Nicolas Gigault
Encyclopedia
Nicolas Gigault was a French
Baroque
organist
and composer
. Born into poverty, he quickly rose to fame and high reputation among fellow musicians. His surviving works include the earliest examples of noëls and a volume of works representative of the 1650–1675 style of the French organ school.
Little is known about Gigault's life. François-Joseph Fétis
, a 19th century musicologist, claimed Gigault was born in Clayes-en-Brie, a village near Paris. However, no locality survives by that name. It is supposed that Gigault's birthplace was just outside Paris. A similar situation occurred concerning Gigault's date of birth: André Pirro deduced in the early 20th century that Gigault must have been born in 1624/5, however, a later study by Pierre Hardouin revealed that the composer couldn't have been born before 1627.
Gigault's father, Estienne Gigault, was a bailiff at the law-courts of Paris. Gigault was born into poverty and his financial situation remained dire at least until 1648, when he and his two younger brothers renounced their rights of succession to avoid their father's debts. Nicolas Gigault's mother died when he was a child. Nothing is known about his education or how he came to become a musician. Pirro suggested several possible teachers, among them Charles Racquet
, but no evidence exists of any lessons. Fétis's early claim that Jean Titelouze
taught Racquet is now regarded as insubstantial, since Gigault was too young and his family couldn't afford trips to Rouen, where Titelouze worked.
As far as is known, Gigault's career began in 1646 when he was appointed organist of Saint-Honoré. In 1652 he left to take a similar position at Saint Nicolas-des-Champs, where he worked until his death. Gigault also served as organist at Saint Martin-des-Champs from 1673, and at the Hôpital du Saint Esprit orphanage from 1685. Gigault must have had a professional relationship with Etienne Richard
, who worked with him at Saint Nicolas-des-Champs, and who also was organist of Saint Martin-des-Champs until his death in 1669.
Gigault married twice. The first marriage, to Marie Aubert in 1662, produced five children: two sons and three daughters. The sons, Anne-Joseph and Anne-Joachim, became organists. Gigault's youngest daughter Emérentienne-Margueritte married an organ-builder and one of her two children, Augustin-Hypolite Ducastel, became a harpsichord-builder. Marie Aubert died on 7 August 1700. Gigault soon remarried, but himself died just a few years later, on 7 August 1707.
The inventories of Gigault's possessions, taken in 1662 and in 1700 (on the account of his marriage and his wife's death, respectively), reveal that already by 1662 he was no longer poor and could afford a well-furnished home with a collection of paintings and sculptures, and a large number of musical instruments: a chamber organ, two harpsichord
s (one with two manuals, the other with one), three spinet
s, two clavichord
s, a bass viol
, two treble viols, a theorbo
and a guitar
. Most of the paintings Gigault had in his home were of devotional nature, which, coupled with the lengthy dedications of his organ collections to the Blessed Virgin Mary, suggests an important place of religion in Gigault's life. Apart from his activities as organist, Gigault was also in demand as organ consultant and as an instrumentalist.
Gigault published two collections of organ works. The first, Livre de musique dédié а la Très Saincte Vierge of 1683, contains the earliest known examples of the French noël
(a set of variations on a Christmas carol) and an allemande
. Gigault's 20 noëls include variations on Christmas songs and church hymns connected to Christmas. These pieces always progress from two-part to four-part settings and feature a somewhat rigid variation technique. In the preface Gigault suggests that these pieces can be performed on any instruments: i.e. on a pair of viols, or on a lute, etc. The solitary allemande bears no connection whatsoever to Christmas. It is presented in two versions, the second being set in "ports de voix", showing various common ornamentation patterns.
Gigault's second collection, Livre de musique pour l'orgue of 1685, contains 184 pieces. It begins with three organ masses, which rely heavily on Mass IV melodies, like all other surviving French organ masses from the period. However, Gigault's contemporaries limited their use of the chant to cantus planus settings, whereas in Gigault's masses chant melodies also appear paraphrased or transformed into fugue subjects, and form a very large proportion of the masses. The first and the third masses are large, each comprising more than 20 pieces, while the second mass is extremely short with just 7 versets. The rest of the collection is arranged by mode: there are numerous fugues (a fact mentioned in the preface) and also various typical French forms such as dialogues and récits. Also included are three hymns: Pange lingua
, Veni Creator
and a complete setting of the Te Deum
.
Because the music of Gigault's second Livre is more representative of the French style of the third quarter of the century, rather than the last, the collection may have been a compilation of earlier composed material. All major French forms are represented, although Gigault's way of naming them differs from his contemporaries: he uses the term "fugue" much more broadly (e.g. he uses "Fugue à 2" instead of "Duo"), never uses the term "dialogue", etc. The music is notated meticulously, with more attention to details of performance than in other contemporary sources. There is much use of notes inégales
, so much that some scholars believe the music to be unlistenable today, and in general, Gigault's work was judged negatively by most scholars. Nevertheless, the music is distinguished by a serious style, more suitable to the church than that of Lebègue
; Gigault's dialogues go beyond those of his contemporaries, Nivers
and Lebègue, in that they employ more divisions, and he also cultivates a number of five-voice genres: préludes and récits with pedal cantus firmus in the tenor. Gigault's 1685 Livre was most probably meant as a record of Gigault's style, rather than a book for lesser organists; the music is at times quite sophisticated and requires a high degree of skill.
France
The French Republic , The French Republic , The French Republic , (commonly known as France , is a unitary semi-presidential republic in Western Europe with several overseas territories and islands located on other continents and in the Indian, Pacific, and Atlantic oceans. Metropolitan France...
Baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
organist
Organ (music)
The organ , is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition, dating from the time of Ctesibius of Alexandria who is credited with...
and composer
Composer
A composer is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media...
. Born into poverty, he quickly rose to fame and high reputation among fellow musicians. His surviving works include the earliest examples of noëls and a volume of works representative of the 1650–1675 style of the French organ school.
Life
François-Joseph Fétis
François-Joseph Fétis was a Belgian musicologist, composer, critic and teacher. He was one of the most influential music critics of the 19th century, and his enormous compilation of biographical data in the Biographie universelle des musiciens remains an important source of information today...
, a 19th century musicologist, claimed Gigault was born in Clayes-en-Brie, a village near Paris. However, no locality survives by that name. It is supposed that Gigault's birthplace was just outside Paris. A similar situation occurred concerning Gigault's date of birth: André Pirro deduced in the early 20th century that Gigault must have been born in 1624/5, however, a later study by Pierre Hardouin revealed that the composer couldn't have been born before 1627.
Gigault's father, Estienne Gigault, was a bailiff at the law-courts of Paris. Gigault was born into poverty and his financial situation remained dire at least until 1648, when he and his two younger brothers renounced their rights of succession to avoid their father's debts. Nicolas Gigault's mother died when he was a child. Nothing is known about his education or how he came to become a musician. Pirro suggested several possible teachers, among them Charles Racquet
Charles Racquet
Charles Racquet was a French organist and composer, best known for his monumental organ Fantaisie.He came from a large family of Parisian organists and himself was appointed organist of Notre Dame de Paris at an early age, in 1618. He held the post until shortly before his death and was succeeded...
, but no evidence exists of any lessons. Fétis's early claim that Jean Titelouze
Jean Titelouze
Jean Titelouze was a French composer, poet and organist of the early Baroque period. His style was firmly rooted in the Renaissance vocal tradition, and as such was far removed from the distinctly French style of organ music that developed during the mid-17th century...
taught Racquet is now regarded as insubstantial, since Gigault was too young and his family couldn't afford trips to Rouen, where Titelouze worked.
As far as is known, Gigault's career began in 1646 when he was appointed organist of Saint-Honoré. In 1652 he left to take a similar position at Saint Nicolas-des-Champs, where he worked until his death. Gigault also served as organist at Saint Martin-des-Champs from 1673, and at the Hôpital du Saint Esprit orphanage from 1685. Gigault must have had a professional relationship with Etienne Richard
Etienne Richard
Étienne Richard was a French composer, organist and harpsichordist. Very little is known about his life and work. He was born in Paris and came from a family of organists; apparently he lived and worked in Paris all his life. From 1645 he and his brother Charles were organists to Chancellor Séguier...
, who worked with him at Saint Nicolas-des-Champs, and who also was organist of Saint Martin-des-Champs until his death in 1669.
Gigault married twice. The first marriage, to Marie Aubert in 1662, produced five children: two sons and three daughters. The sons, Anne-Joseph and Anne-Joachim, became organists. Gigault's youngest daughter Emérentienne-Margueritte married an organ-builder and one of her two children, Augustin-Hypolite Ducastel, became a harpsichord-builder. Marie Aubert died on 7 August 1700. Gigault soon remarried, but himself died just a few years later, on 7 August 1707.
The inventories of Gigault's possessions, taken in 1662 and in 1700 (on the account of his marriage and his wife's death, respectively), reveal that already by 1662 he was no longer poor and could afford a well-furnished home with a collection of paintings and sculptures, and a large number of musical instruments: a chamber organ, two harpsichord
Harpsichord
A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed.In the narrow sense, "harpsichord" designates only the large wing-shaped instruments in which the strings are perpendicular to the keyboard...
s (one with two manuals, the other with one), three spinet
Spinet
A spinet is a smaller type of harpsichord or other keyboard instrument, such as a piano or organ.-Spinets as harpsichords:While the term spinet is used to designate a harpsichord, typically what is meant is the bentside spinet, described in this section...
s, two clavichord
Clavichord
The clavichord is a European stringed keyboard instrument known from the late Medieval, through the Renaissance, Baroque and Classical eras. Historically, it was widely used as a practice instrument and as an aid to composition, not being loud enough for larger performances. The clavichord produces...
s, a bass viol
Viol
The viol is any one of a family of bowed, fretted and stringed musical instruments developed in the mid-late 15th century and used primarily in the Renaissance and Baroque periods. The family is related to and descends primarily from the Renaissance vihuela, a plucked instrument that preceded the...
, two treble viols, a theorbo
Theorbo
A theorbo is a plucked string instrument. As a name, theorbo signifies a number of long-necked lutes with second pegboxes, such as the liuto attiorbato, the French théorbe des pièces, the English theorbo, the archlute, the German baroque lute, the angélique or angelica. The etymology of the name...
and a guitar
Guitar
The guitar is a plucked string instrument, usually played with fingers or a pick. The guitar consists of a body with a rigid neck to which the strings, generally six in number, are attached. Guitars are traditionally constructed of various woods and strung with animal gut or, more recently, with...
. Most of the paintings Gigault had in his home were of devotional nature, which, coupled with the lengthy dedications of his organ collections to the Blessed Virgin Mary, suggests an important place of religion in Gigault's life. Apart from his activities as organist, Gigault was also in demand as organ consultant and as an instrumentalist.
Works
Noel
Noel is a masculine French given name derived from noël . The actual feminine form is Noelle, but in English-speaking regions Noel is sometimes used for females as well...
(a set of variations on a Christmas carol) and an allemande
Allemande
An allemande is one of the most popular instrumental dance forms in Baroque music, and a standard element of a suite...
. Gigault's 20 noëls include variations on Christmas songs and church hymns connected to Christmas. These pieces always progress from two-part to four-part settings and feature a somewhat rigid variation technique. In the preface Gigault suggests that these pieces can be performed on any instruments: i.e. on a pair of viols, or on a lute, etc. The solitary allemande bears no connection whatsoever to Christmas. It is presented in two versions, the second being set in "ports de voix", showing various common ornamentation patterns.
Gigault's second collection, Livre de musique pour l'orgue of 1685, contains 184 pieces. It begins with three organ masses, which rely heavily on Mass IV melodies, like all other surviving French organ masses from the period. However, Gigault's contemporaries limited their use of the chant to cantus planus settings, whereas in Gigault's masses chant melodies also appear paraphrased or transformed into fugue subjects, and form a very large proportion of the masses. The first and the third masses are large, each comprising more than 20 pieces, while the second mass is extremely short with just 7 versets. The rest of the collection is arranged by mode: there are numerous fugues (a fact mentioned in the preface) and also various typical French forms such as dialogues and récits. Also included are three hymns: Pange lingua
Pange Lingua
Pange Lingua Gloriosi Corporis Mysterium is a hymn written by St Thomas Aquinas for the Feast of Corpus Christi . It is also sung on Maundy Thursday, during the procession from the church to the place where the Blessed Sacrament is kept until Good Friday...
, Veni Creator
Veni Creator Spiritus
Veni Creator Spiritus is a hymn believed to have been written by Rabanus Maurus in the 9th century. It is normally sung in Gregorian Chant and often associated with the Roman Catholic Church, where it is performed during the liturgical celebration of the feast of Pentecost...
and a complete setting of the Te Deum
Te Deum
The Te Deum is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered literally as "Thee, O God, we praise"....
.
Because the music of Gigault's second Livre is more representative of the French style of the third quarter of the century, rather than the last, the collection may have been a compilation of earlier composed material. All major French forms are represented, although Gigault's way of naming them differs from his contemporaries: he uses the term "fugue" much more broadly (e.g. he uses "Fugue à 2" instead of "Duo"), never uses the term "dialogue", etc. The music is notated meticulously, with more attention to details of performance than in other contemporary sources. There is much use of notes inégales
Notes inégales
In music, notes inégales refers to a performance practice, mainly from the Baroque and Classical music eras, in which some notes with equal written time values are performed with unequal durations, usually as alternating long and short...
, so much that some scholars believe the music to be unlistenable today, and in general, Gigault's work was judged negatively by most scholars. Nevertheless, the music is distinguished by a serious style, more suitable to the church than that of Lebègue
Nicolas Lebègue
Nicolas Lebègue was a French Baroque composer, organist and harpsichordist. He was born in Laon and in 1650s settled in Paris, quickly establishing himself as one of the best organists of the country. He lived and worked in Paris until his death, but frequently made trips to other cities to...
; Gigault's dialogues go beyond those of his contemporaries, Nivers
Guillaume-Gabriel Nivers
Guillaume-Gabriel Nivers was a French organist, composer and theorist. His first livre d'orgue is the earliest surviving collection with traditional French organ school forms...
and Lebègue, in that they employ more divisions, and he also cultivates a number of five-voice genres: préludes and récits with pedal cantus firmus in the tenor. Gigault's 1685 Livre was most probably meant as a record of Gigault's style, rather than a book for lesser organists; the music is at times quite sophisticated and requires a high degree of skill.