Biography
Among the Couperin family's most distinguished figures, François Couperin emerged as its central member and ranked among the principal composers of the French Baroque period. Recognition centers chiefly on his harpsichord output, preserved entirely within the four-volume anthology Pièces de clavecin that contains more than 220 individual pieces. Lully's manner left a clear mark on his writing, which simultaneously absorbed traits of the Italian school. Couperin himself paid tribute to both traditions through the chamber compositions Apothéose de Corelli (1724) and Apothéose de Lully (1725). He fused the French and Italian idioms in the 1724 collection of chamber pieces for unspecified instruments titled Les goût réunis ou nouveaux concerts. Because no autograph manuscripts have come down, many works disappeared from view.
Couperin entered the world in Paris on November 10, 1668. His father Charles served as an organist, and the boy's earliest instruction likely came from that source. After Charles died, probably in 1679, the only child and his mother received considerable support through the generosity of Jacques Thomelin, organist at Saint-Jacques de la Boucherie, who took charge of the youngster and provided musical guidance.
At age 17 Couperin assumed the post of organist at Saint-Gervais. Four years afterward, in 1689, he wed Marie-Anne Ansault, whose father was a wine merchant possessing numerous commercial connections. The next year he issued the so-called organ masses known collectively as Pièces d'orgue, which comprise two masses—Messe des Paroisses and Messe des Couvents—together with several shorter works.
Around this period the Italian school began to shape Couperin's direction. He demonstrated that influence in several chamber pieces composed in 1692 that he labeled sonades, a French rendering of the term sonata.
On December 26, 1693, King Louis XIV named Couperin organist at the Royal Chapel, where he shared duties with Buterne, Nivers, and Lebègue and performed only during the opening quarter of each year. He retained his Saint-Gervais responsibilities for the remaining nine months. In addition he instructed the Duke of Burgundy on the harpsichord as well as six other princes and princesses. Later he produced the significant treatise on harpsichord performance titled L'Art de toucher le clavecin.
For the Royal Chapel Couperin supplied a substantial body of non-liturgical sacred vocal music. Beginning near 1697 he completed a sequence of motets by 1702; among them stand Motet Saint-Barthélemy, Motet de Sainte-Anne, and Motet de Saint-Augustin.
Early in the eighteenth century Couperin turned to an extensive series of harpsichord pieces that first appeared as the Premier Livre of Pièces de clavecin in 1713. The Second Book followed in 1717, with the remaining two volumes issued in 1722 and 1730.
Records indicate that Couperin also presented concerts during the opening decades of the eighteenth century in Versailles and neighboring locations. From roughly 1700 onward, however, details of his life remain sparse. Documentation of a country residence leased in 1710 at Saint-Germain-en-Laye supports the impression that he enjoyed financial stability. In 1719 he was appointed harpsichordist to King Louis XV, a role he had likely exercised for some years without the official title. By this stage he was acknowledged as France's foremost composer and the preeminent authority on organ and harpsichord pedagogy. Couperin died on September 11, 1733.
Couperin entered the world in Paris on November 10, 1668. His father Charles served as an organist, and the boy's earliest instruction likely came from that source. After Charles died, probably in 1679, the only child and his mother received considerable support through the generosity of Jacques Thomelin, organist at Saint-Jacques de la Boucherie, who took charge of the youngster and provided musical guidance.
At age 17 Couperin assumed the post of organist at Saint-Gervais. Four years afterward, in 1689, he wed Marie-Anne Ansault, whose father was a wine merchant possessing numerous commercial connections. The next year he issued the so-called organ masses known collectively as Pièces d'orgue, which comprise two masses—Messe des Paroisses and Messe des Couvents—together with several shorter works.
Around this period the Italian school began to shape Couperin's direction. He demonstrated that influence in several chamber pieces composed in 1692 that he labeled sonades, a French rendering of the term sonata.
On December 26, 1693, King Louis XIV named Couperin organist at the Royal Chapel, where he shared duties with Buterne, Nivers, and Lebègue and performed only during the opening quarter of each year. He retained his Saint-Gervais responsibilities for the remaining nine months. In addition he instructed the Duke of Burgundy on the harpsichord as well as six other princes and princesses. Later he produced the significant treatise on harpsichord performance titled L'Art de toucher le clavecin.
For the Royal Chapel Couperin supplied a substantial body of non-liturgical sacred vocal music. Beginning near 1697 he completed a sequence of motets by 1702; among them stand Motet Saint-Barthélemy, Motet de Sainte-Anne, and Motet de Saint-Augustin.
Early in the eighteenth century Couperin turned to an extensive series of harpsichord pieces that first appeared as the Premier Livre of Pièces de clavecin in 1713. The Second Book followed in 1717, with the remaining two volumes issued in 1722 and 1730.
Records indicate that Couperin also presented concerts during the opening decades of the eighteenth century in Versailles and neighboring locations. From roughly 1700 onward, however, details of his life remain sparse. Documentation of a country residence leased in 1710 at Saint-Germain-en-Laye supports the impression that he enjoyed financial stability. In 1719 he was appointed harpsichordist to King Louis XV, a role he had likely exercised for some years without the official title. By this stage he was acknowledged as France's foremost composer and the preeminent authority on organ and harpsichord pedagogy. Couperin died on September 11, 1733.
Albums
Singles
