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François Couperin (10 November 1668 – 11 September 1733) was a French Baroque composer, organist, and harpsichordist. He was known as Couperin le Grand ("Couperin the Great") to distinguish him from other members of the Couperin family, which included several musicians.
Couperin was born in Paris into a prominent musical family. His father, Charles Couperin, was organist at the Church of Saint-Gervais, a position previously held by Charles's brother, Louis Couperin. After his father's death in 1679, François succeeded him in the organist position at Saint-Gervais, likely beginning his duties before the official appointment at age 18. He received instruction from organist Jacques-Denis Thomelin, who served both at court and at the church of Saint-Jacques-de-la-Boucherie.
In 1689, Couperin married Marie-Anne Ansault. His early works include the Pièces d'orgue, a collection of organ masses published in 1690 and praised by Michel Richard Delalande. By 1693, Couperin succeeded Thomelin as organist at the court of Louis XIV, a role that brought him into contact with leading composers and aristocrats. Alongside his court duties, he continued as organist at Saint-Gervais and composed chamber music.
In 1713, Couperin received royal permission to publish multiple pieces of vocal and instrumental music, leading to the release of the first volume of his harpsichord works, "Pieces de clavecin." He published several collections of keyboard and chamber music and in 1717 was appointed ordinaire de la musique de la chambre du roi pour le clavecin, a prestigious court position. His involvement at court decreased after the death of Louis XIV in 1715.
Couperin’s health declined during the 1720s. By 1730, his daughter Marguerite-Antoinette had taken over his role as court harpsichordist. His last publications were "Pièces de violes" (1728) and the fourth volume of harpsichord pieces (1730). He died in 1733. Several of his children survived him, including Marguerite-Antoinette, who continued as court harpsichordist until 1741.
Couperin’s music combined French and Italian Baroque styles, reflecting his admiration for the Italian composer Arcangelo Corelli. He wrote grand trio sonatas such as "Le Parnasse, ou L'Apothéose de Corelli," and "L'Apothéose de Lully," which sought to reconcile French and Italian musical tastes. His harpsichord works, published in four volumes between 1713 and 1730, contain over 230 pieces organised into ordres (suites), notable for their detailed ornamentation instructions. These works influenced composers such as Johann Sebastian Bach, Johannes Brahms, and Maurice Ravel, who honoured Couperin in "Le Tombeau de Couperin."
Couperin’s harpsichord pieces often bear descriptive titles and express moods through key choices and harmonies. His music has been compared to miniature tone poems and attracted interest from later composers like Richard Strauss and Thomas Adès, who orchestrated some of his pieces.
Only one collection of organ music by Couperin survives: the "Pièces d'orgue consistantes en deux messes," published in 1690. These two masses follow the traditional structure of the Latin Mass and were intended for different church contexts, parishes and convents. Couperin incorporated plainchant as a cantus firmus in some movements and introduced rhythmic and melodic innovations in others. The "Offertoire sur les grands jeux" from the first Mass is considered a significant work within the French organ repertoire.
François Couperin (10 November 1668 – 11 September 1733) was a French Baroque composer, organist, and harpsichordist. He was known as Couperin le Grand ("Couperin the Great") to distinguish him from other members of the Couperin family, which included several musicians.
Couperin was born in Paris into a prominent musical family. His father, Charles Couperin, was organist at the Church of Saint-Gervais, a position previously held by Charles's brother, Louis Couperin. After his father's death in 1679, François succeeded him in the organist position at Saint-Gervais, likely beginning his duties before the official appointment at age 18. He received instruction from organist Jacques-Denis Thomelin, who served both at court and at the church of Saint-Jacques-de-la-Boucherie.
In 1689, Couperin married Marie-Anne Ansault. His early works include the Pièces d'orgue, a collection of organ masses published in 1690 and praised by Michel Richard Delalande. By 1693, Couperin succeeded Thomelin as organist at the court of Louis XIV, a role that brought him into contact with leading composers and aristocrats. Alongside his court duties, he continued as organist at Saint-Gervais and composed chamber music.
In 1713, Couperin received royal permission to publish multiple pieces of vocal and instrumental music, leading to the release of the first volume of his harpsichord works, "Pieces de clavecin." He published several collections of keyboard and chamber music and in 1717 was appointed ordinaire de la musique de la chambre du roi pour le clavecin, a prestigious court position. His involvement at court decreased after the death of Louis XIV in 1715.
Couperin’s health declined during the 1720s. By 1730, his daughter Marguerite-Antoinette had taken over his role as court harpsichordist. His last publications were "Pièces de violes" (1728) and the fourth volume of harpsichord pieces (1730). He died in 1733. Several of his children survived him, including Marguerite-Antoinette, who continued as court harpsichordist until 1741.
Couperin’s music combined French and Italian Baroque styles, reflecting his admiration for the Italian composer Arcangelo Corelli. He wrote grand trio sonatas such as "Le Parnasse, ou L'Apothéose de Corelli," and "L'Apothéose de Lully," which sought to reconcile French and Italian musical tastes. His harpsichord works, published in four volumes between 1713 and 1730, contain over 230 pieces organised into ordres (suites), notable for their detailed ornamentation instructions. These works influenced composers such as Johann Sebastian Bach, Johannes Brahms, and Maurice Ravel, who honoured Couperin in "Le Tombeau de Couperin."
Couperin’s harpsichord pieces often bear descriptive titles and express moods through key choices and harmonies. His music has been compared to miniature tone poems and attracted interest from later composers like Richard Strauss and Thomas Adès, who orchestrated some of his pieces.
Only one collection of organ music by Couperin survives: the "Pièces d'orgue consistantes en deux messes," published in 1690. These two masses follow the traditional structure of the Latin Mass and were intended for different church contexts, parishes and convents. Couperin incorporated plainchant as a cantus firmus in some movements and introduced rhythmic and melodic innovations in others. The "Offertoire sur les grands jeux" from the first Mass is considered a significant work within the French organ repertoire.
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