Les Barricades

Acclaimed in his own way, Louis would eventually be overshadowed by his nephew, François Couperin (1668-1733), nicknamed “The Great.” Born to Louis’s brother Charles—one of the many Saint Gervais organists—François grew up surrounded by music and famous musicians. Upon his father’s death, the young boy continued lessons with Jacques Thomelin, music director at the royal chapel. That post passed to François in 1693, and he would soon attain the highest musical job at Louis XIV’s court: official organist and composer to the king, commanded with organizing and playing both solo and chamber music concerts for the king’s pleasure. This meant offering weekly chamber concerts for most of his remaining years. François continued the family’s significance in harpsichord music, compiling four massive volumes of keyboard works and writing a major treatise on performance practice. But perhaps more than any other Couperin, François made substantial contributions to many different genres. Tonight’s program showcases his efforts in instrumental chamber music, sacred vocal, and solo keyboard.
Let’s start with one of his best-known harpsichord pieces, Les barricades mystérieuses. Couperin often used poetic or descriptive titles for instrumental works, but exactly what these “mysterious barricades” are remains a mystery today. It matters little in the end, for the hypnotic effect of the gently swaying harmonic progression carries everything before it. This delightful piece offers simple joy in harmony, a moment for quiet reflection hidden behind its imposing title.

(c) Jason Stell