Louis-Claude Daquin

2.1. Birth and Family Background

Louis-Claude Daquin was born in Paris, France, on July 4, 1694. His family, originally from Italy, adopted the name D'Aquino after his great-great-grandfather converted to Catholicism in the town of Aquino. His parents were Claude Daquin, a painter, and Anne Tiersant, who was a grand-niece of the famous French Renaissance writer François Rabelais. The family boasted several notable figures, including one of Louis-Claude's grand-uncles who served as a professor of Hebrew at the Collège de France, and another who was the principal physician to King Louis XIV. His baptismal name "Claude" was reportedly chosen in honor of the celebrated composer Élisabeth-Claude Jacquet de La Guerre.

2.2. Childhood and Education

Daquin was recognized as a musical child prodigy from a very young age. He performed for the court of King Louis XIV when he was just six years old, showcasing his exceptional talent. For a period, he was a pupil of the esteemed organist and composer Louis Marchand, who significantly influenced his development. At the remarkably young age of twelve, Daquin was appointed organist at the Sainte-Chapelle in Paris. The following year, he secured a similar position at the Church of Petit Saint Antoine, further cementing his early professional standing.

2.3. Early Career

Following his initial appointments at the Sainte-Chapelle and the Church of Petit Saint Antoine, Daquin's professional career quickly gained momentum. He married Denise-Thérèse Quirot in 1722, a personal milestone during his burgeoning musical career.

2.4. Death

Louis-Claude Daquin passed away on June 15, 1772, in Paris, where he had spent his entire life and career.

3.1. Major Appointments

Daquin never experienced a shortage of work as an organist, consistently holding prominent positions in Paris. In 1727, he was appointed organist at the Church of Saint Paul in Paris, a significant achievement as he was selected over other notable candidates, including the renowned composer Jean-Philippe Rameau. Five years later, in 1732, Daquin succeeded his former teacher, Louis Marchand, as organist at the Church of the Cordeliers. His career continued to ascend when, in 1739, he became organist to King Louis XV at the Chapelle Royale. His final and arguably most prestigious appointment came in 1755, when he was made titular organist at Notre-Dame Cathedral, succeeding Guillaume-Antoine Calvière.

3.2. Performance Reputation

By reputation, Daquin was considered a dazzling performer at the keyboard. His exceptional expertise at both the harpsichord and the organ drew large crowds to his performances, eager to hear his renowned skill. He was particularly celebrated for his "unfaltering precision and evenness" in his playing, a quality that earned him widespread admiration from both the general public and the aristocracy, who frequently sought his performances.

4.1. Major Works

Daquin's surviving musical works include four harpsichord suites. At the age of eight, he conducted his own choral work, Beatus Vir. His other notable compositions include the circa 1757 Nouveau livre de noëls for organ and harpsichord, which features settings of traditional Christmas carols and incorporates some of his harpsichord improvisations. Additionally, he composed a cantata, an air à boire (a drinking song), and left behind manuscripts of two Masses, a Te Deum, a Miserere, and Leçons de Ténèbres. Among his most famous pieces are the Swiss Noël (Noël Suisse^French, No. XII from his Nouveau livre) and The Cuckoo (Le coucou^French, from his 1735 harpsichord suite, Pièces de clavecin, Troisième Suite).

4.2. Nouveau livre de noëls

The Nouveau livre de noëls is a significant collection comprising twelve Noëls for organ and harpsichord, published around 1757. These pieces are settings of traditional French Christmas carols, often incorporating elements of folk melodies and Daquin's own improvisational flair. French organist Jean-Claude Duval has researched and sourced the following old texts associated with Daquin's twelve published Noëls:

• I. Noel, sur les jeux d'Anches sans tremblant: «À la venuë de Noël»
• II Noel, en dialogue, Duo, Trio, sur le cornet de récit, les tierces du positif et la pédalle de Flûte: «Or nous dites Marie»
• III Noel en Musette, en Dialogue, et en Duo: «Une bergère jolie»
• IV Noel en Duo, sur les jeux d'Anches, sans tremblant: «Noël, cette journée»
• V Noel en Duo: «Je me suis levé» or «Ô jour glorieux»
• VI Noel, sur les jeux d'Anches, sans tremblant, et en Duo: «Qu'Adam fut un pauvre homme»
• VII Noel, en Trio et en Dialogue, le cornet de récit de la main droitte, la Tierce du Positif de la main gauche: «Chrétiens qui suivez l'Église»
• VIII Noel Étranger, sur les jeux d'anches sans tremblant et en Duo: «?» (foreign carol, possibly Italian)
• IX Noel, sur les Flûtes: «Noël pour l'amour de Marie» and «Chantons, je vous prie»
• X Noel, Grand jeu et Duo: «Quand Dieu naquit à Noël» or «Bon Joseph, écoutez-moi»
• XI Noel, en Récit en Taille, sur la Tierce du Positif, avec la Pédalle de Flûte, et en Duo: «Une jeune Pucelle»
• XII Noel Suisse, Grand jeu, et Duo: «Il est un p'tit l'ange» or «Ô Dieu de clémence»

4.3. Technical Innovations

Among the technical innovations found in Daquin's works is the inclusion of a triple trill in his Trois cadences for harpsichord, a notable feature for its time.

5.1. Performer's Acclaim

Daquin was widely acclaimed for his keyboard virtuosity. His technical precision and evenness on both the harpsichord and organ were consistently praised by his contemporaries. His performances were highly anticipated events, drawing large crowds and earning him the admiration and patronage of the aristocracy, solidifying his reputation as one of the most brilliant keyboardists of his era.

5.2. Composer's Contribution

As a composer, Daquin's contributions are particularly valued for their melodic charm and structural elegance, characteristic of the emerging Galant style while retaining Baroque foundations. His compositions, especially the Nouveau livre de noëls and instrumental pieces like Le Coucou, have enjoyed enduring popularity and remain staples in the keyboard repertoire. These works showcase his ability to create engaging and accessible music that resonated deeply with audiences, ensuring his lasting legacy in the history of French music.

5.3. Discography

Notable recordings of Louis-Claude Daquin's works include:

• Louis Claude Daquin, l'œuvre intégrale pour orgue / Louis Claude Daquin, Complete organ works. Performed by Marina Tchebourkina at the Great Organ of the Royal Chapel of the Palace of Versailles. - Natives, 2004.