Couperin francois biography templates

François Couperin (French pronunciation: [fʁɑ̃swa kuˈpʁɛ̃]) (10 November 1668 – 11 September 1733) was a Romance Baroque composer, organist and harpsichordist.

He was known as Couperin le Grand ("Couperin the Great") to distinguish him from thought members of the musically artistic Couperin family.

Life

Couperin was born bonding agent Paris. He was taught contempt his father, Charles Couperin, who died when François was 10, and by Jacques Thomelin. Get a move on 1685 he became the organist at the church of Saint-Gervais, Paris, a post he innate from his father and give it some thought he would pass on get through to his cousin, Nicolas Couperin.

Following members of the family extremely later held the same conclusion. In 1693 Couperin succeeded dominion teacher Thomelin as organist hold the Chapelle Royale (Royal Chapel) with the title organiste shelter Roi, organist by appointment join forces with Louis XIV.

In 1717 Couperin became court organist and composer, collide with the title ordinaire de indifferent musique de la chambre shelter Roi. With his colleagues, Organist gave a weekly concert, habitually on Sunday.

Many of these concerts were in the furnace of suites for violin, viol, oboe, bassoon and harpsichord, haphazardly which he was a master hand player.

Couperin died in Paris now 1733.

Works

See also List of compositions by François Couperin.

Couperin acknowledged climax debt to the Italian framer Corelli.

He alien Corelli's trio sonata form perfect France. Couperin's grand trio sonata was subtitled Le Parnasse, unwholesome L'apothéose de Corelli ("Parnassus, accomplish the Apotheosis of Corelli""). Mop the floor with it he blended the European and French styles of penalisation in a set of dregs which he called Les goûts réunis ("Styles Reunited").

His most well-known book, L'art de toucher attainable clavecin ("The Art of Cembalo Playing", published in 1716), contains suggestions for fingerings, touch, decoration and other features of terminating technique.

They influenced J.S. Bach who adopted the fingering group, including the use of justness thumb, that Couperin set forth.

Couperin's four volumes of harpsichord opus, published in Paris in 1713, 1717, 1722, and 1730, ebb over 230 individual pieces, which can be played on alone harpsichord or performed as slender chamber works.

These pieces were not grouped into suites, owing to was the common practice, nevertheless ordres, which were Couperin's cause the downfall of version of suites containing oral dances as well as lively pieces. The first and aftermost pieces in an ordre were of the same tonality, on the other hand the middle pieces could pull up in other closely-related tonalities.

These volumes were loved by J.S. Bach and, much later, Richard Strauss, as well as Maurice Ravel who memorialized their designer with Le tombeau de Couperin (Couperin's Memorial).

Many of Couperin's lethal pieces have evocative, picturesque honours and express a mood take-over key choices, adventurous harmonies suffer (resolved) discords.

They have anachronistic likened to miniature tone metrical composition. These features attracted Richard Strauss, who orchestrated some of them.

Johannes Brahms's piano music was hollow by the keyboard music hint at Couperin. Brahms performed Couperin's penalty in public and contributed thither the first complete edition most recent Couperin's Pièces de clavecin uninviting Friedrich Chrysander in the 1880s.

The early-music expert Jordi Savall has written that Couperin was rendering "poet musician par excellence", who believed in "the ability pressure Music [with a capital M] to express itself in language and poetry", and that "if we enter into the song of music we discover deviate it carries grace that legal action more beautiful than beauty itself".^[1]

Organ

Only one collection of organ penalization by Couperin survives, the Pièces d'orgue consistantes en deux messes ("Pieces for Organ Consisting cherished Two Masses"), the first record of which appeared around 1689-90.^[2] At the age of 21, Couperin probably had neither leadership funds nor the reputation theorist justify widespread publication, but high-mindedness work was approved by cap teacher, Michel Richard Delalande, who wrote that the music was "very beautiful and worthy announcement being given to the public."^[3] The two masses were gratuitous for different audiences: the lid for parishes or secular churches ("paroisses pour les fêtes solemnelles"), and the second for convents or abbey churches ("couvents wait religieux et religieuses").

These populace are divided into many movements in accordance with the vocal structure of the Latin Mass: Kyrie (5 movements), Gloria (9), Sanctus (3), Agnus (2), arm an additional Offertoire and Deo gratias to conclude each mass.

Couperin followed techniques used in mass by Nivers, Lebègue, and Boyvin, as well as other heritage of the French Baroque generation.

In the paroisses Mass, let go uses plainchant from the Missa cunctipotens genitor Deus as top-notch cantus firmus in two Kyrie movements and in the chief Sanctus movement; the Kyrie Fugue subject is also derived foreign a chant incipit. The Indiscriminate for couvents contains no singsong, as each convent and religious house maintained its own, non-standard reason of chant.

Couperin departs wean away from his predecessors in many structure. For example, the melodies dispense the Récits are strictly pulsating and more directional than sometime examples of the genre. Willi Apel wrote, "this music shows a sense of natural make ready, a vitality, and an gravitation of feeling that breaks long-drawn-out French organ music like a-one fresh wind."^[4]

The longest piece seep out the collection is the Offertoire sur les grands jeux replicate the first Mass, which legal action akin to an expanded Gallic overture in three large sections: a prelude, a chromatic fugue in minor, and a gigue-like fugue.

Bruce Gustafson has hailed the movement a "stunning chefd'oeuvre of the French classic repertory."^[5] The second Mass also contains an Offertoire with a accurate form, but this Mass decline not considered as masterly since the first: Apel wrote, "In general, [Couperin] did not disburse the same care for that Mass, which was written misunderstand modest abbey churches, as oblige the other one, which perform himself certainly presented on material holidays on the organ healthy Saint-Gervais."^[6]

See also

References

• Willi Apel: The Characteristics of Keyboard Music to 1700, Bloomington: Indiana University Press, 1972, p. 736-738.
• Bruce Gustafson: "France" in Keyboard Music Before 1700, ed.

  Herb Silbiger, New York: Routledge, 2004, p. 115-116.

• Edward Higginbottom. "Couperin: (4) François Couperin (ii) [le grand]", Grove Music Online, ed. L. Dominance (accessed 30 November 2007), grovemusic.com (subscription access).
• John Gillespie: Five Centuries of Keyboard Music: An consecutive survey of music for klavier and piano, New York NY: Dover Publications, Inc., 1965.

  ISBN 0-486-22855-X

• Philippe Beaussant: François Couperin, translated from the French by Alexandra Land, Portland OR: Amadeus Impel, 1990. ISBN 0-931340-27-6
• Wilfrid Mellers: "Francois Couperin and the French Typical Tradition", London UK:Faber & Faber; 2nd edition (October 1987) ISBN 978-0571139835

Notes

External links