Introduction to French Classic Organ Music: François Couperin

This video is the first of a three-part series that introduces the basics of French Classic organ music. Session I focuses on the music of François Couperin and discusses the basics of organ design, compositional style, and performance practice in the French Classic era.
Featuring: Dr. Margaret Harper, Organist
Associate Producer and A/V Technician: Pat Graham Crowe
Recorded on Bedient Pipe Organ Company Op. 21 at the University of North Texas

[@peteacher52]

I learned something about the Couperins I didn't know - and I bought my first LP recording by Aimee van de Wiele playing the harpsichord, in 1966, then around mid-70s, Gillian Weir playing the masses. Your explanation with demonstration is similar to that of Michel Chapuis describing duos of Dandrieu and de Grigny. Kudos, Margaret.

[@elizabethyoo5027]

Hello. I am a student studying at UNT. This video is very helpful for studying for the exam. Thank you!!

[@francoisbruel9163]

delightful "notes inégales"… 👍

[@stevenhardy1860]

Very beautiful introduction. Thank you

[@philipstapert3517]

I fell in love with French Classic music thanks to the Bedient organ! I had an opportunity to practice on it when it was still at St. Mark's in Grand Rapids.

[@margaretharper3269]

It is a beautiful and engaging instrument, to say the least! I'm so glad to hear you also have had the opportunity to play it and learn from it, Philip.

[@michaelmeyer7426]

Excellent presentation!

[@earlwgreen]

Wow, thank you for doing this! I've read so much about this period and can never get enough. I actually did have a chance to play the organ at the Chapelle Royale in Versailles and the Abbaye Notre-Dame de Guibray in Falaise. Both of which still have the pédalier à la française. I'm especially interested in your ideas about registration. Again, thanks!

[@TheGloryofMusic]

I highly recommend Michel Chapuis' recordings of F. Couperin and de Grigny.

[@lukefowler9740]

Wow, very informative! Thank you. For the Grand Jeu, does this consist of the Trompette, Clairon et Cornet? I've heard that although flue pipes, the Cornet is usually added to provide support to the reeds. Are the Cromorne/Voix Humaine included as well?

[@margaretharper3269]

Great question, Luke! You're on the right track. In general, a Grand Jeu is made up of the chorus of reeds combined with supporting stops. In the Grands Jeux (which couples the Petit Grand Jeu from the Positif to the Grand Jeu of the Grand Orgue), at least the Cornet on the Grand Orgue, and possibly also the Cornet on the Positif (which was separated into its distinct ranks unlike Cornet on the Grand Orgue, which was a compound stop) would have been included. The Cromorne, which on smaller organs would have only been found on the Positif, would also be included in this.

[@lukefowler9740]

@@margaretharper3269 Thank you! That makes sense. So for a Grand Huit Pieds organ, the Grand Jeu would be something like: II. Trompette 8 (Clairon 4 if present) (Cromone 8 if present) Cornet V Tirasse I. I. Bourdon 8 Prestant 4 Nazard 2 2/3 Quart de Nasard 2? Or Doublette? Tierce 1 3/5 (Trompette 8 if present) Cromone 8 Would the Positif be used for echo passages if an Echo division is not present? In which case would you still couple the manuals for the Grand Jeu? Or might you perhaps add the bourdon + prestant to reinforce the Grande Orgue and have two separate choirs?

[@davidarcus5131]

@@lukefowler9740 The petite Grand Jeu of the Positif allows for the classic "dialogue" -- not an echo per se but certainly a less-penetrating ensemble than the full I+II Grands Jeux provide; it can also accompany solo melodies played on the Grand Orgue. It should also be noted that the kind of support the Cornet lends to French Classic reeds is to help bring out the treble voice parts of the Grands Jeux. French classic reeds are very loud in the bass but weak at the top. (Harmonic trumpets, whose double-length resonators and first-overtone voicing assist to carry the sound, were not being made before the 19th century.) The Cornet registers (particularly the mounted Cornet of the Grand Orgue, available generally from middle c upwards) would "take over" where the classical Trompettes are less effective. The result is a "balance of power" unique to organs in the Baroque era. The fabulous 1772 Jean-Esprit Isnard organ in the Basilica of Mary Magdalene in St. Maximin-en-Var, with its horizontal Dessus de trompette en chamade, is a notable exception. Thank you, Dr. Harper, for this great series!

[@lukefowler9740]

@@davidarcus5131 Indeed, the Cornet Monté of the Grande Orgue as Bédos describes goes from narrow scale at its lowest notes to large scale at the highest for this purpose, which is why I was unsure about decoupling the Grand Jeu of the Positif since the Ripieno "cornet" consisting of the separate registers have the same scale throughout their compass and won't be as effective at performing the role. I find it interesting that by the time the reeds are strong enough not to require the support of bourdon/prestant/nazard etc is precisely when the Grand Jeu falls out of favour and instead the reeds are added to the Plein Jeu in the germination of the classic French Romantic organ sound. I suppose it was a combination of the disruption to organ building across the French Revolution, new aesthetics in organ design and purpose as well as a shift in musical tastes which precipitated this as much as the more consistent strength and tonal quality of the reeds. I suppose the expansion of the number and pitch of ranks in the fourniture and cymbale necessitated a stronger 8' presence in the registration too.

[@lukefowler9740]

@@davidarcus5131 Oooh another interesting exception is Henri Cliquot's organ in Poitiers Cathedral, technically finished post-Revolution but could be considered the very last French classic organ. His solution there to get enough sounds for the building was to include Trompettes on all 5 divisions, with Clairon on the Positif and doubled Trompettes and Clairons on the Grande Orgue! I believe it also has a Bombarde with complete ravalement, though I'm not sure if that was a later addition.