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105:, the King's younger brother. He kept the position until at least 1668, but in the meantime, in 1662, he bought the reversion of the post of harpsichordist from Chambonnières, who had been recently disgraced at the court; Chambonnières kept the salary, but D'Anglebert assumed the duties. He served as royal harpsichordist until his son Jean-Baptiste-Henry became his reversioner in 1674. After 1679 D'Anglebert served
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Chambonnières, and possibly originated in their immediate circle; thus already by the mid-1650s D'Anglebert must have been closely associated with the most prominent French harpsichordists of the time. The earliest reference to D'Anglebert survives in his marriage contract from 11 October 1659.
77:, it is possible that Chambonnières was his teacher—or at any rate a friend for whom D'Anglebert had much respect. The earliest surviving manuscript with D'Anglebert's music dates from 1650–1659. It also contains music by
203:. They are unique pieces, for no such arrangements by other major French harpsichord composers are known. The second manuscript contains even more experimental pieces by D'Anglebert, in which he tried to invent a
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is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D'Anglebert's table of
184:'s orchestral works. D'Anglebert's arrangements are, once again, some of the finest pieces in that genre, and show him experimenting with texture to achieve an orchestral sonority.
156:. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D'Anglebert's thorough mastery of
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Jean constructed himself a new name, to suggest nobility, using his surname (Henry) as a second given name, and his father's nickname, Anglebert, to suggest land ownership
220:(an old French term for a four-voice contrapuntal organ piece). The fugues all elaborate on variations of the same subject, thus forming an extended
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Most of D'Anglebert's other pieces survive in two manuscripts, one of which contains, apart from the usual dances, harpsichord arrangements of
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is the most sophisticated before
Couperin's (which only appeared a quarter of a century later, in 1713). It formed the basis of
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D'Anglebert's principal work is a collection of four harpsichord suites published in 1689 in Paris under the title
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230:). The quatuor, one of the few surviving pieces of its kind, is built around three themes derived from the
69:. Nothing is known about the composer's early years and musical education. Since he at one time composed a
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116:, appeared just two years before, in 1689. The rest of his music—mostly harpsichord works, but also five
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church in Rue St. Honoré, where he was still organist in
January 1660. In August 1660 he succeeded
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D'Anglebert's father Claude Henry known as
Anglebert was an affluent shoemaker in
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D'Anglebert married
Magdelaine Champagne, sister-in-law of the organist
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D'Anglebert's only surviving organ works are five fugues and a
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Ledbetter, David (2001). "Jean Henry D'Anglebert". In
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D'Anglebert's career in Paris must have begun at the
136:The complete table of ornaments from d'Anglebert's
160:and his substantial contribution to the genre of
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234:; it is to be played on three keyboards and the
279:The New Grove Dictionary of Music and Musicians
27:French composer, harpsichordist and organist
45:1 April 1629 – 23 April 1691) was a French
319:International Music Score Library Project
315:Free scores by Jean-Henri d'Anglebert
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110:Duchess Maria Anna Victoria of Bavaria
86:. In the contract, he is described as
326:Jean-Henri d'Anglebert - MIDI files
124:for organ—survives in manuscripts.
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75:Jacques Champion de Chambonnières
351:17th-century classical composers
371:French male classical composers
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356:17th-century French composers
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148:. The volume is dedicated to
191:pieces by composers such as
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386:17th-century male musicians
103:Philippe I, Duke of Orléans
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309:Jean-Henri D'Anglebert bio
366:Composers for harpsichord
361:French Baroque composers
282:(2nd ed.). London:
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381:People from Bar-le-Duc
376:French harpsichordists
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39:Jean-Henri d'Anglebert
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34:Jean-Henri d'Anglebert
150:Marie Anne de Bourbon
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101:as harpsichordist to
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284:Macmillan Publishers
227:The Art of the Fugue
232:Kyrie Cunctipotens
166:Pièces de clavecin
162:unmeasured prelude
146:Pièces de clavecin
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138:Pièces de clavecin
114:Pièces de clavecin
88:bourgeois de Paris
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293:978-1-56159-239-5
193:Ennemond Gaultier
154:François Couperin
84:François Roberday
16:(Redirected from
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324:Kunst der Fuge:
311:, Classical Net.
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224:(or a miniature
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236:pedal keyboard
201:René Mesangeau
197:Denis Gaultier
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99:Henri Dumont
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346:1691 deaths
341:1629 births
210:style brisé
335:Categories
262:References
213:textures.
67:Bar-le-Duc
222:ricercare
205:tablature
174:J.S. Bach
170:ornaments
18:Anglebert
276:(eds.).
107:Dauphine
95:Jacobins
55:organist
47:composer
43:baptized
321:(IMSLP)
317:at the
218:quatuor
122:quatuor
71:tombeau
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199:, and
178:Rameau
120:and a
118:fugues
242:Notes
182:Lully
128:Works
288:ISBN
189:lute
73:for
61:Life
53:and
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