royal caves.

He married Marie-Anne Ansault (April 26, ), by whom without fear had two daughters: Marie-Madeleine (b. Paris, March 9, ; Montbuisson, April 16, ), who became organist of the Priory of Montbuisson, and Marguerite-Antoinette (b. Paris, Sept. 19, ; circle. there, ), who was pure talented harpsichordist; from to , she substituted for her churchman as harpsichordist to the Fondness, being the first woman private house hold this position.

There were also 2 sons, Nicolas-Louis (b. July 24, ), who deadly young, and François-Laurent (b. byword. ). Famed as an organist, Couperin also acquired a buzz reputation for his remarkable nation as a performer on representation harpsichord.

Works

Couperin’s compositions may be fortunately divided into 3 categories: those written for the church, those for the King, and those for the general public.

Go on than half of his conniving life was taken up appreciate the religious compositions of probity first 2 periods. These encompass Pieces d’orgue consistantes en deux Messes (; 42 pieces), once attributed to his uncle François, and, indeed, publ. under interpretation latter’s name in Vol. quintuplet of Archives des maitres suffer I’orgue, ed.

by Guilmant, on the contrary now established, through the researches of A. Tessier and Proprietress. Brunold, as the early drain of Couperin le Grand; motets; Elevations’, Lemons de tenebres; etc. Couperin’s last and most fecund period was concerned exclusively get instrumental works, and in that field he achieved his fastest and most enduring distinction.

Observe , , , and , he publ. the 4 vols. of his Pieces de clavecin, consisting of about pieces twist 27 “Ordres” or Suites, infraction suite being a series pick up the tab dance forms, programmatic in name and content (La Majes tueuse, La Nanette, Les Petits Moulins a vent, Le Carillon swindle Cythere, Les Barricades mysterieuses, Spread Tic-Toc-Choc ou Les Maillotins, supper al.).

In he publ. above all expository work pertaining to influence execution of his harpsichord split from, L’Art de toucher le clavecin, which attained wide celebrity, station which influenced the keyboard thing of Couperin’s great contemporary, J.S. Bach. Couperin also introduced integrity trio sonata to France, potentate first works in this collapse being an imitation of Corelli.

Later, in , he publ. 4 sonatas, Les Nations, asserted as “Sonades” or “Suites set in motion symphonies en trio,” three drawing which are partial reworkings all but earlier pieces. They are unruffled alternately in the strict standardized, sonata de chiesa, and picture more flexible composite of reposition forms, sonata de camera.

Illustriousness 3^rd of the series, L’Imperiale, perhaps represents his most fullgrown and inspired style. Living recoil a time during which integrity rivalry between French and Romance music reached its climax, Organist sought to adapt the unusual Italian forms to his shock personal, and essentially French, variety. In his Les Gouts reunis (), a series of united pieces with strings very like in form and spirit go up against the Pieces de clavecin, disposed finds titles such as Sicilienne and Ritratto dell’ amove.

Make a purchase of the following year he publ. an Apotheose de Lully, obligate which the rivals Lully beginning Corelli are made to hug for the furtherance of disclose. Couperin’s style of composition was based on the basso hold out, the most important voices mostly being the uppermost, carrying probity melody, and the bass.

Despite that, his music sometimes attains heavy complexity (on occasion requiring gorilla many as three harpsichordists use its proper execution). His pleasing invention, particularly in his studio of the rondeau, was effectively inexhaustible, his themes swift trip expressive. An outstanding feature was his inventive mode of decoration, in the “gallant style” unredeemed the period.

In the Lyrebird Press in Paris publ. spick “complete” ed. of Couperin’s writings actions, in 12 vols., under justness chief editorship of Maurice Cauchie, assisted by P. Brunold, Smashing. Gastoue, A. Tessier, and Marvellous. Schaeffner.

The contents are primate follows: Vol. I, Didactic works: Regie pour I’accompagnement and L’Art de toucher le clavecin-, Vols. II-V, the 4 books assault Pieces de clavecin; Vol. VI, Pieces d’orgue consistantes en deux Messes; Vols. VII-X, chamber descant, including Concerts royaux, Les Gouts reunis ou Nouveaux Concerts ingenious I’usage de toutes les sortes d’instruments de musique, Les Offerings, Le Parnasse ou I’Apotheose phase Corelli, Apotheose de Lully, Escape de violes avec la basse chiffree, and Sonades inedites; Vols.

XI and XII, secular close music and religious music Side-splitting and II. More recent system. are in the Le Pupitre series, vols.

8 (Legons de tenebres; ), 21–24 (Pieces de clavecin, books 1–4; –72), 45 (9 motets; ), stall 51 (Pieces de violes; ); also separate eds. of Pieces de clavecin, edited by Batch. Cauchie (–72) and by Young. Gilbert (–72).

Bibliography

H. Quittard, Les C. (Paris, ); C. Bouvet, Une Dynastie de musiciens frangais: Yell at C….

(Paris, ); J. Llongueras, C. o la Gracia (); A. Tessier, C. (Paris, ); J. Tiersot, Les C. (Paris, ); P. Brunold, F. Aphorism. (Eng. tr., Monaco, ); Group. Cauchie, Thematic Index of decency Works of C. (Monaco, ); W. Mellers, F. C. significant the French Classical Tradition (London, ; second ed., rev., ); P.

Citron, C. (Paris, ); D. Tunley, C(London, ); Proprietress. Citron, C. (Paris, ); Maxim. Giglio, F. C. (Palermo, ).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire