SEARCH RESULTS FOR: Couperin
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(Fran-swa’ Koo-per-an’) 1668–1733 French composer Couperin, known as le grand, was the most gifted member of an illustrious French musical family. He lived and worked in Paris where, at the age of 18, he inherited the post of organist at St Gervais, which had previously been held by his father and uncle. In 1693 he was appointed ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Already a successful instrument in the Renaissance, the Middle Ages and indeed earlier, the flute has a long continuous history. The Renaissance flute was made of wood in one or sometimes two pieces, with a cylindrical bore and six finger holes. Its distinguishing feature was that it was not blown into directly like the recorder: the player held ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Developed to accompany the violin, the viola is tuned a fifth below it (losing the violin’s top E string, it acquires instead a bottom C string) and plays alto to the violin’s soprano. The viola was made as a slightly bigger violin, to be played in the same way. It has been argued that if the makers had ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

many enemies, Lully saw his achievements recognized during his lifetime and they were acknowledged after his death too. Among the composers who wrote music in his memory are François Couperin (1668–1733), Marais, Jean-Féry Rebel (1666–1747) and d’Anglebert, who arranged several of the overtures, dances and airs from his operas for solo harpsichord. Recommended Recording: Cadmus et Hermione ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(1697), long attributed to Purcell. Recommended Recording: Favourite Baroque Classics (incl. Prince of Denmark’s March), Brandenburg Consort (dir) Roy Goodman (Hyperion) Introduction | Late Baroque | Classical Personalities | François Couperin | Late Baroque | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

second-rate (though he described his Boléro of 1928 as ‘a piece for orchestra without music’). His ballet Daphnis et Chloé (1912), his orchestral Rapsodie espagnole (1907) and Le tombeau de Couperin (‘The Grave of Couperin’, 1917), his String Quartet (1903) and the late sonatas are among his major works, but none of his songs and very few of his orchestral ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Me-shel’ Re’-share de La-län-de) 1657–1726 French composer During the mid-1660s Lalande, along with Marais, was a member of the choir at St Germain-l’Auxerrois in Paris and later, as an organist, he was the mentor of Couperin. In 1683 he was appointed one of four sous-maîtres of the Chapelle Royale, gradually acquiring all the other major musical positions ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

that the modern composer builds on foundations of truth.’ Claudio Monteverdi Leading Exponents Giulio Caccini Jan Pieterszoon Sweelinck Claudio Monteverdi Girolamo Frescobaldi Heinrich Schütz Samuel Scheidt Giacomo Carissimi Louis Couperin Jean-Baptiste Lully Henry Purcell Early Baroque Style Baroque music is characterized by the addition of a definite bass line underlying a melodic treble line, often taken by the violin. ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

of my body as I wrote it I know not. God knows.’ Handel on the ‘Hallelujah Chorus’ in his Messiah Leading Exponents Dietrich Buxtehude Arcangelo Corelli Alessandro Scarlatti François Couperin Georg Philipp Telemann Jean-Philippe Rameau Antonio Vivaldi George Frideric Handel Johann Sebastian Bach Domenico Scarlatti Late Baroque Style Composers of the Late Baroque period explored the new concept of ‘key’. ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

the early seventeenth century. From around the 1650s, suites were written by composers such as Froberger and Buxtehude (for keyboard) in Germany; Denis Gaultier (1603–72) (for lute), Chambonnières and Couperin (for keyboard) in France; and William Lawes (strings), Purcell (keyboard) and Locke (strings, keyboard) in England. Other composers wrote freer sets of pieces which do not necessarily use the ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

eighteenth-century France, its leading figures in the graphic arts were Antoine Watteau and François Boucher. The closest musical analogue is not Mozart (as once was traditionally argued) but François Couperin (1668–1733) – the late Baroque generation, in fact, for the Rococo is essentially a breaking-down of the Baroque. Rococo ideas and mannerisms were exported, especially to southern ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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