[François Couperin] Introducing famous and popular pieces by the composer who loved the harpsichord
François Couperin, a French composer of the Baroque era.
He grew up in the illustrious musical Couperin family and became the most famous member of his lineage.
Among French musicians he was a unique talent; it is said that the famous German composer Brahms—despite his strong dislike of French music—showed considerable interest in Couperin’s works.
In this article, we introduce some of François Couperin’s masterpieces and popular pieces.
Among his works, the Pièces de clavecin—over 200 pieces—hold a central place.
From these, we’ve selected some of the most renowned pieces, so please enjoy the elegant, evocative music played on the harpsichord.
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[François Couperin] Introducing Masterpieces and Popular Works by the Composer Who Loved the Harpsichord (41–50)
Pièces de clavecin, Book III, Suite No. 17, No. 2: “The Little Windmill”François Couperin
François Couperin, a composer who epitomizes French Baroque music.
Couperin’s harpsichord pieces often bear poetic titles that spark the listener’s imagination.
“The Little Windmill,” the second piece from Suite No.
17 in Book III of his harpsichord works, is one such example of his distinctive style.
Its charm lies in a sprightly melody that suggests the turning of a windmill and delicate timbres that conjure scenes of wind sweeping through.
The piece lets you feel the refined beauty of Baroque music while fully savoring the richness of emotional expression at which Couperin excelled.
Pièces de clavecin, Book III, Suite No. 18, No. 3 “La religieuse Monique”François Couperin
François Couperin, an important composer of French Baroque music, contributed not only to court music but also to church music.
His collections of harpsichord pieces contain many masterpieces that are quintessential examples of an elegant style.
Among them, The Nun Monique is a particularly captivating piece with its refined ornamentation and delicate expression.
The title, which has been interpreted in multiple ways, reveals Couperin’s witty sensibility.
Although technically somewhat challenging, it is a work I recommend to intermediate and advanced piano enthusiasts who wish to savor the beauty of Baroque music.
Harpsichord Pieces, Book III, Suite No. 18, No. 6: “Tick-Tock-Choc, or The Olive Press”François Couperin
François Couperin’s works are known for their refined Baroque musicality and humorously inventive titles.
The piece titled “Tick-Tock-Choc, or The Chocolate Grinder” from Pièces de clavecin, Book 3, 18th Suite, No.
6 is a quintessential example of his style.
Its rhythmically pendulum-like melody evokes a clock’s swing and shines even more beautifully when one makes full use of pedaling and dynamics.
It’s a masterpiece I highly recommend to anyone who wants to savor Baroque subtlety and expressive richness.
Harpsichord Pieces, Book IV, Suite No. 23, No. 2: “The Knitting Women”François Couperin
François Couperin, a master of French Baroque music, came from a musical family and was known as “Couperin le Grand.” He was also one of the foremost harpsichordists of his time.
His representative work, the 23rd suite from Book IV of his Pièces de clavecin, “Les Tricoteuses” (The Knitting Women), is a piece notable for its delicate touch and lively rhythms.
It exemplifies the characteristics of Couperin’s mature style, which skillfully fuses French and Italian musical traditions.
Evoking the refined tastes and elegance of courtly life of the era, this piece is a popular repertoire item not only for the harpsichord but also for the piano.
Mass for the ParishFrançois Couperin
A French composer of the 17th century, he stood at the pinnacle of a family of musicians and is known as “Couperin le Grand.” Over the course of his life as a musician at Versailles, he left masterpieces in chamber ensembles that sought to fuse the French and Italian styles, in small-scale sacred works, and in keyboard music emblematic of the Rococo style.
The Mass for the Parishes was written for the Church of Saint-Gervais, where he served as organist from 1685 to 1723.
It is known as a representative work of the 17th-century French organ mass, notable for its colorful and subtle tonal palette.
