Articles avec le tag ‘Flute’

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 AUBERT JACQUES (1689-1753)

Classical music scores - Sheet music - Aubert - Pieces for two flutes or two violins, 1723. 1st suite - Flute violinAUBERT Jacques (1689-1753)

Member of the 24 violons de la Chambre du Roi (1726). 

Member of the opera orchestra as a first violin (1728). 

- Sonatas for solo violin and continuo – Book II. Paris, 1721
Sonatas for solo violin and continuo – Book II. Nouvelle édition. Paris, 1737. (Réf. 5622)

Two very different editions of the Opus II sonatas exist, the first dating from 1721, the second from 1737. 

It should first be said that, apart from those movements of the 1721 version which have been removed and replaced by new music, numerous passages have been totally rewritten.

- 1721 – Sonata Decima – Largo 

  • Aubert Jacques : Sonatas for solo violin and continuo - Book II - Sonata Decima - Largo

    Sonata Decima - Largo

- 1737 – Sonata Decima – Adagio

Aubert Jacques : Sonatas for solo violin and continuo - Book II - Sonata Decima - Adagio

Sonata Decima - Adagio

In the 1721 version the accidentals follow the French tradition of the end of the XVIIth century ; in that of 1737 their use is close to contemporary Italian notation. 

The most noteworthy progress from one edition to the other concerns mastery of the melodic line, and the modifications tend to avoid the sequences and clichés all too frequent in the first version. 

In the second version the phrasing is often precisely marked, a fact rare in the first edition. 

Page 1 of the 1737 edition bears the indication “All these Sonatas may be played on the transverse flute”. 

Facsimusic Collection

Pieces for two flutes or two violins, 1723. 1st suite (1723) (Réf. 50125)