1. Kyrie
2. Gloria
3. Offertoire
4. Sanctus 
5. Benedictus      play       
6. Agnus Dei
7. Envoi

Ensemble Organum
Jean-Charles Ablitzer (organ)
Marcel Peres - conductor

François Couperin inherited the post of organist at St. Gervais à Paris at the age of 11, following his father's death. He would not take full possession of this important post until he reached the age of 18 and, in the meantime, would share it with the slightly older, more experienced organist Michel-Richard de Lalande. In 1693, he was named principal organist and court musician to King Louis XIV at the Palace of Versailles, a position Couperin would retain until his retirement in 1730. Couperin performed double duties between Versailles and St. Gervais until 1723, when his son Nicolas assumed many of Couperin's services at St. Gervais. François Couperin continued to play the organ at St. Gervais on a semi-retired basis until his death in 1733.

Only two extant works bear witness to Couperin's 55 years in the organ loft, the Messe à l'usage des paroisses (Mass for the Parishes) and the Messe à l'usage des Couvents (Mass for the Convents). Both works were published as Couperin's Livre d' Orgue in 1690 and constitute his earliest known music. Couperin's two organ masses are so assured stylistically that, until 1930, they were believed to be the work of his father, but closer examination of external evidence revealed the two masses were the product of the son.

An edict handed down by the Archbishop of Paris in 1662, the Cérémonial des églises de Paris, strictly regulated the use of the organ in Parisian churches. As a result, all of the organ masses dating from around Couperin's time up to about 1715 are similar in form and focus. The Mass for the Parishes is the larger of his two masses and is intended for a great cathedral organ, such as that in the St. Gervais of his day. While Couperin's organ is still present at St. Gervais, it has been altered to such a degree that it now only comes equipped with 30 pedals, inadequate for the double-stopping in the pedal parts required in Couperin's mass. The work is laid out mostly in short versets or couplets that follow chanted sections of the Latin mass Cunctipotens genitor Deus. Five versets are intended for the Kyrie, nine for the Gloria, two each for the Sanctus and Agnus Dei, and a single verset proves sufficient for the Benedictus. One aspect of the mass that was not so closely proscribed by the Archbishop was the offertory, and here Couperin gives free rein to his imagination; it is in three parts and is distinguished by its highly chromatic counterpoint and loose handling of voice exchanges. Throughout the whole work, Couperin is quite specific about registrations used and even includes unusual markings, such as the instruction "pédalles les deux mains et les deux pieds ensemble" (pedals the two hands and two feet together.) A short Deo Gratias, less than a minute in length, brings the work to a triumphant and ceremonial close. ~ Uncle Dave Lewis , Rovi

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1. Prélude N°7 Pour L'Art De Toucher Le Clavecin 
2. Concert N°7, Les Goûts Réunis : Prélude 
3. Concert N°7, Les Goûts Réunis : Allemande 
4. Concert N°7, Les Goûts Réunis : Sarabande 
5. Concert N°7, Les Goûts Réunis : Fuguète 
6. Concert N°7, Les Goûts Réunis : Gavotte 
7. Concert N°7, Les Goûts Réunis : Sicilienne 
8. Prélude N°3 Pour L'Art De Toucher Le Clavecin 
9. Concert N°1, Les Concerts Royaux : Prélude 
10. Concert N°1, Les Concerts Royaux : Allemande 
11. Concert N°1, Les Concerts Royaux : Sarabande 
12. Concert N°1, Les Concerts Royaux : Gavotte 
13. Concert N°1, Les Concerts Royaux : Gigue 
14. Concert N°1, Les Concerts Royaux : Menuet En Trio 
15. Prélude N°2 Pour L'Art De Toucher Le Clavecin 
16. Concert N°2, Les Concerts Royaux : Prélude 	
17. Concert N°2, Les Concerts Royaux : Allemande Fuguee 
18. Concert N°2, Les Concerts Royaux : Air Tendre 
19. Concert N°2, Les Concerts Royaux : Air Contre Fugué 
20. Concert N°2, Les Concerts Royaux : Echos 
21. Prélude N°4 Pour L'Art De Toucher Le Clavecin 
22. Concert N°14, Les Goûts Réunis : Prélude 
23. Concert N°14, Les Goûts Réunis : Allemande 
24. Concert N°14, Les Goûts Réunis : Sarabande 	
25. Concert N°14, Les Goûts Réunis : Fuguete

Stradivaria
Daniel Cuiller – conductor

For more than thirty years, François Couperin was one of the great musical figures at court. But despite this prestigious status, few primary sources concerning him have come down to us. No autograph manuscript has ever been found. If the art of François Couperin has finally survived for posterity, it is entirely thanks to the editions published in his lifetime under a succession of royal privileges. The 'Concerts Royaux' and 'Les Goûts Réunis' form a homogeneous corpus of fourteen groups, very likely composed at the same period, in 1714 and 1715. The title of the second publication is quite explicit; as a great admirer of the Italian masters, and of Corelli in particular, Couperin here displays his resolve to work towards a synthesis of the French and Italian styles, thus combating those supporters of French music who still refused to countenance art from beyond the Alps. With their great melodic inventiveness, the 'Concerts Royaux' and 'Les Goûts Réunis' offer a body of chamber music full of variety and contrast; they combine elements of French grace, restraint and intimacy with Italianate energy, brilliance and vitality.---arkivmusic.com

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FRANÇOIS COUPERIN (1668-1733)
La Sultane (1705-1726)
Sonate en quatuor
Les Nations (1726)
« L’Impériale » – Suite
Allemande
Courante
Seconde Courante
Sarabande
Bourrée
Gigue
Rondeau
Chaconne
Menuet

MARIN MARAIS (1656-1728)
Quatrième Livre de pièces de viole (1717)
Suite d’un goût étranger
Marche tartare
Sarabande
La Tartarine
Rondeau
le Bijou
Le Labyrinthe
L’Arabesque
La Rêveuse
Le Badinage

FRANÇOIS COUPERIN (1668-1733)
Les Nations (1726)
« L’Impériale » – Sonade
Gravement
Vivement, et marqué
Gravement, et marqué
Légèrement
Rondement
Vivement

Les Talens Lyriques:
Gilone Gaubert-Jacques, Gabriel Grosbard - violons
Atsushi Sakaï, Marion Martineau - violes de gambe
Christophe Rousset - direction et clavecin

25 august 2017, Église Saint-Pierre et Saint-Paul, Brûlon

François Couperin est un compositeur de la fin du XVIIème et du début du XVIIIème siècle également organiste et claveciniste. Il apprend la musique très jeune auprès de son père alors qu'il ne sait même pas encore lire et écrire. Très apprécié de son vivant, notamment par les plus grands, il est nommé organiste de la Chapelle royale.

Marin Marais est comme François Couperin un musicien aux nombreux talents. Compositeur et violiste il est aussi très en vogue à la cour du roi : En 1679 il obtient la charge de "joueur de viole dans la musique de la Chambre" du roi. À la mort de Lully, Marais créé l'opéra "Alcione" en collaboration avec le fils aîné du défunt. Vous pouvez découvrir cette œuvre dirigée par Jordi Savall à l’Opéra Comique en intégralité sur Culturebox.

Les interprètes: Le chef d'orchestre et claveciniste Christophe Rousset dirige l'ensemble qu'il a fondé Les talens Lyriques. Passionné d'opéra et de redécouvertes de répertoires anciens, il nous propose de partager sa passion pour la musique ancienne. Ils seront pour l'occasion accompagnés par les violonistes Gilone Gaubert-Jacques et Gabriel Grosbard et les violistes Atsushi Sakaï et Marion Martineau. --- culturebox.francetvinfo.fr

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