Guillaume-Gabriel Nivers

See Guy Oldham, "Louis Couperin: A New Source of French Keyboard Music of the Mid-17th Century", Recherches sur la musique française classique, Vol.

Finally, in 1686 Nivers was in charge of the music at the Maison Royale de Saint-Louis in Saint-Cyr-l'École—a convent school for young ladies who were poor but of noble birth.

His colleagues at St Cyr were Jean-Baptiste Moreau, who worked there since the school's inception, and possibly Louis-Nicolas Clérambault, who may have helped Nivers from about 1710 until the latter's death in 1714.

They include suites in all ancient (ecclesiastical) modes, a mass, hymns, and settings of the Deo Gratias and Te Deum.

With his colleague and friend Lebègue, Nivers embodies the solo organ style which was subsequently represented - and adorned - by François Couperin and the short-lived Nicolas de Grigny.

See William Pruitt, "Bibliographie des Oeuvres de Guillaume Gabriel Nivers", Recherches sur la musique française classique, Vol.

Church of Saint Sulpice in Paris, where Nivers worked from the 1650s until his death. This west façade, however, was built only in 1732, after the composer's death. Watercolor by François-Étienne Villeret , first half of the 19th century.