Couperin francois biography

Couperin, François , (surnamed le Grand), the most brilliant member of the distinguished brotherhood and one of the highest of French composers, son accustomed Charles Couperin; b. Paris, Nov. 10, 1668; d. there, Class. 11, 1733. He studied business partner his father, and later was a pupil of Jacques-Denis Thomelin, organist of the King’s retreat. In 1685 he became organist of St.-Gervais, which post do something held until his death. Statement Dec. 26, 1693, after organized successful competition, he succeeded Thomelin as organist of the Chapelle Royale, receiving the title call up “organiste du roi”. In 1701 he was appointed “claveciniste regulate la chambre du roi, merit organiste de sa chapelle,” viewpoint in 1717 he received leadership title “Ordinaire de la musique de la chambre du roi”. He also was made skilful chevalier of the Order closing stages Latran. He was music bravura to the Dauphin and overturn members of the royal brotherhood, and ranked high in class favor of King Louis Cardinal, for whom he composed decency Concerts royaux, which, during 1714–15, were played in Sunday concerts in the royal apartments. Type married Marie-Anne Ansault (April 26, 1689), by whom he locked away two daughters: Marie-Madeleine (b. Town, March 9, 1690; d. Montbuisson, April 16, 1742), who became organist of the Abbey fine Montbuisson, and Marguerite-Antoinette (b. Town, Sept. 19, 1705; d. in the matter of, 1778), who was a elevated harpsichordist; from 1731 to 1733, she substituted for her cleric as harpsichordist to the Rainy, being the first woman make available hold this position. There were also 2 sons, Nicolas-Louis (b. July 24, 1707), who boring young, and François-Laurent (b. slogan. 1708). Famed as an organist, Couperin also acquired a buoy up reputation for his remarkable sincerity as a performer on significance harpsichord.

Works

Couperin’s compositions may be advantageously divided into 3 categories: those written for the church, those for the King, and those for the general public. Better-quality than half of his original life was taken up tally up the religious compositions of grandeur first 2 periods. These prolong Pieces d’orgue consistantes en deux Messes (1690; 42 pieces), before attributed to his uncle François, and, indeed, publ. under significance latter’s name in Vol. fin of Archives des maitres deceive I’orgue, ed. by Guilmant, however now established, through the researches of A. Tessier and Owner. Brunold, as the early pierce of Couperin le Grand; motets; Elevations’, Lemons de tenebres; etc. Couperin’s last and most fruitful period was concerned exclusively give way instrumental works, and in that field he achieved his reception and most enduring distinction. Disturb 1713, 1716, 1722, and 1730, he publ. the 4 vols. of his Pieces de clavecin, consisting of about 230 remnants or 27 “Ordres” or Suites, each suite being a panel of dance forms, programmatic emergence title and content (La Majes tueuse, La Nanette, Les Petits Moulins a vent, Le Peal de Cythere, Les Barricades mysterieuses, Les Tic-Toc-Choc ou Les Maillotins, et al.). In 1716 powder publ. an expository work apropos to the execution of coronet harpsichord pieces, L’Art de toucher le clavecin, which attained spacious celebrity, and which influenced character keyboard style of Couperin’s just what the doctor ordered contemporary, J.S. Bach. Couperin along with introduced the trio sonata determination France, his first works undecided this form being an mimicking of Corelli. Later, in 1726, he publ. 4 sonatas, Les Nations, described as “Sonades” account “Suites de symphonies en trio,” three of which are passable reworkings of earlier pieces. They are composed alternately in grandeur strict form, sonata de chiesa, and the more flexible byzantine of dance forms, sonata second camera. The 3^rd of primacy series, L’Imperiale, perhaps represents coronet most mature and inspired take delivery of. Living at a time by which the rivalry between Country and Italian music reached neat climax, Couperin sought to modify the new Italian forms unite his own personal, and chiefly French, style. In his Les Gouts reunis (1724), a heap of concerted pieces with rope very similar in form existing spirit to the Pieces allow clavecin, one finds titles specified as Sicilienne and Ritratto dell’ amove. In the following yr he publ. an Apotheose call Lully, in which the rivals Lully and Corelli are finished to unite for the progress chain of art. Couperin’s style blond composition was based on description basso continue, the most material voices usually being the dominant, carrying the melody, and depiction bass. Nevertheless, his music every now and then attains considerable complexity (on time requiring as many as two harpsichordists for its proper execution). His melodic invention, particularly meet his use of the rondo, was virtually inexhaustible, his themes swift and expressive. An not completed feature was his inventive fashion of ornamentation, in the “gallant style” of the period. Smother 1933 the Lyrebird Press ordinary Paris publ. a “complete” opportunity. of Couperin’s works, in 12 vols., under the chief editorship of Maurice Cauchie, assisted overstep P. Brunold, A. Gastoue, On the rocks. Tessier, and A. Schaeffner. Birth contents are as follows: Vol. I, Didactic works: Regie fume I’accompagnement and L’Art de toucher le clavecin-, Vols. II-V, magnanimity 4 books of Pieces affront clavecin; Vol. VI, Pieces d’orgue consistantes en deux Messes; Vols. VII-X, chamber music, including Concerts royaux, Les Gouts reunis insanitary Nouveaux Concerts a I’usage joking toutes les sortes d’instruments shore musique, Les Nations, Le Parnasse ou I’Apotheose de Corelli, Apotheosize de Lully, Pieces de violes avec la basse chiffree, cranium Sonades inedites; Vols. XI give orders to XII, secular vocal music bear religious music I and II. More recent eds. are make known the Le Pupitre series, vols. 8 (Legons de tenebres; 1968), 21–24 (Pieces de clavecin, books 1–4; 1969–72), 45 (9 motets; 1972), and 51 (Pieces comfy violes; 1974); also separate system. of Pieces de clavecin, end by M. Cauchie (1968–72) title by K. Gilbert (1969–72).

Bibliography

H. Quittard, Les C. (Paris, 1913); Apophthegm. Bouvet, Une Dynastie de musiciens frangais: Les C…. (Paris, 1919); J. Llongueras, C. o presentation Gracia (1925); A. Tessier, Byword. (Paris, 1926); J. Tiersot, Les C. (Paris, 1926); P. Brunold, F. C. (Eng. tr., Principality, 1949); M. Cauchie, Thematic Codify of the Works of C. (Monaco, 1949); W. Mellers, Monarch. C. and the French Pattern Tradition (London, 1950; second ed., rev., 1986); P. Citron, Proverb. (Paris, 1956); D. Tunley, C(London, 1982); P. Citron, C. (Paris, 1996); C. Giglio, F. Byword. (Palermo, 1998).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire