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94:, 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.
66:, 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
192:. 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
173:'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.
145:. 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
209:(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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219:). The quatuor, one of the few surviving pieces of its kind, is built around three themes derived from the
58:. Nothing is known about the composer's early years and musical education. Since he at one time composed a
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105:, 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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196:-like notation for keyboard music to simplify the notation of
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141:, a talented amateur harpsichordist who later studied under
46:. He was one of the foremost keyboard composers of his day.
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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
125:The complete table of ornaments from d'Anglebert's
149:and his substantial contribution to the genre of
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223:; it is to be played on three keyboards and the
268:The New Grove Dictionary of Music and Musicians
16:French composer, harpsichordist and organist
34:1 April 1629 – 23 April 1691) was a French
308:International Music Score Library Project
304:Free scores by Jean-Henri d'Anglebert
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99:Duchess Maria Anna Victoria of Bavaria
75:. In the contract, he is described as
315:Jean-Henri d'Anglebert - MIDI files
113:for organ—survives in manuscripts.
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64:Jacques Champion de Chambonnières
340:17th-century classical composers
360:French male classical composers
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345:17th-century French composers
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137:. The volume is dedicated to
180:pieces by composers such as
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375:17th-century male musicians
92:Philippe I, Duke of Orléans
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298:Jean-Henri D'Anglebert bio
355:Composers for harpsichord
350:French Baroque composers
271:(2nd ed.). London:
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370:People from Bar-le-Duc
365:French harpsichordists
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28:Jean-Henri d'Anglebert
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23:Jean-Henri d'Anglebert
139:Marie Anne de Bourbon
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90:as harpsichordist to
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273:Macmillan Publishers
216:The Art of the Fugue
221:Kyrie Cunctipotens
155:Pièces de clavecin
151:unmeasured prelude
135:Pièces de clavecin
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127:Pièces de clavecin
103:Pièces de clavecin
77:bourgeois de Paris
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282:978-1-56159-239-5
182:Ennemond Gaultier
143:François Couperin
73:François Roberday
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313:Kunst der Fuge:
300:, Classical Net.
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259:Sadie, Stanley
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225:pedal keyboard
190:René Mesangeau
186:Denis Gaultier
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88:Henri Dumont
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335:1691 deaths
330:1629 births
199:style brisé
324:Categories
251:References
202:textures.
56:Bar-le-Duc
211:ricercare
194:tablature
163:J.S. Bach
159:ornaments
265:(eds.).
96:Dauphine
84:Jacobins
44:organist
36:composer
32:baptized
310:(IMSLP)
306:at the
207:quatuor
111:quatuor
60:tombeau
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188:, and
167:Rameau
109:and a
107:fugues
231:Notes
171:Lully
117:Works
277:ISBN
178:lute
62:for
50:Life
42:and
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