François Couperin (French: [fʁɑ̃swa kupʁɛ̃]; 10 November 1668 – 11 September 1733) was a French Baroque composer, organist and harpsichordist. He was known as Couperin le Grand ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family.

François Couperin (French: [fʁɑ̃swa kupʁɛ̃]; 10 November 1668 – 11 September 1733) was a French Baroque composer, organist and harpsichordist. He was known as Couperin le Grand ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family.

Louis Couperin (French: [lwi kupʁɛ̃]; c. 1626 – 29 August 1661) was a French Baroque composer and performer. He was born in Chaumes-en-Brie and moved to Paris in 1650–1651 with the help of Jacques Champion de Chambonnières. Couperin worked as organist of the Church of St. Gervais in Paris and as musician at the court. He quickly became one of the most prominent Parisian musicians, establishing himself as a harpsichordist, organist, and violist, but his career was cut short by his early death at the age of thirty-five. None of Couperin's music was published during his lifetime, but manuscript copies of some 200 pieces survive, some of them only rediscovered in the mid-20th century. The first historically important member of the Couperin family, Couperin made contributions to the development of both the French organ school and the French harpsichord school. His innovations included composing organ pieces for specific registrations and inventing the genre of the unmeasured prelude for harpsichord, for which he devised a special type of notation.

Le Tombeau de Couperin (The Tomb of Couperin) is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917. The piece is in six movements, based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War I. Ravel also produced an orchestral version of the work in 1919, although this omitted two of the original movements.

François Couperin (French: [fʁɑ̃swa kupʁɛ̃]; 10 November 1668 – 11 September 1733) was a French Baroque composer, organist and harpsichordist. He was known as Couperin le Grand ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family.

The following is a complete list of compositions by François Couperin.

The Concerts royaux (singular: Concert royal; English: Royal Concerts) are chamber music suites by François Couperin written for the court of Louis XIV. Each consists of a prelude and a succession of dances in the order allemande, sarabande or courante, followed by others – but the suites are intended for listening more than dancing. Four were produced in 1714 and published in 1722. Another ten followed in 1724, now called Nouveaux concerts, ou les Goûts réunis (referring to the "reunited" French and Italian musical tastes). Neither of the two sets has fixed instrumentation: each suite can be played by solo harpsichord or an ensemble with a bass and three melody instruments, such as a violin, a viol, and an oboe or flute. (This freedom is found also in works by Marin Marais and Gaspard Le Roux.) The first and more frequently played of the sets is as follows: Premier concert in G Major Prélude Allemande Sarabande Gavotte Gigue Menuet en trio Deuxième concert in D Major Prélude Allemande fuguée Air tendre Air contrefugué Echos Troisième concert in A Major Prélude Allemande Courante Sarabande grave Gavotte Musette Chaconne légère Quatrième concert in E Minor Prélude Allemande Courante française Courante à l'italienne Sarabande Rigaudon Forlane

L'Apothéose de Lully, or Concert instrumental sous le titre d'Apothéose composé à la mémoire immortelle de l'incomparable Monsieur de Lully (English: The Apotheosis of Lully or Instrumental concert with the title of an Apotheosis composed in the immortal memory of the incomparable Monsieur de Lully) is a trio sonata composed by François Couperin. The piece was first published in 1725, a year after his L'Apothéose de Corelli, to pay homage to Jean-Baptiste Lully.

The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.

The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.

Élisabeth Claude Jacquet de La Guerre (, née Jacquet, 17 March 1665 – 27 June 1729) was a French musician, harpsichordist and composer. Jacquet de La Guerre was a significant figure in French Baroque music, particularly in the development of cantata and keyboard traditions. She was one of the earliest women in France to achieve recognition as a composer and to have her works widely performed and published. She was among the first French composers to write cantatas, helping establish the genre in France. She was closely associated with the court of Louis XIV, where her career was shaped by royal patronage and the musical culture of Versailles. Her music blends French stylistic traditions with elements of Italian influence, particularly in her vocal and instrumental works.

The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.

The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.

The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.

L'Apothéose de Lully, or Concert instrumental sous le titre d'Apothéose composé à la mémoire immortelle de l'incomparable Monsieur de Lully (English: The Apotheosis of Lully or Instrumental concert with the title of an Apotheosis composed in the immortal memory of the incomparable Monsieur de Lully) is a trio sonata composed by François Couperin. The piece was first published in 1725, a year after his L'Apothéose de Corelli, to pay homage to Jean-Baptiste Lully.

This is a list of Private Passions episodes from 2015 to 2019. It does not include repeated episodes or compilations.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

The Concerts royaux (singular: Concert royal; English: Royal Concerts) are chamber music suites by François Couperin written for the court of Louis XIV. Each consists of a prelude and a succession of dances in the order allemande, sarabande or courante, followed by others – but the suites are intended for listening more than dancing. Four were produced in 1714 and published in 1722. Another ten followed in 1724, now called Nouveaux concerts, ou les Goûts réunis (referring to the "reunited" French and Italian musical tastes). Neither of the two sets has fixed instrumentation: each suite can be played by solo harpsichord or an ensemble with a bass and three melody instruments, such as a violin, a viol, and an oboe or flute. (This freedom is found also in works by Marin Marais and Gaspard Le Roux.) The first and more frequently played of the sets is as follows: Premier concert in G Major Prélude Allemande Sarabande Gavotte Gigue Menuet en trio Deuxième concert in D Major Prélude Allemande fuguée Air tendre Air contrefugué Echos Troisième concert in A Major Prélude Allemande Courante Sarabande grave Gavotte Musette Chaconne légère Quatrième concert in E Minor Prélude Allemande Courante française Courante à l'italienne Sarabande Rigaudon Forlane

The Concerts royaux (singular: Concert royal; English: Royal Concerts) are chamber music suites by François Couperin written for the court of Louis XIV. Each consists of a prelude and a succession of dances in the order allemande, sarabande or courante, followed by others – but the suites are intended for listening more than dancing. Four were produced in 1714 and published in 1722. Another ten followed in 1724, now called Nouveaux concerts, ou les Goûts réunis (referring to the "reunited" French and Italian musical tastes). Neither of the two sets has fixed instrumentation: each suite can be played by solo harpsichord or an ensemble with a bass and three melody instruments, such as a violin, a viol, and an oboe or flute. (This freedom is found also in works by Marin Marais and Gaspard Le Roux.) The first and more frequently played of the sets is as follows: Premier concert in G Major Prélude Allemande Sarabande Gavotte Gigue Menuet en trio Deuxième concert in D Major Prélude Allemande fuguée Air tendre Air contrefugué Echos Troisième concert in A Major Prélude Allemande Courante Sarabande grave Gavotte Musette Chaconne légère Quatrième concert in E Minor Prélude Allemande Courante française Courante à l'italienne Sarabande Rigaudon Forlane

Myriam Rignol (born 1988) is a French viola da gamba player and teacher.

A chaconne ( shə-KON, French: [ʃakɔn]; Spanish: chacona [tʃaˈkona]; Italian: ciaccona [tʃakˈkoːna]; earlier English: chacony) is a type of musical composition often used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line (ground bass) which offers a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. It originates and was particularly popular in the Baroque era; a large number of Chaconnes exist from the 17th and 18th centuries. The ground bass, if there is one, may typically descend stepwise from the tonic to the dominant pitch of the scale; the harmonies given to the upper parts may emphasize the circle of fifths or a derivative pattern thereof.

The Concerts royaux (singular: Concert royal; English: Royal Concerts) are chamber music suites by François Couperin written for the court of Louis XIV. Each consists of a prelude and a succession of dances in the order allemande, sarabande or courante, followed by others – but the suites are intended for listening more than dancing. Four were produced in 1714 and published in 1722. Another ten followed in 1724, now called Nouveaux concerts, ou les Goûts réunis (referring to the "reunited" French and Italian musical tastes). Neither of the two sets has fixed instrumentation: each suite can be played by solo harpsichord or an ensemble with a bass and three melody instruments, such as a violin, a viol, and an oboe or flute. (This freedom is found also in works by Marin Marais and Gaspard Le Roux.) The first and more frequently played of the sets is as follows: Premier concert in G Major Prélude Allemande Sarabande Gavotte Gigue Menuet en trio Deuxième concert in D Major Prélude Allemande fuguée Air tendre Air contrefugué Echos Troisième concert in A Major Prélude Allemande Courante Sarabande grave Gavotte Musette Chaconne légère Quatrième concert in E Minor Prélude Allemande Courante française Courante à l'italienne Sarabande Rigaudon Forlane

The French organ school formed in the first half of the 17th century. It progressed from the strict polyphonic music of Jean Titelouze (c. 1563–1633) to a unique, richly ornamented style with its own characteristic forms that made full use of the French classical organ. Instrumental in establishing this style were Louis Couperin (c. 1626–1661), who experimented with structure, registration and melodic lines, expanding the traditional polyphonic forms, and Guillaume-Gabriel Nivers (1632–1714), who established the distinct forms and styles of what was to become the French organ tradition.

Antoine Forqueray (September 1672 – 28 June 1745) was a French composer and virtuoso of the viola da gamba. Forqueray, born in Paris, was the first in a line of composers which included his sons Jean-Baptiste (1699–1782) and Nicolas Gilles (1703–1761) as well as his brother Michel (1681–1757).