- The Crisis of the Baroque
- Decentering the European Imaginary: A Baroque Taste for India
- Line and Trait of the Baroque River
- Water in The Baroque Garden
- Fashioning the Baroque Male
- Antinomies of the Twenty-First-Century Neobaroque: Cormac McCarthy and Demian Schopf
- The Automaton
- The Baroque City
- Surface and Substance: Baroque Dress in Spain and France, 1600–1720
- Baroque Dance
- Ibero-American Architecture and Urbanism
- Baroque Organ Music
- Ottoman Baroque
- Baroque Opera
- Machine Plays
- The Organization of Knowledge from Ramus to Diderot
- Experience and Knowledge in the Baroque
- Conversation and Civility
- The Philosopher’s Baroque: Benjamin, Lacan, Deleuze
- The Spanish Baroque Novel
- Baroque Tragedy
- The Baroque as a Literary Concept
- Baroque Discourse
- Classical Defense of the Baroque
- The Baroque and Philosophy
- The Baroque as Anti-Classicism: The French Case
- Is There a Baroque Style of Preaching in Early Modern France?
- Prayer, Meditation, and Retreat
- Baroque Sexualities
- Paradoxes: Baroque Science
- Baroque Diplomacy
- The End of Witch-Hunting
- Time and Chronometry
- Court Spectacle and Entertainment
- The Baroque State
Abstract and Keywords
This chapter discusses French Baroque organ music from published and manuscript sources, its liturgical context as well as the instrument itself. Throughout the period, the French organ retained a consistency of design and liturgical use that was unique. Its overriding principle was that of tonal color, so that titles of individual pieces, plein jeu, fugue, duo, récit, trio, and grand jeu, became established genres from 1665 to the Revolution. These genres implied appropriate styles of composition. Nevertheless, within strict parameters, composers were more and more influenced by contemporary Italian and French secular music. This mix of sacred and secular styles was a catalyst for composers of immense imagination: Nivers, Lebègue, Raison, François Couperin, Boyvin, De Grigny, Marchand, Dandrieu, to Michel Corrette and Balbastre, whose music serves as an example of how true creativity developed within relatively narrow parameters.
David Ponsford is a distinguished organist and harpsichordist who has been engaged in research in Baroque music throughout his career. He studied for a PhD with Professor Peter Williams, and for 17 years lectured at Cardiff University in Performance Practice and Notation & Editing. His edition of Biber’s Mystery Sonatas was published in 2007 and following the publication of his book French Organ Music in the Reign of Louis XIV (Cambridge University Press, 2011; paperback edition, 2016), he is currently recording a series of CDs for Nimbus Records of French Baroque organ repertoire on historic organs, of which the first six CDs have now been released.
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