111:, London. Although he evidently played a significant part in the project, he was dropped by the management after about a year, in late 1708. Dieupart tried organizing a series of concerts at York Buildings in 1711 and 1712, but ended up giving only a few. After 1712 he was mostly active as a teacher, although his music was still performed in concerts until at least 1726, and he was apparently a regular member of the Drury Lane orchestra. Dieupart's last known public appearance was in 1724. According to music historian
115:, whose work is the most important source on Dieupart's biography, the composer died at a very advanced age and in poverty. This information has recently turned to be false, for archives documents show he married in Melun, near Paris, in 1744 and died at Saint-Germain-sur-Ecole, a small village nearby, in 1751.
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around 1700. A prominent member of the Drury Lane musical establishment, Dieupart was active both as composer and performer and actively participated in the musical life of the city. However, after about 1712 he earned his income mostly by teaching, and in his later years lived in poverty. He is best
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as the final movement. Some of the movements within a suite are linked thematically. The music represents a highly successful synthesis of French, Italian and
English styles, married with imaginative harmony. The same can be said about most of Dieupart's other music, which has been neglected in
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Details of
Dieupart's early life and training are sketchy. The earliest document to refer to the composer is a parisian tax roll dated 1695 where he is said mastering the harpsichord and other instruments. In 1701, he published his
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harpsichordist, violinist, and composer. Although he was known as
Charles to his contemporaries according to some biographers, his real name was actually
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recent times. The suites were popular even during the composer's lifetime: they were reissued already in 1702, arranged for
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copied all six suites sometime between 1709 and 1714, and was influenced by
Dieupart's music, particularly in the famous
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Songs in the New Opera, Call'd Love's
Triumph, The Symphonys or Instrumental Parts in the Opera Call'd Love's Triumph
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34:, rue aux Ours, August 10th, 1676. His father was Nicolas Dieupart (? - 1700) an ordinary musician to
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remembered today for a collection of six harpsichord suites which influenced Johann
Sebastian Bach's
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https://www.academia.edu/106565242/_Monsieur_Dieupar_de_Londres_New_Documents_1_English_translation_
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Concerto in A minor for soprano recorder/flute/oboe, 2 oboes, bassoon, strings, and basso continuo
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In late 1707 Dieupart became involved in establishing an operatic project at the
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Concerto in A major for violin, 2 oboes, bassoon, strings, and basso continuo
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Miscellaneous keyboard pieces and 33 airs published in various collections
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129:(Amsterdam, 1701). As the title indicates, it contains six harpsichord
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Concerto in E minor for 2 flutes, 2 horns, strings, and basso continuo
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Concerto in B minor for trumpet, 2 oboes, strings, and basso continuo
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351:"Monsieur Dieupar de Londres" New Documents 1 (English translation)
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major for 2 violins, 2 oboes, bassoon, strings, and basso continuo
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Sonata in D minor for oboe, strings and basso continuo
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334:Cambridge Companions to Music
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349:Quagliozzi, Michel (ed.).
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415:French Baroque composers
207:Six suittes de clavessin
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78:Drury Lane
159:passepied
147:sarabande
139:allemande
135:ouverture
109:Haymarket
70:Amsterdam
36:Louis XIV
267:♭
172:recorder
161:, and a
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28:François
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367:at the
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107:in the
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338:1997.
168:violin
155:menuet
131:suites
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24:French
303:Grove
284:Notes
163:gigue
157:or a
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32:Paris
340:ISBN
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