Articles avec le tag ‘Facsimile’

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 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.