Articles avec le tag ‘Violin’

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 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