Page:A Dictionary of Music and Musicians vol 1.djvu/423

COURANTE. taken the following from Bach's 'Partita' No. 5:—

etc.

Other specimens of this kind of courante may be found in No. 5 of Handel's 'First Set of Lessons,' and in Nos. 5 and 6 of Bach's 'Suites Francaisee,' these last being in 3-4 time. They are also frequent in Corelli's ' Violin Sonatas.'

(3) One more species of courante remains to be noticed, which is founded upon, and attempts to combine the two preceding ones, but with the peculiarity that the special features of both—viz. the French change of rhythm, and the Italian runs—are not introduced. It is in fact a hybrid possessing little in common with the other varieties, except that it is in triple time, and consists of two parts, each repeated. Most of Handel's courantes belong to this class. The commencement of one, from his 'Lessons,' Bk. i. No. 8, will show at once the great difference between this and the French or Italian courante.

etc.

Bach, on the other hand, chiefly uses the first kind of courante, his movements more resembling those of Couperin. [ E. P. ]

COURTEVILLE,, was one of the gentlemen of the Chapel Royal in the reign of Charles I. He lived through the interregnum, resumed his place in the chapel on its re-establishment in 1660, and died Dec. 28, 1675.

His son, was brought up as a chorister in the Chapel Royal. As a composer of songs his productions abound in the collections published in the latter part of the 17th century and at the commencement of the next. His first printed work was 'Six Sonatas for two Violins,' and he also produced, about 1685, Sonatas for two Flutes. In 1691 he was appointed the first organist of St. James's church, Piccadilly, for which he composed the psalm tune well known by the name 'St. James's.' In 1696 [App. p.600 "1695"] he was one of the composers associated with Henry Purcell in setting the third part of D'Urfey's 'Don Quixote.' He is supposed to have died about the year 1735.

His son, succeeded his father as organist of St. James's church. He was a political writer of some repute and believed to be the author of some articles in "The Gazetteer,' a paper which supported Sir Robert Walpole's administration, whence he was nicknamed by the opposite party, 'Court-evil.' He died in 1771.

[App. p.600 & 601 "The statement that he died and was succeeded by his son in 1735 is without confirmation. The vestry registers of the Church of St. James's, Piccadilly, show no entry of a change of organists between 1691 and 1771, and as several entries imply that Courteville had been for many years before the latter date unable to perform his duties, it is highly probable, if not actually certain, that one person of the name held the post for eighty years. He seems to have married in 1735 a lady of large fortune. (Notes and Queries, sec. II. x. 496.) In 1738 he published 'Memoirs of Lord Burleigh,' signing it only with initials. A pamphlet by him on Insolvency was published in 1761, and a satire on his writings appeared in the 'Westminster Journal' of Dec. 4, 1742, bearing his signature, with the appended titles, 'Organ-blower, Essayist, and Historiographer.' He died early in June, 1772, and was buried on the 10th of the month."]

, probably the brother of Raphael the elder, was the composer of several songs which appeared in 'The Theater of Music,' 1685–87. [ W. H. H. ]

COURTOIS,, eminent composer, lived in the first half of the 16th century, chapel-master to the Archbishop of Cambray in 1539 when Charles V passed through that city on his way to Ghent, and composed a motet in 4 parts, 'Venite populi terrae,' which was performed in the Cathedral. Eight of his masses are in the Royal Library at Munich, and one in the library at Cambray. He composed many motets, published in the following collections, 'Fior de' Motetti' (Venice 1539); 'Selectissimae … Cantiones' (Augsburg 1540); 'Novum et insigne opus musicum (Nuremberg 1537); 'Liber quartus: XXIX musicales quatuor etc.' (Paris 1534); 'Psalmorum selectorum' (Nuremberg 1539); 'Cantiones sacrae' (Antwerp 1546); and in 3 vols of motets published at Lyons (1532-1538). His French songs include a canon and two songs in 5 and 6 parts in 'Chansons à 4, 5, 6, et 8 parties, de divers auteure' (Antwerp 1543–1550); 'Si par souffrir,' in 'Trente chansons … à 4 parties' (Paris); and two songs in 'Trente-cinq livres de Chansons nouvelles' (Paris 1532–1549). [ M. C. C. ]

COUSSEMAKER,, a distinguished French writer on the history of music, born at Bailleul (Nord), April 19, 1805 (not 1795). His family dates from the fifteenth century, and had for many generations held important magisterial posts in Bailleul; his father, a 'juge de paix,' destined him for the law; but his musical aptitude was such that at ten he could play any piece upon the piano at sight. He also learned the violin and violoncello. He was educated at the Douai 'Lycée,' and took lessons in harmony from Moreau, organist of St. Pierre. In 1825 he went to Paris, and studied counterpoint under Lefebvre. The recent researches of Fétis had roused a general interest in the history of music, and Coussemaker's attention was turned in that direction. Having completed his studies he was appointed 'juge' successively at Douai, Bergues, Hazebrouck, Dunkerque, and Lille. He died Jan. 10, 1876 [App. p.601 "12"]. He was a member of the 'Institut' for twenty years, and belonged to several other learned societies, besides being a 'chevalier' of the Legion of Honour, and of the order of Leopold of Belgium. His works are 'Mémoire sur Hucbald,' &c. (1841); 'Notices sur les collections musicales de la bibliothèque de Cambrai,' etc. (1852); 'Histoire de l'harmonie au moyen age' (1852); 'Trois chants historiques' (1854); 'Chants populaires des Flamands' (1856); 'Chants liturgiques de Thomas à Kempis' (1856); 'Notice sur un MS. musical de … S. Dié' (1859); 'Drames liturgiques,' etc. (1861); 'Messe du XIIIe siècle,' etc. (1861); 'Scriptorum de musica medii ævi, nova series' (1864–76, 4 vol.); 'Les harmonistes des, XIIe et XIIIe siècles' (1864); and 'L'art harmonique au XIIe et XIIIe siècles' (1865). He has also edited the works of Adam de la Halle