Lebègue, Nicolas (EN)

Lebègue, Bègue, Nicolas Antoine, * ca. 1631 Laon, †6 July 1702 Paris, French composer, organist, and harpsichordist. It is not known where or with whom he studied (perhaps J. de Chambonnières), but in 1661 he was already referred to in documents from Troyes Cathedral as the “famous organist from Paris”. From 18 December 1664, he served as organist at the Church of Saint-Merri in Paris, and from 1678, he was appointed one of the royal organists (along with G.-G. Nivers, J.-D. Thomelin and J.-B. Buterne). He held these positions until his death. He was a well-known and respected teacher (his students included N. de Grigny, F. Agincour, N. Geoffroy and G. Garnier – Lebègue’s successor at the royal court), as well as a virtuoso performer and an expert on organs (he carried out expert assessments of at least 13 instruments, including those in Blois, Chartres and Troyes).

In his organ music, Lebègue rejects the austere counterpoint of Nivers and Couperin in favour of an “imitation of the singing style” typical of the récit en taille. The melodies are carried across a wide range and are dramatised with frequent runs, ornaments, changes of direction, and chromatic inflections. In the first organ book, the liturgical compositions are grouped in sets of eight, each based on a single theme. In addition to the typical prelude and plein jeu, they include famous trios intended for virtuoso organists, constructed from three completely independent voices (according to Dufourcq, these are replicas of Lully’s overtures). The second organ book provides a liturgical repertoire (mass versets and Magnificat) intended as a “learning” resource for provincial organists – hence the simplification of the musical language and the lower demands placed on performers. The third and most mature book contains paraliturgical pieces displaying the mastery of récit writing and manual contrast that is characteristic of the first book (10 offertories and 8 élévations). It also includes four organ symphonies that emulate Lully’s pompous style, while at the same time treating popular themes (nine Christmas carols) with great mastery, drawing on the style of church music and not shying away from strict counterpoint.

Lebègue’s two books of harpsichord works contain a total of 13 suites consisting of between 5 and 11 movements. The suites in the first book begin with improvisatory, fantasy-like preludes and Lebègue added an ornamented reprise to each movement (except the chaconne and prelude). The individual movements of the suites are linked by consistent thematic material and a common “key” (in the first book, specified in the title as “ex D, ex g”, etc.). These harpsichord works are stylistically close to the compositions of D. Buxtehude.  Although Lebègue’s style derives from that of J. de Chambonnières and Couperin, his music is distinctly less personal, more formalised, and avoids musical pictorialism, rarely venturing (except perhaps in the chaconnes and passacaille) beyond the contemporary courtly style.  The book of solo motets is less important from the standpoint of music history, although the organ ritornellos indicate Lebègue’s attempt to revive a form that had become unpopular in France at the time.

Literature: N. Dufourcq Nicolas Lebègue (…) étude biographique, Paris 1954; N. Dufourcq A travers l’inédit. Nicolas Lebègue, «Recherches sur la Musique Française Classique» I, 1960; A. Curtis La musique française classique à Berkeley. Pièces inédites de L. Couperin, Lebègue, La Barre…, “Revue de Musicologie” LVI, 1970; E. Gallat-Morin Une nouvelle découverte à Montréal dans la bibliothèque musicale de Jean Girard…, “Revue de musique des universitaires canadiennes”, no. 17, 1997; H. Schneider Die Cembalo-Suiten von N.-A. Lebègue: Zur Form, Harmonik und Stilistik im Vergleich…, in: W. Seidel, Ständige Konferenz Mitteldeutsche Barockmusik 1999, Eisenach 2000.