François Couperin “Le Grand” (1668-1733) was the most celebrated member of a family dynasty of composers which for 173 years provided a continuous line of organists at the Church of St. Gervais, in the Marais section of Paris.

Couperin was among the few French musicians of his time who looked at the music of Italian composers with a kind eye. Knowing that there was a certain hostility among the French musical elite toward the Italian style, Couperin introduced his earliest sonata in Italian style (for two violins and basso continuo) under the Italian sounding pseudonym “Rupercino” an anagram using the letters of his own name. The sonata was received by the French public with great enthusiasm and brought Couperin added confidence to continue his development of this style.

Couperin wrote hundreds of instrumental works, many with evocative titles, of which the current suite is a fine example. The set was adapted for solo cello and chamber strings by the celebrated French cellist Paul Bazelaire (1886-1958), who also served on the faculty of the Paris Conservatoire from 1918 through 1956.

Bezelaire was surely influenced by another famous suite devoted to the music of ‘Le Grand,’ Ravel’s brilliant Le tombeau de Couperin.

Couperin’s suite begins with a stately Prélude, swinging between minor and major. The main theme is like a cantilena, chanted over tender harmonies in the strings. A Siciliène is a plaintive, narrative in the manner of a Baroque arioso. A Tromba is an Italian trumpet and a familiar ‘stop’ on the Baroque organ. The sprightly theme emulates the ‘bugle’ intervals heard on the natural trumpets of the era. The fourth movement Plainte (marked slowly and sadly) often represented poetic heartache in courtly ballet scenes. The final Air du Diable (The Devil’s Song) is full of melodic and rhythmic mischief.