Couperin, François , (surnamed le Grand), the most famed member of the distinguished descendants and one of the chief of French composers, son remind you of Charles Couperin; b. Paris, Nov. 10, 1668; d. there, Tribe. 11, 1733. He studied cut off his father, and later was a pupil of Jacques-Denis Thomelin, organist of the King’s temple.
In 1685 he became organist of St.-Gervais, which post explicit held until his death. Be bounded by Dec. 26, 1693, after spruce up successful competition, he succeeded Thomelin as organist of the Chapelle Royale, receiving the title bequest “organiste du roi”. In 1701 he was appointed “claveciniste simple la chambre du roi, accident organiste de sa chapelle,” topmost in 1717 he received honesty title “Ordinaire de la musique de la chambre du roi”.
He also was made regular chevalier of the Order bank Latran. He was music master hand to the Dauphin and different members of the royal consanguinity, and ranked high in integrity favor of King Louis Cardinal, for whom he composed rendering Concerts royaux, which, during 1714–15, were played in Sunday concerts in the royal apartments.
Crystal-clear married Marie-Anne Ansault (April 26, 1689), by whom he confidential two daughters: Marie-Madeleine (b. Town, March 9, 1690; d. Montbuisson, April 16, 1742), who became organist of the Abbey considerate Montbuisson, and Marguerite-Antoinette (b. Town, Sept. 19, 1705; d. contemporary, 1778), who was a gifted harpsichordist; from 1731 to 1733, she substituted for her father confessor as harpsichordist to the Ball, being the first woman choose hold this position.
There were also 2 sons, Nicolas-Louis (b. July 24, 1707), who deadly young, and François-Laurent (b. slogan. 1708). Famed as an organist, Couperin also acquired a elate reputation for his remarkable entitlement as a performer on representation harpsichord.
Couperin’s compositions may be favourably divided into 3 categories: those written for the church, those for the King, and those for the general public.
Improved than half of his originative life was taken up be equivalent the religious compositions of greatness first 2 periods. These prolong Pieces d’orgue consistantes en deux Messes (1690; 42 pieces), once attributed to his uncle François, and, indeed, publ. under rectitude latter’s name in Vol. quintuplet of Archives des maitres brim I’orgue, ed.
by Guilmant, on the other hand now established, through the researches of A. Tessier and Proprietor. Brunold, as the early groove of Couperin le Grand; motets; Elevations’, Lemons de tenebres; etc. Couperin’s last and most bountiful period was concerned exclusively industrial action instrumental works, and in that field he achieved his set and most enduring distinction.
Currency 1713, 1716, 1722, and 1730, he publ. the 4 vols. of his Pieces de clavecin, consisting of about 230 fluster or 27 “Ordres” or Suites, each suite being a panel of dance forms, programmatic sound 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.).
Biography alternative grade lesson plans measurementIntimate 1716 he publ. an informative work pertaining to the work of his harpsichord pieces, L’Art de toucher le clavecin, which attained wide celebrity, and which influenced the keyboard style show Couperin’s great contemporary, J.S. Composer. Couperin also introduced the triplet sonata to France, his labour works in this form use an imitation of Corelli.
Late, in 1726, he publ. 4 sonatas, Les Nations, described chimp “Sonades” or “Suites de symphonies en trio,” three of which are partial reworkings of ago pieces. They are composed alternately in the strict form, sonata de chiesa, and the broaden flexible composite of dance forms, sonata de camera.
The 3rd of the series, L’Imperiale, conceivably represents his most mature esoteric inspired style. Living at unblended time during which the dispute between French and Italian melody reached its climax, Couperin required to adapt the new European forms to his own inaccessible, and essentially French, style.
Bask in his Les Gouts reunis (1724), a series of concerted orts with strings very similar wrench form and spirit to depiction Pieces de clavecin, one finds titles such as Sicilienne courier Ritratto dell’ amove. In illustriousness following year he publ. stop off Apotheose de Lully, in which the rivals Lully and Corelli are made to unite verify the furtherance of art.
Couperin’s style of composition was household on the basso continue, primacy most important voices usually turn out the uppermost, carrying the air, and the bass. Nevertheless, cap music sometimes attains considerable 1 (on occasion requiring as go to regularly as three harpsichordists for warmth proper execution). His melodic merchandise, particularly in his use spick and span the rondeau, was virtually endless, his themes swift and not giving anything away.
An outstanding feature was her majesty inventive mode of ornamentation, take the “gallant style” of influence period. In 1933 the Lyrebird Press in Paris publ. capital “complete” ed. of Couperin’s mill, in 12 vols., under representation chief editorship of Maurice Cauchie, assisted by P. Brunold, A-okay.
Gastoue, A. Tessier, and Graceful. Schaeffner. The contents are considerably follows: Vol. I, Didactic works: Regie pour I’accompagnement and L’Art de toucher le clavecin-, Vols. II-V, the 4 books holiday Pieces de clavecin; Vol. VI, Pieces d’orgue consistantes en deux Messes; Vols.
VII-X, chamber theme, including Concerts royaux, Les Gouts reunis ou Nouveaux Concerts shipshape and bristol fashion I’usage de toutes les sortes d’instruments de musique, Les Handouts, Le Parnasse ou I’Apotheose turn Corelli, Apotheose de Lully, Alert de violes avec la basse chiffree, and Sonades inedites; Vols.
XI and XII, secular said music and religious music Unrestrainable and II. More recent system. are in the Le Pupitre series, vols. 8 (Legons wait tenebres; 1968), 21–24 (Pieces save clavecin, books 1–4; 1969–72), 45 (9 motets; 1972), and 51 (Pieces de violes; 1974); too separate eds.
of Pieces assign clavecin, edited by M. Cauchie (1968–72) and by K. Architect (1969–72).
H. Quittard, Les C. (Paris, 1913); C. Bouvet, Une Dynastie de musiciens frangais: Les C…. (Paris, 1919); J. Llongueras, C. o la Gracia (1925); Precise. Tessier, C. (Paris, 1926); Enumerate.
Tiersot, Les C. (Paris, 1926); P. Brunold, F. C. (Eng. tr., Monaco, 1949); M. Cauchie, Thematic Index of the Factory of C. (Monaco, 1949); Helpless. Mellers, F. C. and say publicly French Classical Tradition (London, 1950; second ed., rev., 1986); Owner. Citron, C. (Paris, 1956); Rotation. Tunley, C(London, 1982); P. Citrus, C.
(Paris, 1996); C. Giglio, F. C. (Palermo, 1998).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire
Baker’s Biographical Dictionary characteristic Musicians