François Couperin
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François Couperin (10. november 1668—12. september 1733) var ein vidkjend fransk cembalist, organist og komponist av fransk barokkmusikk.
Han var òg kjend som Couperin le Grand, det vil seie ‘den store’, for å skilje han ut frå dei andre evnerike medlemmene av Couperin-familien, på grunn av den uvanlege virtuositeten hans på pipeorgel og cembalo.
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Couperin was first taught by his father and in 1685 became organist at Saint Gervais, Paris, a post he passed on to his cousin Nicolas Couperin. Other members of the family would hold the same position in later years. In 1717, Couperin became the court organist and composer, and gave weekly "concerts" for King Louis XIV. Many of these "concerts", as the titles read, were in the form of suites for violin, viol, oboe, bassoon, and harpsichord of which he was a virtuoso player.
His four volumes of harpsichord music contain over 230 individual pieces, which can be played on solo harpsichord or performed as small chamber works. These greatly influenced J.S. Bach and then much later Richard Strauss, as well as Maurice Ravel who memorialized him with Le Tombeau de Couperin (French for "The Tomb of Couperin").
His most famous book, L’Art de toucher le clavecin (published in 1716), contained executions for fingerings, touch, ornamentation and other features of keyboard technique. It is said to have had a great influence on J.S. Bach.
Many of Couperin's keyboard pieces have evocative picturesque titles and express a mood through key choices, adventurous harmonies and (resolved) discords. These features attracted Richard Strauss, who orchestrated some of them.
Couperin acknowledged his debt to Corelli, whose trio sonata form Couperin introduced to French music. The title of Couperin's grand trio sonata, by which it is best known, is 'The Apotheosis of Corelli' ('l'Apothéose de Corelli'). He tried to mix Italian and French styles in a set of pieces he gave the title les Goûts réunis (the united tastes). -->
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[endre] Instrumentalverk
[endre] Cembalo
Maître incontesté du clavecin, François Couperin plie la « suite de danses » à sa sensibilité poétique, en s'écartant de plus en plus, au fil de ses 4 recueils, de la structure classique « Allemande - Courante - Sarabande - Gigue ». Il n'utilise d'ailleurs pas le nom de « suite » mais celui d’« ordre ».
- Første boka (1713) : Ordres 1 to 5
- Andre boka (1717) ; Ordres6 to 12
- Tredje boka (1722) : Ordres 13 to 19
- Fjerde boka(1728) : Ordres20 to 27
- A didactc treatise L’Art de toucher le clavecin (1716) which includes 8 preludes and an allemande.
[endre] Orgel
To messer (1690)
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- Messe pour les paroisses for soknekyrkjer
- Messe pour les couvents for kloster
[endre] Kammermusikk
- Triosonatar (ca 1690)
- La Pucelle
- La Steinkerque
- La Visionnaire
- L'Astrée
- quatuor sonata (ca 1695) : La Superbe
- Les Nations (1726) : these trio pieces are formed by a sonata followed by a suite
- La Française (débute par la Pucelle)
- L'Espagnole (débute par la Visionnaire)
- L'Impériale
- La Piémontaise (débute par l'Astrée)
- « Apothéoses », trio suites (1724)
- Le Parnasse ou l’apothéose de Corelli
- Concert en forme d’apothéose à la mémoire de l’incomparable M. de Lully
- Concert royaux (1714) N° 1 à 4
- Nouveaux Concerts or les Goûts réunis (1724) N° 5 à 14
- Pièces de violes (1728) 2 suites
[endre] Vokalmusikk
- Lecons de ténèbres a une et deux voix
- Première lecon
- Seconde lecon
- Troisième lecon
