Abstract
Abstract In 2016 Christophe Rousset identified an anonymous manuscript cantata entitled Ariane consolée par Bacchus as being the cantata Ariane abandonnée par Thésée attributed to Couperin by Titon du Tillet in Le Parnasse françois (1732). Rousset and I subsequently edited this cantata for the Éditions du Centre de musique baroque de Versailles. Over and above stylistic and other considerations, support for Couperin’s authorship is provided by certain idiosyncrasies in the basso continuo figurings, such as the well-known use of the 2 (‘seconde supérieure’) instead of the 9, and, most important, the use of what I call the ‘Couperin chord’: 7/5/2 on the degree IV. The current article supports this attribution by showing that Couperin used this chord very frequently in his organ and harpsichord pieces, as well as in his continuo figuring. Because he is the only French composer to use this chord systematically, it is possible to attribute anonymous pieces to him on the grounds of this single chord.
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