Karen Flint - Pieces Clavessin: Jacques Champion Chambonnieres

Exquisite Melodies and The Most Beautiful Touch Jacques Champion, Sieur de Chambonnières (1601/02 - before May 4, 1672) Illustrious Chambonnières, whose peerless hands Seem to move the soul with such divers tones, What use could be praise and our verse to you, Since the whole world wonders at your marvels? J. Quesnel, Librarian to M. de Thou Translation by Vincent Giroud Jacques Champion de Chambonnières, founder of the French classical school of harpsichord playing and composition, was born in Paris most likely in 1602, about a year after his parents' marriage date. His father, Jacques Champion, sieur de la Chappelle and Knight of the King's Order and his mother Anne Chartriot, daughter of Robert Chartriot, esquire, sieur de Chambonnières, were married on January 31, 1601. The earliest known record of "Jacques de la Chappelle, filz de Monsieur de la Chappelle" was on June 20, 1608, when he was godfather to a little girl. Although his family name was Champion, he was known by the title of his maternal grandfather, sieur de Chambonnières. His father's musical family dates back to the fifteenth century. Chambonnières' grandfather, Thomas Champion, called Mithou, was organist and harpsichordist of the King's Chamber. Marin Mersenne (1588-1648), French mathematician, philosopher, music theorist and chronicler of music of his time recorded that Thomas Champion was "a great contrapuntist," who "broke new ground for the organ and harpsichord improvising canons and fugues." As a young boy, Champion de Chambonnières received the reversion of his father's position at the court of Louis XIII as organist, valet de chambre and joueur d'espinette in September 1611. He first married Marie Leclerc, of whom nothing is known, most likely when he was about 20 years old. Chambonnières' career began to blossom between 1628 and 1635. During this period Mersenne refered to him as "the younger Chappelle, commonly called Baron de Chambonnière, who is almost without peer in the whole world." Mersenne later praised him, although no longer calling him baron. "After having heard the harpsichord played by the sieur de Chambonnières, I can express my feelings by saying that one should not hear anything else after him, if one desires either beautiful melodies and harmony perfectly blended, a beautiful rhythmic sense, a lovely touch, or both light and fast fingerwork . . . one can say that this instrument has met it's ultimate master." Mersenne felt that Jacques had surpassed his father and grandfather, although his father thought the grandfather was the better musician. Not only did Chambonnières play and compose for the court, but he danced as well, dancing for the first time before Louis XIII at the Arsenal on February 25, 1635. In later years he danced with the young Louis XIV and Lully (February 23, 1653). In what may have been the first paying concerts, he established the Assemblée des honnestes curieux on October 17, 1641, engaging ten musicians to appear on Wednesdays and Saturday at noon for a year. All that is known about the music is that both instrumental and vocal works were offered. Two of the musicians were singers, plus a viol player and Chambonnières played harpsichord. After the death of Louis XIII, Anne of Austria, as regent for Louis XIV, had her own harpsichordist, Charles Henry Chabanceau de la Barre, which left Chambonnières with time on his hands, although he was commissioned to purchase a harpsichord for the seven-year-old Louis XIV costing 600 livres. Christiaan Huygens, Dutch mathematician, astronomer and physicist visited Paris and got to know Chambonnières, then reported back to his father Constantijn Huygens, secretary to two princes of Orange, lutenist, harpsichordist and composer. Being a great admirer of Chambonnières' compositions, Constantijn repeatedly asked him to send more of his pieces and spread the word of his fame to anyone who would listen. It was through Huygens that Johann Jacob Froberger about 1649 received some of Chambonnières' pieces, which led to Froberger's visit to Paris about 1651 or 1652. Chambonnières was celebrating his name day, the feast of St. Jacques on July 25, 1650, when he received a surprise visit by three Couperin brothers, who came to serenade him. Titon du Tillet in his 1732 volume, Le Parnasse François writes about the meeting of Chambonnières and the three Couperin brothers that day: [Louis, François and Charles Couperin] with some friends, also violinists, decided to go to Chambonnières' château and serenade him. They arrived and took positions at the door of the room where Chambonnières was dining with several guests, persons of intelligence and a taste for music. The master of the house was agreeably surprised, as were all his company, by the fine symphony that they had heard. Chambonnières invited the players in and asked who had composed the airs they had played. They replied it was Louis Couperin. Chambonnières immediately presented his compliments and urged him and his comrades to sit down at the table. He displayed great kindness to him and told him that a man like him should not stay in the provinces, and that he absolutely must come with him to Paris. Louis accepted this offer with pleasure. Chambonnières presented Couperin in Paris and at court, where he was appreciated. Chaumes-en-Brie, where the Couperins lived, was close to the Chambonnières land. Brie had a rich musical population that included both the Couperins and Forquerays. Sometime after introducing the Couperins to the Parisian musical world, Chambonnières' first wife must have died for on December 16, 1652, he married Marguerite Ferret, daughter of a law court usher. About this same time the armies of the Fronde laid waste to the Brie region most likely causing Chambonnières financial difficulties. At any rate, he began to look elsewhere for employment. Constantijn Huygens wrote on his behalf to Queen Christina of Sweden, but before any answer was received, she had moved to Paris in fall of 1655. From this time, Chambonnières' fortunes began to decline. A few years later in February 1657, Louis XIV appointed Etienne Richard as his royal harpsichord teacher, dealing a crushing blow to Chambonnières' self-esteem. In May that same year, land belonging to his mother, brother and sister was sold after an expensive lawsuit. It is not known whether Chambonnières' manor was included or not. In June his wife obtained an agreement of separate maintenance, forcing him to sell some of his property to settle the dispute. However, they continued to live together, probably out of necessity, until Chambonnières died. His position at court must have become precarious, because du Tillet reports that there was a plot to have Louis Couperin receive Chambonnières' position. Out of loyalty to his mentor, Louis refused the position. The king instead created a new position for Couperin. Throughout his life, Chambonnières was continually concerned with elevating his social position, beginning with taking the name of his maternal grandfather's estate, then taking the title of baron, and finally referring to himself as a marquis. Taking titles without permission was not looked upon favorably by Louis XIV and may have led to Chambonnières losing his position as joueur d'épinette. Through Constantijn Huygens he tried to gain a post at the electoral court of Brandenburg. In a letter dated August 13, 1662 Huygens said Chambonnières lost his position because of a "low and evil clique at court," perhaps due to the popularity of Jean-Baptiste Lully, who was appointed Surintendant de la musique de la chambre in 1661. Eventually, even his friends began to turn against him. Christiaan Huygens, his faithful supporter, wrote on December 20, 1660 that Chambonnières "played the harpsichord and sang an air of his own composing, which seemed only mediocre to me." Then later in 1662 Huygens also wrote: The situation of the Marquis de Chambonnière would be pitiable if he had not put o