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Nicolas-Antoine Lebègue

If the amount of reprints of the composers music are indicative of his/her reputation after that Lebegue was a prominent keyboard artist. The just positions he was recognized to have contain a long lasting organist placement at St Merry’s in Paris (1664) and an organist from the ruler (1678). Lebegue appreciated repute as an body organ constructor, composer, organist and instructor. Contemporary players who had been also “organiste du Roi” included Nivers, Thomelin and Buterne. Lebegue’s learners included Grigny (who perfected the musical vocabulary from the body organ), Dagincour, Geoffrey, Jullien and Garnier. Thankfully several his compositions are extant including five books of key pad pblications — two “books for the harpsichord” and three “books for the body organ.” Chracteristics of his harpischord compositions consist of straight-forward game titles, formality, conventional company of suites (allemande-courante accompanied by several combos of gavottes, minuets, canaris, gigues, sarabandes, chaconnes, et al). The merits of the compositions were much like those of Couperin. Lebegue’s body organ compositions demonstrate his innovative technique dismissing the severe nature from the countrapuntal design and using neologistic terminolog such as for example “trio a deux dessus,” “trio a deux claviers et pedalle,” and “dialogue entre le dessus et la basse.” The self-reliance from the pedal parts was an initial for French music. The initial reserve of body organ parts by Lebegue needed a musical instrument of qualitative superiority however the seond reserve was set to get more humble means. The 3rd reserve illustrates an exclusive secularity within French key pad music using its symphonies, noels and picturesuqe parts.

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