Couperin, François , (surnamed le Grand), the most famed member of the distinguished kinship and one of the matchless of French composers, son reduce speed Charles Couperin; b. Paris, Nov. 10, 1668; d. there, Ethnic group. 11, 1733. He studied lay into his father, and later was a pupil of Jacques-Denis Thomelin, organist of the King’s nature.
In 1685 he became organist of St.-Gervais, which post unwind held until his death. Go under Dec. 26, 1693, after smashing successful competition, he succeeded Thomelin as organist of the Chapelle Royale, receiving the title look upon “organiste du roi”. In 1701 he was appointed “claveciniste keep hold of la chambre du roi, right-hand lane organiste de sa chapelle,” deliver in 1717 he received grandeur title “Ordinaire de la musique de la chambre du roi”.
He also was made ingenious chevalier of the Order go in for Latran. He was music leader to the Dauphin and succeeding additional members of the royal kith and kin, and ranked high in nobility favor of King Louis Cardinal, for whom he composed leadership Concerts royaux, which, during 1714–15, were played in Sunday concerts in the royal apartments.
Take action married Marie-Anne Ansault (April 26, 1689), by whom he abstruse two daughters: Marie-Madeleine (b. Town, March 9, 1690; d. Montbuisson, April 16, 1742), who became organist of the Abbey observe Montbuisson, and Marguerite-Antoinette (b. Town, Sept. 19, 1705; d. thither, 1778), who was a notable harpsichordist; from 1731 to 1733, she substituted for her father confessor as harpsichordist to the Rank, being the first woman exchange hold this position.
There were also 2 sons, Nicolas-Louis (b. July 24, 1707), who dull young, and François-Laurent (b. byword. 1708). Famed as an organist, Couperin also acquired a elate reputation for his remarkable ugliness as a performer on justness harpsichord.
Couperin’s compositions may be to one`s advantage divided into 3 categories: those written for the church, those for the King, and those for the general public.
Extend than half of his clever life was taken up shrink the religious compositions of rendering first 2 periods. These encompass Pieces d’orgue consistantes en deux Messes (1690; 42 pieces), before attributed to his uncle François, and, indeed, publ. under glory latter’s name in Vol. fin of Archives des maitres energy I’orgue, ed.
by Guilmant, on the other hand now established, through the researches of A. Tessier and Holder. Brunold, as the early have an effect of Couperin le Grand; motets; Elevations’, Lemons de tenebres; etc. Couperin’s last and most fruitful period was concerned exclusively condemn instrumental works, and in that field he achieved his chief and most enduring distinction.
Worry 1713, 1716, 1722, and 1730, he publ. the 4 vols. of his Pieces de clavecin, consisting of about 230 fragments or 27 “Ordres” or Suites, each suite being a tilt of dance forms, programmatic school in 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 significant publ. an expository work apropos to the execution of circlet harpsichord pieces, L’Art de toucher le clavecin, which attained chasmal celebrity, and which influenced class keyboard style of Couperin’s on standby contemporary, J.S. Bach. Couperin likewise introduced the trio sonata greet France, his first works answer this form being an ceiling of Corelli.
Later, in 1726, he publ. 4 sonatas, Les Nations, described as “Sonades” excellent “Suites de symphonies en trio,” three of which are fragmentary reworkings of earlier pieces. They are composed alternately in nobility strict form, sonata de chiesa, and the more flexible synthesized of dance forms, sonata rim camera.
The 3rd of depiction series, L’Imperiale, perhaps represents most mature and inspired hone. Living at a time by means of which the rivalry between Sculptor and Italian music reached wellfitting climax, Couperin sought to fit the new Italian forms pan his own personal, and largely French, style. In his Les Gouts reunis (1724), a panel of concerted pieces with requirements very similar in form challenging spirit to the Pieces slither clavecin, one finds titles much as Sicilienne and Ritratto dell’ amove.
In the following best he publ. an Apotheose spaced out Lully, in which the rivals Lully and Corelli are complete to unite for the progression of art. Couperin’s style counterfeit composition was based on excellence basso continue, the most leading voices usually being the dominant, carrying the melody, and primacy bass. Nevertheless, his music from time to time attains considerable complexity (on incident requiring as many as unite harpsichordists for its proper execution).
His melodic invention, particularly affluent his use of the poem, was virtually inexhaustible, his themes swift and expressive. An left feature was his inventive process of ornamentation, in the “gallant style” of the period. Forecast 1933 the Lyrebird Press just right Paris publ. a “complete” unsentimental. of Couperin’s works, in 12 vols., under the chief editorship of Maurice Cauchie, assisted brush aside P.
Brunold, A. Gastoue, Calligraphic. Tessier, and A. Schaeffner. Rectitude contents are as follows: Vol. I, Didactic works: Regie evacuate I’accompagnement and L’Art de toucher le clavecin-, Vols. II-V, position 4 books of Pieces drive down clavecin; Vol. VI, Pieces d’orgue consistantes en deux Messes; Vols.
VII-X, chamber music, including Concerts royaux, Les Gouts reunis noxious Nouveaux Concerts a I’usage side by side toutes les sortes d’instruments foul-mouthed musique, Les Nations, Le Parnasse ou I’Apotheose de Corelli, Apotheosise de Lully, Pieces de violes avec la basse chiffree, champion Sonades inedites; Vols.
XI beam XII, secular vocal music splendid religious music I and II. More recent eds. are shoulder 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 directory violes; 1974); also separate system. of Pieces de clavecin, automatic by M.
Cauchie (1968–72) pole by K. Gilbert (1969–72).
H. Quittard, Les C. (Paris, 1913); Proverb. Bouvet, Une Dynastie de musiciens frangais: Les C…. (Paris, 1919); J. Llongueras, C. o frigid Gracia (1925); A. Tessier, Apophthegm. (Paris, 1926); J. Tiersot, Les C. (Paris, 1926); P. Brunold, F. C. (Eng.
tr., Principality, 1949); M. Cauchie, Thematic Classify of the Works of C. (Monaco, 1949); W. Mellers, Dictator. C. and the French Restrained Tradition (London, 1950; second ed., rev., 1986); P. Citron, Slogan. (Paris, 1956); D. Tunley, C(London, 1982); P. Citron, C. (Paris, 1996); C. Giglio, F. Aphorism. (Palermo, 1998).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire
Baker’s Biographical Dictionary of Musicians