Jean-Henri d’Anglebert was a French composer, harpsichordist and organist. He was one of the foremost keyboard composers of his day. His s principal work is a collection of four harpsichord suites published in 1689 in Paris under the title Pièces de clavecin. The volume is dedicated to Marie Anne de Bourbon, a talented amateur harpsichordist who later studied under François Couperin. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D’Anglebert’s thorough mastery of counterpoint and his substantial contribution to the genre of unmeasured prelude), Pièces de clavecin is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D’Anglebert’s table of ornaments is the most sophisticated before Couperin’s (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S. Bach’s own table of ornaments (Bach copied D’Anglebert’s table ca. 1710), and provided a model for other composers, including Rameau. Finally, D’Anglebert’s original pieces are presented together with his arrangements of Lully’s orchestral works. He lived from April 1629 to April 23, 1691.—Excerpted from Wikipedia
Suite 1 in G major from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante image
4. Double de la Courante
5. Seconde Courante
6. Troisième Courante
7. Sarabande
8. Gigue
9. Gaillarde
10. Chaconne en Rondeau
11. Gavotte
12. Menuet
13. Overture de Cadmus de Mr. De Lully
14. Rittournelle des Fées de Roland de Mr. De Lully
15. Menuet Dans nos bois
16. Chaconne de Phaeton de Mr. De Lully
17. 2e Gigue On la joue avant la Gaillarde aprèz la 1e Gigue
Suite 2 in g minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Seconde Courante
5. Courante de Mr. De Lully
6. Sarabande
7. Sarabande Dieu des enfers de Mr. De Lully
8. Gigue
9. Gigue de Mr. De Lully
10. Gaillarde
11. Passacaille
12. Menuet La jeune Iris de Mr. De Lully
13. Gavotte Où estes vous allés Air ancien
14. Gavotte Le beau Berger Tirsis. Air ancien
15. Air La Bergere Annette. Vaudeville
16. Ouverture de la Mascarade de Mr. De Lully
17. Les Sourdines d’Armide de Mr. De Lully
18. Les Songes agréables d’Atis de Mr. De Lully
19. Air d’Apollon du Triomphe de l’Amour de Mr. De Lully
20. Menuet de Poitou. Vaudeville
21. Passacaille d’Armide de Mr. De Lully
Suite 3 in d minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Double de la Courante
5. Seconde Courante
6. Sarabande Grave
7. Sarabande
8. Gigue
9. Gaillarde
10. Gavotte
11. Menuet
12. Ouverture de Proserpine de Mr. De Lully
13. Variations sur les Folies d’Espagne
Suite 4 in D major from Pieces de clavecin
1. Allemande
2. Courante
3. Seconde Courante
4. Sarabande
5. Gigue
6. Chaconne de Galatée de Mr. De Lully
7. Chaconne en Rondeau
8. Tombeau de Mr. de Chambonnieres
Organ Music
5 Fugues on the Same Theme, and Quatuor on the Kyrie
Fugue 1 (Jeu de Tierce)
Fugue 2 (Trompette)
Fugue 3 (Cromorne)
Fugue 4 (Clairon, Trompettes)
Fugue 5 (Grand Jeu)
Quatuor sur le Kyrie (Cornet, Trompette, Jeu de Tierce, Flûte)
Other
Suite for harpsichord in D
1. Allemande
2. Courante I
3. Courante II
4. Sarabande*
5. Giga
Quator sur le Kyrie —Source: Kunstderfuge
Jean-Henri d’Anglebert was a French composer, harpsichordist and organist. He was one of the foremost keyboard composers of his day. His s principal work is a collection of four harpsichord suites published in 1689 in Paris under the title Pièces de clavecin. The volume is dedicated to Marie Anne de Bourbon, a talented amateur harpsichordist who later studied under François Couperin. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D’Anglebert’s thorough mastery of counterpoint and his substantial contribution to the genre of unmeasured prelude), Pièces de clavecin is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D’Anglebert’s table of ornaments is the most sophisticated before Couperin’s (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S. Bach’s own table of ornaments (Bach copied D’Anglebert’s table ca. 1710), and provided a model for other composers, including Rameau. Finally, D’Anglebert’s original pieces are presented together with his arrangements of Lully’s orchestral works. He lived from April 1629 to April 23, 1691.—Excerpted from Wikipedia
Suite 1 in G major from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante image
4. Double de la Courante
5. Seconde Courante
6. Troisième Courante
7. Sarabande
8. Gigue
9. Gaillarde
10. Chaconne en Rondeau
11. Gavotte
12. Menuet
13. Overture de Cadmus de Mr. De Lully
14. Rittournelle des Fées de Roland de Mr. De Lully
15. Menuet Dans nos bois
16. Chaconne de Phaeton de Mr. De Lully
17. 2e Gigue On la joue avant la Gaillarde aprèz la 1e Gigue
Suite 2 in g minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Seconde Courante
5. Courante de Mr. De Lully
6. Sarabande
7. Sarabande Dieu des enfers de Mr. De Lully
8. Gigue
9. Gigue de Mr. De Lully
10. Gaillarde
11. Passacaille
12. Menuet La jeune Iris de Mr. De Lully
13. Gavotte Où estes vous allés Air ancien
14. Gavotte Le beau Berger Tirsis. Air ancien
15. Air La Bergere Annette. Vaudeville
16. Ouverture de la Mascarade de Mr. De Lully
17. Les Sourdines d’Armide de Mr. De Lully
18. Les Songes agréables d’Atis de Mr. De Lully
19. Air d’Apollon du Triomphe de l’Amour de Mr. De Lully
20. Menuet de Poitou. Vaudeville
21. Passacaille d’Armide de Mr. De Lully
Suite 3 in d minor from Pieces de clavecin
1. Prélude image
2. Allemande
3. Courante
4. Double de la Courante
5. Seconde Courante
6. Sarabande Grave
7. Sarabande
8. Gigue
9. Gaillarde
10. Gavotte
11. Menuet
12. Ouverture de Proserpine de Mr. De Lully
13. Variations sur les Folies d’Espagne
Suite 4 in D major from Pieces de clavecin
1. Allemande
2. Courante
3. Seconde Courante
4. Sarabande
5. Gigue
6. Chaconne de Galatée de Mr. De Lully
7. Chaconne en Rondeau
8. Tombeau de Mr. de Chambonnieres
Organ Music
5 Fugues on the Same Theme, and Quatuor on the Kyrie
Fugue 1 (Jeu de Tierce)
Fugue 2 (Trompette)
Fugue 3 (Cromorne)
Fugue 4 (Clairon, Trompettes)
Fugue 5 (Grand Jeu)
Quatuor sur le Kyrie (Cornet, Trompette, Jeu de Tierce, Flûte)
Other
Suite for harpsichord in D
1. Allemande
2. Courante I
3. Courante II
4. Sarabande*
5. Giga
Quator sur le Kyrie —Source: Kunstderfuge
“Neglected for centuries, Marc-Antoine Charpentier has emerged as one of the greatest French composers of sacred music in the 17th century, arguably superior to his more successful contemporary, Jean-Baptiste Lully. His music shows more diversity than Lully’s ranging—often within the same work—from the stately to the intimate. The key to this achievement was his adoption of a style based on the new Italian concerto, which employed dramatically telling contrasts between different groupings of voices throughout a work. Moreover, Charpentier softened the predominantky formal and grandiose style of French music, intoducing a more Italianate sensuousness and a greater sensitivity to word-setting.”—The Rough Guide to Classical Music (2001, 3rd ed.)
Charpentier was exceptionally prolific and versatile, producing compositions of the highest quality in several genres. His mastery in writing sacred vocal music, above all, was recognized and hailed by his contemporaries. His compositions include oratorios, masses, operas, and numerous smaller pieces that are difficult to categorize. Many of his smaller works for one or two voices and instruments resemble the Italian cantata of the time, and share most features except for the name: Charpentier calls them air sérieux or air à boire if they are in French, but cantata if they are in Italian.
In addition to his compositions, Charpentier was a music theorist who wrote several treatises on composition, including one called Règles de Composition par Monsieur Charpentier and Augmentations tirées de l’original de Mr le duc de Chartres. He lived from 1643 to February 24, 1704.—Excerpted from Wikipedia
Circé
Conceptio tuo Dei genitrix virgo
Concert pour 4 parties de violes
Cur mundus militat
David et Jonathas
Dialogus inter Magdalenam et Jesum
Domine salvum fac regem
Domine salvum
Domine salvum
Domine salvum
Egredimini filiæ Sion
Élévation au St Sacrement
Euge serve bone
Exaudiat
Extremum Dei judicium
Filius prodigus
3 Hymnes à saint Nicaise
In honorem Sancti Xaverij canticum
In nativitatem Domini canticum
Laetatus sum
Lauda Jerusalem
Lauda Sion
Magnificat
Le malade imaginaire
Médée
Méditations pour le Carême
Messe à 8 voix et 8 violons et flûtes
Messe à quatre choeurs
Messe de minuit pour noël
Miserere
Nisi Dominus
Noël pour les instruments
Noël sur les instruments
O amor, o bonitas
O coelestis Jerusalem
O filii
O Salutaris
O vos amici mei
Offerte
Ouverture et intermèdes
Panis angelicus voce sola
Peccavi Domine
Peccavi Domine, peccavi multum
Les plaisirs de Versailles
Pour Saint Augustin mourant
Pour Ste. Anne
Sur la naissance de notre Seigneur Jésus Christ
Symphonies pour un reposoir
Te Deum
Tristis est anima mea
Veni creator Spiritus
Veni creator Spiritus
Victimae paschali laudes
“A wonderful text. It gives a sense of the man, from the very limited sources available. It gives a careful discussion of most of his compositions, by genre. It is beautifully and poignantly written. A Charpentier devotee since 1973, I have read and reread many parts of the book since it was published in 1995. It is a must for Charpentier admirers as well as those interested in French baroque musique more broadly.”—Trond Petersen
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