postheadericon REBEL Jean-Féry : Les caractères de la Danse – La Terpsichore

Les Caractères de la Danse - La Terpsichore of Jean-Féry RebelLES CARACTERES DE LA DANSE, fantaisie.

Paris, l’auteur, Le Clerc, 1715.  Full score. (Ref. 50526)

Dona Borel’s preface discusses the typical bow strokes for these dances, according to French XVIIIth century theoretical works dealing with the subject. This is an extremely useful addition to our edition.

Les Caractères de la Danse of Jean-Féry Rebel

 Les Caractères de la Danse, a fantasy published in 1715, was an immediate success. Its composition is both original and unique: ten French dances linked together and therefore to be played as a whole ; two short movements of an Italianate sonata are inserted at the end of the work. This work was originally designed for dancing and the best French dancers of the period performed it: for example, Mademoiselle Sallé or la Camargo. In Paris it was danced at the Académie Royale de Musique (Opéra), at the Théâtre Italien or the Comédie Française, but was also performed abroad.

How many performers can be used?

Although noted for reduced numbers, the score published here is clearly conceived for an orchestra: solo flute with bass played by the violins (note the plural) in the sarabande, – gigue and gavotte played by the violins – two oboe parts accompanied by the bassoons in the passepied – and especially the top part of the musette played by the oboes and the second part by the violins. It is therefore obvious that there were several violins, several oboes and several bassoons for each of these parts. The published score could eventually be completed by the addition of intermediate parts. The separate parts held in Agen – which are believed to have come from Dresden – confirm the notion of orchestration, without it being certain that these parts are copied from the composer’s original material, as the latter has not come down to us. The published score could be completed by the addition of intermediate parts. However the present score could be played as it stands in chamber music formation for small numbers: 2 violins, one flute, 2 oboes and continuo bass with cello or viol and a bassoon, and harmonic realization by the harpsichord.

The pedagogical aspect of the work.

Les Caractères de la danse is of undeniable pedagogical interest to present-day musicians. Each dance presents a typical theme and the tempi are standard. The fact of linking up the dances implies complete mastery of each tempo and character. Chamber music formation enables this work to be used as first-rate teaching material.

Example of linked movements:

Example of linked movements

Tempi.

The tempo of each dance at the time the work was composed should be noted, also taking into account the time signatures:

Prélude, three rather slow beats (inégale quavers will enliven the piece)
Bourrée, two fast beats
Chaconne, three moderate beats
Sarabande, two slow beats
Gigue, two fast beats, but not excessively fast
Rigaudon, two fast beats
Passepied, 3 fast beats (to be played one-to-the bar)
Gavotte, two moderate beats
Loure, two ponderous beats
Musette, two moderate, graceful beats

The two sonata incursions are “loud and fast” (the composer’s indications)
This work uses only related keys with no great harmonic surprises – the interest of the work lies elsewhere.

Editions

Two editions of the original appeared: one dating from 1715, the other, reproduced here, is of later date (after 1728), although it still bears the date 1715. When the first edition was printed, Jean-Féry Rebel was living in the present-day rue des Petits-Champs, at the corner of rue Sainte-Anne. The second edition finds him rue Saint-Vincent, a part of the present-day rue Saint Roch, between rue de Rivoli and rue Saint-Honoré.

LA TERPSICHORE, sonate.

Paris, veuve Foucault, 1720. Full score. (Ref. 50526).

La Terpsichore of Jean-Féry Rebel

We have combined in this edition Les Caractères de la Danse and La Terpsichore, since the latter was the ancient goddess of dance. In addition, La Terpsichore, which also links several movements, includes two siciliennes, a form which does not appear in Les Caractères de la Danse. Furthermore, La Terpsichore contains a gigue entitled L’Angloise, which is in fact a typically Italianate gigue, whereas those of Les Caractères de la Danse are typically French. These scores are therefore complementary.

French gigue from Les Caractères de la Danse:

French Gigue from Les caractères de la danse of Jean-Féry Rebel

Italian gigue from La Terpsichore :

Italian gigue from La Terpsichore of Jean-Féry Rebel

Those interested in this composer could read the excellent book by Catherine Cessac : Jean-Réry Rebel, Paris CNRS editions, 2007.

Other works by Jean-Féry Rebel published by Anne-Fuzeau-Productions:

Caprice (1711), Boutade (1712) – Introduction by Catherine Cessac. (Ref. 6190).

Recueil de douze sonates à II et III parties avec la basse chiffrée (1712) - Complete sources. Introduction by Catherine Cessac. (Ref. 6191).

Sonates à violon seul mellées de plusieurs récits pour la viole. Libre IIe (1713) – Introduction by Catherine Cessac. (Ref. 6159).

Fantaisie (1729), Les plaisirs champêtres (1734) – Introduction by Catherine Cessac. (Ref. 6158).

postheadericon CLERAMBAULT Nicolas (1676-1749)

Classical music score - Sheet music - Clérambault - First organ book - OrganCLERAMBAULT Nicolas (1676-1749)

Clérambault was born in Paris, in 1676.

He studied with André Raison and Jean-Baptiste Moreau.

Aged 13 years, Clérambault wrote a “motet à grand choeur”.

1715 : names at Saint-Sulpice and Saint-Cyr.

He died 1749 in Paris and was buried at Saint-Sulpice.

- First book of harpsichord pieces. Paris, 1704. (Ref. 3287)

C major : Prélude - Allemande and double - Courante - First Sarabande - Second sarabande - Gavotte and double - Gigue - First Menuet - Second menuet.

C minor : Allemande - Gigue - Prélude - Courante - Sarabande.

The preludes are unmeasured. The « courantes » are in the french style (slow). The “sarabandes” are slow.

Classical music score - Sheet music - Clérambault - First book of harpsichord pieces - Harpsichord

Presentation - P. Lescat : chronology of the unmeasured prelude. J. Saint-Arroman : Clérambault’s ornamentation.

- French Cantatas for I and II voices. Book I. Paris, 1710. (Ref. 2083)

L’amour piqué par une abeille : a bee stings Amour, and Venus heals him.

Le jaloux : Iris’lover beseeches the Spring to send his rival far away to war.

Orphée : he descends into the underworld to find back his spouse.

Polyphème : he is in love with Galatea, who in turn loves Acis.

Medée : the arias of this cantata express Medea’s reactions of jealousy.

L’amour et Bacchus : this cantata expresses hope for the meeting of Amour and Bacchus.

Classical music score - Sheet music - Clérambault - French Cantatas for I and II voices. Book I - Voice Violin Flute
Extract of « Orphée »

Presentation - P. Lescat : catalogue of Clérambault’s works. J. Saint-Arroman : remarks on mythology.

- Cantates françoises mellées de simphonies. Livre IIème. Paris, 1713.

Alphée et Aréthuse : the hunter, Alpheus, followed Arethuse to Sicily. Diane changed Arethuse into a fountain, and Alpheus changed himself into a river.

Léandre et Héo : each night, Leander went to meet Hero by swimming. Leander drowned in the strait’s swirls and Hero threw herself into the waves.

La musette : a pastoral in the style of a “roman précieux”.

Pyrame et Thisbé : Pyramus thought Thisbé was dead and stabbed himself with a sword. Thisbé killed herself to be with him after death.

Pygmalion : Pygmalion made such a beautiful statue of Galatea that he fell in love with his work.

Le triomphe de la paix : this cantata reflects the anxiety of the French in 1713, to see the conclusion of the peace.

Presentation - P. Lescat : biography of Clérambault. J. Saint-Arroman : remarks on mythology.

First organ book. Paris, c.1714. (Ref. 2662)

Suite du premier ton : grand plein jeu - fugue - duo - trio – basse et dessus de trompette - récits de cromorne et de cornet - dialogue sur les grands jeux.

Suite du deuxième ton : plein jeu - duo - trio - basse de cromorne - flûtes - récit de nazard - caprices sur les grands jeux.

The two suites by Clérambault each contain seven pieces, exactly the number required for the organ sections of the Magnificat.

Classical music score - Sheet music - Clérambault - First organ book - Organ

Presentation - P. Lescat : Clérambault’s organs. J. Saint-Arroman : usage, notation, terminology, ornamentation.

- Cantates françoises mêlées de symphonies. Livre IIIème. Paris, 1716. (Ref. 2768)

Apollon : it is a hymn to the peace awaited at the close of the reign of Louis XIV. He was often thus represented in the guise of Apollo.

Zephire et Flore : Flora bewails the infidelity of Zephyrus. Zephyrus, listening to her while concealed behind a hedge, falls at the feet of Flora.

L’isle de Délos : In praise of the island of Delos where all is wonderful.

La mort d’Hercule : Nessus, mortally wounded, took his bloodstained tunic and gave it to Deianira. She gave to Hercules the fatal tunic. No sooner had he donned it than the venom in which it had drenched entered him in fury. He built a pire and waited upon him, ordering to set it alight.

Classical music score - Sheet music - Clérambault - Cantates françaises mêlées de symphonies Livre III - Flute Viol Violin Voice
Extract of « Apollon »

Presentation - J. Saint-Arroman and P. Lescat : remarks on mythology.

- Motets à une et deux voix. Paris, 1733. (Ref. 5620)

Hodie - Domine ante te - Ecce Deus - Domine rzfugium - Ante thronum - Domine salvum.

These very beautiful motets are one of the best works of the french music of the XVIIIth century.

Classical music score - Clérambault - Motets à une et deux voix - Voice Choir

Presentation - P. Lescat : the duties of Clérambault at Saint-Cyr. J. Saint-Arroman : notation, terminology, ornamentation.

postheadericon BLAVET Michel (1700-1768)

Classical music score - Sheet music - Blavet - Six sonatas for two flutes without bass - Opus I - Flute

BLAVET Michel (1700-1768)

Blavet was born in Besançon on March 13th 1726.

He worked in Paris in the music ensemble of the comte de Carignan (1726) - as “surintendant” of the music ensemble of the comte de Clermont (1732) – ( as “ordinaire de la musique du Roi” (1736).

Since 1740 he was the first flautist in the Paris Opera Orchestra.

Blavet died in Paris on October 28th 1768.

The perfection of his technic and the beauty of his tone gave him a great reputation in Europe.

- Six sonatas for two flutes without bass – Opus I (seconde édition, Paris, 1741). (Ref. 4337)

There were two editions of this work in Blavet’s lifetime : 1728 and 1741.
Introduction by P. Lescat : Comparison of the two editions.
Introduction by J. Saint-Arroman : Blavet’s ornaments.

Classical music score - Sheet music - Blavet - Six sonatas for two flutes without bass - Opus I - Flute

- Sonates mêlées de pièces pour la flûte traversière avec la basse. Paris, 1732 (œuvre II). (Ref. 4338)

There were two editions of this work in Blavet’s lifetime : 1732 and c. 1741.
Introduction by P. Lescat : Comparison of the two editions.
Introduction by J. Saint-Arroman : the figuration of the continuo bass.

L’Henriette – La Vibray – Les Caquets – La d’Hérouville – L’Insinuante – La Mondorge – La Lumagne – Le Lutin – La Chauvet – La Marc-Antoine – Les Regrets – La Dédale – La Boucot – Les Tendres Badinages – L’Invincible.

Classical music score - Sheet music-- Blavet - Sonates mêlées de pièces pour la flûte traversière Oeuvre II - Flute
Extract of « La Vibray »

- Third book of sonatas for flute with bass. Paris (1740). (Ref. 4339)

Introduction by P. Lescat : catalogue of the works of Michel Blavet.
Introduction by J. Saint-Arroman: Michel Blavet’s musical terms.

Classical music score - Sheet music - Blavet - Third book of sonatas for flute with bass - Flute

- 1er Recueil de pièces, petits airs, brunettes, menuets, etc. avec des doubles et variations, accomodé pour les flûtes traversières, violons, par-dessus de viole &c. Paris, 1741. (Ref. 5971)

- 2ème Recueil de pièces, petits airs, brunettes, menuets, etc. avec des doubles et variations, accomodé pour les flûtes traversières, violons, par-dessus de viole &c.. Paris, 1744. (Ref. 5972)

- 3ème Recueil de pièces, petits airs, brunettes, menuets, etc. avec des doubles et variations, accomodé pour les flûtes traversières, violons, par-dessus de viole &c.. Paris, 1757. (Ref. 5973)

The three collections of pieces for two equal instruments by Michel Blavet are of considerable pedagogical interest. To the undeniable quality of the transcriptions must be added the musical interest of most of the works. The fact of being played by two equal instruments enables the three volumes to be used by all families of woodwind or bowed strings instruments, without requiring a continuo.
Classical music score - Sheet music - Blavet - 2ème recueil de pièces, petits airs, brunettes, menuets , etc... - Flute
Extract of « Les Niais de Sologne »
Classical music score - Sheet music - Blavet - 2ème recueil de pièces, petits airs, brunettes, menuets , etc... - Flute
Extract of « Pièce d’Handel »

postheadericon MARAIS Marin (1656-1728)

Classical music score - Sheet music - Marais - La gamme et autres morceaux de simphonie pour le violon, la viole et le clavecin (ad libitum) - Violin Viol HarpsichordMARAIS Marin (1656-1728)

Marin Marais was baptised at Saint-Médard the day of his birth, on May 31st 1656.

He was choirboy at the choir of Saint-Germain l’Auxerrois (1667), and he there met Michel-Richard Delalande, also a choirboy. He left the “maîtrise” of Saint-Germain l’Auxerrois, and studied viol with Monsieur de Sainte-Colombe. Aged 19 years he joined the Paris Opera Orchestra. He obtained the Brevet of “joueur de viole de la Chambre du Roy” on August the first 1679.

On August the 20st 1686, he finished the dition of his “Premier livre de viole” dedicated to Jean-Baptiste Lully : the dedication indicates that he was Lully’s pupil.

On the occasion of the thanksgiving service in the church of the Pères de l’Oratoire rue Saint-Honoré, he composed two motets : “Mr Marais, ordinaire de la chambre du Roy” led this ceremony with all imaginable success. There were two hundred and fifty musicians or instrumental players” (04.1701). Circa 1704 he becomes “batteur de mesure” (conductor) at the Opera in replacement of Campra.

On November the 14th 1709, he played in Versailles for the Elector of Bavaria. The Marquis de Sourches reported; “in the evening Marais performed fir him, that famous viol player, and he took great pleasure in it; because as he is a fine player himself, he was better able than any other to appreciate the skill and finesse of Marais’ playing, which made him want to hear him again after supper.”

Titon du Tillet : “Marais three or four years before his death had retired to a house in rue de l’Oursine, faubourg Saint-Marceau where he cultivated the plants and flowers of his garden. He rented a room however in the rue du Battoir, in the disctrict of Saint-André des Arcs, where he gave lessons two or three times a week to those who wished to perfect their viol playing”.

On August the 15th 1728 he died in Paris.

- Pieces for one and two viola da gambas Book I. Paris, 1686. (Réf. 5829)
 Continuo – Pieces for one and two viola da gambas Book I. Paris, 1689.

The first book contains above all dances and some preludes, fantaisies, rondeaux, one tombeau, a paysanne, all current forms in the French suite. This first book opens with a long series of pieces in d minor. These do not form a suite but rather a group from which it is possible to extract one or several different suites.

Classical music score - Sheet music - Marais - Pieces for one and two viola da gambas Book I - Viol

Extract of "Tombeau de Mr Meliton"

Introduction by Philippe Lescat : biography of Marin Marais. Introduction by Jean Saint-Arroman : The evolution of Marin Marais as apparent in his works for viol.

- Pièces en trio pour les flûtes, violons et dessus de viole. Paris, 1692. (Réf. 5638)

Introduction by Jean Saint-Arroman : the ornamentation of the Pièces en trio. With the exception of the « port-de-voix and pincé », the ornementation is quite comprehensive and very representative of the French classical ornamentation.

Untroduction by Philippe Lescat : Catalogue of the works of Marin Marais.

Classical music score - Sheet music - Marais - Pièces en trio pour les flûtes, violons et dessus de viole - Flute Recorder Violin Oboe Viol
Extract of « La Désolée »

 

- Pieces for viola da gamba – Book II. Continuo basses for Book II. Paris, 1701. (Réf. 2077)

The second books begins with a long series of pieces in d minor, and including, among other dances, six menuets and for gigues. The last for keys are in a form of normal suites.

Classical music score - Sheet music - Marais - Pieces for viola da gamba Continuo basses Book II - Viola da gamba
Extract of « Prélude »

 

Introduction by Jean Saint-Arroman and Philippe Lescat : the titles.

- Pieces for viola da gamba – Book III. Continuo basses for Book III. Paris, 1711. (Réf. 5372)

Note three titles.
Charivari : Confused noise made by the common people with pans, basins and cauldrons, in order to insult somebody.
Moulinet : is said of a certain movement in fencing. The ladies also call Moulinet a little silk ornament or ribbon.
Saillie du café : introduced in France towards 1643, its used became widespread in Paris from 1669 on.

Classical music score - Sheet music - Marais - Pieces for viola Continuo basses Book III - Viol
Extract of « Charivary »

Introduction by Jean Saint-Arroman and Philippe Lescat : the titles.

Pieces for viola da gamba – Book IV. Paris, 1717. (Réf. 5637)

L’agréable – L’Amériquaine – L’arabesque – L’asmatique – Le badinage – Le basque – Le bijou – La biscayenne – La bizare – Boutade – Le bout’entrain – La petite brillante – Caprice – Enfantine – L’espagnol – La familière – La favorite – Feste champêtre – La Fleselle – La Fougade – Le gracieux – La gracieuse – La Guinebault – Le labyrinthe – La matelotte – La mignonne – La minaudière – Paÿsan – Petite paÿsanne – La piquane – La provençale – La rêveuse – La sauterelle – La sautillante – La singulière – La superbe – Tartare – La Tartarine – Le tourbillon – La tourneuse – L’uniforme.

Classical music score - Sheet music - Marais - Pieces for viola da gamba Book IV - Viol
Extract of « La Rêveuse »

 

Introduction by Jean Saint-Arroman and Philippe Lescat : the titles.

- La gamme et autres morceaux de simphonie. Paris, 1723. (Réf. 5875)

La gamme
The piece is divided into several sections, each of which begins on a degree of the C major scale, first ascending the descending.

Sonate, à la Marésienne
Under this culinary appellation, Marais présents a sonata which is fairly long compared of those of his french contemporaries. The instrumentation is specified in the Avertissement : flute and continuo bass - violin and continuo bass.

Sonnerie de Sainte-Geneviève du Mont de Paris
This is a « carillon », one of many written at that period. It is noteworthy for its length and the brevity of the three –note theme. The tonal unity is varied only by two short sections in A minor and F major, conferring an obsessive quality at the work.

Classical music score - Sheet music - Marais - La gamme et autres morceaux de simphonie - Viol Violin Harpsichord
Extract of « Sonnerie »

Introduction by Jean Saint-Arroman : notation - tempi and time signatures - ornamentation - La gamme - Sonate à la Marésienne - Sonnerie de Sainte-Geneviève du Mont.

- Pieces for viola da gamba – Book V. Continuo basses for Book V. Paris, 1725. (Réf. 2055)

The edition preserved in the Bibliothèque Inguimbertine in Carpentras certainly a first edition, contains “Le Tableau de l’Opération de la Taille” (pages 101-102), without the descriptive text added to the later editions. Il was quite easy to re-engrave or correct some passages on the tin plates. Thie explains the addition of the text to music (end of the presentation) which itself underwent no modifications.

Classical Music score -Sheet music - Marais - Pieces for viola da gamba Continuo basses Book V - Viol

Introduction by Jean Saint-Arroman and Philippe Lescat : the titles.

postheadericon BRANCHE Charles-Antoine (1722-ca 1779)

Classical music score - Sheet music - Branche - Premier livre de sonates à violon seul et basse - violin - continuoBRANCHE Charles-Antoine (1722-ca 1779)

Charles-Antoine Branche was born in Vernon in 1722.

In 1748 he is first violin at the Comédie-Française : his responsibilities included recruiting and directing the musicians in the orchestra, and he composed the music necessary for performances.

1748 : Premier livre de sonates.

He resigned in 1765 and takes legal action against the Comédie-Française.

The exact date of his death is unknown.

- Premier livre de sonates à violon seul et basse. Paris, 1748. (Réf. 2664)

These twelve sonatas for violin and basso continuo, often remarkably difficult, are among the masterpieces of the French violin music.

Classical music score - Sheet music - Branche - Premier livre de sonates à violon seul et basse - violin - continuo

Introduction by Jean Saint-Arroman : General notation - phrasing - ornamentation - tempi.

postheadericon NIVERS Guillaume-Gabriel (c.1632-1714)

Classical Music scores - Sheet music - Nivers - Livre d'orgue des 8 tons de l'église - OrganNIVERS Guillaume-Gabriel (c.1632-1714)

Nivers was born in Paris. Ca 1651, he was engaged as organist of Saint-Sulpice and, in 1661, received “maître es arts” degree at the Paris university (Studies in philosophy, rhetoric, Greek an Latin grammar).

King’sorganist in 1678. The Queen’s “maître de musique” in 1681.

Head organist and “maître de chant” of the « Maison Royale de Saint-Louis de Saint-Cyr » (1686).

On the 13th of November 1714 Nivers died in Paris.

Nivers left a considerable fortune (200,000 livres and land), proof of his success.

- Organ book containing one hundred pieces. Book I. Paris (1665).

Extract of the very important preface by Nivers:

Classical music scores - Sheet music - Nivers Guillaume-Gabriel : Organ book containing one hundred pieces. Book IClassical music scores - Sheet music - Nivers Guillaume-Gabriel : Livre d'orgue contenant 100 pièces - Livre 1

 

Preface of Jean-Saint-Arroman : The first organ book of Nivers and the plainsong.

Preface of Philippe Lescat : biography of Nivers.

- 2. Livre d’orgue contenant la messe et les hymnes de l’église. Paris (1667).

This Organ Book is unique in French organ literature : it is not only a work in the preclassical style, and therefore quite rare in the repertory of the instrument, but also a work where the composition and inspiration are of considerable quality. These pieces for organ were all intended to alternate with specific plainsong extracts during the liturgy. The pieces are short and enable pupils to concentrate on each and every detail.

Preface by Jean Saint-Arroman : The treatment of the plainsong.

Preface by Philippe Lescat : Catalogue of Nivers’Works.

- 3. Livre d’orgue des huit tons de l’église. Paris (1675). (Ref. 2885)

Preface by Jean Saint-Arroman : Nivers’ registrations.

Preface by Philippe Lescat : The organs Nivers played.

- Motets for solo voice with continuo bass. Paris (1683). (Ref. 3289)

Although the motets are essential to understanding Nivers’ ornamentation, it is not because of there preface, but because most of the ornamentation is written out in whole notes and thus gives a guide to ornament performance.

Preface by Jean Saint-Arroman : Nivers’ornamentation. The motets of Nivers transcribed by Clérambault.

Preface by Philippe Lescat : Motets in the services at Saint-Cyr.

postheadericon BALBASTRE Claude (1727-1799)

Classical music scores - Sheet music - Balbastre - Recueil de Noël formant quatre suites avec des variations pour le clavecin et le forte piano - Harpsichord Piano OrganBALBASTRE Claude (1727-1799)

Claude Balbastre was born in Dijon and did advanced work in Paris with Jean-Philippe Rameau and Pierre Février.

He was engaged as organist of the Concert Spirituel (1755), Saint-Roch (1756) and Notre-Dame-de-Paris (1760). He became quickly known for his improvisations.

During the French Revolution, he was in charge of the preservation of the organs of Paris (1795).

- Recueil de Noëls formant quatre suites avec des variations pour le clavecin et le forte piano. Paris, (s.d. = 1770). (Réf. 1274)

In France, instrumental noels were played during the Advent and, of course, at the Midnight Mass and the masses of Christmas Day. These noels might also be played at the Concert Spirituel on Christmas Eve or Christmas Day. At the end of the eighteen century, organists were abandoning the most popular tunes and looking for less well-known noels from abroad.

Organists would do well to have some verses of a Noël sung before playing the variations. This would add considerably to their impact. See :

- Chants de Noëls anciens et nouveaux de la grande bible. Notez avec des basses. Paris, 1703. (Réf. 5425)

« A la venue de Noël » :

 Classical music scores - Sheet music - Ballard - Chants des noëls anciens et modernes - Voices

 

Classical music scores - Sheet music - Ballard - Chants des noëls anciens et modernes - Voices

- First book of harpsichord pieces. Paris, 1759. (Réf. 50149)

“Facsimusic” collection.

Dedication : « AMadame de Caze, trésorière générale des Postes, et relais de France et fermière générale ». « Chez l’Auteur, Place Vendome chez M de Caze Fermier général ».

Suzanne Félix Lescarmotier married Anne Robert de Caze in 1747 ; the latter was notorious for extravagant spending in order to enlarge his collections of manuscripts, rare books and tulips. His portrait is also to be found in Duphly’s 2nd book of Harpsichord Pieces (1748).

Classical music scores - Sheet music - Balbastre - First book of harpsichord pieces - Harpsichord

postheadericon JACQUET DE LA GUERRE Elisabeth (1665-1729)

Classical music scores - Sheet music - Jacquet de la Guerre - Four sonates en trio - Violin - ContinuoJACQUET DE LA GUERRE Elisabeth (1665-1729)

1665 : Baptism of Elisabeth Jacquet de la Guerre.

1670 : she plays before Louis XIV who encourages her to cultivate the wonderful talent which nature had given her.

23th of September 1687 : marriage to the organist of Saint-Séverin, Marin de la Guerre.

1694 : performance of “Céphale et Procris” at the Opéra.

She moves to the Île Saint-Louis in 1704.

She died in Paris in 1729. She possessed three harpsichords.

- Sonatas for violin and harpsichord. Paris, 1707. (Réf. 5633)

« The Connoisseurs find in them tenderness, great fire, beautiful harmony and natural writing » (Journal des sçavants).

Introduction by Catherine Cessac, specialist of Elisabeth Jacquet de la Guerre.

Classical music scores - Sheet music - Jacquet de la Guerre Elisabeth - Sonatas for violin and harpsichord - Violin Continuo

- Harpsichord pieces – Book I. Paris, 1687. (Réf. 5396)

The introduction by Jean Saint-Arroman analyse the ornamentation in the work of Elisabeth Jacquet de la Guerre : « tremblement, pincé, doublé, coulés et ports-de-voix, ports-de-voix et coulés doubles, tierce coulée, coulé par intervalle, chute, accents ».

Classical music scores - Sheet music - Jacquet de la Guerre Elisabeth - Harpsichord pieces - Book I - Harpsichord

- Harpsichord pieces which may be played on the violin. Paris, 1707. (Réf. 5769)

These pieces would constitute the first known example of harpsichord music with accompaniement, a genre destined for a brilliant future throughout the XVIIIth century.

Introduction by Catherine Cessac, specialist of Elisabeth Jacquet de la Guerre.

- Four sonates en trio. Paris, ca 1695. (Réf. 5915)

Sébastien de Brossard : “ Scores of four manuscripts sonatas for 2 violins, a bass viol or violin or bassoon sometimes necessary and a continuo bass, composed by the famous Mlle Jacquet who since her marriage to one of the most famous organists of Paris is known as Mlle de Laguerre. She was so gracious as to lend me the originals in the year 1695 in order to have them copied. They are delightlul (…)”.

Introduction by Catherine Cessac, specialist of Elisabeth Jacquet de la Guerre.

- Cantates françaises sur des sujets tirés de l’écriture. Livre I. Paris, 1708. (Réf. 5391)

Esther - The crossing of the red sea - Jacob and Rachel - Jonah - Susanna and the elders - Judith.

- Cantates françaises sur des sujets tirés de l’écriture. Livre II. Paris, 1711. (Réf. 5392)

Adam - The temple rebuilt - The deluge - Jodeph - Jephthah - Samson.

- French Cantatas – Book III. Paris, ca 1715. (Réf. 5632)

Semelé – L’Ile de Delos – Le sommeil d’Ulisse – La raccommodement comique.

Introduction by Philippe Lescat : catalogue of the works of Elisabeth Jacquet de la Guerre.

Introduction by Jean Saint-Arroman : performance of the recitatives.

Classical music scores - Sheet music - Jacquet de la Guerre Elisabeth - French Cantatas - Book III - Voices violin flute oboe

postheadericon GUILLEMAIN Louis-Gabriel (1705-1770)

Classical music scores - Sheet music - Guillemain - Six sonates en quatuor 1743 - Flute Viola da gamba Violin

GUILLEMAIN Louis Gabriel (1705-1770)

« Seeing that he was talented for the violin, the count of Rochechouart had him learned it. He worked a great deal; he was in Italy were he played with Somis.”

Entered the Lyon opera as a symphonist; then as a first violinist at the “Académie de musique de Dijon”. C. 1737 became a “ Musicien de la Chapelle et de la Chambre du Roy ». In 1747 he was engaged as upper violin in the « orchestre du theater des Petits-Cabinets”.

Crippled with debts, “his thinking disturbed” without a doubt alcoholic, he committed suicide by stabbing himself with a knife 14 times at Chaville (1.X.1770).

“He is perhaps the fasted and most extraordinary violinist that can be heard. His hand is sparkling , there is not a single difficulty that can stop him.” (P.L. d’Aquin de Chateau Lyon).

- Twelve caprices for solo violin. Paris (1712). (Ref.1003)

The twelve Caprices for solo violin, which are remarkably difficult, are among the masterpieces of French violin music and also look forward to Paganini’s Caprices. Much of the repertoire for two instruments was accessible to amateurs. This repertoire was precious, as he did not require the presence of a keyboard or string bass. The opus IV is very difficult – the opus V is accessible to amateurs.
Prefaces : biography – arpeggi

- First book of sonatas for violin with continuo bass. Paris (c.1740). (Ref.1011)

The facsimile reproduces the second edition, revised and corrected by the composer.

Classical music scores - Sheet music - Guillemain Louis-Gabriel - First book of sonatas for violin with continuo bass - Violin

- VI sonatas for two violins without bass. Opus IV. Paris (1739). (Ref.5771)

- Second book of sonatas for two violins without bass. Opus V. Paris, 1739. (Ref.5819)

Much of the repertoire for two instruments was accessible to amateurs. This repertoire was precious, as he did not require the presence of a keyboard or string bass. The opus IV is very difficult – the opus V is accessible to amateurs.

- Six sonates en quatuors ou conversations galantes et amusantes (flûte, violon, basse de viole, basse continue). Œuvre XII. Paris, (1743). (Ref.5818)

    Classical music scores - Sheet music - Guillemain - Six sonates en quatuors - Flute Viola da gamba Violin

This work is noteworthy for its finesse, the careful balance between the instruments and its synthesis of French and Italian taste. Its title “Conversations galantes et amusantes” is perfectly justified by the interaction of motifs continually passing from one instrument to the other. Nothing is forced : neither the moderate tempi, not the discreet ornamentation, nor the perfection and lightness of the writing.

Introductions to the works of Guillemain : Philippe Lescat – Jean Saint-Arroman – Etudiants du Cefedem.

Prefaces : biography, catalogue of Guillemain’s works, terminology, ornamentation, Concert Spirituel, sonates for 2 violins without bass published en France.

postheadericon JANSON Jean-Baptiste (1742-1803)

Classical music scores - Sheet music - Janson - Six sonatas for cello and bass Opus I - CelloJANSON Jean-Baptiste (1742-1803)

At the Concert Spirituel in Paris, Janson, aged 13 years, played a cello sonata on March the 23th, 25th and 29th !

Aged 22 years he was musician to the Prince de Conti. The Prince de Conti’s salon consisted of an orchestra, choir and soloists.

1766-1767 : Journey to Italy in the company of the hereditary prince of Brunswick. During this Italian eptemb he apparently improved his technique. Mercure de France, eptember 1767 : “Everybody admits that this is the finest possible combination of beauty, purety of tone, sureness of touch, and the charm of most sensitive expression.”

C.1783 : According to Fétis he travelled to Germany where he visited Hamburg, then to Denmark, Sweden and Poland.

In 1795, he was appointed professor of cello in the Conservatoire.

22th of September 1809, he died rue Bergère, near the Conservatoire.

- Six sonatas for cello and bass – Opus I. Paris (s.d. = 1765). (Réf. 2249)

This opus I is a youthful work, its author was 23 years old. Janson gives no expression marks.

The composer often terminates a movement, or the first section of a movement, with the same formula. The player may add some ornamentation on the pause.

Classical music scores - Sheet music - Janson - Six sonatas for cello and bass - Opus I - Cello

Presentation : Catalogue of the works of Jean-Baptiste Janson by Philippe Lescat.

Notes on the score (notation, times signatures, ornamentation, phrasing) by Jean Saint-Arroman.

- Six sonatas for cello and bass – Opus IV. Paris (s.d. = 1774). (Réf.5787)

    Janson Jean-Baptiste : Six sonatas for cello and bass - Opus IV

The splendid « adagios » are a model for the ornamentation of the end of the eighteenth century.

Presentation : Biography by Philippe Lescat. Interpretation of the score by Jean Saint-Arroman.