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・ Louis-Alexandre Expilly de la Poipe
・ Louis-Alexandre Taschereau
・ Louis-Alfred-Adhémar Rivet
・ Louis-Alphonse
・ Louis-Alphonse Boyer
・ Louis-Alphonse de Valbelle
・ Louis-Amable Jetté
・ Louis-Amédée Humbert
・ Louis-André de Grimaldi
・ Louis-André-Gabriel Bouchet
・ Louis-Anne-Jean Brocq
・ Louis-Anselme Longa
・ Louis-Antoine Beaunier
・ Louis-Antoine Caraccioli
・ Louis-Antoine Dessaulles
Louis-Antoine Dornel
・ Louis-Antoine Garnier-Pagès
・ Louis-Antoine Jullien
・ Louis-Antoine Ranvier
・ Louis-Antoine-Cyprien Infernet
・ Louis-Armand de La Poype de Vertrieu
・ Louis-Armand de Lom d'Arce de Lahontan, Baron de Lahontan
・ Louis-Armand-Constantin de Rohan
・ Louis-Arsène Delaunay
・ Louis-Arsène Lavallée
・ Louis-Arthur Giroux
・ Louis-Auguste Bisson
・ Louis-Auguste Couvrechef
・ Louis-Auguste Desmarres
・ Louis-Auguste Dupuis


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Louis-Antoine Dornel : ウィキペディア英語版
Louis-Antoine Dornel
Louis-Antoine Dornel (ca. 16851765) was a French composer, harpsichordist, organist and violinist, who lived in Paris.
== Biography ==

Dornel was probably taught by the organist Nicolas Lebègue. He was appointed organist at the church of Sainte-Marie-Madeleine-en-la-Cité in 1706, where he took over from François d'Agincourt. He was runner-up in the competition for the post to Jean-Philippe Rameau, who eventually refused the terms set by the church authorities. He occupied several organist posts in Paris over a period from 1714 to 1748. In 1719 he was appointed to the abbey of Sainte-Geneviève, following the death of André Raison.
From 1725 to 1742, Dornel was appointed successor to du Boussetto as the music master of the Académie Française. He was required to compose a large-scale motet for choir and orchestra to be performed by the Académie each year on the feast of Saint Louis (August 25), but none survive. Dornel's works for harpsichord and for organ were well regarded at the time, the ''Mercure de France'' stating that they were "fort estimées et de très facile exécution" (well regarded and easy to play).
We know little more about the rest of his career, other than that his last surviving organ manuscript is dated 1756.
As Dornel was not a salaried court musician, he had to respond to the tastes of the concert societies set up by the French aristocracy, and in particular to the popularity of the sonata form promoted by the Italian-educated Marc-Antoine Charpentier, as well as traditional suites of French dances.

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