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rumors recounted in various sources, only some of which are fully reliable. Several, however, are well documented: soon after his arrival in Paris, he became embroiled in a plot along with the organ builder Henry
Lesclop, to defame the newly-appointed organist-priest at Saint-Bartelémy (which Marchand coveted), Pierre Dandrieu, Marchand coerced a pregnant sixteen-year-old girl to complain in a now lost letter to the organist of the Grand Couvent des Jacobins that Dandrieu was the father of the child. Dandrieu filed a complaint against Lesclop and during the ensuing investigation the girl withdrew her accusation.
456:. This came to light in a private music collection in 2003 and reputedly contains a collection of pieces by Marchand in C major and minor. We are told that the current owners have no desire for the disclosure of their details or for its contents to be made available to scholars and musicians. No other reference to the works is to be found: its liner notes refer to a yet-to-be-published article by an untraceable musicologist. Although the recording’s contents are charming, it reveals a collection of works in the Italian style that could have been written by any number of composers.
353:
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191:. We must be circumspect about this, however, since there is no documentary evidence of Marchand's time in Nevers, other than a contract he countersigned with his father engaging the services of Pierre Bridard to enlarge the Saint Martin organ. By age 20 he settled in Paris, and married the daughter of the harpsichord builder Jean Denis. According to his marriage contract, he was by that time organist at the church of Eglise Saint-Jacques on Paris's South Bank. Future tenures were to be held at
610:
l'office divin. Il demanda à toucher l'orgue, ce qui ne lui fut accordé qu'après bien des ce instances de sa part, parce qu'on se méfioit de son talent. Mais à peine eut-il mis ses mains sur le clavier, qu'il étonna tous les auditeurs. Les Jésuites lui témoignerent la tous plus grande affection; ils le retinrent dans leur college, & contribuerent à son éducation, en lui fournissant ce qui étoit nécessaire pour perfectionner ses heureuses dispositions.
290:, Jean-Baptiste Volumier, probably invited Bach to compete against Marchand on behalf of colleagues annoyed by the latter’s arrogance and erratic behaviour and it was possibly sensing the political hornet’s nest he would be getting into if he were to accept a position at the chapel that caused Marchand to abruptly leave the scene. The story is only related in German sources, with a varying degree of embellishments by Bach's later biographers such as
44:
149:. Marchand had a violent temperament and an arrogant personality, and his life was filled with scandals, publicized and widely discussed both during his lifetime and after his death. Despite his fame, few of his works survive to this day, and those that do almost all date from his early years. Nevertheless, a few pieces of his, such as the organ pieces
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and other German sources (who incidentally were not born at the time; besides, the story is not found in any French documents), the two composers were to have a contest in harpsichord performance, and
Marchand fled before Bach's arrival, apparently out of fear of being defeated. The reality, however,
272:
By contrast, Titon du Tillet's biography states that, on
Marchand's arrival to Paris he was offered virtually all of the vacant positions of the city's churches, because the composer's reputation was so high. But perhaps the most famous anecdote about Marchand is the account of the competition he was
233:
Virtually all contemporary accounts contain lavish praise of
Marchand's keyboard talents, yet most writers also mention that the composer had an extremely colorful and unpredictable personality. This combination of prodigious skill and bizarre temperament resulted in numerous anecdotes, scandals, and
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at the moment when the organist was expected to begin the divine office. He asked to play the organ, which was granted to him only after repeated requests because they mistrusted his abilities. But scarcely had he put his hands on the keyboard than he astonished all the listeners. The
Jesuits showed
483:. Marchand's contemporary Pierre-Louis D'Aquin De Château-Lyon even compared the composer to François Couperin, claiming that, while Couperin had more art and application, Marchand had a more natural, spontaneous musicianship. In addition to his music, Marchand also wrote a treatise on composition,
408:
with a canon in double pedals. Modern scholar
Geoffrey Sharp divided Marchand's organ oeuvre into three distinct groups: pieces influenced by vocal genres, pieces influenced by instrumental genres, and vocal-instrumental hybrid works. He singles out Marchand's organ trios and non-contrapuntal works
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of the year. It is not known why he left Paris for a three-year sojourn in
Germany in 1713, which was to include performing for various electors and the emperor. After his return to France Marchand once again settled in Paris and worked as organist for the Cordeliers Convent, augmenting his income
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Le desir de s'instruire dans son art le conduisit fort jeune dans la capitale; mais s'y sans recommandation & sans amis, il fut bientôt dépourvu de toutes sortes de secours. Il entra par hasard dans la chapelle du college de Louis le Grand, au moment qu'on attendoit l'organiste pour commencer
391:
Comparatively few works by
Marchand survive, most of them dating from the early stages of his career. The most numerous and arguably most important are his organ works. The twelve that were published by the Boivin atelier in 1740 are likely to be a reproduction of a book of organ pieces that were
253:
about
Marchand's hands, the composer responded with an improper retort about the king's ears. Still another account claims that after Marchand's wife had left him, Louis XIV ordered half the composer's salary to be withheld and paid to her. Marchand, in response, broke off in the middle of a mass
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for some years before his death in 1684; Louis became curé at the church of Saint-Maurice
Pontailler-sur-SaĂ´ne, 15 kilometres from Auxonne after 1 January 1676, where he remained until his arrest for the abduction and rape of 'paroissiennes'. Jean was an organist at the cathedral of
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published in January 1700, of which no extant copies are known. A further 42 pieces are to be found in a manuscript that was housed in the Bibliothèque royale at Versailles. These pieces include a number of important pieces: the massive
412:
The extant pieces for harpsichord are contained in two suites. The first was originally published 'chez l'auteur' in 1699 with plates engraved by Claude Roussel. It was reissued in 1702 under the auspices of Christophe Ballard as
286:
is probably quite different: it was rumoured that Marchand, who had been in Dresden and had performed before the king, was to be offered a position as organist at the Royal Chapel, much to the chagrin of its musicians. The court
264:'The desire to learn his art led him at a very young age to the capital; but without recommendations or friends, he was soon destitute of all kinds of assistance. He entered by chance into the chapel of the College of Louis
169:
Marchand came from a musical family: his grandfather, Pierre (d.1676) had been a schoolmaster and music teacher and his three sons, Jean (Marchand's father), Pierre and Louis were organists. Pierre held the incumbency at
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described the composer's work thus: "Though his compositions are skilfully written, their mastery is not obviously admirable as such. They need to be studied closely before they are found to be very great music."
192:
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294:. Bach's respect for Marchand's abilities, however, was recorded by the same Jakob Adlung, who witnessed Bach playing Marchand's harpsichord suites "ingeniously" and from memory.
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249:, 1754–55) gives a different reason: it wasn't his ex-wife Marchand was escaping from, but the French king, whom Marchand insulted. After an unfavorable remark made by
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him great affection; they retained him in their college and contributed to his education by furnishing him with what was necessary to perfect his happy dispositions'.
207:
241:
Edward Higginbottom suggests that the extended German tour was an attempt to escape his ex-wife's demands, but this is unlikely. A contemporary account by
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in 1684, where Jean was to serve at the church of Saint Martine. As a child, the future composer showed exceptional talent: posthumous account, by
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was published simultaneously. Stylistically, the suites are disparate. Livre Premier begins with a measured prélude that is more reminiscent of
494:
Although today most of Marchand's extant pieces are regarded as unimportant by most scholars, a few have expressed the opposite view. French
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141:
and composer. Born into an organist's family, Marchand was a child prodigy and quickly established himself as one of the best known French
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where he was playing and, when the king questioned him, responded, "Sire, if my wife gets half my salary, she may play half the service."
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On a domestic front things did not fare much better: he beat his wife, who successfully divorced him in 1701 with a settlement of 2,000
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yet its accompanying dances look forward to a more italianate style. In addition are two attributions in a Ballard publication of 1707
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Livre de Suittes pour le clavecin composé par Monsieur de Charman(t)
479:(1708), one of the most important works from the late years of the
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Siècle littéraire de Louis XV: ou, Lettres sur les hommes célèbres
686:"Marchand Martinoli OM008 (JV): Classical CD Reviews – June 2007"
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by Louis Marchand on French classical organs at Orgues Virtuels
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846:. The Musical Times 110, no. 1521 (November 1969): 1134–1137.
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The affair is explained in detail in Dupré La Tour, Aymeric,
449:. In 2005, a recording was released of a manuscript entitled
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in September 1717. According to tardive accounts by Marpurg,
137:(2 February 1669 – 17 February 1732) was a French organist,
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than any French paradigm, yet the dances are distinctly in
738:. Translated by Hans Tischler. Indiana University Press.
549:(DMA thesis, Juilliard School, New York, 2006), pp. 9-10.
523:(PhD diss., Université de Paris IV, 1985), p. 12; p. 320.
620:
Titon du Tillet 1732, referenced in Higginbottom, Grove.
884: (archived 31 January 2008) (link to a copy at the
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Adlung 1758, translated and referenced in Moroney 2006.
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was among Marchand's admirers, and his pupils included
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Pièces choisies pour le clavecin de différents auteurs
261:(1776) by Louis-Abel de Bonafous, l'abbé de Fontenay:
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Historisch-kritische Beyträge zur Aufnahme der Musik
217:. In June 1708, he was appointed as one of the four
475:. Dumage praised his teacher in the preface to his
802:Higginbottom, Edward (2001). "Louis Marchand". In
225:. His duties were to play for the July–September
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844:Louis Marchand, 1669–1732. A Forgotten Virtuoso
633:(Oxford: Oxford University Press, 2000), p. 181.
521:La vie et l’oeuvre de Louis Marchand (1699–1732)
813:The New Grove Dictionary of Music and Musicians
772:The New Grove Dictionary of Music and Musicians
748:Geschichte der Orgel- und Klaviermusik bis 1700
454:cordelier, et arrangé par Renard, à Paris, 1754
753:Aquin de Château-Lyon, Pierre-Louis d'. 1978.
534:Minutes et répertoires de notaire Louis Auvray
532:Archives nationales de France, MC/ET/IX/500:
491:considered an excellent, albeit short, work.
801:
581:Marpurg 1754–55, referenced in Moroney 2006.
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631:Johann Sebastien Bach: The Learned Musician
796:Grove's dictionary of music and musicians.
603:Fontenay, Louis Abel de Bonafous abbé de,
409:as the composer's most successful pieces.
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868:International Music Score Library Project
569:Higginbottom, Edward, 'Marchand, Louis',
559:ArrĂŞt du Parlement de Paris, 13 July 1702
547:New Words for the Music of Louis Marchand
157:have been lauded as classic works of the
892:Listen to a dozen organ pieces from the
853:. Cambridge: Cambridge University Press.
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835:Moroney, Davitt. 2006. Liner notes to:
221:for which he received a stipend of 600
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363:Basse de Trompette for Organ (excerpt)
257:Another anecdote was first related in
761:Fuller, David (2001). "Dandrieu". In
736:The History of Keyboard Music to 1700
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888:, original page no longer available)
23:For Napoleon Bonaparte's valet, see
718:Aquin de Château-Lyon 1978, 106–17.
396:(1696), a harmonically adventurous
332:Performed in 2010, duration is 1:40
16:For the French music theorist, see
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971:18th-century French male musicians
605:Dictionnaire des artistes, Tome II
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794:J.A. Fuller-Maitland, ed.. 1910.
961:18th-century classical composers
798:New York: The Macmillan Company.
382:Problems playing this file? See
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340:Problems playing this file? See
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851:J. S. Bach: A Life in Music
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607:(Paris, 1776), p. 79. -
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842:Sharp, Geoffrey B. 1969.
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816:(2nd ed.). London:
775:(2nd ed.). London:
688:. MusicWeb-International
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485:Règles de la composition
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193:Saint-Benoît-le-Bétourné
849:Williams, Peter. 2007.
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951:French harpsichordists
757:. New York: AMS Press.
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273:supposed to have with
185:Évrard Titon du Tillet
51:Background information
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894:Premier Livre d’Orgue
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477:Premier livre d'orgue
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275:Johann Sebastian Bach
837:Le Clavecin Français
818:Macmillan Publishers
777:Macmillan Publishers
709:Higginbottom, Grove.
519:Baffert, Jean-Marc,
465:Jean-Philippe Rameau
202:, the church of the
921:Musicians from Lyon
654:, January 1701, 232
629:Wolff, Christophe,
481:French organ school
473:Louis-Claude Daquin
159:French organ school
536:, 5 February 1689.
500:Philippe Beaussant
435:prélude non mesuré
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208:Saint-Honoré Abbey
206:and the church of
204:Cordeliers Convent
104:Musician, composer
827:978-1-56159-239-5
786:978-1-56159-239-5
590:Fuller-Maitland,
571:New Grove Online.
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406:Plein jeu
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