Ordres francois couperin biography

Couperin, François , (surnamed le Grand), the most admirable member of the distinguished kinsmen and one of the unchanging of French composers, son aristocratic Charles Couperin; b. Paris, Nov. 10, 1668; d. there, Breed. 11, 1733. He studied adhere to his father, and later was a pupil of Jacques-Denis Thomelin, organist of the King’s reservation.

In 1685 he became organist of St.-Gervais, which post unquestionable held until his death. Handle Dec. 26, 1693, after top-hole successful competition, he succeeded Thomelin as organist of the Chapelle Royale, receiving the title do away with “organiste du roi”. In 1701 he was appointed “claveciniste division la chambre du roi, wounded organiste de sa chapelle,” add-on in 1717 he received grandeur title “Ordinaire de la musique de la chambre du roi”.

He also was made boss chevalier of the Order prop up Latran. He was music virtuoso to the Dauphin and extra members of the royal kinship, and ranked high in primacy favor of King Louis Cardinal, for whom he composed representation Concerts royaux, which, during 1714–15, were played in Sunday concerts in the royal apartments.

Sharp-tasting married Marie-Anne Ansault (April 26, 1689), by whom he challenging two daughters: Marie-Madeleine (b. Town, March 9, 1690; d. Montbuisson, April 16, 1742), who became organist of the Abbey frequent Montbuisson, and Marguerite-Antoinette (b. Town, Sept. 19, 1705; d. nearby, 1778), who was a accomplished harpsichordist; from 1731 to 1733, she substituted for her father confessor as harpsichordist to the Informative, being the first woman philosopher hold this position.

There were also 2 sons, Nicolas-Louis (b. July 24, 1707), who thriving young, and François-Laurent (b. adage. 1708). Famed as an organist, Couperin also acquired a tall reputation for his remarkable steadfastness as a performer on rank harpsichord.

Works

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

Excellent than half of his machiavellian life was taken up appreciate the religious compositions of interpretation first 2 periods. These involve Pieces d’orgue consistantes en deux Messes (1690; 42 pieces), heretofore attributed to his uncle François, and, indeed, publ. under representation latter’s name in Vol. quint of Archives des maitres turnoff I’orgue, ed.

by Guilmant, however now established, through the researches of A. Tessier and Proprietor. Brunold, as the early sort out of Couperin le Grand; motets; Elevations’, Lemons de tenebres; etc. Couperin’s last and most luxuriant period was concerned exclusively acquiesce instrumental works, and in that field he achieved his highest and most enduring distinction.

Mosquito 1713, 1716, 1722, and 1730, he publ. the 4 vols. of his Pieces de clavecin, consisting of about 230 dregs or 27 “Ordres” or Suites, each suite being a furniture of dance forms, programmatic undecided title and content (La Majes tueuse, La Nanette, Les Petits Moulins a vent, Le Crash de Cythere, Les Barricades mysterieuses, Les Tic-Toc-Choc ou Les Maillotins, et al.).

In 1716 sharptasting publ. an expository work relevant to the execution of culminate harpsichord pieces, L’Art de toucher le clavecin, which attained chasmal celebrity, and which influenced righteousness keyboard style of Couperin’s good contemporary, J.S. Bach. Couperin too introduced the trio sonata examination France, his first works person of little consequence this form being an confinement of Corelli.

Later, in 1726, he publ. 4 sonatas, Les Nations, described as “Sonades” less significant “Suites de symphonies en trio,” three of which are inequitable reworkings of earlier pieces. They are composed alternately in excellence strict form, sonata de chiesa, and the more flexible multipart of dance forms, sonata conductor camera.

The 3^rd of integrity series, L’Imperiale, perhaps represents empress most mature and inspired layout. Living at a time before which the rivalry between Land and Italian music reached warmth climax, Couperin sought to accommodate the new Italian forms cue his own personal, and largely French, style. In his Les Gouts reunis (1724), a keep fit of concerted pieces with string very similar in form champion spirit to the Pieces mass clavecin, one finds titles specified as Sicilienne and Ritratto dell’ amove.

In the following crop he publ. an Apotheose wheel Lully, in which the rivals Lully and Corelli are compelled to unite for the boosting of art. Couperin’s style have a high opinion of composition was based on interpretation basso continue, the most influential voices usually being the foremost, carrying the melody, and picture bass.

Nevertheless, his music from time to time attains considerable complexity (on circumstance requiring as many as span harpsichordists for its proper execution). His melodic invention, particularly razorsharp his use of the poem, was virtually inexhaustible, his themes swift and expressive. An unattended to feature was his inventive income of ornamentation, in the “gallant style” of the period.

Distort 1933 the Lyrebird Press get the picture Paris publ. a “complete” non-discriminatory. of Couperin’s works, in 12 vols., under the chief editorship of Maurice Cauchie, assisted near P. Brunold, A. Gastoue, Smashing. Tessier, and A. Schaeffner. Primacy contents are as follows: Vol. I, Didactic works: Regie gleam I’accompagnement and L’Art de toucher le clavecin-, Vols.

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II-V, character 4 books of Pieces aggravate clavecin; Vol. VI, Pieces d’orgue consistantes en deux Messes; Vols. VII-X, chamber music, including Concerts royaux, Les Gouts reunis unfit Nouveaux Concerts a I’usage furnish toutes les sortes d’instruments flange musique, Les Nations, Le Parnasse ou I’Apotheose de Corelli, Apotheosise de Lully, Pieces de violes avec la basse chiffree, pole Sonades inedites; Vols.

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XI and XII, secular outspoken music and religious music Unrestrainable and II. More recent system. are in the Le Pupitre series, vols. 8 (Legons next to tenebres; 1968), 21–24 (Pieces throw in the towel clavecin, books 1–4; 1969–72), 45 (9 motets; 1972), and 51 (Pieces de violes; 1974); too separate eds.

of Pieces coastline clavecin, edited by M. Cauchie (1968–72) and by K. Gb (1969–72).

Bibliography

H. Quittard, Les C. (Paris, 1913); C. Bouvet, Une Dynastie de musiciens frangais: Les C…. (Paris, 1919); J. Llongueras, C. o la Gracia (1925); Regular. Tessier, C. (Paris, 1926); List. Tiersot, Les C.

(Paris, 1926); P. Brunold, F. C. (Eng. tr., Monaco, 1949); M. Cauchie, Thematic Index of the Output of C. (Monaco, 1949); Defenceless. Mellers, F. C. and glory French Classical Tradition (London, 1950; second ed., rev., 1986); Proprietor. Citron, C. (Paris, 1956); Recycle. Tunley, C(London, 1982); P. Citrus, C. (Paris, 1996); C. Giglio, F.

C. (Palermo, 1998).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire