François Couperin (1668-1733)
Ed. Jon Baxendale
184 pages • ISMN: 979-0-2612-4441-1 • Hardback
Cantando Musikkforlag AS. C4441
François Couperin is one of those composers that is well-known to organists, although many of them will not know much about his non-organ compositions. He is also known to many non-organist music lovers, although many of them will not know much about his organ music. Like many organist-composers, Couperin’s organ works were published very early in his musical career, before his move into court circles and a compositional career mostly devoted to harpsichord, chamber and sacred vocal music. His father, Charles, was organist at the church of Saint-Gervais in Paris, just north of the Île de la Cité and the river Seine, where he had succeeded his brother Louis, the founder of the Couperin musical dynasty and a distinguished composer and performer. Charles died when François was about 11, specifying François as his successor. As Jon Baxendale discusses in his excellent Background Notes, this was the result of the practice of survivance, where an organist was able to specify his own successor, leading to such ‘family business’ situations. In the case of the Couperin family, the role remained in the family well into the 19th-century. François formally succeeded to the post when he reached the age of 18, the intervening years being taken up by increasingly intense training for his forthcoming role, during which he was paid a proportion of the stipend by the church authorities.
François Couperin was born 10 November 1668, and this 350th anniversary year is an apt moment for a new critical edition of his Pieces d’orgue. This collection of liturgical organ works dates from 1690, when he was 22. It consists of two Mass settings, with examples of the organ pieces that would have been played during the Latin Mass, most of them to be played in alternatim with the choir. One setting is intended for use in parish churches (à l’usage ordinaire des Paroisses Pour les Fêtes Solemnelles), the second for convents or abbey churches (Convents de Religieux et Religieuses). The latter setting is less complex than the first, and was written for a smaller organ, an indication that musical standards would have been higher in the parish churches, with a professional organist, than in the convents where the organ was played by one of the inmates. Continue reading