Articles avec le tag ‘Philippe Lescat’

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 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.