Lionel Party (harpsichord) Jacques Champion de Chambonnieres, first book of harpsichord pieces 1670 

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*_Liner notes by Lionel Party 1/1_* The musical dynasty of the Champions seems to go as far back as the 15th century. The earliest Champion known to us is Nicolas Champion, Chantre de la musique to Francis the 1st. Thomas Champion was organiste de fa Chambre du Roi up to the last quart of the 16th century. His son, Jacques Champion, according to Mersenne, "sieur de fa Chappelle et Chevallier de l'Ordre du Roy, has shown his profound science and his beautiful touch on the epinette, and those who know the perfection of his playing admire him." On January 31, 1601, he married Anne Chartriot, daughter of Robert Chartriot, ecuyer and sieur de Chambonnieres. The following year, most probably, was born in Paris or in Chambonnieres the second Jacques Champion who, taking the nom de terre of his mother, became known as Jacques Champion de Chambonnieres. He spent his youth partly in Paris and partly on the estate at Chambonnieres -- the family's country residence in the commune of Plessis-feu-Aussoult. Later on in his life he lived in Paris during the winter in the rue Saint-Claude. The summer, however, he lived at Chambonnieres, a place that was to remain his favorite throughout his life, his beloved residence where he spent as much time as possible and where he preferred to receive his guests. We possess no concrete information with regards to who Chambonnieres was, though, most likely, he received his first musical education from his father. In 1638, he is listed already as survivancier with his father and, probably, had by then replaced him as joueur d 'epinette de fa Chambre du Roi. He kept until his death this position that soon became known as that of claveciniste de fa Chambre du Roi. He was the claveciniste par excellence, admired at the court, idolized in aristocratic circles of which he considered himself a member, and where he permanently performed and taught. It is around 1650 that, for his birthday, the Couperins surprised him with a serenade that pleased him to such extent that he took them as students and introduced them later in Parisian musical and aristocratic circles. In Paris Chambonnieres had founded a private Concert similar to those created by so many 17th century virtuosos. He called it "l'Assemblee des Honnestes Curieux" and about it Constantin Huygens has reported in inspired terms. To his already high salary of 600 pounds he added a pension of 1,000 crowns from the Royal Treasury which shows the esteem he enjoyed. At that time also, he played dancing roles in several ballets of the king, another sign of high appreciation. There he danced with the king, Lully, as well as with members of the nobility. In 1654, however, Chambonnieres tried unsuccessfully to get a position at the court of Queen Christina of Sweden. Huygens was in charge of making the necessary contacts. It is at this point that intrigues at the court attempted to make him resign his position in favor of his student Louis Couperin who refused such honor by a sentiment of friendship and gratitude towards his teacher. No doubt, this fact marked the decadence of Chambonnieres favor at the Court. Suddenly, in 1662, he saw his pension withdrawn possibly because of some high level grievance against him. D'Anglebert, another of his students, took his job at this point. Chambonnieres would never again appear at the Court. From then on, in concerts and ballets, it is always D'Anglebert who is mentioned. We have no precise information concerning this durable disgrace that put the c1aveciniste in such state of desperation, that at one point he thought of exiling himself in Brandenburg. There was no doubt some serious matter to grant so strong a punishment, such as banishment from the Court, as well as withdrawal of pension. In any event, Chambonnieres continued to support himself as a harpsichord teacher, a profession success he always enjoyed in Parisian salons. In spite of the fact that he 'always kept his title of harpsichordist to the king, he neglected to mention it in the title pages of both of his engraved books of harpsichord pieces. It is as late as 1670 that he brought himself to publishing his pieces in order to set a definitive text of his works, some of which circulated the world over in disfigured manuscript copies for at least forty years. However, he looked upon these two books, the first of which is the subject of this recording as a beginning only: they contain just a small portion of his works. The sources of the rest are still those manuscripts he so much despised. He did not have time to publish anything further. He died at 70 in the last months of 1672. The significance of Chambonnieres, not to mention his extant works, lies in the stunning number of his important students : G. Nivers, R. Cambert, J .H. D'Anglebert father, N.A. Ie Begue, three Couperin brothers (Francois, Charles, and Louis), Hardelles, Buret, and Gautier. His influence is felt upon the whole clavecin school of the 17th and 18th centuries. The harpsichord in this recording was built by William Dowd in Boston in 1973. It is tuned at a' equals 415 hz. The temperament used is called mean tone temperament and consists of narrow fifths and perfect, beatless major thirds. Lionel Party

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