Nicolas Lebègue

He was equally famous as an expert on organ building: in this capacity, Lebègue travelled as far as Bourges, Blois, Chartres, Soissons, and Troyes.

Finally, Lebègue was also an influential teacher: his pupils include François d'Agincourt, Nicolas de Grigny, and probably many lesser figures such as Gabriel Garnier, Jean-Nicolas Geoffroy, and Gilles Jullien.

Another important aspect of Lebègue's harpsichord style is the tendency towards standardization: many of the suites begin with an allemande-courante pair, in still others it is followed by a sarabande, and then a gigue.

Compared to these innovative works, the pieces in Lebègue's second book are tame, probably because the composer deliberately set out to write for amateurs and beginners (as is indicated in the publisher's preface).

The third organ collection presents many different types of pieces, some incorporating Italian influences (Première élévation), others modelled after Lully's orchestral overtures (the four symphonies).

While the hymn is a simple pseudo-plainchant tune, the motets are important, expertly crafted works, innovative in their use of the organ not as basso continuo throughout, but, in certain sections, as a concertante voice in the texture.