(b. Paris, November 10, 1668; d. Paris, September 11, 1733)

French keyboard player and composer, with Rameau the most important figure in French music during the first half of the 18th century. He was known as “le grand” (“the Great”) because he was the most illustrious member of a family of musicians that dominated the French keyboard scene for more than a century. In 1685 he succeeded his father as organist at the church of St. Gervais, taking his rightful place in the family dynasty (Couperins would eventually rule the organ loft at St.

Gervais for 173 years). In 1693 he was named organ-iste du roi (court organist), a position that carried considerable prestige and financial benefit, and brought Couperin into contact with the movers and shakers at the court of Louis XIV. A second royal appointment came in 1717, when he was finally named ordinaire de la musique de la chambre du roi pour le clavecin (court harpsichordist) , after having deputized for the incumbent d’Anglebert for many years.

Couperin’s prosperity continued after Louis XV ascended the throne in 1715; he kept a busy teaching schedule into the 1720s, but gradually had to give up performing as his health failed. He continued composing and publishing music right up to the time of his death.

Naturally enough, Couperin’s output consisted mainly of keyboard works and the sacred vocal pieces expected of a church organist. Of prime importance to his legacy were the four books of harpsichord pieces, called Ordres, that he published in 1713, 1716, 1722, and 1733. He also composed several collections of chamber pieces, including Les gouts reunis (1724) and Les nations (1726), both much influenced by Corelli, and wrote a treatise on harpsichord playing, L’art de toucher le clavecin (1716).