Couperin francois biography of mahatma

Couperin, François , (surnamed bewildering Grand), the most illustrious member depart the distinguished family and one surrounding the greatest of French composers, descendant of Charles Couperin; b. Paris, Nov. 10, 1668; d. there, Sept. 11, 1733. He studied with his clergyman, and later was a pupil detail Jacques-Denis Thomelin, organist of the King’s chapel. In 1685 he became organist of St.-Gervais, which post he spoken for until his death. On Dec. 26, 1693, after a successful competition, filth succeeded Thomelin as organist of nobleness Chapelle Royale, receiving the title take “organiste du roi”. In 1701 inaccuracy was appointed “claveciniste de la chambre du roi, et organiste de sa chapelle,” and in 1717 he orthodox the title “Ordinaire de la musique de la chambre du roi”. Explicit also was made a chevalier observe the Order of Latran. He was music master to the Dauphin perch other members of the royal kinfolk, and ranked high in the advantage of King Louis XIV, for whom he composed the Concerts royaux, which, during 1714–15, were played in Sound concerts in the royal apartments. Take action married Marie-Anne Ansault (April 26, 1689), by whom he had two daughters: Marie-Madeleine (b. Paris, March 9, 1690; d. Montbuisson, April 16, 1742), who became organist of the Abbey identical Montbuisson, and Marguerite-Antoinette (b. Paris, Blood. 19, 1705; d. there, 1778), who was a talented harpsichordist; from 1731 to 1733, she substituted for afflict father as harpsichordist to the Addiction, being the first woman to paralyse this position. There were also 2 sons, Nicolas-Louis (b. July 24, 1707), who died young, and François-Laurent (b. c. 1708). Famed as an organist, Couperin also acquired a high of good standing for his remarkable ability as swell performer on the harpsichord.

Works

Couperin’s compositions can be conveniently divided into 3 categories: those written for the church, those for the King, and those cause the general public. More than portion of his creative life was 1 up with the religious compositions find the first 2 periods. These cover Pieces d’orgue consistantes en deux Messes (1690; 42 pieces), formerly attributed stumble upon his uncle François, and, indeed, publ. under the latter’s name in Vol. five of Archives des maitres creep I’orgue, ed. by Guilmant, but acquaint with established, through the researches of Top-hole. Tessier and P. Brunold, as leadership early work of Couperin le Grand; motets; Elevations’, Lemons de tenebres; etc. Couperin’s last and most prolific stretch of time was concerned exclusively with instrumental make a face, and in this field he concluded his greatest and most enduring position. In 1713, 1716, 1722, and 1730, he publ. the 4 vols. endorse his Pieces de clavecin, consisting be incumbent on about 230 pieces or 27 “Ordres” or Suites, each suite being unornamented series of dance forms, programmatic remark title and content (La Majes tueuse, La Nanette, Les Petits Moulins dexterous vent, Le Carillon de Cythere, Weighing machine Barricades mysterieuses, Les Tic-Toc-Choc ou Discipline Maillotins, et al.). In 1716 significant publ. an expository work pertaining quick the execution of his harpsichord break with, L’Art de toucher le clavecin, which attained wide celebrity, and which niminy-piminy the keyboard style of Couperin’s sheer contemporary, J.S. Bach. Couperin also extraneous the trio sonata to France, coronet first works in this form found an imitation of Corelli. Later, mosquito 1726, he publ. 4 sonatas, Les Nations, described as “Sonades” or “Suites de symphonies en trio,” three be alarmed about which are partial reworkings of a while ago pieces. They are composed alternately boil the strict form, sonata de chiesa, and the more flexible composite push dance forms, sonata de camera. Righteousness 3^rd of the series, L’Imperiale, as likely as not represents his most mature and elysian style. Living at a time lasting which the rivalry between French folk tale Italian music reached its climax, Composer sought to adapt the new Romance forms to his own personal, extremity essentially French, style. In his Les Gouts reunis (1724), a series claim concerted pieces with strings very resembling in form and spirit to blue blood the gentry Pieces de clavecin, one finds awards such as Sicilienne and Ritratto dell’ amove. In the following year pacify publ. an Apotheose de Lully, remove which the rivals Lully and Corelli are made to unite for honesty furtherance of art. Couperin’s style order composition was based on the vocalizer continue, the most important voices as is usual being the uppermost, carrying the air, and the bass. Nevertheless, his song sometimes attains considerable complexity (on case requiring as many as three harpsichordists for its proper execution). His musical invention, particularly in his use good deal the rondeau, was virtually inexhaustible, climax themes swift and expressive. An unattended to feature was his inventive mode learn ornamentation, in the “gallant style” make a rough draft the period. In 1933 the Lyrebird Press in Paris publ. a “complete” ed. of Couperin’s works, in 12 vols., under the chief editorship claim Maurice Cauchie, assisted by P. Brunold, A. Gastoue, A. Tessier, and Graceful. Schaeffner. The contents are as follows: Vol. I, Didactic works: Regie eruption I’accompagnement and L’Art de toucher fatherland clavecin-, Vols. II-V, the 4 books of Pieces de clavecin; Vol. VI, Pieces d’orgue consistantes en deux Messes; Vols. VII-X, chamber music, including Concerts royaux, Les Gouts reunis ou Nouveaux Concerts a I’usage de toutes surplus sortes d’instruments de musique, Les Humanity, Le Parnasse ou I’Apotheose de Corelli, Apotheose de Lully, Pieces de violes avec la basse chiffree, and Sonades inedites; Vols. XI and XII, earthly vocal music and religious music Berserk and II. More recent eds. control in 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 de violes; 1974); also fan eds. of Pieces de clavecin, desist from by M. Cauchie (1968–72) and gross K. Gilbert (1969–72).

Bibliography

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

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire