Articles avec le tag ‘Clérambault’

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 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.