François Francœur was born in Paris, the son of Joseph Francœur, a basse de violon player and member of the 24 violons du roy. Francœur was instructed in music by his father and joined the Académie Royale de Musique as a violinist at age 15. After travel and performances in the principal European culture centres, he returned to Paris as a member of the Concert Spirituel. Francœur was appointed to the 24 violons du roy in 1730 and Maître de musique (music instructor) to the Opera in 1739.
In 1744, he and François Rebel, his lifelong colleague and friend, were appointed inspecteurs musicaux (music directors) of the Paris Opéra—centre of the French music world—becoming responsible for all phases of its management in 1757. Rebel and Francœur faced numerous challenges in their joint roles, including a large financial deficit, lack of discipline, as well as handling contentious disagreements between traditionalists who favored French operatic tragedies and its mythological themes versus partisans of Italian opera's simpler lyricism and contemporary subject matter, known as the Querelle des Bouffons.
King Louis XV appointed Francœur as his Music Master in 1760, ennobling Rebel in the same year and Francœur himself in May 1764. Disaster struck when the Paris Opéra was consumed in flames on 6 April 1763, and the two directors were forced to resign in 1767 in its aftermath. However, Louis XV asked Rebel to return to the Opéra as Administrateur général in 1772, a position he held until shortly before his death three years later. Francœur resigned himself from the music world, living in retirement until his own death in 1787 at age 89. He was thus spared the fate of his nephew, Louis-Joseph Francœur, Master of the King's Chamber music and orchestra director, who was imprisoned during the French Revolution until the fall of Robespierre in 1794.
His surviving compositions, published in Propyläen der Musik, V. 2 (1989), include two books of violin sonatas, 10 operas (including one about the life of Skanderbeg) and some ballets, created jointly with François Rebel. Thus he is often quoted as a relatively rare case of collaboration in musical composition.
Forgeries and misattributionEdit
A cello sonata in E from 1726 in is often incorrectly attributed to Francœur starting from Jean-Delphin Alard's 1863 error. The sonata was actually written originally for violin by François's brother, Louis Francœur instead. Additionally, Arnold Trowell published the sonata as a forgery in 1924 in which he removed Louis's second movement and replaced it with a Allegro Vivo movement of Trowell's own creation.[1][2][3][4][5] Griffiths (2012) finds his forged movement more Italian than French in style even though it is 'skillfully' written and finds similarities between it and Daniel van Goens's Scherzo (Op. 12) as well as Trowell's own Scherzo (Op. 12 No. 2). Although not an outright replacement, Trowell also significantly altered the final Gigue movement as well while keeping Louis Francœur's original harmony. The first, third, and fourth movements were not changed in the Trowell publication.
Fritz Kreisler, an Austrian contemporary of Trowell, also forged his Sicilienne and Rigaudon composition under François Francœur's name.[6]
RecordingsEdit
Recordings of Francœur's works include a noteworthy LP, Music for the Wedding of the Count d'Artois, on the Musical Heritage label, and the Cypres CD 1626 Suites de Simphonies, including what may be the same set of works by Francœur. Hugo Reyne and La Simphonie du Marais also recorded the Symphonies pour le Festin Royal du Comte d'Artois.[7] The opera Pirame et Thisbé, a collaborative work with Rebel, was released in 2008, and Zélindor, Roi des Sylphes and Le Trophée were released in 2009.
There is a 2003 recording of Francœur's Sonata in E for Cello and Piano on Delos by Zuill Bailey which is of the Trowell forgery (see above section).
Musicological and stylistic notesEdit
Special emphasis is placed on the above recordings for musicological as well as aesthetic reasons. In the transition from ages relatively little interested in earlier music (19th and early 20th century) to an age where a professional specialization in "ancient music" has arisen, composers like Francœur, who had relatively modest instrumental production or did not in other ways attract special professional attention, have often remained in obscurity. It is easy to see from Francœur's inventiveness and infectious rhythmic drive why he was esteemed in his lifetime. Had Louis XVI had him as a music instructor earlier in his life, instead of, as biographers suggest, a musical mediocrity who chilled his interest in the violin, he might have become a royal composer like Frederick the Great of Prussia.[citation needed]
Francœur is sometimes categorised amongst the "Classical-era" composers who avoided the "classical style of Haydn and Mozart". The surviving music of Francœur (supposedly composed close to 1773), though contemporary with that of Haydn and Mozart, shows relatively few of the courtly mannerisms that abound in classical music directly sponsored by royalty. Rather, it has more of an "advanced Rococo" character, spicing strings with creative use of wind instruments. This kind of music seems to have been especially favoured by the rising bourgeoisie and lesser aristocracy in mercantile centres like London, Hamburg, Frankfurt as well as Paris, who provided an increasing market for musical composition.[citation needed]
Le prince de Noisy, ballet héroïque in 3 acts, libretto by Charles-Antoine Leclerc de La Bruère, f.p. Versailles, Théâtre des petits appartements, (1749)
Les génies tutélaires, divertissement (1751)
Instrumental musicEdit
Premier Livre de sonates à violon seul et basse continue (1720)
Deuxième Livre de sonates à violon seul et basse continue (1730)
Symphonies pour le festin royal du comte d'Artois (1773)
La symphonie du Marais
Other worksEdit
Le retour du roi, 'dialogue chanté' (1745)
ReferencesEdit
^Mizia, Urszula. 2020. The mimetic strand in the cello literature: Within the context of history, instrument design, iconography and cello performance. Peter Lang: Berlin.
françois, francoeur, françois, francœur, september, 1698, august, 1787, french, composer, violinist, presumed, portrait, françois, francœur, auger, lucas, contents, biography, compositions, forgeries, misattribution, recordings, musicological, stylistic, notes. Francois Francœur 8 September 1698 5 August 1787 was a French composer and violinist Presumed portrait of Francois Francœur by Auger Lucas Contents 1 Biography 2 Compositions 2 1 Forgeries and misattribution 3 Recordings 4 Musicological and stylistic notes 5 Works 5 1 Operas with Francois Rebel 5 2 Instrumental music 5 3 Other works 6 References 7 External linksBiography EditFrancois Francœur was born in Paris the son of Joseph Francœur a basse de violon player and member of the 24 violons du roy Francœur was instructed in music by his father and joined the Academie Royale de Musique as a violinist at age 15 After travel and performances in the principal European culture centres he returned to Paris as a member of the Concert Spirituel Francœur was appointed to the 24 violons du roy in 1730 and Maitre de musique music instructor to the Opera in 1739 In 1744 he and Francois Rebel his lifelong colleague and friend were appointed inspecteurs musicaux music directors of the Paris Opera centre of the French music world becoming responsible for all phases of its management in 1757 Rebel and Francœur faced numerous challenges in their joint roles including a large financial deficit lack of discipline as well as handling contentious disagreements between traditionalists who favored French operatic tragedies and its mythological themes versus partisans of Italian opera s simpler lyricism and contemporary subject matter known as the Querelle des Bouffons King Louis XV appointed Francœur as his Music Master in 1760 ennobling Rebel in the same year and Francœur himself in May 1764 Disaster struck when the Paris Opera was consumed in flames on 6 April 1763 and the two directors were forced to resign in 1767 in its aftermath However Louis XV asked Rebel to return to the Opera as Administrateur general in 1772 a position he held until shortly before his death three years later Francœur resigned himself from the music world living in retirement until his own death in 1787 at age 89 He was thus spared the fate of his nephew Louis Joseph Francœur Master of the King s Chamber music and orchestra director who was imprisoned during the French Revolution until the fall of Robespierre in 1794 Compositions Edit nbsp Sheet music for the prologue of Le TropheeHis surviving compositions published in Propylaen der Musik V 2 1989 include two books of violin sonatas 10 operas including one about the life of Skanderbeg and some ballets created jointly with Francois Rebel Thus he is often quoted as a relatively rare case of collaboration in musical composition Forgeries and misattribution Edit A cello sonata in E from 1726 in is often incorrectly attributed to Francœur starting from Jean Delphin Alard s 1863 error The sonata was actually written originally for violin by Francois s brother Louis Francœur instead Additionally Arnold Trowell published the sonata as a forgery in 1924 in which he removed Louis s second movement and replaced it with a Allegro Vivo movement of Trowell s own creation 1 2 3 4 5 Griffiths 2012 finds his forged movement more Italian than French in style even though it is skillfully written and finds similarities between it and Daniel van Goens s Scherzo Op 12 as well as Trowell s own Scherzo Op 12 No 2 Although not an outright replacement Trowell also significantly altered the final Gigue movement as well while keeping Louis Francœur s original harmony The first third and fourth movements were not changed in the Trowell publication Fritz Kreisler an Austrian contemporary of Trowell also forged his Sicilienne and Rigaudon composition under Francois Francœur s name 6 Recordings EditRecordings of Francœur s works include a noteworthy LP Music for the Wedding of the Count d Artois on the Musical Heritage label and the Cypres CD 1626 Suites de Simphonies including what may be the same set of works by Francœur Hugo Reyne and La Simphonie du Marais also recorded the Symphonies pour le Festin Royal du Comte d Artois 7 The opera Pirame et Thisbe a collaborative work with Rebel was released in 2008 and Zelindor Roi des Sylphes and Le Trophee were released in 2009 There is a 2003 recording of Francœur s Sonata in E for Cello and Piano on Delos by Zuill Bailey which is of the Trowell forgery see above section Musicological and stylistic notes EditSpecial emphasis is placed on the above recordings for musicological as well as aesthetic reasons In the transition from ages relatively little interested in earlier music 19th and early 20th century to an age where a professional specialization in ancient music has arisen composers like Francœur who had relatively modest instrumental production or did not in other ways attract special professional attention have often remained in obscurity It is easy to see from Francœur s inventiveness and infectious rhythmic drive why he was esteemed in his lifetime Had Louis XVI had him as a music instructor earlier in his life instead of as biographers suggest a musical mediocrity who chilled his interest in the violin he might have become a royal composer like Frederick the Great of Prussia citation needed Francœur is sometimes categorised amongst the Classical era composers who avoided the classical style of Haydn and Mozart The surviving music of Francœur supposedly composed close to 1773 though contemporary with that of Haydn and Mozart shows relatively few of the courtly mannerisms that abound in classical music directly sponsored by royalty Rather it has more of an advanced Rococo character spicing strings with creative use of wind instruments This kind of music seems to have been especially favoured by the rising bourgeoisie and lesser aristocracy in mercantile centres like London Hamburg Frankfurt as well as Paris who provided an increasing market for musical composition citation needed Works EditOperas with Francois Rebel Edit Pirame et Thisbe tragedie en musique 1726 Tarsis et Zelie tragedie en musique 1728 Scanderberg tragedie en musique 1735 33 performances Le ballet de la paix ballet heroique 1738 Les Augustales divertissement 1744 Zelindor roi des sylphes divertissement 1745 Le trophee divertissement 1745 La felicite ballet heroique 1746 Ismene pastorale heroique 1747 Le prince de Noisy ballet heroique in 3 acts libretto by Charles Antoine Leclerc de La Bruere f p Versailles Theatre des petits appartements 1749 Les genies tutelaires divertissement 1751 Instrumental music Edit Premier Livre de sonates a violon seul et basse continue 1720 Deuxieme Livre de sonates a violon seul et basse continue 1730 Symphonies pour le festin royal du comte d Artois 1773 La symphonie du MaraisOther works Edit Le retour du roi dialogue chante 1745 References Edit Mizia Urszula 2020 The mimetic strand in the cello literature Within the context of history instrument design iconography and cello performance Peter Lang Berlin https imslp org wiki Violin Sonata in E major Franc C5 93ur 2C Louis Violin Sonata in e major Francœur Louis IMSLP Free Sheet Music PDF Download Francœur L 2016 Sonata IV in E Major Radulovich Nada ed Ovation Press Original work published 1726 Get Louis Francoeur s Sonata IV with its rarely heard Corrent Griffiths M 2012 Arnold Trowell Violincellist composer and pedagogue Doctoral dissertation The University of Waikato New Zealand Simphonie du Marais Archived 2007 08 15 at the Wayback Machine Fillion Michelle Cessac Catherine amp Rosow Lois 2001 Francoeur In Sadie Stanley amp Tyrrell John eds The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan Publishers ISBN 978 1 56159 239 5 External links EditClassics Online Francois Francoeur 1698 1787 biography Free scores by Francois Francoeur at the International Music Score Library Project IMSLP Work list at Operone de Retrieved from https en wikipedia org w index php title Francois Francoeur amp oldid 1166847319, wikipedia, wiki, book, books, library,
