Appendix A: Major French Clavecinistes
(Unless otherwise specified, it should be assumed the composer lived in Paris or its environs.)
Alphabetical
Chronological by Period of Principal Activity
François d’Agincour (1684-1758); born & lived most of his life in Rouen, student of Le Bègue, in Paris 1701-1706, held post of “Organiste de la Chapelle du Roi” for the Oct.-Dec. quarter beginning in 1714
Jacques Champion de Chambonnières
Jean-Henry d’Anglebert (1629-1691); born in Bar-le-Duc, in Paris by 1659, claveciniste de la Chambre du Roi from c. 1662
Louis Couperin
Jean-Jacques Beauvarlet-Charpentier (1734-1794); born in Abbeville, at Académie des Beaux-Arts de Lyon 1763-83, organist at Notre-Dame de Paris 1783-93 (i.e., during the French Revolution)
Nicolas Le Bègue
Claude-Bénigne Balbastre (1724-1799); born in Dijon, studied under Claude Rameau (brother of Jean-Philippe). had an organist post in St. Étienne in 1743, in Paris by 1750 where he studied under Pierre Février & lived until his death
Jean-Louis Geoffroy
Jean-Baptiste Barrière (1707-1747); a viol player & then a ‘cellist, & wrote mostly for that instrument
Élisabeth Jacquet de la Guerre
Josse-François-Joseph Benaut (c. 1743-1794); born in Wevelgem, Belgium, in Paris from 1771, guillotined on 13 July 1794
Jean-Henry d’Anglebert
Joseph Bodin de Boismortier (1689-1755); born in Thionville (Lorraine), moved to Metz as a child, then to Perpignan in 1713, & to Paris in 1724
Louis-Nicolas Clérambault
Bernard de Bury (1720-1785); born & died in Versailles
François (ou Charles?) Dieupart
Jacques Champion de Chambonnières (c. 1601/1611-1672)
Louis Marchand
Louis-Nicolas Clérambault (1676-1749); born in Rouen, in Paris by 1737
Gaspard Le Roux
Michel Corrette (1707-1795); traveled to London
Nicolas Siret
Armand-Louis Couperin (1727-1789); cousin of François
François Couperin
François Couperin, «Le Grand» (1668-1733); “Organiste de la Chapelle du Roi” for the Jan.-Mar. quarter, 1693-1730, & claveciniste de la Chambre du Roi, 1694-1730
Jean-François Dandrieu
Louis Couperin (1626-1661); born in Chaumes-en-Brie, in Paris by 1651, uncle of François
Jean-Philippe Rameau; 18-year gap between 1st & 2nd works
Marc Roger Normand Couperin (1663-1734); cousin of François, born in Turin, educated in France, & later organiste et claveciniste at the court of Savoy in Turin
François d’Agincour
Jean-François Dandrieu (1682-1738); organiste de la Chapelle Royale for 1 quarter of the year from 1721; took over organ post @ St. Merri from Le Bègue in 1700
Marc Roger Normand Couperin
Louis-Claude Daquin (1694-1772); pupil of Louis Marchand; organist @ the Ste Chapelle from 1706, & @ Notre-Dame from 1755
Jacques Duphly or Du Phly
Charles Demars (1702-1774); lived mostly in Brittany, organist in Vannes from 1728
Louis-Antoine Dornel
François (or Charles?) Dieupart (1667?-1740?); in London at least by 1704, probably by 1700, until his death [point of reference: Handel arrived in London in 1713]
Michel Corrette
Louis-Antoine Dornel (1685-1765); probably taught organ by Le Bègue; took over organ position of François d’Agincourt when the latter left Paris to return to Rouen
Durocher
Dufour (?-1786); little is known about him; he published a book of 42 pièces in 1772 that contains both dance-rhythm & character pieces and a sarabande non-mesuré
Pierre Février
Jacques Duphly (1715-1789); born & lived in Rouen during his early professional years as organist (His sister was also an organist; they shared 1 post); student of d’Agincourt; resigned & moved to Paris in 1742 & died there; worked there as a harpsichord teacher, considered the best of his time; had no aristocratic patron or official position; completely free-lance, perhaps the first ever
Louis-Claude Daquin
Durocher (?-?); little is known about him, but his score is available online
Charles Demars
Jean-Frédéric [Johann Friedrich] Edelmann (1749-1794); born in Strasbourg, in Paris 1774-1789, returned to Strasbourg, governor of the Bas-Rhin département, guillotined in Paris on 17 July 1794 b/c of alleged Jacobin connections
Joseph Bodin de Boismortier
Pierre Février (1696-1760); born in Abbéville (Picardie); in Paris from 1720 where he held a series of organ posts incl. @ the Ste-Chapelle; cousin of Charles Noblet; teacher of Balbastre
Bernard de Bury
Antoine Forqueray (c. 1671-1745); Arranged from Suites for viola da gamba by his son, Jean-Baptiste-Antoine Forqueray (1699-1782), also a gamba player, whose wife (m. 1741) was celebrated harpsichordist Marie-Rose Dubois (1717-after 1782)
Jean-Baptiste Barrière
Pierre-Claude Fouquet (1694/5-1772); in 1758, took over as Organiste de la Chapelle Royale from François d’Agincour & took post @ Notre-Dame
Célestin Harst
Jean-Nicolas Geoffroy (1633-1694); birthplace unknown, student of Le Bègue, career in Paris; last 4 years in Perpignan
Joseph Nicolas Pancrace Royer
Jean-Adam Guilain [Johann Adam Wilhelm Friensberg] (1680-1739) ; born in Germany, in Paris from 1702 until his death
Jean-Baptiste-Antoine Forqueray
Célestin Harst (1698-1778); born in Sélestat (Alsace), a Roman Catholic priest, prior of Ebersmunster Abbey
Jean-Adam Guilain
Élisabeth Jacquet de la Guerre (1665-1729); kept her maiden name & was sometimes referred to by it even after marrying Marin de la Guerre, who was an organist
Philippe-François Véras
Pierre-Jean Lambert (?-?)
Pierre-Jean Lambert
Nicolas Le Bègue (1631-1702); born in Laon, in Paris by 1656, organist @ St. Merri, & Organiste de la Chapelle Royale for the Oct.-Dec. quarter from 1678
Pierre-Claude Fouquet
Gaspard Le Roux (1660-1707); birthplace unknown, active in Paris
Armand-Louis Couperin
Joseph Marchand (?-?); little is known about him
Christophe Moyreau
Louis Marchand (1669-1732); born in Lyon, active in Nevers & Auxerre before settling in Paris by 1689
Claude-Bénigne Balbastre (10-year gap between 1st & 2nd books
Christophe Moyreau (1700-1774); in Orléans from 1732
Charles Noblet
Charles Noblet (1715-1769) born in Abbéville (Picardie); in Paris from 1737; from 1739 claveciniste of the Opéra royal (neither the location nor the building , the Palais Garnier, we know today; it was a rectangular hall in the Palais royal, which had been Richelieu’s home, across from the Louvre on today’s rue de Rivoli); cousin of Pierre Février
Jean-Baptiste Parent
Jean-Baptiste Parent (?-?); little is known about him
Joseph Marchand
Jean-Philippe Rameau (1683-1764); born in Dijon, in Italy for a brief time in 1701, then in Avignon & Clermont-Ferrand, & in Paris by 1706
Simon Simon
Joseph Nicolas Pancrace Royer (1705-1755); born in Turin where he studied with Marc Roger Normand Couperin, in Paris by 1725; director of the Opéra royal from 1754 until his death
Jean-Jacques Beauvarlet-Charpentier
Simon Simon (c. 1735-c. 1780); little is known about him
Dufour
Nicolas Siret (1663-1754); lived his entire life in Troyes, but knew François Couperin well
Josse-François Joseph Benaut
Jean-François Tapray (1737/8-1810/19); born in Nomeny (Lorraine), lived in Dole & Besançon, in Paris 1783-1786, died in Fontainebleau
Jean-François Tapray
Philippe-François Véras (?-?); lived his entire life, about which little is known, in Lille (Picardie)
Jean-François Édelman
Of these, only François Couperin wrote primarily music for the harpsichord, part of the reason, along with the number of pièces, the innovations he brought to the genre, and his reputation as a performer, for his being called “le Grand.”
Other organists are known to have also written pièces de clavecin, because there are references to them in documents, but they were apparently never published and no manuscripts have yet turned up containing them. This does not mean that they will not ultimately be discovered. Others, like Dufour’s, await printed modern editions or facsimile publication.
Appendix B: Clavecinistes’ Compositional Output
Composer
# of Books w/ dates
# of suites
Total # of pieces
Notes
d’Agincour
1: 1733
4 Ordres
43 (+ 2 if doubles counted separately)
Ordres by key signature, mostly character/genre pieces, dance rhythm occasionally named
d’Anglebert
1: 1689 (reissued 1704)
4
66
Incl. several transcriptions for harpsichord of works by Jean-Baptiste Lully, & also incl. 8 fugues for organ; + c. 35 pièces found in manuscripts, incl. transcriptions of works written for lute
Balbastre
2: 1749; 1759
0
27 (+ ?); 17
Pièces presented as collections, not suites; 1749 Livre contenant des pièces de différent genre d’orgue et de clavecin has 27 pièces specifically for clavecin, incl. 6 Scarlatti-type sonatas; some others may be suitable for either instrument
Barrière
1: c. 1740/7
6 sonatas w/ 3-5 (mostly 4) mvmts
6 separate printed @ end
Some sonata movements have dance rhythm names and are airs that could perhaps be played independently, scores not available as ed. or facsimile
Beauvarlet-Charpentier
1: c. 1770, Op. 1
2
16
Nearly all character/genre pieces
Benaut
1: 1773
0; only sonatas
0
Specified “pour le clavecin ou le pianoforte”
Boismortier
1: 1736
4
18
Primarily a composer of music for winds, esp. flute (his instrument)
Bury
1: 1736
4
21
All character/genre pièces exc. concluding Chaconne
Chambonnières
2: 1670, c. 1672?
0
61 published;
142 total
Pièces presented as collections, arranged by key signature; many in manuscripts
Clérambault
1: 1704
2
16 + 1
1 single separately published pièce
Corrette
1: 1734, Op. 12
4
30
Premier Livre; no 2nd ever pub.; mostly character/genre pièces
Couperin, Armand-Louis
1: 1751
0
28
Pièces presented as a collection, not suites
Couperin, François
4: 1707, 1716/17, 1723, 1727 (pub. 1730)
27 Ordres
234
Incl. the 9 pièces of L’Art de Toucher…, a few for 2 harpsichords; also wrote solo harpsichord versions of the 4 Concerts Royaux, Les [4] Nations, & Les [2] Apothéoses…
Couperin, Louis
0; all pièces are in manuscripts
0
138: 134 in Bauyn manuscript + 4 in Parville
A few pièces published individually in group publications; none arranged in suites
Couperin, Marc Roger Normand
1: c. 1695
0
57
Pièces presented as a collection, not suites
Dandrieu
3: 1718-24, 1728, 1734
0
150
Pièces presented as collections, not suites
Daquin
1: 1735
4;
labeled
Livres
28
Pièces presented as collections, not suites
His Noëls for organ are also indicated as suitable for harpsichord performance
Demars
1: 1735
4
22
No character/genre pièces, unusual for this late date
Dieupart
1: [1701]
6
42
Published without a date; date determined from a Nov. 1701 advertisement; re-issued 1704 w/ score arr. by composer for performance by flute or violin & continuo by viola da gamba or archlute
Dornel
1: 1731
5
34 + 1
Last pièce is 8-mvmt “Concert Calotin” arranged for keyboard; scores available online
Dufour
1: 1772
?
42
No further information; scores not available as ed. or facsimile
Duphly
4: 1744, 1748, 1756, 1768
0
46, some in Bk 4 w/ 2 or more parts for other add’l instruments
Pièces presented as a collection, not suites
Durocher
1:1733
1
10
Incl. 1 prélude non-mesuré & several pieces w/ “variation(s)”
Edelmann
7: 1775, Opp. 1, 2, & 8, 1777, Op. 5, 1778, Op. 6, 1779, Op. 7, 1782, Op. 10
0; only sonatas
0
28 sonatas total; most Opp. were dedicated to his female pupils, suggesting they were written for harpsichord b/c the nobility had not yet begun to acquire pianofortes. A few mvmts are character/genre pièces or have dance rhythm names not generally found in sonatas, further evidence that the harpsichord was the intended instrument. Mozart was familiar with his works, and played some when he was in Paris in 1777; they bring those of WAM (1756-1791) to mind.
Février
2: 1734, c. 1740
6
31
2 stes open w/ fugues, a rare instance of this in the entire literature; mostly character/genre, w/ a few dance rhythm pièces; some experimentation w/ rhythms, incl. some syncopation, & some charming, captivating melodies different from others’; some original & unusual mood/style indications for execution
Forqueray, Antoine/Jean-Baptiste-Antoine
1: 1747
5
33
Pièces de Viole Composées Par Mr Forqueray Le Père Mises en Pièces de Clavecin Par Mr Forqueray Le Fils; pub. the same year & by the same printer as the Pièces de Viole themselves, also ed. by J-B-AF; 3 pièces are original; works are mostly in the middle & lower registers of the keyboard, unusual for the genre
Fouquet
3: 1749, 1751 (2)
0
35
Pièces presented as collections, not suites, mixture of dance rhythm & character/genre pièces; scores not available as ed. or facsimile
Geoffroy
0; all pièces are in manuscripts, most in a single one, not autograph, in the BNF, Rés. 475, dated c. 1690
19, + numerous pièces in sets by key signature
217 + 38 transpo-sitions
pièces grouped by key signature; systematically explore all major & minor keys, incl. some in which no other claveciniste wrote
Guilain
1: 1739
0
26
Pièces presented as a collection, not suites
Harst
1: 1745
0
?
Pièces presented as a collection, not suites
Jacquet de la Guerre
2: 1684, 1707.
0
43
Pièces grouped by key signature; 1707 book labeled “Qui peuvent se jouer sur le viollon” and also incl. sonatas w/ violin that could also be purchased separately; mostly dance rhythm w/ a couple character/genre pièces
Lambert
1: 1749
0
14
Mixture of dance rhythm & character/genre pièces, scores not available as ed. or facsimile
Le Bègue
2: 1677, 1687
13
102
Some additional pièces in manuscript form and in books of music primarily for organ
Le Roux
1: 1705
7
42
Arranged by key signature; last 6 pièces for 2 harpsichords, but preface says all are more effective if played on 2; also wrote separate high & low parts for playing all the pièces en concert with other instruments
Marchand, Joseph
1: 1768
0
16
Italian rhythm/tempo names; scores not available as ed. or facsimile
Marchand, Louis
2: 1699, 1702
2
17 + 3
3 separate pièces; many other works lost
Moyreau
6: 1753
0; labeled Oeuvres (= Op.)
209
Pièces presented as collections, not suites; titles are more diverse than those of any other composer, & incl. “ouverture,” 4 “concertos,” 4 “sonates”, & 6 “symphonies” (Bk 6), all w/ multiple mvmts, most often 3; most character/genre pieces have masculine gender titles; 1 pièce is for organ & harpsichord together; scores (Bks 1-5) available online
Noblet
1: 1756
2
13
All but 1 are character/genre pièces, most relatively long w/ lush, rich harmonies, a meager but brilliant output; also incl. 3 3-mvmt sonatas w/ violin
Parent
1: 1762
0
16
Mostly character/genre pièces; scores not available as ed. or facsimile
Rameau
3: 1706, 1724, 1728
0
44, + 2
Pièces presented as collections, not suites; 2 pièces published independently; 4 of the 1741 Pièces de clavecin en concert are for solo harpsichord; also a 1735 solo harpsichord version of the orchestral music of Les Indes galantes; all these (except 1 pièce published separately that had not yet been discovered in 1978) are included in Gilbert’s edition
Royer
1: 1746
0
13
Pièces presented as a collection, not suites
Simon
3: 1761, 1770 (2)
0
25
Some pièces w/ violin, Bks 2 & 3 are sonatas & “concertos” w/ violin; scores not available as ed. or facsimile
Siret
2: 1707?, 1719
6
49
Book 1 dedicated to François Couperin
Tapray
5: 1773, Op. 4, 1780, Op. 11, 1784, Op. 17, 1785, Op. 22, 17??, Op. 28
0; only sonatas
0
16 sonatas total, all but 6 (Op. 25, below) specified “pour le clavecin ou le pianoforte,” + 21 w/ violin(s) “ad libitum“: Opp. 1 & 2 (1770), Op. 16 (1784), Op. 14 (1788), & Op. 25 (1789) , & Op. 29 (1899) 1 sonata for pianoforte 4-hands
Véras
1: 1740
4 Ordres
22
All character/genre pièces, scores not available as ed. or facsimile; 2nd book mentioned, but no copy yet found
For part five (of five parts), click here.