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The harpsichord works of Nicolas Le Begue

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The harpsichord works of Nicolas Le Begue

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Content THE HARPSICHORD WORKS OF NICOLAS LE BEGUE A Dissertation Presented to the Faculty of the School of Music University of Southern California In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by John Gillespie June 1951 UMI Number: DP32393 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissartatron AublisNng UMI DP32393 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 PK. O, /Vlv^ This dissertation, w ritten by .............JDIiE-GXIXESPIE under the guidance of h%.?L... F ac u lty Com m ittee on Studies, and approved by a ll its members, has been presented to and accepted by the C o u n cil on G raduate Study and Research, in p a rtia l fu l fillm ent of requirements fo r the degree of D O C T O R O F P H IL O S O P H Y Date Committee on Studies Chairman TABLE OF CONTENTS CHAPTER PAGE I. STATEMENT OP THE PROBLEM.............. 1 II . THE BEGINNINGS OF KEYBOARD STYLE..... 5 III. THE MUSICAL SCENE IN FRANCE 16^0-1700 . . . 79 IV. THE LIFE OF NICOLAS LE BEGUE.......... lOg V. PROBLEMS OF EDITING AND INTERPRETATION . . . 121 VI. THE ORNAMENTS IN LE BEGUE'S M U S I C... 127 VII. THE WORKS FOR HARPSICHORD............ 137 VIII. LE BEGUE «S CONTRIBUTION TO THE DEVELOPMENT 2'90 OF THE SUITE.............................. IX. EVALUATION OF THE WORKS OF LE BEGUE .... 297 X. SUMMARY AND CONCLUSIONS.............. 315 BIBLIOGRAPHY....................................... 318 APPENDIX I: DEFINITIONS .......................... 329 APPENDIX II: OUTLINE OF THE DEVELOPMENT OF THE S U I T E ....................... 330 APPENDIX III: ORIGINAL EDITIONS OF LE BEGUE'S W O R K S ....................... 338 APPENDIX IV: PRINCIPAL MANUSCRIPTS OF FRENCH HARPSICHORD MUSIC ............... 339 CHAPTER I STATEMENT OP THE PROBLEM The problems to be considered in this dissertation N are threefold* First, the life of Nicolas Le Begue is to be studied as accurately as possible* Very few actual facts on his life are available, but it is hoped that sup plementary material gleaned from various documentary sources may serve to throw more light on the obscurity of this musician* The second and most important problem is a study of the harpsichord works of Nicolas Le Begue* Internal structure and characteristic idioms of these compositions will be examined in relation to the standard practice of the seventeenth century* Stylistic changes which occurred during the composer * s period of musical activity will be discussed along with specific characteristics of the individual compositions* Finally, an evaluation of the compositions of Nicolas Le Begue will be attempted* The problem may be justified in many ways* Anyone who, as in the case of Le Begue, has enjoyed an excellent reputation during his own era and who remains shrouded in obscurity today deserves a hearing* Again, a school of composers which boasts a Chambonnieres, a Louis Couperin and a d’Anglebert cannot be 2 said to have existed solely because of three single corn 's posers* Therefore a composer such as Le Begue must be studied before the history of French keyboard music in the late seventeenth century is complete. In the following study, the evaluation of Le Begue *s music must logically follow discussions of (1) keyboard style, (2) the status of music and the arts dur ing the period 1650-1700, (3) the known facts of Le Begue * s life and ( I | . ) a detailed analysis of the individual works for harpsichord* For the sake of clarity and logic, this order has been followed in the organization of this dissertation* Primary background sources were found mostly in the Bibliothèque du Conservatoire and the Bibliothèque Nationale in Paris, France* These consist of the origin al editions of the works of d'Anglebert, Chambonnieres, Louis Couperin and Denis Gaultier* The Bauyn manuscript^ contains contemporary manuscript copies of many of the works of these composers* Secondary sources include modern editions of the works of the aforementioned com posers, facsimile editions of some of the Atteignant publications and reproductions of works in such volumes as 1 Bauyn Manuscript (Bibliothèque Nationale, Res Vm7 67I 4- ) • For contents see Appendix IV. the Historical Anthology of Music, Fitzwilliam Virginal Book* Trésor des Pianistes * Les Maîtres du Clavecin and A the Archivs des Maîtres d *Orgue * An invaluable literary source was the Mercure Galant * a contemporary periodical which was published during the years I672-I67I1 . and I678- 1702* There has been hithertofore very little research on the various aspects of Le Begue's harpsichord music* Several compositions from the second book of harpsichord pieces have been published in the Trésor des Pianistes^ and here and there in various collections one finds isolated pieces from the harpsichord works* Very little research has been done on the stylistic aspects of the music itself* There are no works exclusively devoted to » . Nicolas Le Begue* Books written on clavier music such as those of Pirro and Reimann contain short discussions and magazine articles such as those of Quittard3 and Charles van den BorrenL are interesting, but a complete survey is lacking. 2 Farrenc, Trésor des Pianistes (Paris: L* Far- renc, I872), Vol. 20. 3 Henri Quittard. Les Origines de la Suite de Clavecin (Courrier musicale* November l5~and December l5* 1911}• ^ Charles van den Borren, lÆ Musique de Clavecin au XVII® Siecle (Revue Musicale, April 1, 192ÎT* h The sources of data for the life of Nicolas Le Begue wore uncovered in various archives, notably those of the Bibliothèque Nationale de Paris * Archives Nationales, Archives Départementales de 1*Aisnes and the Archives Municipales de Laon. This information plus the scanty material found in most histories of music is all that this writer has been able to uncover* The data for the music itself come from the origin al engraved editions in the Bibliothèque Nationale and the Bibliothèque du Conservatoire * A list of the early editions of Le Begue * s complete works is found in the Appendix. Since no modern edition of the harpsichord works exists, the copy transcribed herein (see page ) is the one used for all references* CHAPTER II THE BEGINNINGS OP KEYBOARD STYLE French harpsichord music has its primitive roots in the development of organ music, because of the greater age of the latter instrument* However, even in the field of early organ music, a real keyboard style with its govern ing principles was not brought about until the era of Conrad Paumann* In the Middle Ages the organ was in use, but only as a medium of secondary importance* It served as an instrument to sustain the vocal polyphony and at times alternated with the voice in the various sections of di vine service* The first instances of any actual organ music are found in the early part of the fourteenth century. The Robertabridge Codex^, which dates from around 1320, con tains the first notated organ music* The music is writ ten in Italian vocal notation and is limited to two and three voices * It would be presumptuous to speak here of an organ style, for these compositions are in the main limited to parallel movement in fourths, fifths, and octaves* 1 Robertabridge Codex (British Museum, Add*28550). 1320* 6 There are six pieces in the Robertsbridge Codex# Three of these are in the general form of the Estampie and although no definite organ style is as yet visible, the works are obviously instrumentally conceived from the treatment of the voices# The section which is reproduced below (Ex# 1), corresponds to the general structure of the Estampie# There are a series of puncti, each of which is supplied with an ouvert or half cadence and clos or final cadence, these being half and final in the Medieval sense of the word# The movement is almost entirely that of parallel fifths with sequential treatment many times in the rhythm, if not in actual note progression# There are vestiges of vocal style such as the hoquetus in the second measure# Direct repetition is also evident as in the ouvert cadence. 7 ROBERTSBRIDGE CODEX ...EstamulQ _ j 7 V T i m UxtdM I j..fl d.,j..n f f J f t L f ■ J O V 6 . _ [ Y ' - .. O > L - T - j f ' f ...... o . ..f s " ...... . ■2. [ 1 1 D ------ -f— 1 — -------- ^ I p- ., = = = : ’ "' f J ...... > p ; - j j j W c /*>s J * L ^ p f ^ r r i j n C -€H— •--- Example 1 1 Willi Apel. MusIk aus früher Zeit (Mainz: B# Schott *s Soline, 193^5 f Vol. 2, no. 1. 8 It might be well to mention briefly the basic key board instruments as they appeared in the fourteenth cen tury. The earlier large organ had been a relatively clumsy instrument with sometimes slides instead of keys or, being supplied with large keys, these were at times struck with the fist. By I3OO, the keyboard was much improved. Smaller keys and the addition of chromatic notes made the organ more pliable. The white notes were struck with the wrist and the black notes by the first, second and third fingers together. The positive organ was capable^of being moved around the church, being smaller in construction than the large organ. It was mostly used to give the tone to the singers. However, from the lyrical style of some of these early organ pieces, they were probably destined for this positive organ which was more flexible than the compara tively clumsy great organ. M t m I 81 l i B i l n rtm !r?v?sr^ U i2 i . f King David playing the organ and Pope Gregory I at the monochord.% (12l|d) ^ George Kinsky, Album Musical (Paris: Delagrave, 1930), p. [ 4 . 3. ’ 10 Another even smaller type was the portative organ which could be carried about and held on the knee or by the arm* One hand operated the bellows while the other operated the keyboard. The fourteenth century musician, Francesco Landini, was noted for his playing of the portative * The clavichord and harpsichord begin to be men tioned around this time * A monochord-like instrument is mentioned by Jean de Mûris (1323), this being perhaps a type of clavichord. In 1388, impatient to acquire an exaquier, King John of Aragon writes that this machine resembles an organ and sounds "ab cordes”. He begs the duke of Burgundy to send him one of his minstrals Johan dels orguen8 who is ”abte de tocar exaquier” and desires that John brings the book where are notated the estampies and other things that he can play. Prom a letter of 13914-, the king at that time possessed an "echiquier” This instrument rests obscure as to its exact de scription. Curt Sachs believes that it was an early up right harpsichord^ but other writers have termed it a clavichord with some sort of hammer action. At any rate, there was in existence a primitive keyboard instrument which employed strings instead of pipes. ^ Quoted from Andre Pirro, Les Clavecinistes (Paris: H. Laurens, n.d.), p. 6. ^ Curt Sachs, History of Musical Instruments (New York: W.W. Norton, 19il0')",“ p. 337# 11 In the early fifteenth century, evidence of in creased activity in organ composition is found. Several small collections have been found and these will be touched upon briefly before turning to the more important Ileborgh tablature. These early collections are known as the Sagan, Winsem and Breslau manuscripts respectively and contain, in the main, instrumental settings of sections of the Mass These works are of rather stereotyped format, consisting of the liturgical melody with a florid counterpoint. Most of the compositions are in two voices. A considerable advance over these collections is the manuscript of Ileborgh,^ written in llplj-S. There is a certain attempt at an establishment of a key or at least of a tonal center and parts for the pedal are clearly in dicated in certain pieces. One may look here for hints of style, for the compositions are at least freed from continual parallel movement. Instead they take on the characteristics of the prelude in which a free melodic line plays such an important role. The Ileborgh Tablature contains five short preludes and three mensurae. The author or compiler designates 1 Ileborgh Tablature, 1I 4I4 . 8, Curtis Institute of Music, Philadelphia, Pennsylvania. 12 them as being written in the modern manner which probably refers to the fact that some are in duple time. In the Prelude on C (Ex. 2), to be noticed are the frequent uses of the interval of the sixth and third and the full chord at the end. Also, the augmented fourth D-G# is curious, especially as it occupies a prominent place. 13 The mensurae ”Prowe al myn hoffen an dyr lyed” is quite consonant in its use of thirds and triads and ends on a major third. To be noticed also is the melodic line which descends gradually by phrases spanning a range of an eleventh. Uj I iJT] Ê I m i > ' n § ± xc M ^ ' Ü|o|j Example 2 1 Gerald Bedbrook, Keyboard Music from the Middle Ages to the Beginnings of the Baroque (London; Macmillan’ and Company, 19 k - 9 ) $ p• Ik It was Conrad Paumann ( ll4 .lO-lI1 . 7 3 ) who formulated the rules for an instrumental handling of counterpoint in his Fundamenturn Organisandi.^ However, this culmination of organ style achieved by Paumann was only possible as the result of these several hundred years of development. The use to which Paumann put his theories changed in many ways the complete conception of keyboard composition. In his Mit ganczen Willen, Paumann places the popular mel ody in the bass and employs a florid soprano line above it. Here begin also the germs of the Prelude and Toccata which the Gabrielis and Merulo were to develop later on. As yet there is no definite line drawn between the compositions for organ and those for other keyboard instruments. Paumann*s Mit ganczen Willen (Ex. 3) falls into three sections. The instrumental style is evident in the disregard for strict voice leading. One finds writing in five and three voices. Although the compositions consist mostly of the melodic soprano line with accompaniment, in measures fourteen and fifteen there are a series of first inversion triads which break up the monotony of the melodic style. There is great rhythmic variety in the melodic ^ Fundamentum organisandi. Codex Zb.1I4 ., Prince Stolberg Library, Wernigerode. Modern reprint by Ameln, Konrad, Locheimer Liederbuch und Fundamentum Organisandi (Kassel; Barenreiter-Verlag, 15 line. Note measures three to six. There are not two identical figurations. MIT GANCZEN V7ILLBN ( li{_52 ) by Conrad Paumann 16 i i J Î g I i i Î P Î Î f a w m m m m I P m l#±=l &-4 = Wd r- g Example 3 1 Apel, 0£. clt., Volume 1, no. 1 17 Mit ganczen Willen Conrad Pauinannl 1 Conrad Paumann, Lochelmer Liederbuch und Punda- mentum Organisandi. ed. K. Ameln (Kassel: Barenrelter- Verlag/T?:^5T, p. 72. 18 Mit ganczen Willen (page 2) Conrad Paumann- 1 Ibid., p. 73 19 Further progress in the extension of melodic inven tiveness is shown by the Buxhelmer Orgeibuchl which was written or collected around llj.75« There are around two hundred twenty keyboard arrangements of songs, most of which are by members of the Burgundian School. Other com posers supposedly represented in this collection are Dunstable, Paumann, Legrant, Paumgarten, etc. However, more interesting to us are the thirty instrumental preludes which are included in the Buxheim Organ Book. These pre ludes begin to take on the appearance of the true organ Prelude or Toccata. Here passages in improvisatory style are alternated with chordal sections. The earlier prac tice of fauxbourdon which played such an important role in the music of the late Middle Ages ( 1300-li|.50) was used slightly by Paumann and is here again applied to the key board, a distinct flavor of modality being maintained through the arrangement of the accidentals. The modern tonal system has not yet taken hold. In the Praeambulum super G (Ex. I j . ) , a single melodic line without accompaniment alternates with these root posi tion triads. But notice the definite feeling of modern tonality in the final cadence. 1 Buxhelmer Orgelbuch (Munich: Staatsbibliothek, Ms. 3725). îITtFI PRAEAMBTJLITM SUPER G (c. l k - 7 5 ) f r o m Buxheimer Orgelbuch 20 g ' r r J J J T I r r i q r-r'i' T r r f< f ^ f r j C j l J J Jbl i £ I 3X 1 Example I 4. 1 Davison and Apel, 0£. clt. , Vol. 1, no. 8lj.c. 21 In the third section of the Praeambulum super C (Ex. 5)9 there are real evidences of virtuoso style. As yet there is lacking a formal organization of pattern. The final cadence is almost that of a subdominant-dominant- tonic relationship. PRAEAim iTLim SUPER C a i ; i Example 5 1 Ibid.. Vol. 1, no. el+â. 22 THE RENAISSANCE A. Early Renaissance The first great figure in the early Renaissance was Arnolt Schlick (11+60-1517), the Heidelberg organist who was the leading composer in a school of organ compo sition that led eventually to Bach. The nobility of Schlick’s compositions link him to the late Middle Ages, while the lyric flow of his melodies announces the coming of the Renaissance. Schlick»s first publication was a treatise on organ building, Spiegel der OrgeImacher und Organisten.^ The collection of music Tabulaturen etilcher Lobgesang und Liedlein uff die Orgeln und Lauten^ contain fourteen pieces for organ and twelve for lute and voice, three for lute solo. Most of Schlick*s organ works are in the style of the chorale-prelude. In the example below from his Maria zart (Ex. 6), the melody is stated in the soprano with a countermelody in the tenor. The work is in strict three-part style, but the individual voices move with grace and maintain great variety. The harmonic concept 1 Modern reprint by Ernst Flade (Mainz: Druck und Verlag von Paul Smets, 1932). 2 Modern reprint by G. Harms (Klecken, Ugrino/abt. Verlag, I92i+). 23 is no less skillfully conceived, the first and third beats of almost every measure containing at least the root and third of a triad. Note also how the tenor enters in imitation and hov/ the beginning sixteenth-note figure in the soprano is echoed in the other parts from time to time. MARIA ZART (1^12) 2i l 1C- f f f ^ o . ^ h ~ î^ rT > rrr? i i r n tr r ' ■ i J jj - — 4 =-- = : -Ml— - V — M M P 1 rM w # J-te:: r .........C P i j. jff" r 4 i Jzini: H f î - = f r Ëx^ÿïe 6" 1 Davison and Apel, oo. cit.» Vol. 1, no. 101 25 Hofhaimer Paul 118 Hofhaimer (11+59-1539) was a contemporary of Arnolt Schlick, but his style is different from that of the Heidelberg organist* Hofhaimer was from Austria and his music is characterized by a warm harmonic texture* While Schlick»s organ works contain basic elements of later Medieval technique as well as those of the early Renaissance, Hofhaimer»s works adhere rather closely to that of contemporary early Renaissance practice* In the following example (Ex* 7), note the skill in the handling of the three voices. The lower voice acts as a support for the two top voices and yet has a graceful line of its own. The tenor moves in weaving sixteenth notes, but.the moment that the soprano line moves in similar note values, the tenor values are aug mented to eighth notes. In contrast to the open, hollow harmonies of the earlier schools, Hofhaimer»s work, as seen below, tends to a generous use of full, sonorous chords replete with thirds. Notice, in the example, beats two and three (2-3) of bar one (1), beats one, two and three (1-3) of bar three (3)• These works of Hof haimer, as well as those of Schlick, are clearly written for an organ with a minimum size of two manuals and pedal keyboard. These early pieces in trio need these 26 contrasting keyboard colors to bring out their fullest meaning. 0 DULCIS l A A R l k Paulus Hofhaimer m i 3 g P-.. 5 a Ê Example 7 Hofhaimer was in reality the founder of a school which has been called the Viennese school, in spite of the fact that many of his pupils came from northern Germany, Switzerland and other regions. Of the members of this school, three composers stand out as having contributed materially to the progress of an organ style. These are Buchner, Hotter and Kleber. 1 Bedbrook, 0£. cit., p. 1+2. 27 The works of Johann Buchner ( ll;.83-c *l5l+l ) are sim ilar in style to those of Hofhaimer. These are found in a manuscript which also contains a section on notation and fingering. The title page of this manuscript is as follows: Abschrifft . M. Hansen von Constantz, des wyt beriempten Organ!sten fundament buch siner kinden verloszen. Bonifacii Amerbachli Basiliensis M.D. L II The manuscript contains thirty-four sections and consists solely in settings of liturgical chant in the style of chorale-preludes. In the following example, the chorale melody appears in all three voices, first in the bass, then in the tenor, finally in the soprano. This work is again in trio style. Of particular interest are the numerous successions of thirds and sixths. There is not as much variety in Buchner » s work, as shown below (Ex. 8), as in that of Hofhaimer or Schlick. The parallel movement would indicate an adherence to the \ old archaic style, although the constant use of thirds and sixths shows an attempt toward later harmonic tendencies. ^ Universitatsbibliothek zu Basel -P.1.8, l55l* 26 VICTIMAE PASCHALI LAUDES (iggl) by Johann Buchner 1 - ... pes... ^ ■ ■ ■ ■ ■ ' ■ ■ a . --j J j n bp--- n ^ o ÇS o .p - a i j i l 4: U m r r r r r f r i O ^ w ^ — ■ f f n t r - ■ t r p " A" A J 1 r m .-ina---------- ( ; v A ^ j "r P * a jji- :% 4 J 1 Q - -. ,, f/atr- ' ' - ■ ■ Example 8 1 Viertel.lahrsschrlft fur Musikwlssenschaft, op. cit., Vol. 5* 29 Hans Hotter's works consist of (1) the chorale- prelude type, (2) preludes, (3) arrangements of songs and ( i | . ) some early dances* These last could indicate that Hotter*s work, at least in part, was conceived for the harpsichord or clavichord* In the Prelude in Fa (Ex* 9 ) » one finds one strik ing difference from those works previously considered* The works of Schlick, Hofhaimer and Buchner were obvious ly conceived for organ with pedal keyboard* This pre lude of Hotter could have been intended as easily for harpsichord or clavichord as for organ* There are only three voices and these are quite closely spaced* Notice again the passages in thirds and sixths, as in the first two measures* The melodic line covers a range of two octaves* The work is very tonal throughout * FRAEAMBULXJM IN FA (I5l3) by Hans Hotter 30 % r r M f ■ 1 r Tt t t I 'irn^ to . t f r “ P- - - - ^- - m- . T . - . -. TT j ■ T . ^ : T t "5 ( pfjp-r= 3 ^ - .— zziiA » r ‘ • l a t r f O- - - - J -i A..J_ _ _ _ _ F I I . . ~1ÿ . .. . 1— r n r f ^ - ^ T t î r r I É I P ê^ J -i -J--* ^ ■ * — — i Example 9 ^ Apel, op• cit., Vol* 1, no * ^ 31 The works of Leonhard Kleber ( ll].90-l556) show a great change of style# A very prominent modern tendency is shown, and from here the distance to the Gabrielis and even later masters is not far# To begin with, Kleber makes great use of ornamenta tion, especially trills and turns. It is for his orna mentation that Kleber has been called by some the first composer in the German Colorist school. Also, Kleber uses great contrasts within a single piece. The piece, part of which is reproduced here (Ex. 10), is clearly divided into three sections. The first is chordal with a prominent soprano melody# The second uses only two voices in which imitation plays an important role, and the third section returns to the chordal style# Although the harmonies are simple, there is great variety in the handling of the individual voices, especially at cadence points. FINALE IN RE SEU PREAMBALON (13’ 20) by Leonhard Kleber 32 r> f É f i À is: m jQE fer - - J m f J r 3 g .13 Example 10 1 Ibid., Vol. 1, no. 8. 33 At this point, one should turn to Prance to see if as yet there is any activity in the keyboard field. During the years l330-lS3if there appeared from the press of Pierre Attaignant seven collections of works for the keyboard. These are as followsA 1. Magnificat sur les huit tons avec Te deum lauda- mus et deux Preludes, le tout mys en tabulature des Orgues Espinettes et Manichordions...Kal» Martii 1530 2. Tabulature pour le ieu Dorges Espinetes et Manichordions sur le plain chant de Cuncti potens et Kyrie fons. Avec leurs Et in terra. Patrem. Sanctus et Agnus Dei. (No date). 3. Treze Motetz musicaulx avec ung Prelude le tout reduict en la Tabulature des Orgues Espinettes et Manichordions et telz semblables instru ment z... Kal J April*.1531* i j _ . Dix neuf chansons musicales reduictes en la tabulature des Orgues Espinettes Manichordions et telz semblables instrumentz...Jdibus Januarii, 1530. 5# Vingt et cinq chansons musicales reduictes en la tabulature des Orgues Espinettes Manichor dions et telz semblables instrumentz musicaulx. Kal». Pebruarii 1530# 6. Vingt et six chansons musicales reduictes en la tabulature des Orgues Espinettes Manichordions et telz semblables instrumentz musicaulx... 7# Quatorze Gaillardes neuf Pavennes, sept Branles 1 Ail of these are found in the Hof und Staatsbib- liothek zu München. For modern reprints, see Rokseth, Yvonne, Treize Motets et un Prelude pour Orgue (Attaignant, 1531) (Paris: E. Droz, 1930), also Deux livres d » orgue (Attaignant, l53D (Paris: E. Droz, 192571 314- et deux Basses Dances let tout reduict de musique en la tabulature du ieu Dorgues Espinettes Manichordions et telz semblables instrumentz musicaulx (No date)• The greater part of these works are arrangements of vocal works, both sacred and secular, from the early Pran- co-Flemish school and possess for us comparatively little interest. What are interesting for our purposes are the var ious dances which are definitely secular in character and rather obviously intended for harpsichord or clavichord. The Gaillard appears for the first time in print and contains those characteristics attached to the later Gaillard in Germany. In the Gaillard reproduced below (Ex. 11), there are three sections ABA. The harmony is clear and tonal. Each period of eight measures contains two almost identical phrases. As yet the two-sectional form of the later French school is lacking and the ornamentation is at a minimum, sometimes lacking altogether. As yet there is no definite harpsichord style. The strict chordal note- against-note style, or again a melodic line v/ith chordal accompaniment is just as feasibly organ technique. 35 GAILLARDE from Quatorze Gaillardes CKt t a 1 gn an t, 15 3 0 ) g v -3 "1 j j— ttH j i 1 f - - - f-:::: ttV hfîSS J j t -T T -------f--l . .ï. 1 1 3 - i f — J - 1 X 3 ^ J k=--:j 1 M A _ i : l . e) - g : t . p :jp: — J. -j- - 1 — r -------1 — "t P "1 P - f - -1- ' ■ ■ ■ 1..— 1 ---- ! r ë : : 4 . ..::.^ 4= 3- - — - f “ ir f - - rflT:~ .m . . . . # r r ffEefe : _ 3 : * _ r - j — j _______ ^ - f : i à Example 11 1 Ibld.. Vol. 2, p. 21. 36 In England, the period preceding the Virginal School proper contains very little in the way o f keyboard music# The works of John Bedford, an English organist, are extant but they are written in an archaic style and present nothing in the way of progress or improvement of style# Of more interest is the Royal Appendix 58, a manu script in the British Museum# This contains several compositions dating from around 1520-15^ 4 - 0, among which are Hughe Aston»s Hornepype and M^ Lady Carey »s Dompe # These works do not in any way connect with early French harpsichord style, but they do presage some of the procedures used in the later English Virginal school. In both the Hornepype and the Dompe, the ostinato bass is used with effect. The sectionalization of Aston's Hornepype suggests the English standard of a hundred years later# The harmonic structure of both pieces is exceed ingly simple. What interest there is is created by scalar passages, rhythmic combinations, alternation of passages in both hands, etc. 37 B. lÔTH CENTURY RENAISSANCE During the Renaissance, Italy saw an activity in composition for keyboard instruments that has no parallel in the other countries. The scope was limited in the main to the Ricercar and Fantasia, forms which were governed by highly develop ed contrapuntal rules. As we have seen before, the earlier schools were content with a liturgical melody around which was embroid ered a florid counterpoint. The Italians worked chiefly with basic motives which appeared in all voices, either in their original form or subjected to transformation, such as diminution, augmentation, variation, etc. The Ricer car was the stricter of the two forms and represented one of the highest forms of contrapuntal art. One of the earliest collections to be found in Italy is the Recerchari Motetti, Canzoni^ of Marco Antonio di Bologna (1523)* There are only eight pieces: four transcriptions of French songs, tv/o ricercari and two transcriptions of motets. In his Madame, vous aves mon coeur, Bologna uses a freer treatment than that for the contemporary Fantasia. ^ Marco Antonio da Bologna, Recerchari, Motetti Canzoni (Venice: Bernard, 1523)* 38 The melodic line is never obscured. However, the long note values would make this work more feasible on the organ. It is not to be assumed that there were no Italian composers of note before Bologna. There is an earlier school of lutenists, as shown by the Petrucci editions. One of the composers represented in the Petrucci collection of l508 is Joanambrosio Dalza. His works are rather primitive with little harmonic variety and great emphasis on repetition. In some respects, these works are similar to the early Attaignant compositions, lacking the inspiration and breadth of the French works however. Proceeding to the early Venetian school, one finds the works of Jachet Buus (l505-l56l(.) . His compositions consist mostly of Ricercari and are written in close ad herence to the rules governing this form. He was pro bably a student of Willaert, who himself left no keyboard compositions. One of the early important contributors to the scope and style of organ technique was Girolamo Cavazzoni, Between l5l|-2-Ij.3, he published two volumes entitled "Intabulatura d»organo.l 1 G. Cavazzoni, Intavolatura cioe recercari can zoni himnl magnificati (Vinegia; Scotto, l5l|-3) . 39 Cavazzoni abandoned the scholastic workings by cell or germ motive and developed a theme at length, sacrificing the detail to the ensemble. His work is characterized by flowing melodic periods, a real sense of polyphony and architecture, beautiful cadences with much use of the subdominant. Finally, one comes to the three great masters of Renaissance Italy: Andrea Gabrieli (d. 1586), his nephew Giovanni Gabrieli (l557-l6l2) and Claudio Merulo (1553- 16014.). Andrea Gabrieli » s ricercari follow the practice of the preceding period, but in his toccatas and preludes, the composer brings forth new conceptions of florid style. While some of his works are designated for either organ or harpsichord, the style of Gabrieli's works designates them for the organ. What interests us is the fact that in his preludes and toccatas, Gabrieli brought forth a new idea of idiomatic scalar passages, a procedure which was used in moderation by all schools of composition hence forth. Notice in the following passage (Ex. 12) what var iety is obtained from such poverty of harmony by means of a scalar melodic line. Imitation, sequence, in fact, all the less rigid techniques of contrapuntal style are used 1 + 0 here but with an entirely different concept. INTONAZIOME SETTIMO TONO (1^93) by Andrea Gabrieli I 4 - I o o — ^— g , ----------& ---------: Example 12 1 Davison and Apel, cit.. Vol. 1, no. 135* U . 2 Claudio Merulo (l533-l6oi^.) was one of the greatest organists of his day. Through his compositions and his playing he attracted pupils from near and far. These organ compositions do seem greatly advanced in comparison to anything previously considered* Even in his Toccatas, Merulo uses the technique of developing germ motives, but does so in such a free and graceful manner that the effect is entirely different from that of earlier works using the same procedure. Merulo also divided his Toccatas into a number of sections, alternating florid sections and chordal passages. This basic idea was picked up by Merulo's contemporaries and used from this time on* Johann Sebastian Bach used the same principle of contrast in his keyboard Toccatas. Notice in the example below (Ex. 13) the develop ment of the sixteenth-note figure of four tones. This is later expanded into a motive of five, later seven and eight notes. There is great variety of rhythm and melodic movement, although the harmonic design remains rather simple* 1 4 - 3 TOCCATA (I60I 4. ) h y Claudio Merulo N =4 •e^ -r f = E ^ ^ E j u ■ ■ “ j. . . 3^?— ' '€^.......... .. î f r A r r m a ? à X r J i_ i i Example I3 1 Ibld.. Vol. 1, no. 1 5 3. The nephew of Andrea Gabrieli, Giovanni, was the third in this trilogy of masters of the Italian Renais sance* Gabrieli»s works are definitely for the organ and not the harpsichord, though some of the techniques which he developed were later applied to the medium of the harp sichord. Gabrieli»s talent showed itself to its fullest in his Ricercari and Canzoni. Again, these were highly developed formalized types and one should not try to look for any great connection between these forms and the ones employed in the later harpsichord schools. One outstanding characteristic of Gabrieli was his use of a highly individualized main theme. His themes were equal to many used by Bach a hundred years later. During the first half of the sixteenth century there was great activity in Spain. In the instrumental field, this centered around composition for the lute and the organ. The lute pieces of Luis Milan (c.l$00-1^6l) are pleasing and light in character but they are far removed from the works of the later French school. Ornamentation as such is practically non-existent and the style brise of the French school, while probably employed in practice, is not notated in the manuscripts. Milan alternates chordal passages with those of a slight contrapuntal flavor. Especially is he skilled in the imitation of slight melodic motives. Of equal value are the works of Luis de Narvaez. This Spanish lutenist may have been the first to introduce independent instrumental variations. His works in this style, called in Spanish différencias, present a variety of treatment: chordal sequence, lyric melody with accom paniment, passages in echo style, etc. The greatest composer by far during this period was Antonio Cabezon (1^10-1^66). Cabezon wrote for all instruments, but his main attention was focused on the organ and perhaps the harpsichord. In the organ Ricercar, Cabezon displays concepts l j . 6 much in advance of those of his contemporaries* His use of chromaticism is bold and daring, his harmony straight forward and uncompromising. In the variation or différencias, Cabezon strikes a note which is far from casual. His treatment of the form is similar to that of the Virginal school in England. Cabezon was in England for almost four years from l^Ij.8- 1551• His patron, Philip II, was the husband of Mary Tudor. This kinship of styles between Cabezon and the English composers, instead of being mere coincidence, is logical and a great tribute to the talent of the Spanish organist and harpsichordist. In the example below (Ex. 1I 4-), observe the similar ities between the style of Cabezon as shown in his varia tions and the style of the English school. There are several points worth noting. One concerns the cadence points which are similar both harmonically and as to mel odic formulae. Another is the treatment of a melodic passage with accompaniment. These variations of Cabezon sound just as effec tive on the harpsichord as on the organ. Cabezon held a double position as court organist and harpsichordist. It is logical that he contrived his pieces as having equal value on either instrument. kl DIFERBNCIAS SOBRE l A GALLARDA MILAK5SA (1578) by Antonio de Cabezon S P j n < < ~ fl à JÔL 4 T î — f I j -j ^ ----- J. i J .Q 3CLz_Ez:j Q ■ ■ - - ...5.. .. (>o Example 1I 4. 4 Joseph Bonnet, oj^, cit.. Vol. 6, pp. 9-10. * 1 4 . 8 THE TURNIHG POINT During the period l580-l650 a great and important change gradually takes place in most countries# In the sixteenth century, the distinction between works for harp sichord and works for organ was practically non-existent# For example, the works published by Pierre Atjtaignant were for either organ, clavichord, spinet or harpsichord# That is to say, none of the keyboard instruments apart from the organ had developed enough of a basic style to warrant independent compositions for them# Shortly before the turn of the century, harpsichord music begins to come into its own and assert its indepen dence# One of the obvious reasons for this lies in the improvements in the construction of harpsichords, due in great measure to the family of Rûckers, famous for fine instruments in the seventeenth century# The Rückers family, of which the first was Hans Rückers, started making harpsichords in Antwerp around 1579 and continued constructing them until after 1667# Prior to the period of the Rückers, one finds isolated examples of harpsichords with two keyboards, octave register and stops for coupling and manipulating of the different registers# It was, however, the Rückers family who standardized the use of these principles and h9 improved upon them. In addition to this, the Rückers harpsichords were held by contemporary musicians to pos sess the most beautiful tone of any such instruments in existence• Another reason for the emergence of the harpsichord lies in the fact that the harpsichordists were determined to take over the place of favor occupied by the lutenists. Prior to this period, the lute was the most favored secu lar instrument, and it was not only used as accompaniment for songs but possessed its own literature. Lutenists were in demand for all types of social gatherings and concerts. During this time, the harpsichord had no in dependent literature, and was used as an accompanying medium, either for the court dances or as a skeleton framework in compositions for several instruments. When the actual possibilities of the harpsichord were realized, composers set about to create a literature which first equaled, then pushed into obscurity the repertoire of the lutenists. Before l650, there were several countries in which the harpsichord played a role almost equal to that of the organ and possessed its own independent literature. In other countries this liberation from the tyranny of organ style was more gradual and required more time for 50 complete maturity. England and France belong in the first category; Italy, Germany and the Netherlands to the second. During this comparatively short space of seventy years three spheres of musical composition for harpsi chord developed with a rapidity that is astounding: abstract music, a term which embraces all of the forms of this genre from the fantasy to the fugue ; dance music or more specifically the dance suite; and the third, the variation. In order to obtain a clear picture of musical development from l580-l650, it might be well to glance at each important center of music and see what was taking place during this time. 51 ENGLAND The first country to liberate harpsichord music from that of the organ and vocal repertoire was England. For approximately fifty years there existed an activity in secular composition for keyboard instruments that was enormous then, suddenly as it appeared, it disappeared. The reasons for the productivity of this harpsichord school are varied and not always capable of verification. One rather logical one would be that the imposed Protes tantism stifled composition for the church, so the com posers turned to a secular instrument, the harpsichord or virginal. To begin with, the gap between organ style and harpsichord style was not nearly so large as it was to be in the other countries. In England, the organists had been content with an organ usually of one manual and no pedals. The registers were soft though clear, not at all like the pompous instruments of Italy or Germany. Low passages in thirds which would have sounded muddy on larger instruments were clear and lucid on the English organ. Factors such as these would strengthen our ideas that the first real school of harpsichord composition took place in England. The most important manuscripts and collections of 52 Virginal music are listed below: 1. Fitzwilliam Virginal Book. Manuscript of the Fitzwilliam Museum at Cambridge. Dates from around 1621. Contains works by all of the important composers of the period. 2. My; Ladye-Nevells Booke. Library of the Mar quess of Abergavenny. Dates from 1591 and contains forty-three works of William Byrd. 3 * Will. Forster *s Virginal Book. Royal library, British Museum. Dates from 162I 4. and contains mostly works of Byrd, Bull, Morley and Ward. il. Benjamin C^S3fn*s Virginal Book. Royal library, British Museum. Contains many works by Cosyn and other composers of the period. 5. Parthenia or The Maydenhead of the first mu- sicke that ever was printed’ ~For the Vl’ rginalls* London: G. Lowe, 1611. The English composers composed in all forms. Variations, dances, music of a program character, and music using a distinct contrapuntal style are all found in the manuscripts of the Virginal school. One of the most favored forms of the English com posers was the Pavane or Pavana. This dance was in duple time and usually consisted of three contrasting sections. As an example, observe the Pavana of John Bull (Ex. 15). 53 PAVANA (c.1621) by John Bull p T r c T T i i 4 - 0 - 4 — P Ï Ç Example 15 1 Fitzwilliam Virginal Book, ed. Fuller-Maitland & Barclay Squire (London: British & Continental Music Agencies, Ltd., n.d.). 5k T h e severe part writing of the German and Italian organists has disappeared. Voices are added and dropped at will, full chords are added at points where accent or stress is desired. Both right and left hand are of equal value and demand an equal degree of dexterity. The cadences are still strongly contrapuntal and are not as obvious as those of a later period. The harmonies are simple. The apparent traces of modality result from the alternately raised and lowered leading tone. Continuity of idea and flow of melodic line are achieved by a never-ending flow of sixteenth note figures, sometimes in the soprano, sometimes in the bass line. There is much parallel motion and throughout one finds the doubled third in passages of four-part harmony. The frequent passages of repeated notes, the low thirds, the free concept of harmony, frequent ornamenta tion, florid passages in the bass line all point to a definite harpsichord style, a style which is established apart from that of the organ. In general, the English composers placed much emphasis on accompanying figurations. These were varied and quite original. Their influence is to be seen through the whole of secular keyboard music. Rameau 55 used them often as did others of this period. On the following page (Ex. l6) are examples of these taken from pieces in the Fitzwilliam Virginal Book. In the works of Gibbons and Byrd, who fall in the period of l580-l650, are found the counterpoint and imitation which are necessary to this early music until harmonic writing is more fully expanded. In Gibbons, the imitation is many times a mere reversal of parts, but it is still imitation. "c 4^ -- t>«M . . J . 1, 56 1 Pitzwilliam Book I. p. IÇ9 2 Eôc. cit.--------- ? Ibld.. p. 160, 7 Ibld.. p. 161. I Ibid.. p. 3. o Ibld.. p. 6. I ! i m Example l6 57 These early English compositions do not, however, place a premium on flowing melody# This remained as a challenge to later periods# The strict adherence to con junct movement greatly contributed to this lack of in spiration and their variations were often nothing but scalar configurations about a given theme# Because of the persecution of the Catholics in England, many composers left England by force or volun tarily to reside on the Continent# Thomas Morley settled at Rome, then in Antwerp# Peter Philips appeared on the Continent in 1591 and John Bull in l6l3* Here took place an exchange of ideas between the English com posers and those of the Netherlands, notably J#-P# Sweelinck (1562-1621)# From the continual borrowing between them of themes, there was evidently mutual admir ation# However, Sweelinck himself never made any dis tinction between his works for organ and those for harpsichord as did the English# Sweelinck was the homme du monde in the best sense of the word# He was familiar with all of the schools of composition and proceeded to avail himself of whatever pleased him. As Dufourcq has so aptly put it, "Dans ses fantaisies et ses toccate, il preche la doctrine italienne en employant un vocabulaire 58 anglais#"^ Peter Cornet, a contemporary of Sweelinck, wrote in a style similar to that of his compatriot# ITALY In Italy, one figure stands out above all the rest: Girolamo Prescobaldi (15Ô3-I6I 4 . 3) # Prescobaldi » s works for harpsichord consist of Ricercari, Canzone, Capricii, Partite and Toccate# In these he explores the possibil ities of rhythmic figurations, keyboard counterpoint and other aspects which are seemingly limitless# In the works of Prescobaldi one finds the first comprehensive treatment of modern tonality and its possibilities# Prom the Madrigal, Prescobaldi took the chromaticism and trans planted it to the keyboard# A mixture of binary and ternary rhythms also characterizes his work# The Piori Musicali (1635)^ gives a summation, as it were, of all of the forms studied by Prescobaldi# Prescobaldi was the first composer to actually recommend a style of playing which demands a technique very similar to our modern rubato# He was a master 1 Norbert Dufourcq, Le Clavecin (Paris: Presses Universitaires de Prance, 19C?) , p# i}-l. ^ G* Prescobaldi, Piori Musicali (Les Grands Maitres Anciens de 1 »Orgue! ed# Bonnet and Guilmant (Paris: Eschig, 1922)# 59 musician and, as a result, all forms and all styles re ceived careful and dignified treatment with extreme good taste. The Italian organist was also a great teacher and among his pupils and followers are to be found Michel-Angelo Rossi, Francesco Cavalli (1599-1676), Giacomo Carissimi (l60i|.-l67l+) and as a spiritual suc cessor padre Giambattista Martini ( 1706-1781;.) # GERMANY The situation in Germany is far from that of the other countries. A lack of national unity prevented the establishment of a national school of composers and during this period the German composers themselves, mostly organists, took their inspiration from the styles of other countries. However, during the latter part of this period, there is one personality to consider, a very important composer of harpsichord music, Johann Jakob Froberger (1616-1667)• Froberger cannot be considered as an important element in the creation of a French harpsichord style since he himself, was influenced by the French school. Froberger»s harpsichord works being modeled after those of the French school, he uses the same basic 60 melodic and harmonic techniques. His use of ornamenta tion corresponds to that of the French school as does his grouping of his suites by tonality. In his conception of the suite, Froberger differs from the other school. The suite of Froberger is in some ways a series of varia tions. That is, certain ideas are common to all the pieces included within a suite. The Courante usually contains many points in common with the preceding Allemande, either melodically or as to harmonic structure. This is found only occasionally with the French composers. FRANCE Weitzmann is of the opinion that the French school received its impetus from the English Virginal school via the French lutenists.^ Bukofzer holds the ssune logical view.2 It seems impossible that the well-constructed pieces of Chambonnieres could develop from the French basse danse of one hundred years earlier, a form where contrary motion seems almost forbidden and where parallel sixths and thirds are evidently the acme of good taste. ^ C.F. Weitzmann, Geschichte der K1aviermusik. re vised 0. Fleischer (Leipzig: Ëreitkopf und Hërtel, 1099), pp. 155-156. 2 Manfred Bukofzer, Music in the Baroque Era (New York: W.W. Norton, 19q.7) , p. T69. BASSE DANSE 61 ■i. I É Example 1? On thé other hand, the French lute school reached a point of perfection almost coinciding with the real be ginnings of keyboard music in France. The lutenists of the early seventeenth century took the polyphonic ideas of the English school and modified them even more, as the possibilities of the instrument were not kindly disposed toward polyphony. This tended to strengthen the harmonic texture of their works. Another innovation of the lutenists was the bring ing in of other dances to add to the English Pavan and Galliard. While these dances were not as yet systema tized, there was variety and interest created by different pieces in different tempi. There was unity of key or 1 Willi Apel. MusIk aus früher Zeit (Mainz: B. Schott *s Sohne, ' L 9 3 h } » Vol. " 2. 62 mode in the separate dances comprising each group of pieces, at least in those of the later school. Through out the early French school, it will be seen that the individual dance was considered more important than any binding principles for the suite as a whole. The lutenists also added to the number of orna ments in use, so that by the time of Chambonnieres, eight such figures of ornamentation were in common practice from which Chambonnieres took seven. The question of orna ments will be discussed in a later chapter. Although there were clavecinists of note and talent before Chambonnieres, their works have disappeared or remain anonymous, so it is generally acknowledged that this composer is the one who Initiated the French clavecin school in its glorious career. It was Jacques Champion de Chambonnieres (I602-I672) who established the technical firmness and breadth of character which were to dominate the whole of the compositions which were to follow. If to the modern ear the works of Chambonnieres do not sound as do those of later periods, this does in no way detract from the fact that his works served as models, to which future generations were to add certain features or from which other procedures were to be eliminated. 63 Authors differ in their appraisal of the works of Chambonnieres • He tChambonnieresl left only two collections of Pieces de Clavessin, both printed in the year of his death and recently republished in one volume. But these few pieces, generally shorter dance forms, have a dash, delicacy, and melodic breadth that give them an incontestable place next to the greatest masters of the harp s i chord # ^ A specially beautiful trait, to be found particu larly in the allemandes, is the extended flow of the musical phrase.2 Interesting, his music nevertheless deceives by a kind of aristocratic negligence, a disdain for all development; perhaps he adapted himself to the taste of his public ; truthfully, the salon aud iences "don’t listen long", and the pieces are exe cuted in the midst of the noise of conversations; it suffices that they be rhythmic and they must be short. Intéressante, sa musique déchoit cependant par une sorte de negligence aris tocratique, de dédain pour tout développement ; peut- être s’est-il ici adapté au gout de son public ; en effet, les auditeurs de salon "n’écoutent pas long temps", et les morceaux sont execute au milieu du bruit des conversations: il suffit qu’ils soient bien rhythmes, et il faut qu’ils soient courts.3 From an examination of the music, one can see that Chambonnieres was as yet barely acquainted with the possibilities of the major and minor modes, as we know 1 Curt Sachs, Our Musical Heritage (New York: Prentice Hall, 19W) * P* 252* 2 Willi Apel, Masters of the Keyboard (Cambridge, Mass.: Harvard University Press, 1%7) , p. 92. 3 Gaudefroy-Demombynes, Histoire de la Musique Française (Paris: Payot, 19i|-6), p.' 56. 6L theiîi today. The arbitrary shifting of accidentals, the feeling of continual modulation, suggests an experimental stage, but a necessary one. Shortly before Chambonn ieres* active period of composition, the French lutenists even placed the name of the proper church mode at the head of each composition. Denis Gaultier, active at this time, even takes pride in introducing some pieces in entirely new keys, such as A minor, etc. The cadences that occur within the phrase are interesting; for Chambonnieres, in a rather strikingly modern conception of this problem, many times uses a de ceptive cadence which creates continuity within the phrase. 65 ALLEMANDE By J.C. de Chambonnieres i Example l8 ^ Curt Sachs, The Evolution of Piano Music (New York: Marks Music Corporation, 1^144-) • 66 The final cadences are usually achieved with a broken chord or slow arpeggio. This not only presents each member of the chord separately, but also emphasizes the force of the cadence. This technique was used by the English, but even more so by the French lutenists, as an integral part of their style brise. ALLEMANDE ALLEMANDE a SE COURANTE CANARIS m t f Example 19 ^ Jacques Champion de Chambonnieres, Pieces de Clavecin (Paris: Jollain, l6?2). 67 Although the period which precedes the French harp sichord school is pre-eminently vocal with an emphasis on counterpoint, the French keyboard composers made sparing use of strict counterpoint, in the formation of a key board style. In Chambonnieres, one finds voice leading which is sound and tonally acceptable. COURANTE SARABANDE £ g i I' ' i _ i . Example 20 ^ Loc. cit. 68 The use of ornaments by Chambonnieres seems to be directed toward two ends. The idea held by many that the ornament was primarily used for accentuation does not hold true* In Chambonnieres * works, the ornaments fall on the first beat less frequently than they do anywhere else. The fourth beat of the measure (providing that the composition has four beats to the measure) receives more ornamentation than any other. In one Allemande alone there are eighteen measures in which this occurs out of twenty-two measures comprising this work. This holds true in general. The ornaments used by Chambonnieres are listed on the following page. He was, incidentally, the first to use the commonly accepted sign for the mordent. 69 yv»4/ m - j .------------- -------------------- 1 t j t r 1 ! J ........ 1 3 .......... _ ■ ■ o o r = J ^ m i --- 1 Example 21 1 Loc* cit. 70 One can see by an examination of Chambonnieres' Pieces de Clavessin that the primary use of the ornament is to create an elegance of style, quantity being more desirable than a judicious selection in just the right place# In other words the ornament is used without much regard for its individual effect. This is justi fiable, considering the times in which Chambonnieres lived and worked. The second and by no means less important purpose of the ornaments was to create a continuity of movement and flow of both melodic line and inner parts. For us, this becomes valuable, for we shall see that as the French school developed, it is this last ideal which was developed, while ornaments for their own sake was eliminated. Imitation is used sparingly and with discrimination and taste by Chambonnieres. This is also true of the employment of short repeated melodic motives. 71 One of Chambonnieres» illustrious pupils was Louis Couperin (I626-I66I), an uncle of the famed François le Grand. His chief characteristics are a greater mani festation of major and minor tonality, a command of key board contrapuntal technique and an attitude of restraint in ornamentatfhn and selection of chords. A brief glance at examples from his works will explain this statement. One of Couperin*s Sarabandes is in perfect canonic imitation, the imitation starting on the third beat. The voice leading throughout is almost perfect. A section from this is reproduced on the following page. In the ornamentation, Couperin exhibits the great est of care. Generally speaking, only notes of consider able length receive an ornament, here used to preserve the flow of sound. CHACONKE ■p - f V *r f - r r f Example 22 Sachs, op. cit., p. 29 ± = à : SARABANDE by Louis Couperin ■ I 72 8 r w i %- -::^zzjnvTl r r A = i 1 n r r j f & - - r- ■ fl~ ; --1 1 -------- j — i - -------': t f r 4 .. . ........ ---- T ' e V — ■ ----j — ------------------ .3 .3 -..i .. 1 ------ ! A ^ ( f - r Example 23 ^ Sachs, ££• oit.. p. 25* 73 Louis Couperin does not use the broken chord cadence ending as does Chambonnieres» If he does, it is much less prominent. i CI-3AC0NNE ? i f r i f Example 2 l | _ Many times CoupeVin ends his phrases, even periods and complete pieces on empty octaves, a trait which does not follow the usual formula of Chambonnieres. SARABANDE |SZ f Example 25 12 1 Sachs, o£. cit., p. 29. 2 Ibid., p. 26. Ik Couperin exhibits a tendency to repeat his ideas and phrases for emphasis and also to exhibit the contrast of the harpsichord claviers, the initial phrase being played on the loud clavier, then repeated on the soft clavier. In the general movement of parts, it is rare when any note value smaller than an eighth note is used. The most frequent exceptions are found in the use of little melodic figures repeated over and over. This lack of superfluous movement adds immeasurably to the feeling of dignity evidenced in Couperin»s works. j. CHACOME J i £ f i f I I l i m j . . i Î a S £ £ g f f Example 26 r 1 Sachs, 0£. cit., p. 2?. 75 In his harmonic structure, Couperin shows restraint, There is .a predominance of primary harmonies with only an occasional mediant or submediant’inserted* SARABANDE — , -------r , t - : ÏT- j £V' ) j ------j— - 4 ------- Æ z = : j 4 1 ^ ; ......f [i.— ± f y 1.. r I ,----- M l ..- - .- —' ----^ -------- ■ a ■ ■ ■ ...-■■*■■■ ■ --- 4^- . 4 1 :^ .. ^ .- t g I .. . . " ' i S ' ...... ' — ... r I f ! Example 27 1 Apel, 0£. cit*, Vol. 2, p. 27# 76 In concluding this discussion of Couperin»s work, it would be well to quote from Weitziaann » s Geschichte der Klaviermusik.^ Louis Couperin follows his master to the extreme end, his suites cover the whole circle of keys: C minor, C major, D minor, D major, E minor, F major, F sharp min or, G minor, G major, A maj or, A minor, B minor -, that is, an almost complete major and minor system, extended to all possible tonalities which could be used in ac cordance with the contempor ary temperament# Marpurg tells once: "the reduction of the twelve church modes to two (Major and minor) takes place in the middle of the past century, and in fact we must give the honor to a musician in France, a musician whose name I read long ago in a book whose title I can no longer remem ber. At the time I paid little attention to this remarkable change, which laid the foundation for a new kind of melodic struc ture. Perhaps someone else will discover the name of this skillful musician. He deserves an outstanding place in the history of mu sic.'^ For this honor, Louis Couperin should be nominated. Louis Couperin geht nun auch hier den Weg seines Lehrers bis zum âussersten Ende, seine Suiten durch- laufen den ganzen Zirkel: G dur, C moll, D moll, D dur, E moll, F dur. Fis moll, G moll, G dur, A dur, A moll, H moll - das ist ein fast ^follst&ndîges Dur-und Moll system, auf aile Griandtone ausgedehnt, die gemass der damaligen Temperatur nur irgend in Gebrauch kommen konnten. Marpurg erz&hlt einmal: ‘ *Die Reduktion der zwBlf Tonarten auf diese zwo haben wir in der Mitte des vorigen Jahrhunderts, und zwar einem Tonmaister in Prankreich zu danken, des- 8en Namen Ich vor langer Zeit in einem Bûche, wor- auf ich mi ch nicht mehr besînne, gelesen habe.Ich habe zu der Zeit keine Acht auf die so merkwur- dige Veranderung gehabt, die den Grund zu einer ganz neuen Art von Mélodie gewissermassen gelegt hat. Vielleicht weiss oder ent- decket jemand anders den Wahmen dieses geschickten Tonkunstlers. Er verdient ^ Weîtzmann, 0£. cit., p. l6i | . . Section quoted from Marpurg, Kritlsche Einleitung in die Geschichte und Lehrsatze der Musik (Berlin; 1759;, p. 138. 77 in der Geschichte der Tonkunst einen vorzüg- lichen Platz." Auf diesen sei hiermit ftir Louis Couperin Anspruch erhoben. • • Whether Weîtzmann is right or wrong in his assump tion Is not important. What is important is that Louis Couperin exhibits a remarkable facility in the handling of major and minor tonalities. In conclusion, it would be well to make a brief resume of the various elements which contributed to the development of a keyboard style. During the fourteenth century, there begin the first attempts at keyboard composition, attempts which are more clearly formulated and defined by Conrad Paumann in the fifteenth century. Further progress is made, as evidenced by the Buxheim Organ Book, in the field of melodic technique and cadential treatment. In the early Renaissance, Arnold Schlick, Paulus Hofhaimer, Johann Buchner, Hans Hotter and Leonhard Kleber developed a more individual treatment of voices and ex panded the repertoire of forms. In France, with the publications of Attaignant, one finds the first examples of music more or less express ly intended for stringed keyboard instruments apart from 78 those for organ. Dance forms become prominent. In sixteenth-century Italy, the two Gabrielis and Claudio Merulo developed highly skilled examples of intricate contrapuntal writing. The Spanish school was also active during this period and through this school the art of the variation was developed. From 158O-I650 one finds that harpsichord music becomes independent from that for the organ. England was largely responsible for this with the Virginal music. During the early seventeenth century, France, borrowing from England and using material from the French lutenist school, gradually developed an independent school of harpsichord composers, a school that is to last over a hundred years. CHAPTER III THE MUSICAL SCENE IN FRANCE 1650-1700 To attempt the ©valuation of a musician and his contributions without taking into account the general musical trends of his generation would be unfair. Nicolas Le Begue may have been self-inspired to a great extent, but he could not have been indifferent to what went on around him. Bach was certainly a German but his music shows that he had no difficulty in absorbing the current French and Italian influence. Music and the arts in general flourished richly during the reign of Louis XIV. The sun-king encouraged the development of the arts by lucrative appointments and by generous distribution of pecuniary reimbursements. Louis XIV was a musician as his father had been. He played the lute and harpsi chord well and the guitar even better. He had a good ear and sang well. He com posed little pieces, among them "a very beautiful courante." He apparently loved his musicians, better than his sculptors and his painters. He ennobled Lully, he assisted at the marriage of Lalando. He followed their works. The subject of each of Lully *s operas was presented for his approval. He examined Louis XIV était musicien comme avait ete son pere. Il jouait bien du luth, et du clavecin, et mieux en- cord de la guitare. Il avait 1*oreille juste et chantait bien. Il composa de petits morceaux, parmi lesquels "une forte belle courante". Mieux encore que ses architectes, ses sculp teurs et ses peintres, il aima, semble-t-il, ses musiciens. Il anoblit LuHi, il assista au mariage de Lalande. Il suivait leur travail. Le sujet de chaque opéra de Lulli lui était 80 the poem, even going so far as hearing it sung before anyone else. He kept Lalande near him, had him write numerous little works and went to examine them several times a day. His preferences were for a decorative style, powerful and pompous. He delighted in operatic pro logues, allegoric pieces where the events of his life were presented in allegory and his glory celebrated.•. But he was interested in all styles of music. He enjoyed the concerts given in 1682 by the German violinist West- hoff, and the works of the Italian school when, at the end of his reign, Italian music was again in vogue. One might almost say that Louis XIV lived in music. At meals, in the chapel, at games, at pro menades, at the hunt, in the country, he listened to his violins; in the evenings in his apartments, acts of operas; other even ings, little concerts where he sometimes sang. Apart from this, the court, the city, and the kingdom had a passion for music. The airs of Lully were sung by per sons of distinction and by "all the cooks of Prance". They were sung at street corners and at the Pont- Neuf. The opera "in spite of all the misery common to all estates" was established propose. II examinait le poème, è mesure qu*il était se le faisait chanter,avant que personne en connut rien. Il tenait a sa portée La lande auquel il faisait composer de petites oeuvres, qu* il allait examiner plu sieurs fois le jour. Ses preferences étaient pour le style décoratif, puissant et pompeux. Il se delectait aux prologues d 'operas, pièces allégoriques oè les événements de son histoire étaient mis en symbole, et sa gloire celebrée. Mais il s'intéressait a tous les styles de musique. Il aima les concerts que donna en 1682 le violoniste allemand Westhoff, et les oeuvres des italianisants, lorsqu’à la fin du regne la musique italienne revint a la mode. On pourrait presque dire que Louis XIV vécut en musique. A table, a la chapelle, au jeu, en pro menade, s t la chasse, en campagne, il entendait ses violons; le soirs d’appartement, des actes d’opéras; les autres soirs, de petits concerts, ou il chantait quelquefois. Au rests, la cour, la ville e^ le royaume se passion nèrent pour la musique. Les airs de Lulli étaient chantés par les personnes de distinction et par "toutes les cuisinières de France". On les jouait aux coins des r^ues et au gont- Neuf. L’opéra,^"maigre la misere a tous états 81 at Lyons in I668• A troupe played alternately at Mar seilles, Lyons, Montpellier. Provincial academies of music--there were quite a few— gave operatic concerts, under the supervision of Lully. The great but severe Arnauld deplored in 169k the fact that "the poison of the songs of Quinault and of Lully has spread throughout France. commune", s’établit a Lyon en 1668. Une troupe jouait alternativement à Marseille, Lyon, Montpellier# Les academies provinciales de musique,-il y en avait un assez grand nombre,-donna ient des concerts d’opéra, qu’autorisait et^surveil- lait Lulli. Le sevèhe grand Arnauld déplorait en l o 9 h que "le poison des chansons de Quinault et de Lulli se repandit par toute la France" There were concerts given for the king, but there were also private concerts given at the homes of the patrons or the musicians themselves. In his correspon dence, Christian Huygens mentions in l655 the "assembly of the honestly curious"^ instituted by the harpsichordist Jacques Champion de Chambonnieres and the musical evenings of vocal works given by Michel Lambert and his sister-in- law Mile. Hilaire. Around the same time, in his discourse on "the excellence of the city of Paris"3, Michel de ^ Ernest Lavisse, Histoire de France (Paris: Hachette, 1911), Vol. VII, p. 137. ^ PQUvres de Christian Huygens (La Haye ; M. Nij- hoff, 188877 Correspondence, Volume 1, letters no. 236 and following. 3 Mémoires de Michel de Marolles. 2nd edition (Paris: Antoine de Sommaville, 1656-57), Volume III, p. 206 and following. 82 Marolles gives a list of the musicians whom he has known. Among the singers he mentions Moulinie, Justice, Lambert. The lutenists are Mezangeau. Le Bret, Gaultier, Marande, Blancrocher and Desforges, the organists and harpsichord ists La Barre, Titelouze, Chambonnieres, Henri Dumont and Monard. During the second half of the seventeenth century, the hand of Louis XIV reached out and affected every branch of music in Prance. The creation of the elaborate opera was in agreement with his tastes for the luxurious and the pompous. It was by his command that the music for the Mass was transformed into a series of long motets accompanied by an orchestra. The aristocracy imitated the king and one finds every type of concert imaginable at the salons of these wealthy individuals. Mile, de Guise supported a number of musicians. During the summer of l689 Mr. de Male- branche presented a pastorale called Les Bergers heureux with words by Tonti and music by Msirtin.l The Mercure galant contains numerous references to concerts, some of them private, some of them open to a certain privileged class. ^ Mercure galant, September, l689, p. 21. 83 In 1678, the lutenist Dessannssonieres gave con certs every week for his friends.1 During the same year a little opera composed by Louis de Mollier was presented once every week for six weeks. The daughter of Mollier sang the role of Andromède, and M. de Longueil sang the role of Persee. At the harpsichord was the little Mile. Jaquier who became famous in later years under her married name of Elisabeth Jacquet de La Guerre.2 There are notices of other concerts too numerous to mention. AIR DE COUR The Air de Cour flourished long before the period under discussion. Appearing around l570, the Air de Cour was gradually transformed from a chanson with four voices to a single voice with lute accompaniment. With or without refrain, atrophic in character, the Air de Cour owed much of its charm to its graceful melodic line. Passing through the various periods, one finds Pierre Guédron (1565-1625), Gabriel Bataille (1575-1630) and Antoine Boesset (1588-I6I 4. 3), each of whom imprinted the Air de Cour with his own individual talent. Around l6if3 the Air de Cour became a continue song, because of ^ Mercure galant. March, I678, p. 260. 2 Ibid., December, 1678, p. 126. 8 1 4 . the efforts of Antoine Boesset (see, Ex. 28). So, coming to the second half of the seventeenth century, we find that the Air de Cour has become chiefly monodic with lute or harpsichord accompaniment. The form as such has disap peared. In its place are, on the one hand, da capo arias or continuo songs and on the other, frivolous compositions. Airs a Danser et a Boire and Brunette. This is indeed the period in which the public taste reigns supreme and where basic artistic principles often give way under the strain. The chief composers of the late school are Jean de Cambefort (l605-l66l), composer of chamber music for the king, Michel Lambert (I6IO-I696), Sebastien Le Camus (I6IO- 1685), music master to the queen and Jean-Baptiste Boesset (I61I 4.-I685) , son of Antoine. The Air de Cour, by its swerving from the original form, was very important, for by its inclusion in the Bal lets de Cour and by its melodic attraction, it played a main part in the formation of the French opera. Henri de Bailly who lived during the first quarter of the seventeenth century has been credited with the in troduction into the Air de Cour of embellished passages and of diminutions. The period following him saw an en riching of these resources. After the simple ornamenta- UN BERGER SOUPIROIT SES PEINES by Antoine Boesset 85 g r * J i f - r I Un ber-gcr sotL p»- i-oif 6CS i !r r l i ^ pett\ % $ i « * p r p # # - f « “ T T — # j, . *-------- T * *4* A « « . p r c s ^ T - - — C f S S c lf lL ir * — I- - - - - - - - - - - - - - - - - ^ U U I J 4: C S ^0 7 > - ■'■T- 1 - - - - - - - - - - - - - p r r '--------------- L a ^ . . - ..: : I Example 28 1 French Ayres from Gabriel Bataille’s Airs de différents autheurs (I608-I618) trans. Peter Warlock# (Oxford: Oxford University Press, 1926)# 86 tions appeared the doubles, or variations, first applied to earlier songs of Guédron and Boesset, then expressly written for new songs# In addition to a simple continuo accompaniment, other instruments were used in combina tions# The airs of Michel Lambert included passages for two violins and bass, dialogues and ensembles of two, three or four voices which gave the feeling of g little cantata# Many of the composers of the Airs a boire were clerics who saw nothing wrong in writing songs in this vein# These were written for the clients of the pub lisher Ballard, usually in one voice but occasionally in two, three or four voices with basso continuo# Follow ing is a list of some of the more important collections of these songs# 1. Airs a boire a quatre parties by Denis Le Febure (Paris: Ballard^ IÔ60)# 2# Airs serieux et a boire by Gambert (Paris: Ballard, Ï 6 6 J T . 3# Airs serieux et a boire _a deux et trois parties h j Charles LemaTre (Paris; Ballard, 1675) # BALLET DE COUR AND OPERA The Ballet de Cour proper developed and reached its high point before l650. Under the reign of Henri IV, Pierre Guedron had been instrumental in the elevation of 87 this conglomerate mixture of chorus, soloists, dancers and stage technicians# Among other contributors were Boesset, Bataille, Moulinie and François Chancy# Again a vehicle to please the eyes rather than the ears of the public, the Ballet de Cour remained essentially thus until Lully gave it new life by the introduction of more musical interludes, duos and trios# Many years after opera had become established in Italy, Cardinal Mazarin imported Italian opera into France in hope that the French public would find it acceptable and pleasing# In l6L|.5 was presented Finta Pazza of Sacrati, in 161^.6, L ’Egisto of Cavalli and in 16^.7, Orf eo by Luigi Rossi# The Parisian public, accustomed to a series of ballets and intermezzos with only a slight hint of a plot, found the Italian opera dull and uninspiring# They pre ferred tableaux like the Pastorale d ’Issy (1659) of Cam ber t, the Triomphe de 1 ’Amour (l655) of de La Guerre# Mazarin tried a compromise and placed a ballet in the opera Nozze di Peleo e^ jdl Teti (165^4-) of Caprioli# This was more acceptable to the public but the operas of Cavalli, Serse (l660) and Ereole amante (1662) were far from successful# The populace turned again to the ballets, those of Benserade, L ’Amour de guise ( I66I 4.) and 88 those of Lully, Les Muses (1666)# It was only with Jean-Baptiste Lully (1032-1687) that French opera took its first full step forward. Lully remains one of the great operatic composers of all times# By his own efforts, Lully wrested the royal patent from Perrin and made himself musical dictator of France# Lully’s opera composition dates from I673-I687 and during this entire period he was fortunate in having for the most part very fine librettists# The true Tragédie-Lyrique emerged with Lully’s Cadmus et Eermione (1673), then Alceste in I67I 4. followed by Thesee in 1675* In his work Lully took nothing for granted, even studied the spoken accents of the Comedie- Frangaise# Other operas followed, Persee (l682). Phaeton (I683), Amadis (I68I 4 .}, Roland (l685), Armide (1686) and Ac is et Gal athée (168) 4. ) • During this time, Lully also composed the music for various pastorale- ballets such as L ’Idylle sur la paix (1685) and Le Carnaval (1675)# In his recitatives Lully employed simple logic, a sparse ornamentation and adherence to the accents of the spoken voice# For an example of this, see Ex# 29# Lully was more flexible in his arias# These arias often divided into two sections, consist of a plastic 89 melody conceived with very few wide skips# In his choruses, Lully sought simplicity both in the vocal tex ture and in the accompaniment# Finally, with the inclusion of the ballet in his operas, Lully succeeded in creating a form which was not only pleasing to the public but which merited the highest artistic praise# Although greatly hindered by the edicts of Lully, Marc-Antoine Charpentier (I63I 1 .-I70I 4.) managed to develop his musical powers and eventually to shake off the yoke of his rival# This Frenchman, greatly imbued with a taste for Italian music, wrote only one opera. Medee (1693)• Written fortunately after the death of Lully, this opera of Charpentier found success with the critics of the time. Pascal Golasse (l6Ij.9-1709) and Henri Desmarets (1662-17) 4 . 1), near contemporaries of Lully, were also active in the field of operatic composition. 90 CADMUS ET HSRMOINE by J. B. Lully Scene III a r VOUr dfltus so. Cdr-y, t * v-c. J«S ^«--yons /anct. tn Xotig j — - j ~ ~ ^ 1 p Example 29 ^ Qq w ^Qs Completes de J,-B. Lully ( ed. Prun- ieres), (Paris: Editions de La Revue Musicale, 1930), Vol. 1. 91 SACRED MUSIC Seventeenth-century sacred music in France, when compared with the output and quality of that of the six teenth century, bespeaks a dearth of musical composition. Many reasons could be given for this evident lack of musi cal activity in the domain of sacred music: religious wars, emerging of tonality, decline of polyphony. At any rate, what we find in the seventeenth century is predominantly a style of sacred music in which the chorus is almost always accompanied by an instrumental ensemble. Antoine Boesset was the first musician to intro duce the Italian use of the figured bass into French sacred music. Boesset continues some.of the practices of his predecessors in his employment of imitative entries, but his style is much more tonal and approaches that of his successor, Henri Du Mont. One of the greatest composers of church music dur ing the reign of Louis XIV was Henri Du Mont (I6IO-I6ÔI4.) • In his Cantica sacra (l652) Du Mont demands not only the usual chorus but adds the lute, theorbo, violin, harpsi chord or organ. His greatest work, a collection of twenty motets (l678* ”l68l j - ) , calls for alternation of double choir, soloists, instruments, mainly a quintet of viols. This grandeur of style corresponds justly to the spirit of 92 the time, with its taste for elegance. ”In 1683, after a difficult competition, Louis XIV chose Michel de Lalande as his choir master. Louis found in him a subject who did for the altar what Lully did for the theater. His forty motets are conceived on a large scale. Lalande also wrote music for the dinners of the king. During these dinner concerts eighty people, sing ers and instrumentalists, sang and played in the concerts. Speaking of these concerts. La Fontaine wrote; 'Ses divertissements ressentent tous la guerre: Ses concerts d* instruments ont le bruit du tonn^re. Et ses concerts de voix ressemblent aux eclats Qu'en un jour de combat font les cris des soldats. The name of Mar c -Ant o ine Charpentier (l63l+-170i^.) completes the short list of first-rate composers of sacred music in seventeenth-century France. Charpentier wrote in all forms common to the repertoire of the church: motets, hymns, psalms, masses, oratorios. As with Du Mont, he makes consistent use of instrumental accompani- 1 The original text is as follows:. ♦ Lalande, que le Roi choisit en I683, pour le faire maitre de mu sique de la chapelle, après un concours entre tous les maîtres de chapelle du royaume. Louis XIV se complimenta d'avoir trouve en lui "un sujet qui faisait pour les au tels ce que Lulli avait fait pour le theatre"• Les quarante motets^de Lalande sont de grand style magnifique. Lalande écrivit aussi de belles symphonies pour les soupers du Roi. Quatre-vingts personnes, chanteurs et instrumentistes, chantaient et jouaient dans les concerts, dont l'éclat émerveillait La Fontaine: . . . Lavisse, 0£. cit., p. 137* 93 ment. Charpentier must be considered as having intro duced the oratorio into France. In his various orator ios, W Reniement de Saint Pierre. Le Jugement de Salomon. Josue. etc.. Charpentier paved the way for the future works in this form (see Ex. 30)# STRINGED INSTRUMENTS AND ORCHESTRAL MUSIC The viole, which lost favor around the same time as the lute, was very popular during this period. Accord ing to Jean Jacques Rousseau, the viole could be employed in four different ways : first as a melodic instrument; second by playing the harmonic lines or chords ; third by playing the bass while the top voice was sung; and finally it could be used as the bass in an ensemble of instruments with or without voice. Sebastien Le Camus (I6IO-I67O) was one of the most famous virtuosi on the viole. During his time, there was no one to equal him. On the bass viole were found two excellent musicians, Antoine Forqueray (1699-1782) and Marin Marais (1656-1732). Forqueray shone most brilliantly in the execution of Preludes and other im provisatory forms while Marais excelled in more character istic idioms. Among the pieces composed by Marais are LE RENIEMENT DE SAINT PIERRE by Marc Antoine Charpentier i > r=i J T r Q s i i . m rrx*, -hi in ^ c ( 1 3 L "i .- -- -------- " ( 1 ..... ' ■ M— L — a-------------- & 0 A g r r ^------- — ---- i - - i — i------------------ — ■ * ■ ■ ■ — ■ /«. — n o . k 11 1 ...y " ? ' C t T T i* - H * 1 7 3 |.e 1 * i in f 1- I ^ ^_zp.:==.: P - f - f - ______±„fh,a _______ f - - r J J Example 30 ^ Davison & Apel, Historical Anthology of Music (Cambridge: Harvard University Press, 1950), Vol. II, p. 226. 95 La Desolée, a Sarabande, La Résolue. La Mutine. La Precieuse. Gigues, and others of similar title The orchestra made its debut in France as an accom paniment to the dance. It will be remembered that Louis XIV had at his command the Grande bande des vingt-quatre violons which played for court functions and for the ballets de cour. Lully was for a time the director of this group; he also formed a smaller group of sixteen violins. Compositions for these ensembles comprised the same type of dance movements as in the suites of the lutenists and harpsichordists: Courantes, Sarabandes, Branles, Menuets and Bourrees, the latter two after l650. The orchestration was a light one of four or five parts with the rhythmic element predominating. There was no uniform instrumentation. In the overtures, ballets of Lully and his contemporaries, the indications amount to statements such as "concert of flutes", "everyone plays", etc. The independent orchestral compositions published around this time are not much clearer or precise. The ^ f3.eces de viole composées par M. Marais# ordin- aire de la musique de la chambre du Roy TParis: Ballard, T5^-T7l7T,3 voT i î m-^.------------- ^ 96 Serenades ou Concerts^ of Monteclair, printed in three separate parts, two upper and one bass, suppose the use of violins, flutes and d)oes. The alternation of the three groups of instruments is marked at the beginning of the Reprises, but there is no indication as to which in struments play which part. The Symphonies2 of Dornel, published in 1709, are also in trio form. This general practice remained in vogue until the early years of the eighteenth century. In the meantime, however, François Couperin had begun to give France the foundations for a repertoire of chamber music. Inspired by the Italian school, Couperin brought out in 1692-93 four chamber sonatas written for two violins and harpsi chord, the bass doubled by a viola da gamba. In these four*sonatas entitled La Pucelle, La Visionnaire, -----------» ----------------9 ^ L 'Astree and La Steinkerque, Couperin mingles the style of the church and chamber sonatas# In the early eigh teenth century he added three more sonatas to this earlier group. It is with these that a real chamber music style ^ ^ Serenade ou Concert, divise en trois suites de pieces pour les violons. i*lutes et hau^FEoTs, composées d'Airs de f anfares, d'Airs tendr e s et d'Airs champestres, propre s""?* danser, par M. Monteclair^Paris ; Bail ard, 1697/* ^ Livre de Simphonies contenant six suittes en trio pour les flûtes, violons, hautbois, avec une sonate en quatuor, composées par le Bieur borne!, organiste de"" ^alnlB Marie-Magdegine en la Cité (Paris; Chez l'Auteur, 1709)• 97 developed and it was also not until the eighteenth cen tury that the orchestra developed a repertoire apart from stylized dances* THE LUTE The lute had enjoyed a high repute before the beginning of the seventeenth century* Employed as an accompanying instrument to the Air de Cour, the lute gradually gathered a repertoire of its own. At first this consisted of transcriptions of vocal works, but eventually a unique repertoire took shape under the guid ance of three generations of lutenists. The first generation of French lutenists consists of Antoine Francisque (l570-l605), author of the Trésor d*Orphée* Mercure and J.-B. Besard (1565-1625) who pub lished a Thesaurus Harmonious in which each individual volume is devoted to one type of dance* The second generation consists of Nicolas Vallet, Rene Mezangeau (d* I639), François Richard (d* l650) and Ennemond Gaultier (1575- 7)* Here the dances are not separated by type, but are combined by tonality. The great figure of the third generation is Denis Gaultier (I6OO-I672)* His works date from lôlpO and the best examples are found in the Rhétorique des Dieux* 98 Here is the apogee of the instrument* The unmeasured Prelude is fully developed and the music abounds with ornaments, flowing melody and all of the techniques which form the classic style of the lutenists* (See Ex. 31) There were other lutenists after Gaultier such as Pinel, Perrine, Jacques Gallot and Charles Mouton, but around 168O the lute was forced to cede its place as favorite instrument and the harpsichord took over the place of honor*1 THE ORGAN The true creator of the French organ school was Jehan Titelouze (1563-1633)* Titelouze kept his works within a strictly liturgical framework, mostly based on themes from the Gregorian repertoire* A true classicist, Titelouze, in his hymns, versets and figured chorales, exercised his entire command of contrapuntal style, but in a manner which rendered his music flowing and majestic in character* Dry pedanticism remained in the background* In the same manner Charles Racquet, organist at Notre Dame ^ conceived his great F antaisle and François Roberday composed his Fugues et Caprices (l665) in a simi- 1 For more complete discussion of the French school of lute composers see La Laurencie, Lionel de. Les Luthistes (Paris: Laurens, 1928), 12) 4. pp* LA RHETORIQUE DES DIEUX by Denis Gaultier Diane au Bois 99 i t i ; E i ttrf- [f=H • • ~ cl .... Example 31 1 Vierteljahrsschrift fur Mus ikwi s s enschaft (Leip zig: Breltkopf & Hàrtel, 1ÜÜ6), Vol. 2, transcribed by Oskar Fleischer. 100 lar style# After the middle of the century, however, a change takes place. Influenced by the art of the lutenists, harpsichordists and also by the operatic music which was being heard at that time, the organists of France so in fused their works with this secular spirit that much of the liturgical emphasis was lost# One finds groups of pieces which actually conform in spirit and in form to the suite-types of the harpsichordists# The strict forms, such as the ricercar, are discarded and in their place one finds trios, dialogues, recit de trompette, etc# Here the organist ”forgets too often that he sings and that he spealcs for the church.”^ The music that one hears in the churches is not too devotional, since the organs play minuets and all kinds of mundane airs#2 Among these organists, one finds the Parisians G# Hivers ( l6l7-1 Till) , Nicolas Le Begue (1630-1702) , Andre Raison (d# 1715)» Louis Marchand (1669-1732) as well as 1 The original text is as follows: . . • "oublie trop souvent au’il chante et qu*il parle pour l’eglise," Norberg Dufourcq, L'Orgue (Paris: Presse Universitaires de France, 19W) , p. 81 # ^ The original text is as follows: "La musique qui se fait aux Eglises n'est pas trop devote, puisque les orgues jouaient des menuets et toute sorte d'airs mon- dians#" Neimeitz, Se jour de Paris, c'est a dire instruc- tions fideles pour les voyageurs de conditions (Leyde : T W i J , Chapter XXIII, p# 232# 101 other well-known organists in the provinces of Prance. This change in style is not unnatural considering the society of the period and the court at which many of these organists assisted. (See Ex. 32) THE HARPSICHORD The composers active in this period, Chambonnieres, Louis Couperin, d'Anglebert and finally Le Begue have already been mentioned. While these were the only com posers who left collections of their compositions, there were many musicians whose works are lost, having remained only in manuscript. A word must be said as to the type of harpsichord or clavecin in use in France from around 1650-1700. By this time the two-manual clavecin was in common use, although one-manual instruments were still being built. The clavecins of the Rückers family are usually about seven and one-half feet long and lavishly ornate. One finds as many as five stop, although some instruments possess a smaller number. The French instruments of this period, at least those examined by this writer, are not equipped with a sixteen-foot stop. Around I6I 4 .O Jan Couchet placed the four-foot or octave stop on the bottom manual, thus standardizing the 102 OFFERTE SUR VIVE LE ROY bv André Raison g J n u l ' i ...... Example 32 1 Joseph Bonnet. Historical Organ-Recitals (New York: G , Schirmer, 1917), Vol. 1, 103 instrument to its organ prototype with soft upper key board and a loud lower keyboard. In 1768, Pascal Taskin started introducing leather plectra in his instruments, thus giving an alternate tone quality in addition to the quill plectra which were i$i use. As a conclusion to this chapter, the writer would like to describe a typical French clavecin which he per sonally examined at the Museum of the Paris Conservatory. The instrument is dated 1^90, bearing the inscription, Hans Ruckers Me Fecit. 1590. There are two keyboards of which perhaps only one is original. The case of the harpsichord is decorated with Chinese figures in lacquer. There are five stops which are worked by the knees (à genouiliere). The individual stops consist of two eight- foot stops, one four-foot stop, a lute stop and a stop to couple the top manual to the bottom manual. SUMMARY During the seventeenth century, music was a reflec tion of the tastes of the ruling monarch. Most perform ances and concerts took place either at court or in the private salons of wealthy noblemen. The air de cour was one of the more intimate forms of composition, the ballet being reserved for more sumptu- lolj. ous occasions. Opera in France took form largely through the influence of Lully who took certain Italian elements and combined these with basic French ideals. Sacred music composition was limited to a compara tively small group of composers: Boesset, Du Mont, Laiande, and Charpentier. The oratorio was introduced during this period. True orchestral music only developed from the begin ning of the eighteenth century. During the seventeenth century, the repertoire was limited to stylized dance music. In the individual instrumental fields, the lute, organ and harpsichord predominated. The lute repertoire was destined to give way to that of the harpsichord, beginning with the works of Chambonnieres and Louis Couperin. Organ music degenerated from a strictly liturgical style to a style resembling that of the secular instruments. CHAPTER IV THE LIPS OP NICOLAS LE BEGUE In July, 1702, the Mercure Galant stated that M. Nicolas Le Begue had just died at the age of seventy-two years; this would place Le Begue's date of birth at I63O. We are also told that he was a native of the city of Laon, but there is no birth certificate extant. It is known that Le Begue was a counsin of Henry Mahieu whose father was a laborer in the environs of Laon.I It is probable that Le B^gue passed his early years at Laon, a city which was continually ravaged by army troops and epidemics. > » Le Begue probably also received his first musical instruction in his native city. Laon was at this time famous as much for its practicing musicians as for the excellent builders of musical instruments who lived and worked there.^ Bibliothèque Nationale. Recueil Thoisy. fol l|_10b. See also J. Ecorcheville. Actes djËtat civil de Musiciens insindes au chatelet de Paris de l539-l65^ (Paris: 1907), p. 67. 2 Melleville, Histoire de la Ville de Laon et de ses Institutions (Paris; Dumoulin,” 3^81^6), Tome II, p. IjI5l. 106 fi CATHEDRAL OF THE CITY OF LAON (View A) 107 7©-L/70/Vv Àbsfde dG la Cathédrale. ND. CATHEDRAL OF THE CITY OF LAON (View B) 108 The famous organ builder, Jean Carlier, who built the organ at Saint-Denis, had lived in L a o n . 3. Jacques Cellier had been organist at the cathedral of Laon before going to Reims.^ Also, Florent Bienvenu, organist at the Sainte-Chapelie was, at the beginning of the seventeenth century, canon at Notre Dame de Laon. Le Begue may have sung in the choir at the cathedral and also studied the organ, but on these points the evidence is non-exi stent. We are also uninformed as to the date of Le Begue * s arrival in Paris and as to his activities during the first several years. He must have enjoyed rapid success, for in a manuscript containing pieces by Chambonnieres, Earde11es and others, there appears a Gavotte by Le Begue followed by a Double "fait par Mr. Couperin."3 Le Begue is never specifically mentioned as being a pupil of Chambonnieres and yet Le Gallois, in a list of clavecinists including Hardelle, Buret, Gautier, d»Angle- bert and Fr. Couperin (not Le Grand), all pupils of ^ Maximilien Melleville, Histoire de la Ville de Laon et de ses Institutions (Paris: Dumoulin. " “TSlid) , ToHi TT,— .-qEi:------------ ^ Henri Jadard, Les Dessins de Jacques Cellier (Paris: Plon-Nourrit, 19^0), p. 3. 3 Bibliothèque Nationale Res. Vm7 67lfi* 109 Chambonnieres, includes Le Begue. Illustrious clavecinists . Le Clavessin a eu pour have been Chambonnieres, illustres Chambonnieres, les the Couperins, Hardelle, Couperins, Hardelle, Richard, Richard, la Barre: one la Barre: et il a presente- f inds at the present time ment Messieurs d »Engl.ebert, Messieurs d*Anglebert, Gautier, Buret, Le Begue, Gautier, Buret, Le Begue, Cçuperin, et quelques autres Couperin, and some others qui ne sont pas presens a whose names I cannot re- ma mémoire.% member# From several documents, it is evident that Le Begue was organist at St. Merry (or St. Mederic) from 1665, and from this period his fame spread even outside of Paris. In 1667, Le Begue was invited to play the organ at the cathedral of Bourges. In 167O, Jean Denis, organist at St. Severin, asked Le Begue *s advice as to problems con cerning the renovation of the organ in the church.2 In 1676, Le Begue published his first Livre d *Orgue.3 In the Preface, Le Begue shows his interest not only in the music itself, but in the possibilities offered by the instrument in the way of color and combina tions of stops, for he says that he wishes to show "the 1 Le Gallois, Lettre de Mr. Le Gallois a Mlle Regnault de Solier touchant la Musique (Raris: Etienne M i c h a l l e t T l 6 8 D l T " p T % ^ ---------------------------------------------------------------------------------------- ^ Archives Nationales. Registre des deliberations de la fabrique de St. Severin, March, 157^ 3 Nicolas Le Begue, Les P ièces d'Orgue (Paris : Bâillon, I676). 110 manner of playing the organ on all the stops and parti cularly on those which are seldom used in the provinces*^ He also admits that several of his pieces written to show off new and unusual stops will be "useless to many organists not having the necessary stops on their organs".2 In 1677 appeared Le Begue »s first book of harpsi chord pieces, which will be discussed later on* In the same year, the king’s organist, Joseph de la Barre, died. Instead of choosing only one successor, Louis XIV chose four, for in the Mercure Galant we find: Several were proposed Plusieurs furent proposez when it was a question of quand il fut question de ■giving one and the most la donner, et l’on fit skillful masters of Prance jouer les plus habiles played. Many excellent ones maistres de France. On were found and the king was entrouva beaucoup d’excel- 80 satisfied that instead lens, et le Roy en demeura of choosing one, he chose si satisfait, qu’il en four. Thus, this charge, choisit quatre au lieu d’un, which was one of yearly Ainsi cette charge qui duration, is going to be estoit ordinaire, va estra divided into quarters. The servie par quartier. Le first, which is that of premier, qui est celuy de January, will be served by janvier, sera servy par Mr. Tomelin, the second by Mr. Tomelin; le second par Mr. Le Begue, the third by Mr. Le Begue; le troisième, Mr. Buterne and the last par Mr. Buterne; et le ^ Ibid., "La manière de toucher sur tous le jeux, et particulièrement sur ceux qui sont peu en usage dans les provinces." ^ Ibid.. "Inutile a beaucoup d’organistes n ’ayant pas dans leurs orgues les jeux nécessaires." Ill I THE CHURCH OF SAINT IVIERRY IN PARIS NOTE: It was impossible to obtain pictures of the original chapel at the Chateau de Versailles where Le Begue played. That chapel has been transformed and is now the Salle d 'Hercule. 112 by Mr. Nîvers dernier, par Mr. Hivers.% The greatest source of information of Le Begue’s life and activities is found in contemporary copies of the Mercure Galant. In April, I68I, we learn that the king and queen visited Monsieur at the chateau of Saint Cloud and that in the great audience hall, "Mr. Le Begue, celebrated organist of His Majesty, played . . . an organ of special construction" and that "the pleasure that one had in listening kept the court there for some time." On May 1, 1682, Louis XIV- and Maria Theresa went to the church of the Invalides where Mr. Joly, general superior of the house of St. Lazare, gave them the cross to kiss "while Mr. Le Begue, organist to the king, who came expressly for the occasion, played the organ in that beautiful manner which always charms those who hear him."3 In the same volume one finds that at Saint Cloud "Mr. Le Begue played one day at Mass a Symphony that the violins I Mercure Galant. June, I67Ô, p. 193# ^ Ibid.. April, I6ÔI, p. 33^* The original text is as follows: "Mr Le Begue, célèbre organiste de S. M. touchoit...un cabinet d ’orgues d’une invention particu lière"......"le plaisir qu’on eut de 1 ’entendre y arresta la cour quelque temps". 3 Ibid.g May, l682, p. 162. Thç original text is as followsl ""...pendant que le Sr Le Begue, organiste du Roy, qui estoit venu exprès, touchoit l’orgue avec cette manière qui charme toujours ceux qui 1 ’entendent". 113 of Monsieur played in echo style with the organ.^ In May of 1686, the church wardens of Saint Roche ordered a salute of action of grace for the reestablish ment of the king. The music was under the direction of Oudot "and, in order that nothing should be lacking in contributing to the effect of the ceremony, it was the famous Mr. Le Begue who played the organ. In 1687f a public announcement is made to the fact that Le Begue has Just published a second volume of harp sichord pieces.3 The following month there again appears mention of Le Begue’s new collection.t Le Begue’s second book of organ works bears no date, but probably was published around the same time as the preceding harpsichord works. It includes versets for the Magnificat and in general the pieces are much easier than those of the first volume. The third volume of organ pieces bears no date. 1 Ibid., May,^1682, p. I8I 4 .. The original text is as followsl ""Mr Le Begue fit entendre un jour une sym phonie, que les violons de Monsieur jouoient par echo, avec l’orgue." ^ Mercure Galant. May, I686, p. 67. The original text is as followsl "Et, afin que rien ne manquât de ce qui ce fut le fameux Mr Le Bègue qui toucha l’orgue." 3 Ibid., October, I687, p. 367. U Ibid. , November, I687, p. 2l|_0. Ill: but probably was published before 1695» In this volume, Le Begue reverts to the more difficult construction of the first volume. There is another set of organ pieces in manuscript which was probably composed by Le Begue. The first page bears the title Magnificat du premier ton de Monsieur Le Begue en 1 ’annee I688. but the collection contains pieces in all eight tones plus several Noels.1 This concludes all of the works of Le B^ue which are known to exist. In the Dictionnaire Historique Des Hommes Qui Se Sont Fait Un Nom, it is stated that Le Begue composed a Vesper service for double choir.2 Also, the Musikalisches Conversâtions-Lexikon mentions some arias of two and three voices with basso continuo.3 However, these works are either lost or remain anonymous, for there is no trace of them to be found. In the Mercure Galant of November, 1099, one finds an account of a serious illness of Le Begue, an account well worth quoting here, for it also gives an insight into 1 Bibliotheque Nationale, Vm7 1823* 2 Feller, Weiss and Busson, Dictionnaire Histo- rique des Hommes Qui Se Sont Fait Un Nom (Paris: Gaume FFF^s— .d.y, 8 v3T.------------------- 3 Mus ikali s che s Conversâtions-Lexikon (Berlin: Ver lag von li. Ëe imann, l87oj , 12 Vol. 115 the character of the musician. I am not at all surprised, Madame, that the interest which you have always shown toward those persons who are distinguished in some profession, has made you worry about Mr Le Begue, equally noted for his rare compassion and for the ex cellence of his art. It is true that, suffering greatly for some months, after a consultation in which no doubt was left but that his illness was caused by gall stones, he was resolved to suffer an operation. It was hazardous for a man who is more than sixty years of age, but Mr. Colo, one of the most skillful and most successful that every appear ed in this type of operation, did such an operation with the results for^which he is known. Mr Le Begue underwent this operation at the begin ning of the past month. Dur ing the entire operation, one of the most painful that exists, he remained firm with out saying a word, so inspir ed was his truly Christian heart by interior movements and inspirations. Finally, at the end of eight days, he was out of danger, and he is now in perfect health, only awaiting the happy moment to return to the service of the chapel of the king, where he is one of the four organists as well as organist^at the church of Saint Mederic. You know that His Majesty holds him in high esteem and that Je ne suis point etonne, Madamme, que 1»interest que vous avez toujours pris aux personnes qui se sont distinguées dans quelque y profession, vous ait donne de 1’inquietude pour Mr. Le Begue, également re commend able par sa rare pitié et par 1’excellence de son art. Il est vray que souffrant de grandes douleurs depuis quelques mois, après une consulta tion autentique, et des préjugez qui ne laissaient point douter qu’elles ne luy fussent causées par la pierre, il s’est résolu a souffrir la taille. C’était beaucoup hazarder pour un homme qui a plus de 60 ans, mais Mr Colo, l’un des plus habiles et des plus expéri mentez en ce genre d’opera tion, ^qui ayent parus jus que s a present, l’a faites si a propos, que le succès a repondu a tout de qu’on s ’estoit promis de son adresse. Ce fut ay commence ment ^du mois passe que Mr Le Begue s’y exposa. Pen dant toute 1’operation, 1’une des plus douloureuses qu’il y ait, il demeura derme sans rien dire que ce que son coeur véritablement chrétien luy inspiroit par des mouvemens et des insp irations intérieures. Enfin, au bout de huit jours, il se trouva hors de tout peril, et il est pyesente- ment dans une santé parfaite n ’attendant que l ’heureux 116 he never returns from court without having re ceived the greatest applause• moment de rentrer dans le service de la chapelle du Roy, dont il est l*un des quatre organistes, aussi bien qu’il IJ^est de l ’Eglise de Saint Medéric. Vous savez que Sa Majesté Ijhonore d’une estime particulière, et qu’il ne revient jamais de la Cour, qu’il ne soit charge d’applaudi s semens.% Le Begue probably made his will before this opera tion, but no information is available# However, we are informed on the fact that Le Begue appointed a successor to his post at Saint Mederic in case that his operation was fatal. We, church wardens and vestry-board of the church and parish of Saint Merry at Paris, upon the request made^to us by Mr. Nicolas Le Begue, organist at the said church, and in consid eration of services ren dered by him for thirty- four years and which he maintains In the same qual ity, have granted to Henry Mayeux, his cousin, organist at the church and parish of Saint Landry at Paris, the post of organist at the said church of Saint Merry, by survival of the said Mr. Le Be“ gue, who will continue to fill this function until his death, upon which day the said Mayeux will take over his place with wages Nous, marguilliers de l ’oeuvre, fabrique de l’eglise et paroisse St Merry a Paris, a priere qui nous a esté faite par le sieur Nicolas Le Begue, or ganiste de ladite "église, et en consideration des ser vices qu’il y a rendus depuis 3I 4 - ans et qu’il y rend en core en cette qualité, avons accordé a Henry Mayeux; son cousin, organiste de l^egpLlse et paroisse St Landry a Paris, la place d’organiste de la dite eglise St Merry, par survivance dudit Sr Le Befeue, qui en continuera l ’exercise sa vie durant jusques a son deceds, du jour duquel ledit Mayeux entrera en iouyseance au gages de 1^.00 seulement par 1 Mercure Galant, November, 1699, p. 222. of four hundred each year and other rights which are thereto included, to the charge by the said Mayeux to render the service as re quired and customary and that he may not fulfill any func tion during the lifetime of Mr. Le Bègue without his per mission. In witness of which, these present in the assembly hall of the vestry-board have signed this twelfth day of September, 1Ô99# 117 chacun an, et autres droits qui y sont attri bués, a la charge par ledit Mayeux de rendre le service tel qu’îl^est re quis et accountume, et qu’il ne pourra faire aucune fonction du vivant dudit S^ Le Begue, si ce n ’est de son consentement. En foy de quoy avons signé ces presentes^en la chambre des assemblées de la fabrique, ce 12© jour de septembre, l’an l699«i From all evidence. Le Begue recovered from his serious operation. In a great religious celebration for sixty-six persons rescued from the heathen, a Te Deum was sung . . . whose versets were alternately performed by the clergy, by Mr. Le Bègue who played the organ and by the symphony of trumpets and oboes which ac companied him. 2 The next day in the church of the Augustines de Saint Magloire, Mass was held. Mr. Le Begue presided at the organ and played the offertory by accompaniment and by echo with the symphony of trumpets and drums which were placed at the back of the church opposite the organ which was in I Mercure Galant, October, 1700, p. l82. Loc. cit The original text is as follows: • . dont les versets furent alternativement dit par les religieux, par Mr le Begue qui touchoit l’orgue, et par la symphonie des trompettes et des haubois qui 1 ’accompagnoit•" 118 the choir of the nuns at the other end.I As can be gathered from these articles. Le Begue was highly esteemed as an organist. Le Gallois mentions him in his discussion of famous harpsichordists and again speaks of him when he lists the famous organists of the time . The organ was first pre sided over by Mr Du Mont, Mr Monard with several others; after this came Richard whose manner of playing was greatly ad mired. But he was not the only one to enjoy this glory. For, at this time one also found Mr Le Begue who shared it with him. And because it is not up to me to choose between these two great person nages, I am content to say that each has been justly admired by every one and that their merits have understandably spread over all of Europe. L ’orgue eut d ’abord Mr Du Mont, Mr Monard, avec quelques autres; en suite desquels Richard parut, et dont le jeu plut ex traordinairement. Mais il ne fut pas seul a jouir de cette gloire. Car des ce temps la meme on vit aussi Mr Le Bègue, qui la partagea avec luy. . . Et parce ^ue ce n ’est pas a moy a decider du prix entre ces deux grands per sonnages, je me contenteray de dire^que l’un et l’autre ont esté justement admirez de tout le monde, et que leur mérité s ’est avec raison epandu par toute l’Europe.2 The notice of Le Begue’s death appeared in the Ibid. , Octobe^, 1700, p. "Mr Le Begue toucha is as follows 1 ’offertoire par accompagnement Symphonie des trompettes et des placez au bas de 1 ’eglise, vis a l8i|.. The original l’orgue, et joua et par echo, avec la tambours, qui estoient vis de.l’orgue qui text estoit dans le choeur des religieuses, a l’autre bout." 2 Le Gallois, o£. cit. . pp. 63-ôIj.. 119 Mercure Galant of July, 1702 and, although rather long, it has been thought apropos to quote this eulogy as a fitting termination to the discussion. Those men distinguished in the arts and sciences should not be less con sidered than those who are created such by birth. Mr* Le Bègue, organist at Saint Mederic, was of this group. The distinction with which he exercised his art added to his char ity toward the poor and his piety have made him merit the following epitaph: Here, awaiting the res- surrection of the dead, and the future world to come, through immortality, reposes the body of an honorable man, Nicolas Le Begue, native of the city of Laon, during his life organist at the chapel of the king and of this church which he has served for more than forty years with as much edification as esteem; an integrity of life known to all drew to him as many admirers for his virtue as for his other merits. He sacri ficed all to God when he felt in a condition to fulfill His holy will by works of piety. He always treated his friends and those near to him in a spirit of goodwill and attachment, so that his generosity made all regard him with tender grateful ness. He loved the poor Les hommes distinguez dans les arts et dans les sciences ne doivent pas estre moins considérez que ceux qui son elevez par leur naissance. Mr Le Begue organiste de St. Medéric, estoit de ce nombre. La distinction avec laquelle il exer_coit l ’art dont il se meloit sa charité envers les pauvres, et sa pitié luy ont fait mériter cette epitaphe suivante: Cy devant, attendant le re surrection des morts, et la vie du siècle a venir, ^ figuMe par 1 ’ immortalité, repose le corps d’honorable homme Nicolas Le Begue, natif de la ville de Laon, vivant organiste de la ^hapelle du Roy et de cette eglise, qu’il a desservie pendant plus de quarante années, avec autant d’edification que d ’estime; une probité de vie suffi- sament connue lui attira autant d’admirateurs de sa vertu, que son grand mérité lui en fit naître. Il sacri fia tout a Dieu dès qu’il se sentit en estât de pou voir remplir sa sainte volonté par des oeuvres de piete. Il considéra toujours ses amis et ses proches dans un esprit de bien vaillance et d’attachement, que sa générosité lui ren dit un sujet de la plus tendre reconnaissance. Il aima les pauvres qu’il fit 120 whom he made the first re ceivers of his alms, being himself a true mir ror of evangelical poverty by his own privation. He contributed to the impro vement of several holy sites, where he gave proof of his generosity, pro vided the dowry for a nun by prayers and by sacri fices which he made. Having become beloved by the people, the charm and beauty of his art, the delight of his prince who more than once honored him by a parti cular attention, religious in his conduct, rigorous and vigilant in his duties, and always severe with him self, enemy of ostentation and applause, he sought only through his work the kingdom of God and His jus tice, in order that nothing be lacking for eternity. Finally, after long and trying trials sustained by a consummate patience, strengthened with all His sacrements, hoping con stantly in*His mercy which he besought until the last breath, full of resigna tion, of love and of faith in Jesus Christ, universally loved and mourned, he gave up his soul in peace to the Lord, the 6 of July, 1?02, at the age of seventy-two. les premiers héritiers de ses épargnés, étant luy meme le vrai miroir de la pauvreté evangelique par son propre dépouillement. Il contribua a 1 ’embellisse ment de quelque lieux saints, ou il donna des^ marques^de sa libéralité, dota 1’épouse de J.C. par des prières et des sacri fices qu’il fonda. Devenu l’amour des peuples, le charme et 1 ’ornement de son art, les délices de son prince qui 1’honora tant de fois d’une particulière distinction, religieux dans sa conduite, rigoureux et vigilant dans^ses devoirs, et toujours sévère a lui meme, ennemi du faste et des applaudissemens, il ne s’étudia qu’a chercher le royaume de Dieu et Sa jus tice, afin que rien ne lui manquast pour 1 ’éternité. Enfin, après de longues et rudes epreuves^d’une pa tience consommée, muni de tous ses sacremens, espér ant sans cesse en sa miséricorde, qu’il reclama jusqu’au dernier soupir, plein de resignation, d ’amour et de foy en J.C., universellement aimé, re gretté et pleuré, il rendit son ame en paix au Seigneur, le 6 juillet de l’année 1702, âgé de soixante et douze ans.i I Mercure Galant, July, 1702, p. 269. CHAPTER V PROBLEMS OF EDITING AND INTERPRETATION The problems involved in the editing and tran scribing of works from the late seventeenth century are infinitely less than those encountered in music of ear lier periods. Yet there are certain discrepancies to be ironed out, certain technical features to be considered in the music of the period of Le Begue# There are no manuscript copies of the harpsichord works of Nicolas Le Begue save one isolated gavotte which will be discussed later. The editor must be content with the first printed copies of the works which appeared. The first obvious problem revolves around what to preserve of the original edition and what to change in order to conform to modern format. As this edition of the Pieces de Clavessin of Le Begue is primarily a study edition, it has been thought advisable by this writer to leave as much as possible of the old traditions and yet present the works in a form which can easily be read by all. As regards the latter point, the main change which has been made is that of clefs. In the old editions, the old movable clefs which are found there have been changed to a single G clef for the top staff in the modern 122 edition* In the bottom staff of the old edition, F is located on the middle line* This has been changed to the fourth line* As to the layout of the music itself, most remains unchanged* In this period, the composers were trying to transfer a certain polyphonic style of writing to key board instruments and it must be admitted that they were ingenious in their efforts* For example, in a passage where three voices are involved on one staff, the middle voice is notated with a little tail attached to the note itself to preserve a feeling of independence from the other two voices* This procedure has been retained, for there is no great difficulty in reading such notes# Also, retaining this procedure maintains to an extent the spirit of the time# N r - - f m ts T Example 33 The old repeat signs, a dot in every space, have been preserved and the sign which Le Begue gives for the 123 Petite Reprise has also been left in its original form. It would be well as a matter of clarity to give Brossard's explanation of these two practices, the Reprise and the Petite Reprise. The great repetition is marked thus ^ l i t or* jr d" | and means that one must repeat all that has been hithertofore played or sung if it is the beginning of a piece or all that has been played or sung since a similar sign if it is at the end of a piece, and that which is sung thus twice is called a Repetition. One finds these signs ordinarily toward a third of the way tlrirough the Gavottes, Menuets, Bourrees, Courantes, etc., and at the end, because, these kinds of pieces should have two repetitions which one plays twice for each. The small repetition is where one does not repeat entirely or one repeats only the last several measures of a great repetition. It is marked thus or thus above or below the note by which one should begin to repeat.^ One problem arises as to the question of accident als* The old rule in force restricted the influence of 1 Sebastien de Brossard, Dictionnaire de Musique (Paris: Ballard, 1703), p. 290. The original text is as follows: "La grande Reprise se marque adr^i ( ) et sig nifie qu»il faut r'epéter tout ce qui a 'ét’ e joue ou chantes jusques la, si c * est le co^encement d ’une piece ou tout ce qui a ete joue ou chante depuis une pareille marque si c’est a la fin d ’une piece et ce qui se chante ainsi deux fois s’apelle une Reprise* On trouve ordinairement de ces signes vers le tiers ou environ des Gavottes, des Menuets, des Bourrees, des Courantes, etc., et a^la fin, parce que ces sortes de pieces doivent avoir deux Re prises, qu’on joue chacun deux fois. La petite Reprise est lorsqu’on n^ reprend ou l ’on ne repette que quelques’unes des dernieres mesures d’une Grande Reprise, on la marque ainsi ( ) ou ainsi ( ) au dessus ou^ au dessous de la Notte par laquelle on doit commencer a repeter." 121). an accidental to one note, after which the unaltered form was to be employed* Such is the case in the works of Le Begue, but as contemporary readers are not accustomed to such a rule, this editor has placed a natural sign in parentheses wherever a doubt would arise* These changes have also been notated at the beginning of each discussion of the separate pieces* The publishers of this early period were not always the most conscientious in their editions* It seemed to be of slight importance if dots were omitted here and there or if endings were confusing and there seemed to be no general rule for the conformity of rests and notes, especially at the end of pieces* This editor has also placed dots in parentheses where they have been thought to be lacking* He has also made an effort to establish a standard rule for the notation of final cadences, especially where there has been an initial anacrusis to take into consideration* The format of the two original volumes varies, as the editors were not the same, but this writer has made the endings of the second volume similar to the formula used in the first volume* There are special cases where there is confusion as to the actual notes intended, but this Is discussed in 125 relation to the individual work* The question of interpretation does not actually belong to a discussion of this sort, but there are two points which should be touched upon* The first concerns the tempo of the pieces* Naturally one is guided by the form of the piece itself, be it Allemande, Courante, Sarabande or Gigue* However, care must be taken not to indulge in an excess of speed, since Le Begue is so generous with his ornaments* It would be well to remember the remarks of Karl Philip Emmanuel Bach on this subject* "Let it be said, more over, that all ornaments are better suited to a moderate tempo, better with long note values than short ones*"1 Another question arises as to the length of the ornament itself, especially the Tremblement * In his table of ornaments. La Begue explains a quarter note with a tremblement as being divided into eight short notes* This explanation is, however, insufficient, for very often in Le Begue’s music is found a half note with a ^ K.P.E* Bach, Versuch uber die wahre Art das Clavier zu spielen (Berlin: Franz Stage"^ 1753), Chap* II, section ?T* The original text is as follows: "Was geht daraus hervor? dasz die Manieren mehr bei langsamen und maszigen als geschwindem Zeitmaasz, mehr bei langen als kurzen Noten zu gebrauchen sind*" 126 tremblement. Without going into the question any fur ther than necessary, it should be said that one must use good taste in the regulation of the tremblement* The number of repercus sions is regulated only by the length of the note* Above all you must be in no hurry to start the shake, but on the contrary hold it, about half the value of the note, principally in grave movements. The least you can give to short notes is three move ments of the finger, as on eighth notes in a quick movement* Le Nombre des coups que l’on doit frapper ne se regie que par la valeur de la note. Surtout il faut observer de ne se point presser de battre la Cadence, mais au contraire la suspendre, environ la moitié de la valeur de la Note, principalement dans les mouvements graves, comme je le démontré par la Tablature des Cadences* Le moins que l’on puisse frapper sur les Cadences breves c’est trois coups de Doigts, comme survies ^ Noires, dans la mesure a 2 ou 3 temps légers*% ^ Hotteterre-le-Romain, Principes de la Flute Traversiere (Paris: Ballard, 1?07), P* 15* 127 CHAPTER VI THE ORNAMENTS IN LE BEGUE’S MUSIC In searching for origins of the ornaments which appear in Le Begue’s music, one is tempted to look to the earlier French lute tablatures for tables such as that given by Le Begue at the beginning of his first book of Pieces de Clavecin. However, no satisfactory explana tion is to be found in the lute books for, as Wolf says. Tables of ornaments, such as those which, for example, are found in the Pieces de Clavessin of Le B^gue from the year 1Ô77 have no counterpart in the lute music.2 In fact the earliest table of lute ornaments to be found dates only from l6o2^. This table which is found in a lute book or rather a book for chitarrone by Kapsperger, gives explanations for three signs which indicate orna mentation; • • as a sign for a trill ^ as a sign for a slide */. as a sign for an arpeggio.2 1 The original text Is as follows ; "Tabellen von agréments, wie sie^sich zum Beispiel in den Pieces de Clavessin von Le Begue vom Jahre 1Ô77 finden, kommen für die Laute nlcht in Betracht." Johannes Wolf, Handbuch der Notationskupde, Part II (Leipzig; Breitkopf und H^rtel, IVIV), I?: ^ Quoted from Wolf, ibid.. p. ll|.8. 128 Even the later lute school which is more or less contemporary with the early harpsichord school has a per plexing set of signs for ornaments: tremblement ^ pincé X appoggiatura A (kind of port de voix) port de voix harpegementl or It would seem that the English Virginal School was the first to develop the art of ornaments, at least as re gards placing them in the music instead of leaving their choice to the performer* Even as early as the Fitz- william Virginal Book^ one finds two ornaments in common use. According to Dannreuther, the ornament may be a slide of a third or a Doppelschlag and the Î" a short or long trill, a Pralltriller or a mordent.3 However, since no general statement can be made as to the orna ments as a whole, it might be profitable to look at each type of ornament used by Le Be'gue in his harpsichord 1 Rhétorique des Dieux, op. cit., Preface. 2 Fitzwilliam Virginal Book, edited by Fuller Maitland & Barclay Squire (Leipzig-London: Breitkopf und Hârtel). 3 Edward Dannreuther, Musical Ornament at ion (Lon don: Novello, Ewer and Co.), Part 1, pi ÎB1 129 music. The Cadence or Tremblement was one of the favorite ornaments of the French school and continued to be used for a long period, is used today. Its chief character istics are: 1. A principal note, part of the harmony, and an auxiliary note a whole-tone or a semitone above it. 2. The rapid alternation of these two notes so arranged rhythmically that the accent falls upon the upper note, at least at the begin ning. ^ This ornament has its origins in the several cen turies which preceded the Renaissance. The oldest organ tablatures contain some examples of the tremblement, cadence, trill or whatever one chooses to call it. The sign which existed at that time was the same as those found in the sixteenth or seventeenth centuries. This ornament of course also existed at a very early date in the vocal music, but unfortunately, there is very little information as to the manner of execution. It is, how ever, the ornaments used in organ and clavier music that we must consider as the true precursors of these orna ments under discussion. ^ Arnold Dolmetsch, The Interpretation of the Music of the XVII and XVIII Centuries (London: Oxford Univer'sTty Press, X9Ij-6}, p. 1$5. 130 The English instrumental music is filled with tremblements or shakes. PIayford says, in his Introduc tion to the Skill of Music : "The trill is the most prin- * 1 cipal grace in Musick and the most used." The shake of the lutenists was more in the char acter of a Bebung and should not be considered as an exact duplication of the ornament in use for the key board. Le Begue includes the Cadence or Tremblement in his table of ornaments in the first book of harpsichord pieces and also the first organ book. His explanation of the ornament is the same as that given by Chambonnieres in his Pieces de Clavessin of l6?2. The sign , first used by Chambonnieres to indicate a Pincement or Mordent was likewise employed by Le Begue. But Chambonnieres was by no means the first to use the ornament known as a mordent. In the Dictionnaire de Musique of Jean-Jacques Rousseau, one finds this explanation of a mordent: A kind of ornament proper Sorte d’agrément propre to certain instruments, es- a certains Instrumens, et pecially the harpsichord. surtout au Clavecin. II se It is made by striking al- fait, en battant alterna- ternately the sound of the tivement le son de la Note 1 Playford, Introduction to the Skill of Music (London; W. Godbid, lôôl|.), p. 3X. v/rîtten note with the sound of the note below and observing to begin and end by the note which car ries the mordent. There is this difference be tween the mordent and trill in that the trill is achieved with the note above and the mordant with the note below. Thus the trill on Do is achieved on Do and Re, and the mor dent on the same Do is achieved on Do and Si. 131 écrite avec le Son de la Note inférieure, et obser vant de commencer et finir par la Note qui porte la Pincé. Il y a cette dif ference du Pincé au Tremble ment ou Trille que celui-ci se bat avec la Note supéri eure et le Pincé avec la Note inférieure. Ainsi le Trille sur ut se bat sur l’ut^et sur le re, et le Pincé sur le meme ut, se bat sur l’ut et sur le ai.i The true form of this ornament is found most frequently in the seventeenth and eighteenth centuries. The lutenists made great use of it and the rising school of violinists admired it greatly* The Coulé is one of the ornaments which was ex tremely effective both in instrumental and vocal music. From the treatises which are extant, we can surmise that the coulé was one of the common ornaments in the late Renaissance. In Bovicelli, one finds: 1 J.-J. Rousseau, Dictionnaire de Musique (Lon don: 1768), p. 366. 132 va/ ^ / 11 ^ Z33ZZZ m 35: SctTl^ ( P - 9 ) 6 r- c [ t a ( f > k i ) Example 3 ^ 4 - Praetorius also quotes other Italian sources in his explanatory examples of the use of this ornament. In Playford’s Introduction to the Skill of Music,2 the table of ornaments includes examples of the coulé, slide or elevation as it was called in English. Simpson’s Division Violist3 of l659 contains the same explanation as that given by Playford. The main difference in the coulé used by the -English and the French is that in the English version the first note of the slide is not held. The French system, as exposed by Chambonnieres and Le Begue, insists that the first note be held while sounding the two which follow. ^ Bovicelli, Regole. Passagt el Mottette Passa- giate (Venice: Vincenti% 159U)• 2 Playford, o£. cit., p. 6?. 3 Simpson, The Division Violist (London: Godbid, 1659). VV ri Wrijt m a 133 Example 35 In his table of ornaments. Le Begue gives an ex planation of only the ascending arpeggio or Harpegement♦ Chambonnieres, however, uses both the ascending and de scending ornament* This is rather strange, considering how fond Le Begue was of ornaments* The fact that this ornament consisted of a broken chord in reality placed the responsibility solely upon the performer* The player had to find out the best, arrangement and he was supposed to know how to fill up the time of each Arpeggio chord according to the style of the piece he was playing*2 Prescobaldi, in the Preface to his first volume of Toccatas, urges the use of arpeggios to give a fuller sound* One should play the beginning of the Tocca tas adagio and arpeg- giando; the same applies to the syncopations and discords even in the middle of the pieces* One should break the chords with both Li cominciamenti delle toccate siano fatti adagio, et arpeggiando; e cosi nelle ligature, o vero durezze, come anche nel mezzo del Opera si batteranno insieme, per non lasciar voto 1’Istromento: il quai 1 Chambonnieres, ££. cit * 2 Dolmetsch, jO£. cit. , p. 260* 1 3 1 1 - hands so that the instru- battimento ripligllerassi a ment is not left empty; beneplacito di chi souna.q this can be repeated at will. This practice lent itself well to the lute as to keyboard instruments and became an integral part of lute technique. The little prelude Pour le Lute by J. S. Bach is in reality nothing but a series of arpeggios or Harpegements. The preceding four ornaments. Cadence, Pincement, Coulé and Harpegement are those employed by Le Begue in his music. It is surprising that Le Begue avails himself of so few kinds of ornaments when one of his late contem poraries, d’Angelbert, gives a table of twenty-nine ornaments. It is an overabundant use of ornaments, and of the same ornaments, that takes away much profondeur that one might wish to find in Le Belgue’s music. There is no way of knowing if Le Begue ornamented his pieces so profusely to please a frivolous, if refined public, or if he actually considered them indispensable to his music. It is certain that many musicians who employed ornaments. 1 G. Prescobaldi, Toccate e^ Partite d ’ Intavolatura di Cembalo et Organo (Roma: Edizioni De S ant Ts, 1^37), parte prima, p. III. 135 used them with more or less discretion. I am always surprised (after all the care that I have taken to mark the or naments which suit my pieces..) to hear persons play these pieces with no care as to the ornaments. This is an unpardonable oversight...1 therefore declare that my pieces should be played as I have marked them: and that they will never make the desired impression upon persons of good taste unless one ob serves exactly all that I have marked without any additionsnor subtractions. Je ^uis toujours surpris (après les soins que je me suis donne pour marquer les agréments qui conviennent a mes pièces..)d’entendre des personnes qui les ont apprises sans s »y assu jettir. C’est une négli gence qui n ’est pas pardon nable... Je déclare donc que mes pieces doivent etre executees, comme je les ai marquées; et qu’elles ne feront jamais une certaine impression sur les person nes qui ont le gout vray, tant qu’on n’observera pas a la lettretout ce que j ’ y ay marque, sans aug mentation ni diminution.! Concerning the specific use of the ornaments them selves, it is difficult to make any generalizations. Beyond a doubt. Le Begue uses the Cadence or Tremblement many times as much as any other ornament. In general the ornament falls on the first part of the beat, but there are many exceptions to this. The allemande is more heavily ornamented than the other standard dance forms. The Pincement follows next in importance but occurs much less frequently than the Tremblement. One important use of the Pincement seems to be on the final note in the bass clef at cadence points, especially at the end of the 1 From Francois Couperin, L ’Art de toucher le Cla- vecin. Quoted from N. Dufourcq, Le Clavecin, op. cit.pT75T 136 first section and of the Reprise* This gives a feeling of finality to the movement* The Coulé is only occasionally used and its appear ance seems haphazard as to real value. The Harpegement finds its important place in the sarabandes where the tempo of the dance and the long note values demand such treatment. The sign * S * is explained in Le Begue’s table of ornaments as Petite et dernière Reprise but it is more than this. This sign inreality indicates a return to previous material. In the Chaconnes it indicates a repetition of the first theme and in several pieces it re quires the repetition of an entire section. CHAPTER VII TEE,WORKS FOR HARPSICHORD As a preliminary study to the harpsichord works of Nicolas Le Bogue, this writer has examined the harpsi chord works of Chambonnie’ res and Louis Couperin. From a perusal of the works of these composers, a frame of reference has been set up based on idioms and practices therein. Following this frame of reference are to be found the analyses of the harpsichord works of Nicolas Le Be'gue. Each composition is analyzed as to its harmonic content, contrapuntal treatment, melodic-rhythmic elements and form. The first set of pieces from the first book of harpsichord works is analyzed in detail to give the reader a first-hand glimpse at the broad outlines of Le Begue’8 style. The following suites are analyzed more briefly. Only those practices which deviate from con temporary procedure or are interesting as outstanding elements of Le Begue’s style are notated. At the beginning of each piece are listed the ad ditions or corrections which appear in this writer’s edition but which do not appear in the original edition. 138 FRAME OF REFERENCE based on the HARPSICHORD WORKS OF CHAMBONNIERES & LOUIS COUPERIN I. HARMONIC PROCEDURES A. In this period, the number of voices is arbitrary and dependent upon two factors: 1. The type of dance chosen influences to an extent the harmonic texture. The Allemandes are usually harmonized with a maximum number of voices, while light dances such as the Gavotte and Menuet re ceive a lighter harmonization. 2. At cadence points and points of emphasis, full chords are often used, regardless of the number of voices employed throughout. SARABANDE hy Louis Couperin i P Example 36 B. Tonality: In the major mode, the scales are used simply without alteration with exception made for the 1 Apel, 0£. cit.. p. 2 7. 139 seventh degree of the scale, which is lowered fre quently. The minor mode uses the melodic form with the lowered descending and raised ascending sixth and seventh degrees of the scale. This offers great possibilities of variety and the composers used these possibilities to the utmost. In both types of scales, one finds that B natural and B flat are used, depending on the composer’s intentions and the melo dic flow of the individual voice. MAjor_ sj: ale . I ~ o o ' m i s : o- lob)—Q- MINOR SCALE Example 37 C. In the choice of chords there is not much consistency. During this period the concept of primary and secon dary harmonies had not yet been officially formulated. The composers v/ere rather concerned with the contrast offered by the tonalities common to the chord built on the first degree of the scale (Tonic) and its partners (Subdominant and Dominant) on the one hand l i +O and those chords built on the remaining degrees of the scales. The independent dominant seventh is emerging and is found, though not frequently, as an independent chord and also as the result of suspen sion treatment. i6th century . . . . _ o .. ' ' —f a- f ^- - -Û- -- - - - -%— ——%---- ---g-----a ^ - - - o — — ________^ ^ o o 17TH CENTURY i 5 e Example 3d The six-four chord is, according to Glen Haydon^, mainly used during this period as the resultant of suspension treatment. There are isolated cases of the use of the unprepared six-four chord, but these are rare. ^ Glen Haydon. The Evolution of the Six-Four Chord (Berkeley, CaliforhiaT The Universitv of California Press, 1933), p. 111. SARABANDE l l | . l 1 i by Louis Couperin -V - 4. i r a r r {j. - ^ P f r Example 39 D. There is great use of IV and V with Tonic, making the works sound cadential throughout. For closing ca- dential formulas, one usually finds either I5 - V - I or IV - V - I# The seventh of the dominant is used only very occasionally by Chambonnieres but fre quently by Couperin. However, with each composer, the seventh is approached by step. As to independent altered chords, these are almost non-existent. Every chord may be said to be un altered, viewed in the light of the type of tonality used and the modulation. These altered chords may be said to "happen in the course of events". For example, in the key of G minor, a Submediant triad 1 Apel, 0£, cit. » p. l l} -. ll4-2 could appear as E G or as E^ G depending on the direction taken by the voices* E. Both Chambonnieres and Louis Couperin use the style brisé of the lutenist school. Couperin uses this device much less than Chambonnieres. In general, it is used to open and to close a section. Occasion ally one finds it being used within a phrase. F. Modulation is usually accomplished by a chord common to both tonalities. There is no hard and fast rule as to the chord used, for all chords have been found used in this manner. One thing is to be noticed* The usual place where two secondary chords (what we call secondary chords) are found side by side is where modulation of this sort takes place. In works of this period, a new tonality seems only temporary. The modulation to the Dominant or relative Major at the end of a section remains only briefly in the succeeding Reprises. The common keys of modulation are those in dominant and subdominant relationship to the existing tonic and the relative minor, relative major relationship. lU- 3 II. CONTRAPUNTAL PROCEDURES A. There is not much to be said in this field* Cham bonnieres occasionally uses imitation and this is about the only contrapuntal device used. With this composer, the imitation is limited usually to two or three notes and the method used is of the most obvious kind* However, it is almost. Impossible to find a piece by Louis Couperin that is strictly harmonic in its scope. Couperin uses all devices ranging from simple imitation to strict canon. III. MELODIC-RHYTHMIC PROCEDURES A. All intervallic combinations are found in the soprano voice in the cadence sections, except the sequence fa-mi* B. Chambonnieres and Couperin seem to take care that the soprano line of each section exhibits but one high and one low point. There are, of course, exceptions to this* SARABANDE I k h by Chambonnieres f f ' r - H P 1 T ' r t f ] A . P. — * r ‘ : u Æ — Example 1 | . 0 C. In the Allemandes, Courantes and Gigues of the early French harpsichord school, there is much attention focusing on the movement of inner parts* ALLEÎÆANDE by Chambonnieres i r À . k f f i t i f m i r Î t Example L } . 1 1 Apel, 02* cit♦, p. 25* 2 Yella Pessl, The Art of the Suite (New York: Marks, 191+7), p* 10* ilj. 5 D. Chambonnieres indulges in a great amount of ornamen tation in his writing, but Couperin usually reserves ornamentation for notes of comparatively long value* E. Both composers seem fond of progressions involving a consistently descending or ascending bass line. The descending one is the more common of the two. IV* FORM A* In these early works, the phrases are usually square* There is not always a balance of phrases but usually a balance between First Section and Reprise* Below is a list of the phrases by measure number of several works by Chambonnieres chosen at random. FIRST SECTION REPRISE Allemande (6) (4) (6) ( 1 ^ - ) Courante (W (3) ( 1 ^ - ) (3) Courante (W (2) (1^) (3) Sarabande (U) (1^) (8) (8) Sarabande (7) (3) (9) (W Sarabande (1+) (i^) (8) (8) lU6 X i S P i ^ i 'c s dc CLcutcsMti C o 9 n ^ i\rc t\r f f r L* S B ^ u e O fy a n û n ^ » ■ (Ùt (kav et Ht^pidj'r Situu-t f^HrUr>rui.^^\ 114-7 PORIÆAT OF THE FIRST BOOK The first volume of Le Begue »s Pieces de Clavessln appeared In 1677* The copy at the Bibliothèque Nation- aleT bears the following title: Les Pieces de Clavessln Composées par Nicolas Antoine le^Begue, Organiste de 1 'Eglise St. Mederlc, Se vendent chez le Bâillon, malstre faiseur de Clavesslns Rue Simon le Franc, et chez 1'autheur dans la meme Rue. The copy at the Bibliothèque du Conservatoire^ contains the same pieces, but must be a reprint of the first edition, for the title reads: ^ Les Pieces de Clavessln Composées par MX* le Begue Organiste du Roy et de 1 »Egllse Salnct Mederlc. There Is no date to the second copy, but since Le Begue was not appointed organist to the King until I678, this copy must be of that year or slightly later. Following the title page Is the usual Extrait Du Privilege du Roy, dates 1075, In which Le Begue Is granted a copyright for a period of ten years. Immediately below this extract Is a short para- graph by Le Begue In which he attempts to explain his manner of presenting the unmeasured preludes. ^ Bibliothèque Nationale. Vm7 1853* 2 Bibliothèque du Conservatoire. Reserve 632. I have tried to present these preludes with as much facility as possible as much for conformity as to the way of playing them, for which the manner Is to separate and restrlke im mediately the chords than to hold them together as In playing the organ. If things are found to be obscure, I beg my Intel ligent performers to ex cuse me by considering the great difficulty In making this method of playing preludes Intelli gible to everyone* i W J*ay taché de mettre les preludes avec toute la facilité possible tant pour la Conformité que pour le toucher du Clavecin, dont la manière est de Séparer et de rebattre plus tost les accords que de les tenir ensemble comme a 1 *Orgue si quelque chose s fy rencontre un peu dif ficile et obscure Je prie Mess, les Intelligents^de vouloir suppléer aux déf- faux en considèrent la grande difficulté de rendre cette metode de Preluder asse Intelligible a un chacun. Whether Le Begue succeeded In his attempts will be considered later on In this study. On the blank page opposite the Extrait du Pri vilège du Roy In the copy at the Bibliothèque du Con servatoire there appears a passage written In Ink. Prom the spelling of the words, this passage dates from ap proximately the same epoque. The text Is as follows: % Quand la clef est en Bémol elle est marquee par Un b devant la notte; et la première Voyelle marque la note Sur laquelle est la clef, comme par Exemple dans la Prelude Suivant, la clef de C, Sol, Ut est sur la premiere ligne, ainsy en Bémol on la doit communier par Sol; et SI la clef est g -re sol toujours par Bémol la ligne sur laquelle sera la clef sera Un re; et SI la clef est en f Ut fa ainsi par Bémol la ligne sur laquelle sera la clef en Un Ut 1 The translation is as follows: "When the key has a flat signature. It Is marked by a b before the note; 1 1 4 . 9 This is a very indirect way of trying to place the B flat in the right relation to the clef. For example, in the G clef, there the key of P is used, C becomes Sol, in the G clef, G becomes Re and in the P clef, P becomes Ut or Do. The first book of harpsichord pieces comprises fifty-one works dispersed among seven suites. A hint at the function of the prelude may be found in the fact that there is one prelude for the suites in D minor and D major, one for those in G minor and G major, but one for each suite in A minor, C major and P major. Also, in this first book. Le Begue does not give the actual name of Suitte to each set as he does in the second book. The list of Suites and their pieces is as follows: 1. Suite in D minor 2. Suite in D major Prelude Allemande Allemande Courante Courante grave Sarabande grave Courante gaye and Double Gigue Sarabande Chaconne grave Gavotte Ballet Menuet Gavotte Canaris and the first vowel mark<|s the note on which rests the key, as for example in the following prelude, the key of C, Sol, Ut is on the first line, thus in a flat key, one should call this by Sol; and if the key is g -re sol al ways by a flat the line on which the key is found will be a Re ; and if the key is in P Ut fa thus by flat the line on which will be found the key in an Ut. igo 3. Suite in G minor Prelude Allemande Allemande gaye Courante grave 2me Courante Sarabande grave Gavotte Menuet I 4 .. Suite in G major Courant Gigue d'Angleterre Bourrée and Double Menuet 2me Menuet Suite in A minor Prelude Allemande Courante 2me Courante Sarabande grave Gigue Menuet 2me Menuet If the pieces in this collection are classified as to form, the list is as follows; 6. Suite in C major Prelude Allemande Courante 2me Courante and Double Chaconne Bourrée and Double Gigue Gavotte and Double Menuet 7* Suite in P major Prelude Allemande Courante 2me Courante Gigue Sarabande grave Gavotte Prelude 5 Allemande 6 Courante 12 Sarabande 5 Gigue 5 Menuet 7 Chaconne 2 GavotJje 5 Bourree 2 Ballet 1 Canaris 1 Igl ANALYSES BOOK I SUITE IN D MINOR Prelude First Line : add to F and B Second Line : add to C Third Line; add to G This Prelude is the first of its kind in harpsi- chord literature. Chambonnieres did not avail himself of the Prelude. Of the composers before Le Begue, this leaves only Louis Couperin who did use the Prelude, although one of a different type. Couperin»s Preludes fall in three sections. The first consists entirely of whole notes without any indication as to different note values. The middle section is a fugal passage similar to those found in the Gabrieli and Merulo toccatas and the final section is again in free style. Therefore, with Le Begue we find the first in stance of this one-section form and also the first use of actual note values. The style itself does not resemble that of the lutenists, being much more florid and contra puntal in texture. In this respect, the Preludes of Le s . Begue more resemble those prototypes of Couperin. In this first Prelude, the initial motive is Ig2 repeated* This would suggest the use of a two-manual harpsichord. Following is a scale passage in D minor, this being necessary to the major tonality used to ter- minate pieces in minor. Throughout, Le Begue uses the melodic minor scale with its flexible sixth and seventh degrees. Here, the C# and B natural are usually found in ascending passages and C natural and B^ in those that descend. The first actual foreign tone to enter is that of line However, this belongs to the nearly re lated keys of bB major and G minor and hence is indispen sable for variations from the original key of D minor. In line 2 Be Begue modulates to G minor, then back to the original key. From here he proceeds to the Dominant and thence, by means of a succession of motivic figures back to the Tonic. As far as genuine interest, the Prelude, with its improvisatory character cannot compete with the other pieces in the collection. If, however, the Prelude had a utilitarian function, that of testing the justness of the tuned instrument, its mere presence is justified. 153 Allemande First Section; measure ! ( . measure 5 Reprise; measure 1 measure measure measure 8 measure 9 measure 10 measure 11 soprano, beat 2, add 4 to C alto, beat I 4., add 4 to F alto, beat 3 9 add ^ to C bass, beat 1, add ^ to C alto, beat 2, add ^ to B alto, beat 3, add ^ to B alto, beat 3» add 4 to B soprano, beat 1, add 4 to B tenor, beat I j . , add ÿ to B 1. Harmonic The phrases are well constructed, though of uneven length. The First Section contains two phrases of four and six measures (I|-,6) respectively. The Reprise has two phrases of seven and four measures ( . In measure five (^) of the First Section. Le Begue passes briefly through the key of G minor. He does this in measure five (^) by sharping the F of the tonic in D minor, thus making this a dominant of G minor. After a brief return to the original key, measure seven (%), Le Begue then proceeds to establish the Dominant in D minor by an obvious assumption of key, for in measure eight (8), although all preceding feeling led to D minor, he con tinues as though he were in A, the Dominant tonality. As was permissable, this is A minor until the final chord. In the Reprise. the feeling of A is dropped almost immediately as Le Begue passes briefly through several tonalities, arriving in measure seven (7.) at P major. This is done many times through Dominant-Tonic re lationship* In measure two (2)> the A major chord be comes the Dominant of D major* In measure three , the D major chord becomes the Dominant of G minor, etc. In measure eight (2)9 the modulation back to the original tonality of D minor is a good one. P V e VI- vii- i- IV d V -i In the closing cadence of the First Section, the seventh of the Dominant is used, but as usual is approach ed by step. The formula is: v7 —I^ —v7 — I The bass note D in the i^ is not in the chord but the impression of the i^ is still maintained. In the closing cadence of the Reprise. the seventh of the Dominant is used, but is achieved by a leap. In this. Le Begue makes a departure from the general prac tice of his contemporaries. The cadence is: i, - iv - v7 -I The final cadence of the Reprise is almost identi cal with the cadence in measures three and four (3-I4 .) of 155 the First Section* 2. Contrapuntal In measure one (1.) of the First Section the soprano is imitated in the tenor of measure two {2)* This little figure is used throughout the First Section* Notice also how the alto figure in measure six (6) is used a tone higher in measure seven (%)* 3* Melodic The melodic line of the First Section has one high point and one low point, but in the Reprise the F high point is used in three different places throughout the section* One favorite device of Le Bègue is that v/hich is used between the bass and tenor, beats three and four (3-L) of measure one {!)* This is correct usage of the suspension and it also corresponds exactly in sound to four eighth notes in the same pattern if played by the lute which had no dampening mechanism* In the Reprise this same device is used in mea sures one and two (1-2) but is transferred to the soprano and alto* Observe the repeated A in the soprano line of 156 measure two (2)• The other composers used repeated notes, but this particular version with an ornament on the first note, is rare with Chambonnieres and Couperin# The same design is found in measure five of the Reprise# Le Begue seems also to like the broken octave at cadential points--measure three (2) of the First Section and measure six (6) of the Reprise. Notice also the reach of a tenth required between the tenor and bass in measure nine (9) of the Reprise# 157 Courant© Grave First Section: measure I 4., soprano, beat 6, add ^ t o B Reprise: measure 2, soprano, beat add 4 to C measure Y9 soprano, beat Ip, add 4 to B measure 9 , soprano, beat 1, add 4 to B 1* Harmonie There is no harmonie change in the First Section until measure three (2)• Here again the tonic of D minor becomes the Dominant of G minor by a raised F* G minor remains until measure six (6) where its subdominant C E G becomes vii in D minor. From D minor. Le Begue makes a simple modulation to the Dominant to close the section. The closing cadence is: V — I — iv — I In measure two (2) of the Reprise, Le Begue modu lates to F major by common chord D F A. That is, D minor and F major have this in common. In measure four (W a modulation to C major is achieved by the same means. In measure seven (%) a modulation back to D minor takes place. The progressions in measure eight (2) are pleasant, although it sounds as if a modulation to G major were taking place. The phrases in this Courante are not as balanced as one might expect. The First Section contains two 158 groups of six and two measures respectively while the Re prise is made of two phrases of six and four measures* The closing cadence to the Courante is; IV - v| - i - v7 - I 2. Contrapuntal The only treatment of this sort would have to be found in the various reiterations of the three-eighth note melodic figure in the soprano of measure one (1)• This figure occurs throughout the piece, sometimes in verted, but is after all not a real contrapuntal device. 3. Melodic Each Section of this Courante contains but one high point and one low point. One characteristic of Le Begue*s melodic lines is clearly illustrated here. The composer seldom achieves any movement either up or down by a direct melodic sweep. He will ascend briefly, retrace his steps, this time reaching slightly higher, etc. In line It takes six bars to reach the low point of F. Most Courantes of this period begin with an ana crusis of one eighth note. In the anacrusis of the First Section, the dotted eighth and sixteenth notes pro 159 vide an exception. In measure five (2) of the Reprise. the series of C in the soprano are outstanding. Another feature which is particular especially to the Courantes is the use of a melodic figure of three successive notes, such as those found in measures one, two, three and seven (2> 2* 2* %) of the First Section, measures two and six of the Reprise. 160 Courante Gaye First Section; measure 2, soprano, beat 5» add 4 to C measure 5* alto, beat 1, add 4 to C Reprise; measure 2, soprano, beat 5, add "4 to B measure 3, tenor, beat 6, add 4 to B measure 6, tenor, beat 6, add ^ to B 1. Harmonic The structure of this Courante differs from the preceding one in that it consists almost entirely of a melodic soprano line with accompaniment. The First Section consists of an eight-bar period whose two phrases are unequal in length and construction* The first phrase is three measures long, the second is five* In the Reprise the two phrases are of five and four measures respectively. In the First Section. Le Begue modulates to the key of the relative major in measures two and three (2-3), remaining in this tonality to the end of the section. In the Reprise. Le Begue remains in the tonality of F major for four measures (Ip). Then, in measure four (2) 9 the supertonic in F becomes a subdominant of the original key. There is a brief hint of G major in measures four and five ()l-5), but D minor is again rein stated in measure seven (?)• l6l The concluding cadence of the First Section is very simple, V-I-V-I. That of the Reprise is v7 — i^ — V — i * There are some good examples of writing in this Courante. For example, in measures four to six (L-6) of the First Section, notice the interesting relationship between the bass and tenor. 2. Contrapuntal In a piece written in such a melodic style, one would not expect to find much contrapuntal treatment. In the Reprise, the soprano line of measure one (1_ ) is re-echoed briefly in the tenor of measure two (2) • Apart from this, there is no obvious attempt at contra puntal writing. 3. Melodic The melody of the First Section is well construct ed, rising gradually until it reaches its peak (A), then descending to a lower register. One of Le Begue»s most noticeable merits is his ability to extend a melodic line For example, in the Reprise. the preparatory cadential treatment in the third measure (2) would make one assume that a four-measure phrase was in progress. 162 Instead, Le Begue continues the melodic flow beyond the fourth measure (2) and comes to a momentary pause in the fifth measure (2.) • In the Reprise there is perhaps a misprint. According to the practice of the times, the B in the soprano line of measure two ( 2 ) should have been flatted. This is, however, a point to be argued. In the bass of measures four and five of the Reprise is to be seen one of those descending patterns so often used by Le Begue. Ornamentation seems for the most part limited to the soprano line, which is logical considering the style of the composition. Double First Section: measure 2, soprano, beat 5, add 4 to C measure 3, soprano, beat 5, add 4 to B measure 5, tenor, beat 1, add ^ t o C Reprise: measure 2, soprano, beat 5» add 4 to B measure $, soprano, beat 6, add 4 to C measure 6, tenor, beat 6, add 4 to B measure 7, soprano, beat 2, add 4 to C Following the Courante Gaye comes a variation of this Courante which is called a Double. This Double is treated in diminution. In this technique, the note values, here those of the soprano line, are reduced, thus 163 making way for the introduction of more notes. As can % be seen, the art of variation was with Le Begue not one of highly developed imaginative powers# This is true, in general, of the early French harpsichord school. In this Double, the notes of the bass clef are left almost identical with those of the original Courante# The variation technique itself seems to consist of taking the original melodic line and filling in the intervallie leaps. That is, when the original is C-E, the variation becomes C-D-E. Apart from this aspect, the Double of the Courante varies very little from the original. There is in the Double less ornamentation than in the original and this is understandable, considering the quicker movement of the latter. Also, in spite of the diminution treatment of the soprano line, it remains almost identical with the ori ginal cadence points. The fact that one finds in measure two (2) of the Reprise the same B natural in the soprano as in the ori ginal would make one think that this was not a misprint after all but merely an idiosyncracy of La Begue. 16L Sarabande First Section: measure k, tenor, beat 3, add 4 to C measure 6, soprano, beat 2, add 4 to C Reprise : measure 1, soprano, beat 1, add 4 to C measure 10, bass, beat 3» add ^ t o C measure 12, tenor, beat 2, add 4 to G 1. Harmonic In this Sarabande are to be found several traces of organ style, all of which result in a unique technique of writing, making the works of Le Begue easily recog nizable. For example, in measure two ( 2 ^ of the First Section, a quick change of fingers in the bass clef must be achieved on the second beat for an effective execution of what is demanded. The general harmonic outline of the first two bars, that of I - V will be found to be a characteristic of Le Begue »s works in this Form. Notice also the similar ity to the Sarabandes of Handel. At the end of measure four ( I j . ) of the First Section one would naturally expect a half cadence on the dominant. Instead, we find a minor dominant which is in reality a turning point for a modulation which ends in the major. The first thing that one notices in the Reprise is the opening chord. The First Section ended on an A i65 major chord, in the dominant tonality of D minor. How ever, in the Reprise which immediately follows, the first chord is one in P major, providing a substantial shock. The actual fact of the unstable leading tone can give some characteristic effects. Notice in measure two (2) of the First Section the G minor chord, followed immediately by one in G major in the next measure. The same procedure takes place in the first measure (2) and in measure five • In the Reprise, the problem is to get from F major to the key of A. From here the modulation to the tonic is an easy thing. It turns out that the Reprise actual ly begins in D minor, the F major chord being merely its mediant. All works out well. From D minor, we go to G major, its subdominant. G is also the dominant of C major, this being easily achieved. From C major to its relative minor and thence back to D minor or D major is an easy matter. This shows how these early works, giv ing an impression of a series of modulations can be seen as a succession of I, V, IV relationships. The closing cadence for the First Section is a normal ig - V? - I. That of the Reprise is identical. The First Section consists of a period of two phrases, each of four bars. The Reprise has two periods. l66 Each period contains two four-bar phrases# 2. Contrapuntal There is no evident contrapuntal treatment in this Sarabande. 3• Melodic Notice the chromatically descending bass line in measures five and six of the First Section. This re sults from the use of a major tonic chord in measure six (6) and is perhaps more of a by-product than an indepen dent procedure. Such melodic fragments as the repeated soprano notes in measure three (^) of the First Section would be very ungraceful in pieces of more rapid tempo. However, the stately movement of the Sarabande allows for such passages as this and also the repeated notes in measure five (2.) ♦ In measure five (^) the staccato marks are in the original copy. This procedure of repeated notes occurs also in measure three (2) of the Reprise. In measures one to six (1-6) of the Reprise is found a good example of how Le Begue achieves his high points. He uses three melodic fragments of two measures each to rise from F to A, the interval of a third. 167 — — 0------------ — - — In the original edition, the two endings to the First Section are indicated but not written out. This writer has thought it best to supply these in his edition. 168 Gavotte First Section: measure 2, soprano, beat 3, add 4 to C Reprise: measure 1, tenor, beat 2, add ^ to C 1. Harmonic This Gavotte is quite short# The First Section consists solely of a single phrase of four measures# The Reprise contains a period of two four-measure phrases. In the First Section, the modulation to the domin ant is good, this beginning in measure two (2)• The feeling is that the dominant will be in minor and when the C# appears in measure three (2) , it is a shock although not an unpleasant one. In the Reprise the progression to F major is not smooth, due to the fact that Le Begue failed to strengthen his tonality. In measure two (2)> the composer evident ly believes himself already in F major and proceeds to a chord of the Supertonic. However, the earlier progres sions were not strong enough to establish this and the supertonic chord seems entirely out of place. The closing cadence of the First Section is - i - v7 - I. The final seventh of the dominant enters only as a brief sixteenth note, but is still obvious. The closing cadence of the Reprise is 169 - (Ig) - V - 1. 2# Contrapuntal In measure two (2) of the First Section one finds a figure of four successive eighth notes in the bass. This same figure is brought in again in measures four to six (k-6) of the Reprise. 3• Melodic As before, a great emphasis on the descending bass line. Another feature observed in the preceding Sara bande is the series of repeated soprano notes in measure three (2) of the Reprise. 170 Menuet Reprise: measure 1, soprano, beat 3, add 4 to C measure 13, soprano, beat 1, add 4 to C 1. Harmonie In the First Section, there is a single period made of two similar phrases* Both phrases contain the same harmonic construction, even at the two cadences and the melodic lines are also similar. In the Reprise we find two periods, each with two four-bar phrases. Tonic, subdominant and dominant harmonies comprise the entire First Section, One feels that there is no real modulation, only a pause on the dominant at the end. The Reprise begins on a subdominant in C major. The first phrase ends V -vi. This vi is also a mediant in F major and the second phrase begins on a tonic in F. In measure ten (10) the V in F is transformed to a dominant in D minor by sharping the C. The final cadence of the Reprise is iv - v7 - i, 2• Contrapuntal One would not expect contrapuntal treatment in a Menuet. There is only a short instance of melodic se quence in measures ten and eleven (10-11) of the Reprise. 171 3• Melodic The charm of the First Section lies in the melodic similarity of the two phrases and how they balance each other. In the Reprise the melodic lines are graceful and match the texture of the harmonic phrases. 0 ___________ In the Reprise, measures five to eight (5-8) in the original edition are completely illegible. It appears that in the printing of the piece, an overlapping double impression has taken place and as a result, the blur of notes for several measures are undecipherable. Ttiis writer has attempted to retain what seem to be the essen tial notes, preserving s^bove all the balance of the phrase. 172 Canaris Section: measure 5, soprano. beat add to c measure 7, soprano. beat 6, add to B measure 9, tenor. beat 1, add 4 to C Reprise : measure 3, soprano. beat 3, add 4 to c measure 6, alto. beat 1, add to B measurell. soprano. beat 3, add 4 to B This final piece in the set of works which form the Suite in D minor is one which is only occasionally found, yet seems to have been a well-known form, if indeed it can be called such. Canaris are found in the works s of the harpsichord composers preceding Le Begue, but usage goes back even further, for several Canaris are found in the Rhétorique des Dieux of Denis Gaultier.1 Canaries— rapid dance in 3/8, 6/8 or 3/1). time which was rather popular in Prance during the first'half of the seventeenth century and which one can hardly dis tinguish from the gigue from a musical point of view. It is often found with a constant rhythm which is only important from the point of view of figuration in the stylized instrumental dances from the end of the cen tury. 2 La Rhetoriqes des Dieux et autres pieces de luth de Denis GauTtTer (Paris: La Sociétéfrançaise de MusT- cologie, 1932-33) » edited by A. Tessier. '2 . Volumes. ^ The original text is as follows; "Danse rapide a 3/8, 6/8 ou 3/L qui fut assez en vogue en France dans la Ire moitié du 17e siecle et que 1 »on ne peut gu^re distin guer de la gigue au point de vue musical. On la retrouve assez souvent avec un rhythm constant qui n^a cependant d»importance qu*au point de vue de la figuration dans les suites instrumentales de danses stylisées de la fin du siècle." Riemann, Dictionnaire de Musique, Paris: Fayot, 1931, P- 207. ---------------------- 173 As to style, the Canaris of Le Begue seems at first glance to resemble the Gigue. However, the Gigue is most frequently found as a series of even notes while the rhythm of the Canaris is more uneven, due to the dot ted values* The only other style to which the Canaris could be compared with is that of the Siciliano. This coincidence, that of the name Canaris by reputation ori ginating in the Canary Islands (i.e. in the south) and the style of the piece being similar to the Siciliano (i.e. also in the south) would seem most logical. 1. Harmonic In the First Section the harmonic structure is rather simple. There is a modulation to G minor. From G minor, a move to A, the dominant of D minor is easy by common chord. The rapidly moving contrapuntal voices take the attention from the harmonic flow. In the Reprise. the dominant tonality of A, in stead of returning to the tonic, passes first to C major, then again A major, hence to D minor. 2• Contrapuntal N In this work. Le Begue seems to have exerted him self toward a skillful contrapuntal fashioning of voices. ITlj. Here he maintains, with more or less consistency, four voices which he treats in continual imitative fashion. The first voice (alto) enters on the second half of the fifth beat and the soprano enters in perfect imi tation. When the tenor enters, it is also in perfect imitation but enters on the second half of the second beat, providing a pleasant contrast. The bass follows the pattern of the tenor. The basic motive is repeated throughout the section. In the Reprise. the original motive is, altered and only two voices follow the statement in imitation. 3• Melodic Here, everything is melody. Each voice elicits independent attention. In measure nine (9) of the Reprise. a quick change of fingers is necessitated. On beat three, the thumb must replace the fifth finger on G in order to achieve the fol lowing octave G. Although not indicated by fingering, the right hand must take the F in the tenor. In style and musical idea, this Canaris is one of the most successful of Le Begue * s pieces. The movement is natural, there is contrast and the modulations are smooth. 175 SUITE IN D MAJOR The second set of pieces, those forming the Suite in D major, is a curious group of works. There are six pieces in the set, but not all of the traditional ones are present. There is no Prelude, nor is there an Allemande, the last being a form which was supposedly one of the in dispensable movements of the Suite. The group of pieces opens with a Courante, followed by a Sarabande grave, Gigue, Chaconne grave. Ballet and Gavotte. Courante First Section; measure I j .5 soprano, beat 5> add # to C Reprise: measure 6, alto, beat 6, add ^ to G 1. Harmonic The First Section conforms to standard practice. There is a simple modulation to the dominant by common chord. In measures three and four (3**L) of the Reprise. the progression Ü 3 - I^ is perhaps included to avoid a too heavy feeling of cadence. As a result, the I3 loses its virile character and becomes weak, especially with the triple third. 176 The chord on beat five of measure five (^) created by the passing tones of the soprano and tenor gives a distinct medieval effect. 2. Contrapuntal Very conventional, confined to a little imitation in the tenor of measure one (1^) of the anacrusis in the soprano. 3. Melodic-Rhythmic Conforms to contemporary practice. L* Form Regular. Sarabande Reprise: measure 8, soprano, beat 1, add # to C. 1. Harmonic N In the First Section, Le Begue keeps the same harmony for two consecutive measures. The first four measures are conventional, but the last four are weak. The progression vi - V in measure five (^) is ungraceful. 177 From here the soprano note is naturaled and in the next measure a supertonic chord is used. The skipping bass and tenor make these progressions even more illogical. In measure seven (%) ^ one finds an appoggiatura in the bass which is effective. The seventh of the final dom inant is approached by step, but there is an intervening rest. Note the similarity between measure two (2^) of the Courante and measures three and four (3-L) of the Sara bande. In the Reprise, measures three and four (3-L). the repetition of the same harmony over the bar line is mono tonous. The first eight bars are in the dominant key of A major, in spite of numerous chromatic alterations. The pleasant feeling of a subdominant ninth in measure thir teen (13) is created by a suspension from the preceding measure. Note the similarity of the closing cadence with the Courante. 2. Contrapuntal No outstanding contrapuntal treatment. 178 3* Melodic-Rhythmic In measures one to five (1-5) of the Reprise, there is an extremely effective descending bass line. The motiveJ JëTJ seems to be a favorite one throughout the Sarabande# L# Form Very regular# First Section: measure l5, soprano, beat 3» add ^ to G 1. Harmonic The Gigue is written in four-part style, each voice entering in imitation. The harmony is conventional# Of interest is the pedal point in the Reprise, measures twenty-one to twenty-four (21-2L). 2# Contrapuntal The First Section is based on a three measure theme and this feeling of triple measure is preserved more or less throughout the section* The first imitative voice enters on the dominant as does the third voice# 179 The melody of the Reprise Is different and is only two measures in length. The fourth voice enters quite late, measure seven teen (17) and gives the feeling of a coda, a feeling which is strengthened three measures later by the bass pedal point. 3* Melodic-Rhythmic Much of the material of the First Section and Re prise is based on a J ^ ^ rhythm which tends to become monotonous. L* Form The form is maintained by the different entrances of the voices, giving the feeling of a set number of sec tions. 0 __________ No bar line separates the final two measures in the original edition. This writer has thought best to separate them in his edition. 180 Chaconne Grave First couplet, measure 10, soprano, beat 3, add ^ to G Third couplet, measure L» alto, beat 3# add ^ to G Fourth couplet, measure 3» soprano, beat 2, add to C 1* Harmonie Le Begue freely uses the suspension, a technique that is traditional to the Chaconne. The basic pattern of the first couplet is I - V - IV - I^ - I, although this is by no means adhered to in the succeeding ones. The Second Couplet begins in D major, but ends on the dominant to provide a suitable return to the first. The modulation to the dominant in measures six and seven (6-7) of the Third Couplet is interesting. It gives the impression of modulation by assumption of key, but such is not the case. It is achieved by common chord, but since both common chords are secondary minor triads, this abrupt effect is created. In the Fourth Couplet, measure three (^) is most interesting. The tonality is that of G major and in measure three the basic chord is a supertonic. There is # suspension in the soprano and the G^ of the tenor is foreign to the chord. It is this G# which creates such a modern feeling. Contrary to the preceding couplets, the 181 fourth ends in D major. 2• Contrapuntal No outstanding contrapuntal treatment. 3. Melodic-Rhythmic The initial XT3 figure is retained in all couplets and this is about all that exists to unify the various sections. The melodic line of the First Couplet again shows Le Begue * s habit of repeating notes. Sometimes the sus pensions are tied notes, other times longer note values and finally even repeated notes are used for this device, as in measures ten and eleven (10-11). The figure ^ • X J is found throughout, sometimes in altered forms or variants such as ^ ^ ^ J orJ.m . L# Form Le Begue remains true to the French tradition of treating the Chaconne as a rondo, a series of couplets, each followed by a da capo of the initial section. The work is very regular in form, each couplet embracing a period of two four-bar phrases, with the ex- 182 ception of the First Couplet, which has a coda of four additional measures. Ballet Reprise: measure 2, bass, beat I 4 .» add ^ to G measure soprano, beat 2, add ^ to G 1. Harmonic In the First Section, the C natural in the bass of measure four (L) is curious. In the soprano of the next beat is found a C^. This can be only regarded as one of Le Begue*s idiosyncracies. In the Reprise, the modulation is conventional. The progression in measures three and four Q-L) # V Ü 3 - vi, is unusual and seldom encountered. 2. Contrapuntal No outstanding contrapuntal treatment. 3 # Melodic-Rhythmic One of the chracteristics of this piece is the alternation of simple eighth notes and passages of dotted eighths and sixteenths. L* Form 183 A kind of dance whose air Une espece de danse begins by an upbeat of a dont 1 » air commence par quarter note, which has two une Croche en levant, qui Reprises of four or eight a 2 reprises de Ip ou 8 measures each and is mesures chacune et se bat played in twos in slow ou a 2 temps graves, où movements and fours in ip temps vite quick tempo* The Ballet is similar to an Allemande, except that the rhythm is more unsteady. The title Ballet probably means no more than did the titles of Chambonnieres» pieces or those of the lutenist school, although there is great dignity of style here, like the dotted rhythms in Lully’s ballet and opera overtures. Gavotte 1. Harmonic In the Reprise, we are taken through A major and B minor, then back again to the original key. This is the first instance of Le Begue * s using actual cadence material in B minor with its A^ leading tone* 2. Contrapuntal No outstanding contrapuntal treatment. ^ Sebastien de Brossard. Dictionnaire de Musique (Paris: Ballard, I703), p. 6. isu 3• MeIodic-Rhythmic Notice in the Reprise that almost every measure begins with ^ in the soprano voice. L* Form Very regular. 185 SUITE IN G MINOR Prelude It should be noticed that in general the ornamen tation of the preludes is much less than that of the other forms in the collection. This might lead one to suppose that another object of the prelude was to break the ice for the performer and not necessarily to please or inspire the listener. Again is found the repetition of the first motive. The effect of the Prelude is very tonal, except for sec tions like the end of line three (^) where the soprano B natural clashes against the B flat in the bass clef. Since Le Begue presents in this Suite in G minor a single piece in G major, one might expect to find hints of this in the Prelude. In other words, besides G-A-B^-C-D- E^-E -F-P#, there would be a B natural and C sharp. And such is the case, for in the Prelude, one finds these extra notes, thus supporting the hypothesis that one of the uses and functions of the Preludes was a preliminary sounding out of the different tones used in the suite which follows. Apart from these tones, only one other is found, an A^ in line four (L)• The bar lines which are found in the edition of 186 this writer are only written as short oblique lines in the original edition. As to method of performance this re mains enigmatic, for no writer of that period thought it necessary to enlighten future generations on the signifi cance of these lines. To this writer’s knowledge. Le Begue is the only composer who used these oblique lines. Allemande First Section: measure 2, bass, beat 3, add 4" to F measure 3, soprano, beat q.» add 4 to F measure 5, soprano, beat 1, add b to B Reprise: measure 2, al,to, beat ip» add 4 to F measure 5» bass, beat 3» add 4 to E measure 6, alto, beat 3» add '4 to E 1. Harmonic In the First Section, modulations are conventionale In measures two and three (2-3) are to be found the result of placing a weak chord position on a strong beat. The last chord in measure two is a iv^. This is followed in the first beat of measure three by a ig. Noticeable in the First Section are the numerous stretches of ninths and tenths between bass and tenor. If Le Begue wrote his pieces for young ladies of society, as was indicated in the Mercure Galant, he must have assumed great physical assets on their part. 187 In measure one ( 1^) of the Reprise one finds a pre viously encountered pattern of suspensions which forms one of Le Begue’s characteristics. In the final cadence of the Reprise, the seventh of the dominant is not approached by step, but by another member of the dominant. 2. G ontrapunt al This Allemande does not exhibit many real contra puntal devices, but there is much contrapuntal treatment of the voices, especially the inner parts. Examples such as the soprano and alto of measure five (^) of the First Section and tenor and bass of measure six (6) show how much diversity of interest can be maintained through varied movement of voices. In measure one (1^) of the Reprise, the tenor enters as a regular fugal entry, very effective. Also, such figurations as those between the soprano and alto in measure three (3^) show that Le Begue was perfectly capable of handling contrapuntal treatment. 3# Melodic-Rhythmic The descending bass line has by now been noticed as a predominant feature of Le Begue’s writing. Hence, 188 further mention of this will be omitted. There is a predominance of repeated note figures in the Reprise ♦ Measures one, two, three and five (1^, 2^, 2.» 2 ) the most characteristic. Another motive favored for the Allemande is L# Form Regular. . 0 The opening sixteenth rest in the soprano of the original is incorrect. The correction has been made. Most of the soprano section of the last half of the first ending has been scratched out in the original copy. This editor has made the necessary restoration in his edition. Allemande Gaye First Section: measure 6, soprano, beat 2, add h to B Reprise; measure 5» soprano, beat Ip» add 4 to E measure 7» soprano, beat 2, add *4 to C 1. Harmonic There is no real feeling of repose. This is created in part by the cadence at measures four and five 189 (1|_""5) • From the F major triad at the end of measure four ( I j . ) , one expects a succeeding triad on but instead Le Begue uses the relation of the submediant and inserts a G minor chord. Note the B natural in measure five (^) of the First Section. These have been noticed before and from previous treatment, one may say that in approaching a I, IV, or V, triad. Le Begue feels free in introducing acci dentals proper to the dominant of each chord. For ex ample, here the section is in G minor. However, in ap proaching a sub dominant C G, Le Begue introduces in the previous chord, a mediant in G minor but a dominant (minus root) in C, the B natural proper to that chord. In measure three (^) of the Reprise, one finds an in the soprano, immediately followed by an E natural in the bass. There is even a more obvious example of the false relation idea in measure five (5) where the soprano F^ enters against an F natural in the bass. 2. Contrapuntal Apart from the type of contrapuntal writing found in the previous Allemande, the only contrapuntal technique is found in measure five (5) of the Reprise, a repetition of the bass motive in the tenor and measure seven (%), a 190 repetition o f the soprano motive in the alto. 3 • Melodic-Rhythmic Again one finds the motive J ^ i i i used in the First Section. A variant of this, found four times in the Reprise, is S, 3 . The previously encountered repeated notes are found again in this Allemande. L# Form Regular. Courante Grave Section: measure 3, soprano, beat 2, add 4 to F measure 3, bass, beat add 4 to E Reprise : measure 6» bass, beat s. add b to B measure 6, soprano, beat 6, add 4 to B measure 7, soprano, beat add b to B measure 7, bass, beat 6, add 4 to F 1. Harmonic At first glance, this Courante would seem like a series of modulations to F major, major, C minor and D major. However, taking into consideration both the interchangeability of mode and the flexible sixth and seventh degrees of the scale, all of these chords in 191 seemingly various tonalities can be viewed as being in the key of G minor. 2. Contrapuntal In the Reprise. the initial soprano figure is echoed in the tenor. Also, in measure five (^) of the Re* prise, the bass figure is repeated in the soprano. 3. Me Iodic-Rhythmic In the First Section, the treatment is that of a melody in the soprano, sustained by an accompaniment in the bass. In the Reprise, the soprano line is strengthen ed by frequent additions of an alto voice. L# Form Very regular. 2me Courante Reprise: measure Ip» soprano, beat 5» add ^to E measure 6, soprano, beat 5» add b to B 1. Harmonic The progressions are conventional. There is shifting of modes, but this was a common practice and is 192 in no wise unusual. 2. Contrapuntal No outstanding contrapuntal treatment. 3• Melodic-Rhythmic The melodic line of the first measure (3.) of the Reprise is strikingly similar to the corresponding measure of the Reprise. ip* Form Regular. Sarabande Grave First Section: measure 1, soprano, beat 2, add b to E Reprise: measure Ip» bass, beat 2, add dot. 1. Harmonic Le Begue starts in G major instead of G minor. There is a feeling of abruptness going from measure two (2) to measure three (^). This is probably due not to the harmony, but to the skip in the soprano voice. The First Section ends on empty octaves. Here Le Begue modulates to the relative major instead of the dominant. 193 In measure five (^) of the Reprise, one finds one of the few examples where a sharped note is followed by its natural form. The first chord is a v7 in G. This does not resolve to a G triad, but to a triad with seventh, which is, in turn a dominant in C major, the next chord. In measure ten (10), one finds a rare occurrence for Le Begue of root and seventh of a dominant occurring together in the bass. These are resolved correctly. 2. Contrapuntal Very harmonic throughout. Only in measures three and four (3-L) of the Reprise does one find a little imitation between soprano and alto. 3. Melodic-Rhythmic Mention has already been made of the skip of a diminished fifth in the soprano of measures two and three (2-3), of the First Section. This by itself is not ob jectionable, but with the harmonic spacings used, there is a feeling of roughness. The small note in the soprano of measure three (^) would be an appoggiatura, this being the first example of the note being used in its present size. 19k I I - , Form Very regular. Gavotte Reprise: measure 2, tenor, beat 1, add 4 to E measure 6, tenor, beat 1, add b to B 1. Harmonic In the Reprise, there is a modulation to the key of C major which becomes the dominant of F major. In measures two and three (2-3) one has the feeling of too much tonic triad. This gives a static impression. In measure three (^), I of C becomes V of F and in the following measure, I of F becomes V of B^. If one were to analyze measure five (^) as to feeling of tonality, one might have something like the following: 11 - v7 I 11 Bb C C g Again, these dominant relationships which give a feeling of shifting tonality are a characteristic of Le Begue and form part of his tonal palette. 2. Contrapuntal The First Section is curious in that the second 195 half of the soprano section is based on that of the first half. It is a question of free inversion, a process which is so obvious as to exclude a possibility of coin cidence. 3# Melodic-Rhythmic The entire Gavotte seems to be inspired by the interval of a fourth which occurs most frequently in the soprano. There are eleven instances of the skip of a fourth in a piece of fourteen measures. The sequence of two consecutive skips of a fourth forming the soprano line of the First Section is outstanding. Ip. Form Very regular. Menuet First Section: measure 6, alto, beat 1, add 4 to F Reprise: measure 3» soprano, beat 1, add 4 to E measure 6, bass, beat 2, add to F 1. Harmonic The First Section ends on the dominant, a chord in D major. The Reprise begins with a D minor chord. 196 This procedure occurs frequently with Le Begue* Of course, this might be expected since Le Begue modulates to P major, the relative major of D minor in measures seven and eight (7-8). 2 * G ontr apunt al No outstanding contrapuntal treatment* 3* Melodic-Rhythmic Here again is a basic melodic motive, this time which seems to permeate the entire work, occurring seven times in the soprano* L* Form Regular. 197 SUITE IN G MAJOR This set of pieces is singularly curious, for of all the prescribed movements of the suite, the Courante and Gigue are the only ones present. The Allemande is missing, hence the set begins directly with the Courante* Courante Reprise: measure soprano, beat 6, add 4 to G 1* Harmonic In measure four ( f j . ) of the ^*'irst Section, a modu lation takes place. The subdominant in G becomes vii in D major by raising the C to C^. In measure five (^) there takes place a kind of pseudo-cadence. One feels that a tonic is to follow in measure six (6). Instead, there is a subdominant. This is successful because of the natural melodic line and proximity of tones in the tenor and bass* In the Reprise * the repetition of the same harmony over the bar line in measures three and four (3-I4.) is static and not effective * In measure five (5) can be seen another example of change of mode. An A minor chord is follov/ed by a dominant in D major, containing a C#* 198 2• Contrapuntal No outstanding contrapuntal treatment. 3 • Melodic-Rhythmic In measure four (^) of the Reprise one finds the motive ci «TJ i J which is basically the same as the ^ J i found in previous works* There are also examples of repeated notes, but these are not outstanding* The tenor line is prominent throughout, many times enter ing on the second beat so as to make its entrance prominent* I j . * Form Regular* Gigue d *Angleterre 1* Harmonic " S One of Le Begue*s finest works, written in clear, flowing style and very tonal throughout* The basic style consists of suspensions and a means of presenting the different beats in the measure by means of different voices* The first couplet is crystal clear with a pattern 199 I V - I 11 I5 - v7 I. The second couplet begins in G major but modulates to the dominant by its respective minor dominant. To be noticed in this and in other couplets is the parallel movement which, with this technique of alternate beats, is very graceful* The fourth couplet modulates to the subdominant instead of the dominant* 2* Contrapuntal There is a fair amount of contrapuntal treatment * In the anacrusis and measure one (3^) of the Third Couplet * the motive in the bass clef inverts that of the soprano line * There is also imitation in measures four and five of this couplet* In measures one and three (1^,2) of the Fourth Couplet * a combination of soprano and alto motives is imitated in the bass* 3* Melodic-Rhythmic There is comparatively little ornamentation throughout* The melodies of the different couplets are similar and all are exceedingly graceful and natural* The inside voices seem destined for an accentuation of 200 the rhythmic pattern, punctuated with many rests and not at all in character# I 4.. Form Saltarello— It is a kind of movement with a leaping effect, which makes it al most always in triple time and with the first of each measure being dotted# Also characteristic of the Sal tarello is the practice of playing three quarter notes against a whole note as in 6/% time or three eighths against a quarter note as in 6/8 time* The first note of each beat is dotted* Also composed in this man ner are the Forlanes de Venise, the Siciliennes, the Gigues Angloises and other dances whose move ment is in a bounding or leaping style. C »est une espece de mouvement qui va toujours en sautant, ce qui se fait presque toujours en triple et pointant la première de chaque mesure* On appelle aussi un Sal tarello, lorsqu^on fait trois Noires contre une Blanche comme dans le 6/Î4. ou trois croches contre une Noire comme dans le 6/8y surtout si la Première Notte^ de chaque temps est pointfêe* C 'est ainsi que sont faites les Forlanes de Venise, Les Siciliennes, les Gigues Angloises et autres danses gayes dont 1 * air va en sautant*i Pirro thinks that this work may be a tribute to Madame, that is Henriette d»Angleterre, but gives no basis for his assumption*^ This Gigue consists of four couplets with a return of the first section after each succeeding couplet * 1 Sebastien de Brossard, Dictionnaire de Musique (Paris: Ballard, I703), p* 100. ^ Andre Pirro, Les Clavecinistes (Paris: Laurens, n.d.), p. 78• 201 ✓ Bourree 1* Harmonic The First Section contains only four measures* There is no real modulation to the dominant* Le Begue merely ends his First Section with a cadence in the domin ant * Tonic, subdominant and dominant are the only chords used* The Reprise begins on a chord in A minor* How ever, the dominant which was touched on briefly in the First Section is strengthened during the first four measures* In measure five (2)$ the modulation to the tonic is simply realized by lov/ering the bass tone from a to C natural* Note the suspension treatment in measure seven (%)* This was a favorite device of all composers of this period* 2 * C ontr apunt al No outstanding contrapuntal treatment* 3• MeIodic-Rhythmic The entire Bourree is treated, with the exception of measure seven (7) of the Reprise, as a lone soprano 202 melodic line with accompaniment in the bass* This gives more freedom* Witness, for example, the skip of an octave in measure five (5) of the Reprise* Again Le Begue resorts to a motive of which occurs twelve times in a piece of twelve bars* This is confined mostly to the soprano line, occurring four times on the second beat of the measure* i|* Form Very regular. As was found previously in one of these variations to a dance form, the Double of this Bourree consists solely of filling in notes between the original soprano line * The result is pleasant enough, but the workmanship shows no great ingenuity* In measure four ( i j . ) of the Reprise of both Bourree and Double, original edition, there is a sharp sign above the E in the soprano. The only explanation would be that Le Begue wanted the trill to start on F#above * 203 Menuet 1. Harmonic Conforms to contemporary practice* 2 * Contrapuntal No outstanding contrapuntal treatment* 3• Melodic-Rhythmic The two phrases which make up the First Section are similar, but not identical* One might say that in the second phrase, one finds diminution treatment of the first* I 4 -* Form Regular* 0 The Reprise is not marked by an R. in the original copy and is undoubtedly an error of the engraver, for all previous pieces have been thus marked* 2me Menuet 1* Harmonic The phrase ends on a submediant instead of tonic 2014. as expected* Also, the First Section does not modulate but concludes on a tonic chord. In the Reprise, one feels a sequential treatment in measures one and two (1-2)* In measure six ( 6 ) of the Reprise * the D minor chord seems out of place* This F natural is merely one of Le Begue»s idiosyncracies. 2. Contrapuntal No outstanding contrapuntal treatment* 3• Melodic-Rhythmic Profuse ornamentation* In soprano of measure eleven (11) of the Reprise is one of the few times where Le Begue actually indicates phrasing* 1 - 1 - * Form Regular* 0-------- In the original edition, the second Menuet appears before the first* However, perhaps only the titles are incorrectly placed* Also, in the original edition there is some con fusion in the ending* If the second ending is to be 205 taken as such, the E in the final chord riust be changed to D. This must be taken as the second ending, for it is in the style of a coda. Also, no bar separates the last two measures in the original. 206 SUITE IN A MINOR Prelude Line Three: Soprano, add ^ to G This Prelude is similar in style and scope to those previously encountered, with one exception* Hero for the first time. Le Begue does not repeat the initial motive * The short sections separated by bars (oblique dashes in the original) have previously been stated to remain enigmatic as to the method of playing* This writer suggests that the notes enclosed between bars be sustained* In other words. Le B^gue may be trying here certain chord combinations to test the justness of the tuning. Allemande 1 * Harmonic The modulation to C major takes place in measure {3) f but it is only after one and one half measures that the tonic is again heard* In the Reprise, one has the Impression of many modulations, C, G, C, G, C, d, a, an impression which is given merely by successions of seventh chords. 207 2 « Contrapuntal No outstanding contrapuntal treatments* 3• MeIodic-Rhythmic Again one finds several basic rhythmic motives which seem to govern the character of the piece. The most obvious one is ^ ^ , this occurring six times throughout the piece* Three other motives found fre quently in this Allemande are «TA J Ï , J J and s~n . If* Form Very regular* Courante Reprise : measure 3, alto, measure 7, alto, measure 9, alto. beat 2, add ^ to G beat 1, add ^ to G beat I j . , add to F 1* Harmonic In measures five and six of the First Section, the progression V - vi is unsmooth due to the rest and ultim ate skip in the bass line* The change minor-major in measure six (6) by means of C^ is a favorite habit of Le Begue* 208 measures one and two ( 1-2) of the Reprise, the feeling of the dominant is emphasized* The modulation to C major is smooth* E l iv V C Vi V In measure six (6), notice how the root of the tonic in G is raised, making a dominant in A minor* There is, however, no real modulation, for the section is clearly in G major* 2* Contrapuntal No outstanding contrapuntal treatment* 3• MeIodic-Rhythmic Conforms to contemporary practice* 1 | _ * Form Regular* Both endings are wrongly notated in the original* In the First Section, treble clef, the chord should be a dotted half tied to a half and followed by a single E whole note* If kept like the other pieces, there should be six beats in the bass* There are only five* These have been corrected* 209 In the Reprise, the Petite Reprise at the end is marked by the usual sign, but the position of the sign does not coincide with the note values at the end* This has been corrected by the addition of another ending* There are several other discrepancies in the Reprise * In measure five {^), there is either a rest or a dot missing in the third beat of the tenor* The editor has thought best to supply a rest* In measure seven (7. ) 9 the editor has added a dot to the alto on the first beat* In measure nine ( 9 ) , the soprano G# is in correctly placed over the E in the alto* This error has been rectified* 2me Courante First Section: measure 3» soprano, beat 5, add ^ to G Reprise ; measure 3$ soprano, beat 2, add ^ to C measure 6, bass, beat l j _ , add ^ to G 1* Harmonic In the Reprise, the modulation to the original key is postponed until measure seven (%)# In the meantime, pseudo-modulations are achieved from C to G to C and finally a* In measure two (^) is again found a shift of modality* The A minor chord on beat five becomes A 210 major on beat six* 2 * Contrapuntal No outstanding contrapuntal treatment* 3• MeIodic-Rhythmic Conforms to contemporary practice ll* Form Regular* Sarabande Grave Reprise: measure 6, alto, beat 1, add 4 to C measure 9, soprano, beat 2, add to G 1* Harmonic In the First Section, the modulation to the relative major is not too effective. This is due to the fact that in measure seven (J) we find a dominant seventh chord in G major resolving not to a tonic, but to another dominant seventh, this time in C major* The Reprise begins naturally enough in C major, but in an entirely different register. Measures five to seven (5-7) are preceded and 211 followed by an E major chord. What Le Begue does in the interim is a little obscure. There are too many unre lated chords to give any unity* 2. Contrapuntal In measure three (2) of the Reprise, the tenor seems to echo or answer the statement of the soprano in measure one (2 ) • 3* Melodic-Rhythmic The rhythmic motive J ^ occurs frequently, usually on the last two beats of the measure. This fig ure is used fourteen times in a piece of twenty-four measures. I 4 .. Form Very regular, 0 The Reprise has in reality three endings, the first, then the Petite Reprise, followed by the définitive ending# Q3.jgue First Section: measure I6, tenor, beat 3» add 4 to G measure 21, alto, beat 2, add 4 to G 212 1. Harmonic The obvious sequence is not too often found in Le Begue, but here he uses it in a manner which reminds one of the masters of a much later date. See me asures ten to thirteen (10-13) of the Reprise♦ In measures seventeen and eighteen (17-18). Le Begue uses his favorite V - vi to extend his material. 2• Contrapuntal This is one of Le Begue * s most masterful works, at least of those in the first volume. The composer here shows not only that he is aware of contrapuntal style but that he knows how to use it. Such examples of two-part writing as measures one to nine (1-9) show the reflection of a musician with good taste. There is great variety and interest in the part writing. Each voice enters in imitation and there is even an additional entry in the bass at the end, a sort of codetta, a process which Bach often used (Gigue from the French Suite in G major)• In the Reprise, it is interesting to notice the dexterity with which Le Begue uses throughout the melodic idea of the second measure of the theme. Again, the statement of the theme in the lowest 213 register, measures twenty-four and twenty-five (21^-25), gives the impression of a codetta. 3• Melodic-Rhythmic The rhythmic figures are varied, in good taste, at times unusual (measure eleven and fifteen,11, 15) are not at all stereotyped. The theme of the Reprise stands in contrast to that of the First Section. I j . . Form The form grows from the different entries of the contrapuntal voices. Menuet First Section: measure 2, bass, beat 3 , add 4^ to C 1. Harmonic In measures one and two (1-2), Le Begue again goes from one mode to the other, from A minor to A major, even if only briefly. The First Section ended on a C major chord, but the Reprise begins in E major. From here Le Begue passes through G major and back to the original key. 2 il: 2. Contrapuntal No outstanding contrapuntal treatment. 3• Melodic-Rhythmic The basic melodic motive, used mostly in the soprano is J ol immediately followed by J 4 . The re verse procedure is also found. If. Form Very regular. Most of this Menuet is written in from two to three voices. Some of the cadences end on octaves or empty fifths. This light treatment makes for simplicity and charm. When Le Begue goes from four to three to two voices, he does so very naturally. 2me Menuet 1. Harmonic Here Le Begue offers a surprise, for this Menuet is written in A major instead of A minor. The reason for this is obscure. Was it merely added as an afterthought? There seems to be no logical reason except that it could be used as a contrast to the first Menuet. The chord in measure seven (7) is odd. It would 215 seem to be a tonic with a pedal point over B and yet the pedal point does not resolve. It is likely that the B is a mistake and that A should be substituted. 2. Contrapuntal No outstanding contrapuntal treatment. 3. Melodic-Rhythmic There is a slight attempt at unifying the two sec tions. The soprano melody of the first measure (1) of the Reprise is an inversion of the corresponding measure of the First Section. Also the third measures (2) of both sections are similar. In the First Section, the bass gradually descends from the beginning a distance of one octave. if. Form Very regular. 216 SUITE IN Ç MAJOR Prelude Line 3* add 4 to P This Prelude is similar in style and scope to those previously encountered. Allemande to F Reprise: measure 7, soprano, beat If, add 4 1. Harmonic The modulation to the dominant is conventional enough in itself, but the use of passing tones and suspen sions lends an air of modernity to this progression. The chord in measure seven (%) is created by a passing tone and a suspension giving the illusion of a ninth chord on B. However, the soprano C resolves to b and the F# in the tenor proceeds to G and we find that the true chord is a G major chord of the first inversion. Notice again the suspension figures in measure one (2)» tenor and bass. The same type of suspension figures is found in measure six (6) of the Reprise. 217 2. Contrapuntal There Is slight imitative treatment betv/een soprano and bass in measures two and three (2-3)• This also occurs in measures five and six (5-6). There is the same type of imitation in the Reprise, measures one and two (1-2). 3• Melodic-Rhythmic Most of the material seems to evolve around var iants of a rhythmic type. This is found as4^fî^\ JTR* or ^ ^ Jnn and other similar motives# The pedal on D in the Reprise in measures six and seven (6-7) is effective and is resolved. In measure seven (7.) of the Reprise is also found the curious pair of sixteenth notes which were noticed in previous works. if. Form Very regular. Courante First Section: measure 3, bass, beat 3 » add*^to F measure 7, bass, beat 1, add to F Reprise: measure 5, soprano, beat If, add ^ to F measure 7, bass, beat 2, add 4 to F 218 1. Harmonic In the First Section there is a modulation to the dominant without any other intruding tonality. 2. Contrapuntal No outstanding contrapuntal treatment. 3* Melodic-Rhythmic The melodic line in the First Section is somewhat lacking in interest, perhaps on account of an excess of stress on B in measures three, four, five and six (3-6), but the accompaniment is smooth. if. Form N . As in most of Le Begue»s Courantes, this piece is conceived as a melodic line with accompaniment. Here Le Begue carries out completely the spirit of the French Courante with its alternation of accents 1 2 3 S 6 and 2 2 3 I ) . 5 6. In both sections, the composer extends his melodic lines so well that one has a feeling of repose only at the end of each section. 219 2me Courante and Double 1. Harmonic Notice the effective rising progression in the bass clef of the First Section. Apart from this, the Courante conforms to contemporary practice. 2. Contrapuntal No outstanding contrapuntal treatment. 3 • Me Iodic-Rhythmic Conforms to contemporary practice. If. Form Regular. 0 As in most previous Doubles, this one consists of filling in notes between the original soprano line, while retaining the original accompaniment. Chaconne Theme and . 1st Couplet : measure llf, soprano, beat 2, add V to B measure llj-, bass, beat 1, add • to F 2nd Couplet : measure 5, soprano, beat 1, add • to measure 6, soprano, beat 2, add 4 to G 220 3rd Couplet: measure 5* soprano, beat 2, add to C Ifth Couplet: measure 3, soprano, beat 1, add to F 1. Harmonie The basic structure of the Chaconne theme is: V I3 V The use of suspensions is in reality the chief V 3 1 V 3 factor in the attractiveness of this four bar theme* The in the first full measure is one of Le Begue * s devices and gives a momentary feeling of the key of F. The al ternating soprano and alto in measure three (2 ) are char- acteristic of Le Begue *s style* Contrary to the other couplets, there is no double bar separating this couplet from the theme of the Chaconne The in the first measure also gives a feeling of the key of F major but, even though we know that the key of C is still in evidence, the B^ as here employed gives a much smoother feeling than B natural. In measure six (6) the B natural as marked in parentheses is conjectural. The harmonic structure of the Second Couplet is more complicated and less logical. The cadence V - i in A minor in measures four and five (If-S) is non prepared and is weak after the strong V (C) feeling in the preceding measure* From what follows, this chord in A 221 minor is also in G major, but a possible progression such as ii - iii - IV-V - I leaves much to be desired. In the Third Couplet there is a strong modal feel ing, due to the constant change of major and minor tonali ties. The couplet starts in C major but immediately modulates to A minor (note the beginning skip of a dimin ished fifth in the bass) . In measure four (ji) , the minor suddenly changes to a major and the next measure sounds as though a dominant seventh will lead to G major. Instead we find G minor which continues to the final chord which concludes in major, all of which is, strangely enough, very effective. In the Fourth Couplet the harmony and melodic line are satisfactory for the first six (6) bars. Then, pre- sumably in the key of G major. Le Begue again uses a pro gression of ii - iii. This Couplet concludes with empty octaves. 2. Contrapuntal No outstanding contrapuntal treatment. 3. MeIodic-Rhythmic Due to the suspension treatment of the voices, the melodic lines are broken up into motives of rather short 222 duration. There is one curious example of voice leading in the Fourth Couplet. In measures five and six (^-6) the soprano line of E, F#, G, A, B, C, D, establishes a di rection, but in the next measure. Le Begue skips down a minor sixth. I j - . Form The theme of the Chaconne is one of the simplest imaginable, but one of the most effective and one of the most workable. If played as directed, the theme, combin ed with the first couplet of the Chaconne comprise thirty- two measures while each succeeding couplet is eight measures in length. Also, in each repetition of the theme, the first couplet is repeated. However, structur ally speaking, there is a fine balance between the theme and the various couplets# Bourree and Double 1# Harmonic / This Bourree is a good example of balanced har monic progressions on the part of Le Begue. The progres sions of the first phrase are: 223 I - IV - I3 - V7 vl - V I3 - v7 V - I The Reprise is equally well handled* The domin ant in A minor in measure two (2) is interesting as well as the light final cadence which ends on a full chord, but which is preceded by a section in two voices* 2 * C ontr apunt al No outstanding contrapuntal treatment* 3. Melodic-Rhythmic Conforms to contemporary practice* I j . * Form Regular. Reprise: measure 8, soprano, beat 6, add ^ to C measure 10, bass, beat 6, add to G This Double is primarily a melodic variation with the soprano line gaining motion by the addition of notes* Although the procedure is by no means a new one or an es pecially skilled one, it is interesting to see how Le Begue breaks the monotony of a continually moving soprano line by a break in the rhythm at the fifth measure and 22i4. also the seventh measure* In the Reprise, Le Begue varies from previous habit and adds bits of variation to other parts. Tliis is noticeable in measures two and five (^, * 1. Harmonic Conforms to contemporary practice* 2• Contrapuntal In this Gigue, the voices enter in almost exact imitation. There is also in measure five (^) an imita tion in the soprano of a four note figure in the bass. The procedure is in good taste. The second voice of the main theme enters on the tonic, followed by an interlude modulating to the dominant* The two remaining voices enter in imitation on the dominant and the First Section ends on the dominant. In the Reprise * the composer varies the pattern of construction in the First Section* The second voice enters on the second half of the second measure, the third voice follows almost immediately in the tonic and the bass does not enter in imitation* The rest of the movement is devoted to an embryo development in which rhythmic ideas, if not melodic ones, from the theme are occasionally 225 brought out* Notice in measures twelve to fourteen (12- l l j . ) the little imitative figures* These are the same as the one in measure five (^) of the First Section* A more contrapuntal treatment is used in this concluding section, each voice being clearly brought out and interestingly handled* 3* Melodic -Rhythmi c The theme of the Gigue is a simpls onq built on tones from tonic and dominant harmony* Noteworthy is the fact that Le Begue varies what could be a monotonous rhythmic pattern of J J Throughout he alternates the pattern by either J .JT ^ , or 4 4. l j _ * Form The form evolves from the entrance of the contra puntal voices* 0 ----------- There are many dots missing in the original copy and these have been supplied in parentheses* Also, in the Reprise* a change of clef takes place in the seventh measure (%)* The editor has changed clefs one measure earlier to avoid that addition of unnecessary leger lines* 226 An extra ending has been added to account for the sign in measure twelve (12) of the Reprise* Gavotte and Double Reprise: measure 2, soprano, beat 2, add ^ to C measure I j . , bass, beat I j . , add ^ to P 1. Harmonic The first two measures (1-2) are nothing but a series of dominant chords leading back to the key of C* The device used is sequence* Measures four and five (Ij.-5) are also modulatory passages. In the Reprise, notice in measure four (^) that Le B^gue ends on an E major chord* The following A major chord, which might be considered the resolution of the previous one, is taken in another register, producing a unique effect* 2 * Contrapuntal No outstanding contrapuntal treatment* 3# Melodic-Rhythmic There is a sequential treatment of the soprano melody in measures one to three (1-3) of the Reprise, 227 Also, the dotted note values in measure seven (%) provide contrast to previous measures* U-* Form Very regular* The Double is less effective for reason that the original soprano line is already amply supplied with notes. The slight variations on the second halves of the measures are hardly enough to call this a real Double* The only change in the left hand occurs in measure five (5) of the Reprise* Menuet 1* Harmonic The Menuet is quite conventional* Notice the similarity of the first four bars (l-ij.) with the corres ponding ones in the First Section. 2• Contrapuntal No outstanding contrapuntal treatment* 3 * Melodic-Rhythmic Throughout the entire Menuet, the figure J • ^ 228 predominates. It occurs seven times in its unaltered form. In the Reprise is found one of the few isolated examples of indicated phrasing. The eighth-notes in measure three (_3) are marked to be phrased in groups of two. L# Form 0 Very regular. 229 SUITE IN F MAJOR Prelude This Prelude is similar in style and scope to those previously encountered* Allemande First Section: measure 5, soprano, beat I j . , add ^ to B % 1. Harmonic The Allemande is conventional in most respects* There is much feeling of modulation. In measure two {2) of the Reprise, Le Begue seems to modulate back to F major, but this is by no means final, for from here he passes to D minor, C major and eventually again to F major* 2 * Contrapuntal No outstanding contrapuntal treatment* 3• Me Iodic-Rhythmic The rhythmic element is varied throughout, at times a trifle too much for the character of the Alle mande * In measure one (1) one finds a combination of two 230 rhythmical elements which is seldom used but very effec tive. i k-m Form Regular. Courante 1. Harmonic In the Reprise, the seeming return to F in measure two (2) is no return to the original key, but to a chord on F which is the dominant in the key of This is too evident to be mere coincidence. In measure five (5), Le Begue prepares a cadence leading to what one would think would be a final measure in F. But, Le Begue goes to the supertonic and extends the phrase one extra measure. 2. Contrapuntal No outstanding contrapuntal treatment. 3# Melodic-Rhythmic The First Section again contains one of Le B'egue’s 231 never ending melodies# There seems indeed no logical place for it to stop except at the very end. In the Reprise, measures one to four (l-lj) , the melodic range of the soprano is almost static, giving a monotonous effect. This is accentuated by a similar rhythmic treatment. I j . . Form This Courante is more Germanic in feeling than French. Almost every measure is neatly parceled into three beats, giving a smoother movement than the classic French Courante. 2me Courante 1. Harmonic In measures five and six (5-6) of the First Sec tion* Le Begue uses the V - vi as a means of establishing the key of the dominant before actually proceeding to the final cadence. 2. Contrapuntal No outstanding contrapuntal treatment. 232 3* Melodic-Rhythmic Conforms to contemporary practice. I j . . Form In this Courante, the First Section consists of a seven-bar period with suggested phrases of three and four measures each. The Reprise consists of a nine-bar per iod with suggested phrases of five and four measures each, In view of the flowing character of the French Courante, this is passed over by the casual listener. 0 ---------- This piece is not marked as a 2me Courante in the original, but this editor has noted it so in his edition. Gigue Reprise: measure 6, soprano, beat 6, add ^ to B 1. Harmonic In the First Section all of the voices begin in the first measure and the theme stated by the soprano voice is not echoed in the other parts. The dotted rhythms also bring to mind the Canaris with a similar rhythmic pattern. The voice parts are clearly brought 233 out with contrasts of scalar movements and leaps. The broken octave device is used often in the Reprise. 2. Contrapuntal The contrapuntal element in this Gigue is at a very minimum. In the Reprise* the initial rhythmic fig ure T 4 A ( 4 ) of the soprano is found in the other voices. The melodic motive which accompanies this is used some times in its original form, sometimes inverted. 3* Me Iodic-Rhythmic Conforms to contemporary practice. I j - . Form This is not a Gigue in the same sense as those previously encountered. Similar in style, not in form, it more nearly approaches that of the English Virginal school than that of the German. There is very little imitation. Sarabande 1. Harmonic Most of the movement is descending. Note the 23k soprano and bass In measures one to four (I-I4 - ) ; A, G, P, E in the soprano and P, E, D, C in the bass. In the Reprise a similar descending pattern is used to that of the First Section. 2. Contrapuntal No outstanding contrapuntal treatment. 3. Melodic-Rhythmic In measure seven (%) of the First Section one again finds the series of two sixteenth notes. i j - . Form All of Le Begue »s Sarabandes follow the same pattern-— 4 4 . X* with a beginning harmonic pattern of I - V - I or I - IV -I. This is found in other works of the period and also reminds one of the Sarabandes of Handel. Following the Reprise is found a Petite Reprise which is written out in full. The second measure (^) of the First Section in the original contains plus a ci and a ^ . The editor has changed this to ^ X* ^ # 235 Gavotte Reprise; measure 5, tenor, beat i j . , add 4 to P measure 7, bass, beat add ^ to E All the elements in this Gavotte conform to contemporary practice. 236 SECOND BOOK OF PIECES DE CIAVECIH In the Mercure Galant for the month of October, 1687, appeared the following announcement: Mr. Le Begue, organist to the king, has composed • a book of the most beautiful harpsichord pieces that have yet appeared, containing Allemandes, Gavottes, Menuets, Bourrees as well as Chaconnes, Sarabandes and others. Those of your friends who enjoy the harpsi chord will find this book at the shop of Mr. Noel, rue Simon Le Franc, between the Swan and the Golden Lion.^ The following month there appeared a similar an nouncement in the same magazine. I will add to what I told you the last time con cerning the new harpsichord pieces composed by Mr. Le Begue, organist to the king, remarking that they are now sold at the shop of Mr. Lesclop, organ builder, rue au Maire, near St. Nicolas des Champs. Your friends will perhaps be happy to learn this, for he has sent copies to all cities in the kingdom, where they are praised not only for their extreme beauty, but also for the facility required to learn them.2 From these announcements we learn that the second volume of Le Begue's Pieces de Clavecin appeared in I687, 1 The original text is as follows : "Mr. Le Begue, organiste du roy, a compose un livre des plus belles pieces de clavecin qui ayant encore paru, tant Allemandes, Gavottes Menuets, Bourrees que Chaconnes, Sarabandes et autres. Celles de vos amies qui aiment le clavecin, trouveront ce livre chez Mr. Noel, rue Simon le Franc, entre le Cygne et le Lion d*or." Mercure Galant. October, I687, p. 367. ^ The original text is^as follows: "J^ajousterai â ce que je vous ay dit la derniers fois des pieces nouvelles de clavecin, compos'ees par Mr. le Begue, organiste du Roy, qu*elles se vendent présentement chez Mr. Lesclop, faiseur d *orgues, rue au Maire, proche St. Nicolas des Champs.” 237 although the edition itself bears no date. The works must have been extremely popular to V demand a second edition within a month. The copy used by this writer is the one which appeared one month after the original edition, for the frontispiece reads as follows: Second Livre de Clavecin ^ Compose par Mr le Begue ^ ^ Organiste du Roy et de St Mederiq et Se vend Chez le Sieur Lesclop, Facteur d'Orgues Rue du Temple au Coin de la Rue Chapon A Paris Avec privilège du Roy% It is amusing to remark, in passing, that the articles in the Mercure galant are addressed to the fem inine sex (celles, amies) as though most of the copies were sold to the ladies. Apart from the frontspiece, there are no other ex planatory remarks, nor is there a table of ornaments. The music itself follows immediately. Vos amies seront peut-etre bien aises de 1 'apprendre, parce qu'il les envoya dans toutes les villes du royayme, ou elles ne sont pas moins ^estimées par la facilite qu'J.1 y a de les apprendre, qu'a cause de leur extreme beaute.” Mercure Galant * Novembre, I667, p. 2I 4.O. 3 - Bibliothèque du Conservatoire, Res, 633 # 238 One notices that Le Begue does not hesitate to give the sets of pieces in this volume the name of Suittes. There are six suites in this volume and the prelude is conspicuous by its absence. The suites are as follows: 1. Suite in D minor Allemande Courante Sarabande Gigue Menuet 2, Suite in G minor Allemande 2me Allemande Courante Sarabande Rondeau Gigue Passacaille Menuet Gavotte 2me Gavotte Menuet 3. Suite in A minor Allemande Courante Sarabande Gavotte Menuet I j _ . Suite in A major Allemande Courante Sarabande Gigue^ Bourree and Double Canaris 5. Suite în P major Allemande Courante Gigue Sarabande Menuet 2me Menuet Chaconne 6. Suite in G major Allemande Courante Sarabande grave Chaconne grave Menuet Gigue^ Bourree Air de Hautbois Gavotte and Double Chaconne 239 Or, if grouped as to form, the result would be; Allemande 7 Courante 6 Sarabande 6 Gigue 5 Menuet 7 Gavotte k Bourree 2 Chaconne 3 Canaris 1 Air de Hautbois 1 Rondeau 1 Passacaille 1 The fact that, with one exception, the four prin cipal parts of the suite are present, might make one sup pose that the suite could be interpreted as a unity. On the other hand, one may argue that the second suite contains eleven pieces which would make such a supposition unlikely. It is also to be noticed that in this volume there are three suites in a minor tonality and three in a major tonality. It has already been seen that Le B^gue limits himself to a narrow range of keys, never beyond three accidentals. 2i j . O SUITE IN D MINOR Reprise: measure 2, tenor, beat 3, add ^ to C measure 5, tenor, beat 1, add 4 to B measure 6, soprano, beat 1, add ^ to P 1. Harmonic In the First Section, the entire first measure and first three beats of the second measure consist solely of tonic harmony, giving a rather static effect# In measure three (^), the chord on the fourth beat is a strange one at first hearing* The tonality is that of P major. In the tenor voice, S which occurs as a passing tone from P to D engenders the feeling of a chord built on the leading tone* The B natural in the bass accents this effect of unnaturalness. And if that were not enough. Le Begue goes through exactly the same pro cedure in measure five (^) • 2. Contrapuntal No outstanding contrapuntal procedure. 3* Melodic-Rhythmic In measure two (^) of the First Section, Le Begue indicates the phrasing for the sixteenth notes in the original edition. 2i ) . l Although other composers exhibit a tendency toward ascending or descending bass lines, only Le Begue uses it with such obvious intention. During the first four measures (1-Ij.) the bass ascends from D to C, almost an octave. There seems to be much less ornamentation in this Allemande than in those previously encountered. Apart from the soprano line, there is only one instance of an ornament in another voice. i j . . Form Very regular. Courante First Section: measure 3, soprano, beat 5> add ^ to C measure o, tenor, beat 5, add to F measure 8, bass & tenor, add dots Reprise: measure I j . , tenor, beat I 4., add ^ to B measure 9, bass, beat 3> add to F measure 11, alto & tenor, add dots 1. Harmonic Notice throughout the firm harmonic foundation, accomplished mainly through a skillful combination of tenor and bass voices. For example, in measure seven {7) 2 1 4 - 2 of the Reprise the two voices diverge by step in a most natural fashion. In measure five (^) of the Reprise, the feeling of a major seventh chord on P is effective, caused, as it were, by a suspension on E in the soprano from the pre vious measure. 2. Contrapuntal No outstanding contrapuntal treatment. 3. Melodic-Rhythmic The skip of a fourth seems to be a favorite in terval with Le Begue. In the previous book, he even built a Bourree on the idea of skips of a fourth. In measures five to seven (5-7) of the First Section there are three skips of a fourth in the soprano. Notice the figure in the bass clef of measure five (^) - - J • ^ - i I . This motive is found again in the Reprise, measures two, nine and ten (2*2*12) • Form Regular. 2 1 4 - 3 Sarabande First Section: measure I j . , soprano, beat 3, add ^ to G Reprise: measure 5* soprano, beat 1, add ty to B measure 9* soprano, beat 3* add ^ to E measure 11, soprano, beat 2, add to F 1. Harmonie The First Section ended on the dominant, an A major chord, but the Reprise begins in A minor. In the Reprise. measure eight (8), at the end of what one may call the first period, the cadence ends on a unison F. Again at the very end. Le B^gue terminates his Sarabande on a unison D. Measure seven (%) appears monotonous as it uses the same harmony as the preceding measure. 2 * Contrapuntal No outstanding contrapuntal treatment. 3# Me Iodic-Rhythmic Here, again, we find a typical procedure of Le Begue. In the First Section the bass line descends chromatically from D to A during the first four measures (l-Ij.) and in the following three measures rises from D to B^. 2lA In measure five (^) one finds the two identical sixteenth notes which have been found in previous works, but seems to be a special feature of the Sarabandes. One might criticize the excessive use of A in the soprano of measures three and four • In the Reprise it is the soprano line which, although not scalewise, descends from the initial E to F in the seventh measure (2)• i j . . Form Regular. Gigue First Section; measure I j . , soprano, beat 6, add ^ to C measure 5, soprano, beat 3* add 4 to B measure 7* soprano, beat 6, add ^ to B Reprise : measure 2, tenor, beat 5* add ^ to C measure 3* soprano, beat 5* add ^ to B 1. Harmonic In the First Section, the first four measures (l-lj.) form a well-rounded phrase. The following four measures sound as though a cadence on C were forthcoming. But instead. Le Begue achieves a plagal cadence and continues his material for two more measures. In the First Section there is a certain lack of 2 1 4 - 5 interest due to the fact that measures five and six (5-6) are too similar to measures seven and eight (7-8)• Both in the First Section and Reprise there is a tendency to create diversity of interest by use of suspen sions# 2. Contrapuntal In the Reprise, the opening figure ^ j is repeated in the tenor and is re-echoed several times in the section, measures six and seven (6-7). 3# Melodic-Rhythmic The ornamentation is amazingly sparse in this work# L# Form Le Begue alternates between two types of Gigues, one with imitative voice entries and the other a composi tion using some contrapuntal technique, but with a sta tionary melody in the soprano# This Gigue is of the latter type# 0 ----------- The note values of both the ending of the First Section and that of the Reprise are incorrect in the ori ginal copy# This has been rectified# 214-6 Menuet 1. Harmonic The charm of this piece lies in alternations of major and minor# This is probably a survival from mo dality, a kind of tonal-modal idiom common to a slightly earlier time# The in measures three and seven comes as a shock, but it is only part of the normal domin ant chord# What creates this are perhaps the C naturals in the preceding measures# In the Reprise. measures three and four provide a charming answer to measures one and two (1-2)• 2# Contrapuntal No outstanding contrapuntal treatment# 3# Melodic-Rhythmic Conforms to contemporary practice. I j . # Form Very regular# 2k7 SUITE IN G MINOR Allemande Reprise: measure 7» bass, beat add to F measure 9, alto, beat 3, add ^ to E measure 9, soprano, beat 3, add ^ to B 1. Harmonic In the First Section, the passages in thirds give greater body to the framework* Notice, in measures two and three (2-3) the suspension and sequential treatment in the soprano and alto. 2• Contrapuntal In the First Section the initial idea is trans formed somewhat and used later in this section. These changed ideas are found in measures two, four and six (^,i^,6) • Notice in the Reprise that the scalar pattern in the bass of measure seven (7. ) is repeated in the soprano line of the following line. 3* Melodic-Rhythmic Throughout there is constant movement, each voice performing a definite function. The part writing is smooth. 2 1 4 . 8 In the Reprise the initial scalar passage is immediately carried into the bass. One curious fact in this Allemande is that Le Begue uses more often than not the figure X Ü for the last two notes of the soprano line in each measure. This is the technique of the French Courante and seems strange when used here in connection with the Allemande. Form This Allemande shows Le Begue in full command of the form, both as to spirit and construction. The parts have taken on more movement, scalar sections play an im portant role, the rhythmic element is pushed to great variety. The spirit and flow of parts is not too far re moved from that found in the later school of German com posers. 2me Allemande Reprise: measure $, bass, beat I 4 ., add ^ to E measure 7, soprano, beat li, add S to F 1. Harmonic While this Allemande begins similarly to the first Allemande, the continuing structure is different. 2 1 4 - 9 melodically and harmonically* In the First Section, whereas the first Allemande modulated to the dominant, this'one goes to the relative major. The Reprise contains a nice final section, pre paring the cadence which ends in G major. In measure five (^), the tenor A passing tone on the fourth beat, plus the E natural in the bass produce an effect which is at once cadential and modal. 2. Contrapuntal There is no real use of contrapuntal devices in this Allemande, but the writing is contrapuntal through out. The answering back and forth of scalar patterns in the various voices bears witness to this. 3. Melodic-Rhythmic There are many scale passages, some of which are almost identical, for example measure five (5) of the First Section and measure two (^) of the Reprise. The importance of these scalar lines is emphasized in that the other parts are at times thin and slow of motion. Notice how Le Begue continues these scalar passages. In the First Section only one measure is free from them. 250 In the Reprise, measures one and two (1-2) use the same rhythmic idea as that in the corresponding mea sures of the First Section, although the note pattern is not the same * Courante Reprise ; measure 6, soprano, beat 3, add 4 to E measure 8, soprano, beat 3» add ^ to B 1. Harmonic In measures one and two (1-2) of the Reprise notice the series of thirds in the tenor and bass, also the skip of a sixth in the tenor of measure three (^)• Apart from this, the Courante conforms to contemporary practice• 2. Contrapuntal No outstanding contrapuntal treatment* 3# Melodic-Rhythmic With the exception of the beginning and conclud ing measures, also cadence points, this Courante again consists of a long melodic line with accompaniment* The construction is well-conceived, the position of the ac- 251 companiment changing with a change in melodic position* I 4 -. Form Regular* Sarabande Reprise: measure 5, soprano, beat 1, add ^ to B measure 11, soprano, beat 3, add to E 1* Harmonic The First Section ends on the dominant, a chord in D major* Le Begue begins the Reprise with a D minor chord immediately followed by one in D major* In measure thirteen (]^), the C# becomes C natural* This last is necessary for here Is an effective modulation to G minor* Assuming that the tonality in measure twelve (12) is D minor, the final chord in measure thirteen (13) is a dominant in this key. This is followed by a dominant in the key of G minor* The final cadence of the Reprise is slightly dif ferent from other pieces encountered* Here the progres sion is V7 - VI - Ig - V - i* 2* Contrapuntal No outstanding contrapuntal treatment* 252 3• Melodic-Rhythmic A characteristic of this Sarabande is its seeming chromaticism, due of course to the use of the melodic minor scale and the additional use of B or B^* In the First Section, the E in measure five (5) becomes Eb in measure six (6). Notice also the melodic line* In each of the two phrases comprising the First Section, the melody descends the interval of a fourth* The usual repeated sixteenth notes are absent. However, in measures one and five ( 1^,^) of the Reprise one finds a variant of this, that is, a succession of two different sixteenth notes* I j . * Form Regular. Rondeau Second Line: measure 1, alto, beat 1, add S* to F 1* Harmonic The First Section or section A ends on the domin ant * Section B begins in D minor and ends in B^. The final section, section C, begins in G minor by assumption 253 of key and repeats the first section, except for the fin al cadence. 2• Contrapuntal No outstanding contrapuntal procedure. 3. Melodic-Rhythmic The melodious soprano line is usually accompanied a third below by the alto voice. Notice in Section B that the same rhythm is main tained in the soprano as that in the First Section. I 4.. Form The form of this little piece is very regular. There are three periods of two measures each. The third period is an almost direct repetition of the first. Hence, the form is A B A. Gigue First Section: measure 10, soprano, beat 6, add 4 to E Reprise: measure 3$ soprano, beat 3* add ^ to F 1. Harmonic One might say that this Gigue is constructed as a 2$k series of devices. Suspensions, tied notes, anticipa tions, passing tones are used with profuseness. There is little actual imitation throughout and the writing is quite harmonic and tonal. As examples of this, notice the suspension treat ment in measure one (3.) of the First Section. In mea- sures eleven to thirteen (11-13) of the Reprise, suspen sion is combined with sequence. In the First Section, measures six and seven (6-7) seem almost to form an answer to a kind of query made in measures four and five (L-5). 2. Contrapuntal There is a certain amount of contrapuntal treat ment but it is fragmentary. In the first measure (^) of the First Section there is a fragment of soprano melody which is re-echoed in the tenor of measure three (^). There is similar treatment in measures nine and ten (9-10). In measure five (5) of the Reprise there is a motive in the bass which is taken from the initial soprano melody. This motive is restated in the alto voice of measure six (6). 3 . Melodic-Rhythmic Any outstanding treatment in this field has been 255 covered in the previous sections# li# Form Regular* Passacaille Measure 57, soprano, beat 2, add S to F 1. Harmonic The work begins with a two-phrase period with the structure: i I IV I III - VI I V - 1 \ I I iv I V Following are a series of eight-bar episodes, some of which contain a similar harmonic structure, some not. For example, the second section following the original statement progresses: i | v | i v - v | v | i | v I 1 I IV7 The different sections are varied by means of chromaticism, change of key and melodic configuration. A full realization would only be possible with a harp sichord of several tone colors. The last nine measures contain several chords which sound like major seventh chords but which, of course, occur only as a result of passing tones. 2 5 6 2• Contrapuntal There is no real contrapuntal treatment. In measure thirty-three (33) one finds a scalar passage which is imitated in the following measure. This is about as far as contrapuntal procedure goes in this Passacaglia. 3 • Melodic-Rhythmic About the only voice which is interesting, melo- dically speaking, is the soprano, characterized by a constant chromaticism. I 4 .. Form It is really a Chaconne. All the difference is that the movement of the Passa caille is ordinarily more sober than that of the Cha conne, the melody more ten der and the expression less lively. It is for this reason that Passacailles are almost always written in minor mode, that is to say a mode whose mediant is only a minor third from the tonic. C»est proprement une Chacone. Toute la dif ference est que la mouve ment en est ordinaire ment plus grave que celuy de la Chacone, le Chant plus tendre et les ex pressions moins vifves. C'est pour cela que les pas sont^presque toujours travaillées sur^des Modes mineurs, c*e®t a dire, dont la Mediante n'est éloignée de la Finalle que d'une 3® mineure. This work is not at all in the form of the Passa- caglia as we know it. The work must be considered as a series of varied episodes, each more or less fitting into 1 Brossard, cit. 257 the pattern as a whole. The last five measures are in the style of a codetta or a rounding-off of the last section. Menuet 1. Harmonic Most of the First Section consists of two voices only progressing in sixths and thirds. The entire sec tion is an alternation of tonic and dominant, but con ceived with taste and simplicity. The Reprise begins in major, although the First Section ends on the dominant of G minor. Notice the soprano anticipations in measures six to eight (6-8). 2. Contrapuntal No outstanding contrapuntal treatment. 3. Melodic-Rhythmic Conforms to contemporary practice I 4 .. Form The First Section consists of a period of two phrases of four measures each* The first part of the 258 Reprise also contains a period of two phrases followed by a return of the material in the First Section. The form is therefore ABA. Gavotte 1. Harmonic The First Section ends on a minor dominant in stead of the usual major. This effect is quite start ling. In the Reprise, at measure four (1^) after the cadence. Le B^gue moves to a different register and con tinues. The last four measures are especially well- constructed as concerns variety of treatment in simultan eous voice parts. 2. Contrapuntal Ho outstanding contrapuntal treatment. 3• Melodic-Rhythmic In the melodic line, one finds many instances where notes are repeated. Tliis happens in the anacrusis to the First Section and measure two { 2 ), also measures one, three and four ) of the Reprise. 259 k* Form The First Section consists of four measures which when repeated forms a period. The Reprise is also very regular in form. 2me Gavotte Reprise: measure 2, soprano, beat 2, add ^ to E 1. Harmonic This Gavotte is written in the key of major instead of G minor. The same procedure was encountered once before, so that repetition of the procedure streng thens the idea that it occurs for contrast. In measure two (^) of the Reprise, the G major chord and the succeeding C major chord, occurring immed iately after a G minor chord accentuate Le Begue's use of alternating modes. The E natural in the bass of measure seven (%) does likewise. 2. Contr apunt al No outstanding contrapuntal treatment. 3* Melodic-Rhythmic Notice the melodic line of the Reprise. It 260 begins with A, rises gradually to then descends grad ually to the octave below. The high point occurs exactly in the middle of the Reprise. k. Form Regular. Menuet First Section: measure 7, soprano, beat 3, add ^ to E Reprise: measure 2, bass, beat 1, add • to A measure 8, bass, beat 1, add ♦ to B^ 1. Harmonic This final piece in the Suite in G minor is also written in Bb major. It is not strange that Le Begue should have written two Menuets within one set of pieces, but it is odd that he places two Gavottes between these two Menuets. We therefore have the first Menuet and Gavotte in minor and the second of each in major tonality. 2. Contrapuntal No outstanding contrapuntal treatment. 3 • Melodic-Rhythmic Conforms to contemporary practice. k. Form Regular. 261 SUITE IN A MINOR Allemande bass. beat 1, add A) to G alto. beat 2, add to G bass. beat 1, add to C alto. beat 2, add 4 to C soprano. beat I } . , add 4 to G soprano. beat 3, add to G bass. beat 3, add to C alto. beat k. add 4 to G soprano. beat 2, add 4 to G 1. Harmonie In the Reprise, measure seven (%) one has the feeling of the beginning of a real coda or codetta. In measure nine (9), even though the soprano E is taken as a suspension, the chord still sounds as a minor ninth chord. To make matters more involved, the follow ing chord almost gives the impression of an added sixth. Also, there is an in the alto and an F natural in the tenor# Throughout the entire piece there are sections requiring great reaches, some of which are practically impossible. For example, measure one (1^) of the First Section and measure eight (8) of the Reprise contain inter vals of a tenth and eleventh, reaches requiring a large hand. 262 2. Contrapuntal There is skilled contrapuntal treatment through out. This does not necessarily imply the use o f specific contrapuntal devices but rather in the technique of hand ling the voices. The varied melodic treatment of each voice plus the combination of various rhythmic elements adds great interest to the work. As an isolated example, take measure five (^) of the Reprise. The soprano line has a scalar melody for the first two beats against a chordal accompaniment. Then on beats three and four one finds a combination of four rhythmic patterns, JC3 i , ^ ^ ^ ^ and T ^ J in the four different vojLces. 3. Melodic-Rhythmic One has the feeling that all voices are of equal importance. To emphasize the entrance of a voice. Le Begue places a rest before it as in measures four and five (L-5) of the First Section. Notice also the great use of a series of four six teenth beats, either A ^ 1 or ^ i 5 . ip. Form Regular. 263 Courante First Section; measure 2, alto, beat 5, add ^ to G measure I 4., alto, beat 1, add 4 to G Reprise: measure 2, bass, beat 5, add 4 to C measure 8, soprano, beat 3, add ^ t o C 1* Harmonie Conforms to contemporary practice. 2. Contrapuntal No outstanding contrapuntal treatment* 3 • Me Iodic-Rhythmic ■ > . One must give Le Begue due credit in his handling of the Courantes in general, for theJ - X' at the end of each measure makes for monotony of rhythm and also sounds like a possible cadence ending. Le Begue avoids both pitfalls and usually creates a flowing line which is interesting and directional. k* Form Regular. Sarabande First Section: measure 1^, bass, beat 2, add ^ to D Reprise: measure 1, soprano, beat 2, add ^ to measure 3, soprano, beat 1, add v to measure 12, bass, beat 3, add to 26k G C C 1. Harmonic In measure six (6) of the Reprise, it is rather amusing to find a four member chord in the bass clef neatly spelling out a complete dominant seventh chord. In the following measure, ninth and eleventh chords are momentar ily created through the use of passing tones and suspen sions. In measure eleven (12), Le Begue changes register, but this time not at the end of a cadence. 2. Contrapuntal No outstanding contrapuntal treatment. 3 * Me Iodic-Rhythmic Both the First Section and Reprise are nicely balanced. One thing is again missing, the usual on one tone, found so often in the Sarabandes of Le s'egue. The pattern is there, but the notes are not identical. In measure thirteen (13) of the Reprise, one hears successively the interval of an augmented fifth and the skip of an augmented fourth. 265 add 4 to G add • y to C add to G & to F k# Form Regular* Gavotte First Section: measure 2, bass, beat 2, measure 3, soprano, beat 1, measure 6, soprano, beat 3 & 1. Harmonic In the Reprise, the vi - V - I in C major in the third full measure (^) sound out of the prevailing tonal ity* The trouble is that the piece is too short for any series of modulations* 2. Contrapuntal No outstanding contrapuntal treatment* 3# Melodic-Rhythmic Conforms to contemporary practice* k* Form Regular. 266 Menuet 1. Harmonic A freshness of spirit is maintained here through the use of an ostinato effect in the bass. Both sections avail themselves of this, the first time that we have met such obvious use of the technique. Both sections are identical, except at cadence. The Reprise is a re-statement of the material of the First Section in the dominant key. 2. Contrapunt al No outstanding contrapuntal treatment. 3* MeIodic-Rhythmic Here Le Begue•s melodic soprano line has an entire ly different character, but enters in spirit with the technique used in the bass. In both Sections, the soprano melody spans only a fourth, except at cadence points. 26? SUITE IN A MAJOR Allemande First Section: measure 6, soprano, beat 3, add 4 to D 1. Harmonie The beginning of the Allemande is similar to that in A minor, but the similarity disappears as the piece con tinues. The style, however, is similar throughout to the preceding Allemande. Rhythmic figures, contrapuntal treatment, etc. make for interest and character. Notice the sequential pattern in measures three and four (3~k) of the Reprise. 2. Contrapuntal There is contrapuntal treatment throughout. The treatment is similar to that in the previous Allemande. 3# Melodic-Rhythmi c In measure four ( I j . ) of the Reprise. the C natural of the bass seems out of place. C^ sounds much smoother, but unless this is a copyist's error, it must be taken for another of Le Begue's characteristics. 268 k* Form Regular, Courante Reprise: measure 7, soprano, beat k, add to D 1. Harmonie In measure eight ( 8 ) o f the Reprise, another il lusion of a ninth chord is given. The C# in the soprano is a suspension which resolves to B. 2# Contrapuntal No outstanding contrapuntal treatment. 3 • Melodic-Rhythmic This Courante is similar in style to the Courante in A minor. The noticeable thing is the admirable way in which Le Begue extends his melodic line when a cadence point seems inevitable. This is done with the aid of a V - vi progression, but the fashioning of the melody is no leas important in the final analysis. The melodic line of the First Section is graceful and has for a high point G and for a low point E. In 269 measures three, four and five (3-5), although not strictly sequences, the rising melodic line in each measure, plus a mordent on the fifth beat of each gives a sequential feel ing. k* Form Regular. Sarabande 1. Harmonic Conforms to contemporary practice. 2. Contrapuntal No outstanding contrapuntal treatment. 3# Melodic-Rhythmic One of Le Hague's favorite Sarabande devices, the repeated sixteenth notes, is found in measure seven (%) of the First Section and measure nine (£) of the Reprise. Simplicity reigns in the voices. In the First Section, the left hand consists of passages in octaves be tween tenor and bass. 270 h* Form The great similarity of* this Sarabande and those of Handel is immediately apparent. This style, a combina tion of harmonic and melodic motives, is consistently found in the works of the early French harpsichord school. Gigue Reprise: measure 2, bass, add • to E measure 5, soprano, beat 2, add 4 to D 1. Harmonic This is one of the Gigues in which the different voices do not enter separately. Throughout the entire piece, the best of taste is maintained. The rest is used to advantage, thus emphasizing the independence of the individual voices. The suspension is used in a manner not unlike that used by Bach. 2. Contrapuntal In the First Section, the theme of the soprano is re-echoed in the other voices, slightly varied. It enters the tenor in measure three (^) and the bass in the middle of measure six. 271 As in the First Section, the Reprise is based on a combination of a theme in the soprano and alto. This theme is re-echoed almost immediately in the tenor and bass. 3• Melodic-Rhythmi c One curious thing to be noticed in this Gigue is the treatment of many repeated notes. Previously, Le Begue tied the repeated notes together, but very often in this piece they are permitted to sound separately. k* Form Regular Bourree and Double 1. Harmonic Conforms to contemporary practice. 2. Contrapuntal No outstanding contrapuntal treatment. 3• Melodic-Rhythmic A very charming work, completely in character and with a minimum of harmonic framework. Le Begue places a 272 number of ornaments on the second and the fourth beats of the measures, adding interest to the melodic line. To be especially noticed in the Reprise is the chromatically descending bass in measures one to three (1-3) , Form Very regular. 0 Contrary to most of Le Begue»s Doubles $ this one varies somewhat from the original Bourree in the bass. The soprano line is as usual constructed by process of diminu tion and filling in of intervals. Canaris Reprise: measure 9, bass, beat 1, add ^ to G 1. Harmonic Conforms to contemporary practice. 2. Contrapuntal The opening subject is imitated three times rather strictly. Altogether the subject appears five times in the First Section. In the Reprise, the first theme is used with 273 interest and imagination. The first imitation is begun immediately, but enters in inversion. The theme is heard at least ten times throughout the Reprise, either in natural form or inverted. 3. MeIodic-Rhythmic As in the other Canaris, this piece is character ized by the dotted rhythm A. i . Otherwise the pro cedure is that of the Gigue. Notice the skip of the octave in the bass of measure eight ( 3 ). This was done of necessity. To con tinue the pattern would have taken it too low, and it is therefore raised an octave and continued from that register. N . » Although Le Begue adheres correctly to the rhythm of the Canaris, it must be admitted that this type of rhythm does not bear too much repetition. h-» Form Regular. 0 ------------- One mistake has been made throughout in the ori ginal* The eighth rest was used to replace a dotted quar ter note. This seems odd, and is the first time this has been done with such regularity. All corrections have been made . 27k SUITE IN F MAJOR Allemande Reprise: measure 3, soprano, beat 1, add 4 to E measure 5» soprano, beat 35 add to E 1# Harmonic Conforms to contemporary practice. 2• Contrapuntal As with the two previous Allemandes, one finds here a general contrapuntal style based on contrasting treatment of the different voice parts, both melodically and rhythmi cally. 3. Me Iodic-Rhythmic The importance is focused on the soprano line which continues unbroken throughout, although the other voices assert their own identity. In general. Le Begue uses much more diatonic scalar passages in this second book than he did in the first. The harmonies are also simpler, but as compensation, the parts flow with more freedom. I } - . Form It is to be noticed how similar the style of this Allemande is to that of the German school. This fluctuât- 275 ing flow of melody, smoothness of part writing and feeling of logic in harmonic progression denotes a mature master in the art of composition for the harpsichord. In some ways, this Allemande reminds one also of the Italian organ toccata with its emphasis on melodic scalar passages. Courante First Section; measure 6, bass, beat 5 add quarter rest. 1. Harmonic One of the best examples of Le Begue * s use of the progression V - vi is found in measures five and six (5-6) of the Reprise. 2. Contrapuntal No outstanding contrapuntal treatment. 3• Melodic-Rhythmic Note the use of the rhythmic motive ^ . This has, of course, been found previously but in some works such as this one it stands out predominantly. The motive in its unaltered form is used at least six times throughout the Courante. 276 11-. Form Regular, Gigue First Section: measure l6, alto, beat 2, add 4 to G 1. Harmonic It is difficult to know what to say concerning this Gigue, for there are some strange discrepancies. To be gin with, the work seems to start in a modal style. The First Section has no key signature and would seem to be in the key of A minor. Alternating between A minor and E minor, the First Section finally comes to a close on an E major triad. The Reprise begins in the key of F and ends thusly. 2. Contrapuntal The First Section is in imitative style. The soprano states the theme, which is later echoed by the alto, tenor and bass. The theme is again heard in the bass at the end of the First Section as a kind of codetta. The Reprise is chordal in style. There is no imitation and the theme which is carried throughout in the 277 soprano bears no resemblance to material in the First Section. i | . * Form The two sections are well constructed separately but they do not match as an entity, being written in two distinct styles. There seems to be no logical reason for this procedure. Sarabande 1. Harmonic The only outstanding thing to be noticed is the sequential treatment of measures one to four (1- I {.) of the Reprise. 2. Contrapuntal No outstanding contrapuntal treatment. 3* Melodic-Rhythmic The First Section contains a beautiful melody in the soprano with an octave F as high and low points. The descending bass line in measure three (2) is characteristic of a later period. In measure nine (^) of the Reprise. the F to F^ in 278 the soprano is very effective, producing that effect of striving upward which is typical of the Sarabande* !+. Form Regular. Menuet 1. Harmonic The cadence at the end of the First Section is not very effective. Here is the pattern: lo - IV V Cl Vg I The key of C major is established too late. 2. Contrapuntal No outstanding contrapuntal treatment. 3* Melodic-Rhythmic The soprano voice is limited in range* Spanning only a fifth seems confining after observing some of the composeras other works. I ^ . * Form Regular. 279 2me Menuet 1* Harmonic Conforms to contemporary practice. 2. Contrapunt al No outstanding contrapuntal treatment# 3. Melodic-Rhythmic The entire work is based on a scalar motive of i «4 • and J i i 11 J . .i ci which makes for co- herence of style, especially with Le Begue^s talent for interesting melodic lines. I j - . Form Regular. Chaconne 1. Harmonic To begin with. Le Begue departs from the usual French custom of treating the Chaconne as a rondo with couplets and refrain. Here we have a true Chaconne, a harmonic pattern which is subjected to sixteen treatments 280 The entire work is conceived without a single accidental# There is one discrepancy in the work. The first statement consists of the pattern I | V iii | vi - ii | Ig - V which is repeated with the same melodic line. In many of the sections, this eight bar period is observed, in others only four bars are treated in variation. There is great variety in the different fashions in which Le Begue treats this harmonic pattern. Suspen sions are prominent in the work. At least three sections are treated in this style. 2. Contrapuntal Contrapuntal treatment is at a minimum in this Chaconne. 3 • Melodic-Rhythmic Scalar melodic lines are ïbund in several variations lending a touch of bravura. Also, broken triadic fig ures are used to create diversity of character. Another procedure is to have the treble clef take the harmonic outline while the left hand assumes melodic importance. 1 4 -. Form This was discussed in section on harmonic procedure. 281 SUITE IN G MAJOR Allemande 1. Harmonic Conforms to contemporary procedure. 2. Contrapuntal The same type of contrapuntal treatment is found as that used in the several previous Allemandes. 3. Melodic-Rhythmic Again, much of the effectiveness of this Allemande lies in the simultaneous use of different rhythmic figura tions. h * Form Regular. Courante Reprise: measure 2, soprano, beat 6, add ^ to C measure 3, alto, beat 5> add to D 1. Harmonic Conforms to contemporary practice. 282 2. Contr ap unt al No outstanding contrapuntal treatment. 3. Melodic-Rhythmic Conforms to contemporary practice. 1 * . . Form Regular. Sarabande First Section: measure 1^, bass, beat 3 s add ^ to F Reprise: measure 9, alto, beat 3 $ add ^ to G 1. Harmonic The 2me Reprise is not to be considered as a real substitution. Rather is it to be used as a varied repe tition of the last eight bars in the Reprise. The phrase markings are in the original edition. 2. Contrapuntal No outstanding contrapuntal treatment. 3. Me Iodic-Rhythmic Conforms to contemporary practice. 283 L. Form Regular. Chaconne Grave 1. Harmonic This Chaconne conforms to the French habit of con ceiving the form as a rondo with a series of couplets, each followed by the original refrain. This Chaconne is rather irregular as to form. The outline is as follows, although this does not conform to that of the original edition. Refrain l6 measures Episode 7 Refrain 12 Episode 8 Refrain 8 Episode 8 Refrain 8 Episode 12 Refrain 12 Episode 8 Refrain 17 The fundamental bass line is a descending succes sion G - F# - F - E - D - G# The episodes are based on this idea, but the other parts are varied in contrast. The main techniques used in distinguishing the re frain from the episodes are evident. The Refrain is har monically conceived with suspensions as the main character- 2814. istic# The episodes are conceived in a pseudo- contrapuntal style with individual movement of separate parts as the main characteristic. 2. Contrapuntal The contrapuntal treatment is limited to sporadic imitation and exchange of treatment in the different voices. 3 * MeIodic-Rhythmic Conforms to contemporary practice and to treatment found in the several previous suites of the second book. I4 .. Form This has been previously been discussed. Menuet 1. Harmonic There is a great deal of tonic feeling throughout, but in such a short piece, a great variety of harmonies would be in bad taste. 2. Contrapunt al No outstanding contrapuntal treatment. 285 3* Melodic-Rhythmlc The melodic line remains clustered around the same tonal level in both sections. I}-. Form Regular. Gigue 1. Harmonic Conforms to contemporary practice. 2. Contrapuntal The theme is three measures in length. After the first statement, the alto enters an octave below. The tenor and bass then enter, but only perfectly imitate the first two measures of the original theme. The theme of the Reprise is only two measures in length and stands in contrast to that of the First Section. The theme enters again in the soprano voice in measure seventeen (17). 3* Melodic-Rhytimiic The rhythmic figure J • A and variants thereof 286 form the basic pattern and are heard throughout both sec tions. U-m Form Regular. Bourree Reprise: measure I 4 ., tenor, beat 1, add • to G measure bass, beat Ij., add ^ to C 1. Harmonic The repetition of the tonic over the bar line in measures four and five (I 4.-5) of the First Section is monotonous. 2. Contrapuntal No outstanding c ontrapunt al treatment. 3 • Melodic -Rhy t hmi c Conforms to contemporary practice. I4.. Form Regular. 287 Air de Hautbois Reprise measure 2, alto, beat 2, add # to F measure 2, alto, beat 3, add ^ to F 1, Harmonie This is Le Begue*s only attempt with a piece bear ing a characteristic title, although the result is no dif ferent than for his other works. There is much more use of sequence in this work than in previous pieces of Le Begue. For example, see measures one and two (1-2) of the First Section and meas sures one to four ( l-lj), nine to ten ( 9-10) and eleven to twelve (11-12) of the Reprise. 2 * Contrapuntal For the first time, one finds a bit of canonic treatment in Le B^gue*s works. The writing in measures three to five (3-5) is interesting with the unique idea echoed in all voices. 3• Melodic-Rhythmic The air is conceived as a melodic soprano line with accompaniment, usually in two parts. At certain points in the melodic line. Le Eiegue adds an extra note 288 or a chord. I j . . Form Regular. Gavotte and Double 1. Harmonic Conforms to contemporary practice. 2. Contrapunt al No outstanding contrapuntal treatment. . 3 * Melodic-Rhythmic Conforms to contemporary practice I j . . Form Regular. Petitte Chaconne 1, Harmonic Instead of the usual rondo treatment, here is a real Chaconne, with a series of varied treatments of the harmonic outline I - V | IV j I^ - v7 | I. 289 2• Contrapuntal There is restrained contrapuntal treatment, but this is more in spirit than in actuality. 3• Melodic-Rhythmic In the second episode, the melody is sustained by a simple bass line. In the third episode, the bass line becomes florid with eighth notes. In the fourth episode, the florid passages alternate between hands and in the fifth episode, both hands receive florid treatment simultaneously. I j . . Form Previously discussed. CHAPTER VIII LE BEGUE*S CONTRIBUTION TO THE DEVELOPMENT OP THE SUITE By the middle of the seventeenth century, most of the common dance forms have found their way into the re pertoire of the French harpsichord. (Appendix II) There is, however, as yet very little standardization in the overall conception of these groups of dances as a whole and we are forced to admit a rather confusing array of suite-types, a confusion which is put in order by Nicolas Le Begue, as will be shown below. In order to clarify these varying conceptions of suite-construction, we have divided them into categories. The first type, which this writer calls Type I, appears with Bessard * s Thesaurus Harmonicus. The early paired dances are not here considered as actual suite- types. There, as Type I we have : [ group of 1 fgroup of ^ fgroup of * 1 fgroup of^ (etcl preludesj - [allemandesj - [sarabandesj - (jcourantesjL I In other words, the performer is completely free to choose the composition of his choice. The unity of key can be observed, but is not obligatory. But where movements are played successively on the lute, it obviates the necessity for constant tuning. The second suite-type is found beginning with the works of Denis Gaultier. The first characteristic found 291 in the Rhétorique des Dieux is unity of key. Secondly, there are limits placed on the number of certain move ments. No more than two preludes, allemandes, or gigues are found. Thirdly, a great number of extraneous dances are added, to lend diversion to the standard dance-types. The Allemande and Courante are usually found together, but the order of the other movements is arbitrary and the suite-group usually ends with a non-dynamic dance such as Bourree or Menuet. The suite-type II would be as follows: [ n_ (i-2 1 _ fgroup of 1 Groups of other) 1-2 preludes J lallemandesj ”[courantesJ”(dances in ar- I [bitrary orderJ As examples of this Type II, one should present works from Gaultier, Chambonnieres, Louis Couperin and d»Anglebert. Denis Gaultier 1. D major 2. A major Pavane (or Prelude) Prelude Allemande Allemande Allemande Courante Courante Courante Courante & Double Gigue Sarabande Gigue Chaconne 292 3♦ A minor Pavane Allemande Courante Courante Sarabande Allemande Courante Chaconne Chambonnieres 1. A minor Allemande Courante Courante and Double Courante Courante Sarabande Gaillarde 2. C major Allemande Allemande 9 Courantes Gigue I j . Courantes Chaconne D minor Allemande Courante Courante Courante S ar ab an de Louis Couperin 1. C major Prelude Prelude Allemande Courantes Sarabandes Chaconne Passacaille Sarabande Menuet 2* F major 2 Preludes 2 Allemandes 1 | _ Courantes Sarabande Branle de Basque 2 Sarabandes Gigue Gaillarde Chaconne Gigue Chaconne Tombeau de M. de Blancrocher 293 Anglebert 1. G major Prelude Allemande Courante and Double 5 Courantes Sarabande Gigue Gaillarde Gavotte Menuet Overture (Lully) Ritournelle Menuet Chaconne Gigue 2. G minor Prelude Allemande Courante Courante Courante & Double 2 Sarabandes 2 Gigues Gaillarde Passacaille Menuet 2 Gavottes Vaudeville Overture (Lully) Sourdine (Lully) Songes d»Atys (Lully) Air d»Apollon (Lully) Menuet Passacaille (Lully) These listed above are the harpsichord composers, other than Le Begue, whose works appear during the seven teenth century. As yet the suite-group is unstable and the dances, apart from the Allemande and Courante, are arbitrary as to choice and position within the suite-group. With Nicolas Le Begue, however, a definite change takes place. The Prelude appears only once in the suite-group, the Alle mande usually once, a second Allemande, if any, being of definitely contrasting character. The number of Courantes is limited to two and the Sarabande and the Gigue appear almost invariably in each set of pieces. Also, while there are again to be found the usual extra dances, the 29k number of these Is definitely less than that in the works of the other composers of this period. Also significant is the fact that in his second book of harpsichord pieces. Le Begue boldly calls each set of pieces a Sultte. This was not too often the case with his contemporaries. Recognizing the above facts, one must establish another type. Type III: Le Begue III [prelud^*" ^ Allemand^)" [courante^’ 'Çarab and J" [oigue^' [ Arbitrary I Dances I As examples: 1. A minor Prelude Allemande Courante 2me Courante Sarabande Gigue Menuet 2me Menuet 2. F major Prelude Allemande Courante 2me Courante Gigue Sarabande Gavotte Thus it can be seen that Le Begue was the first to establish the conventional suite of dances as it appeared in France and was practiced during the first years of the eighteenth century. Le Roux, Clerambault, de la Guerre, Rameau all used this basic form, although it must be ad mitted that the practice was not as popular nor as uncom- 295 promisingly used as in Germany. It may be that Le Begue was influenced in his suite-construction by Johann Jakob Froberger (I6OO-I667) or perhaps the situation was the reverse. From a manu script in the Bibliothèque Nationale.1 we learn that Fro berger was in Paris around l653. Le Begue would have been twenty-three years of age, while the German composer was around fourteen years his senior. Froberger was acquaint ed with the lutenists Gallot and Denis Gaultier and the clavecinists Chambonnieres and Louis Couperin. Nothing is to be found concerning a possible acquaintance with Nicolas Le Begue. Five of Froberger*s Suites consist of an Allemande, Courante and Sarabande while the other eighteen of his suites contain also the Gigue. The German composer must have been profoundly influenced by the French school in the formation of his works, for there would have been no other place for him to find the basic components of the suite, components which he used as his own. There is no way to prove any connection between •s Johann Froberger and Nicolas Le Begue. However, the fact that they did approximately the same thing around the same time points to a possibility that the two composers may 1 Bibliothèque Nationale. Vm7 1852. 296 have been acquainted with each other’s works. In conclusion let us state briefly that at the beginning a series of two coupled dances or perhaps three dances appear, each borrowing material from the other# From this period the suite-type progresses to the last years of the seventeenth century where, with Le Begue, the form takes its definitive shape in France# CHAPTER IX AN EVALUATION OP THE HARPSICHORD WORKS OF NICOLAS LE BEGUE There are three main topics which must be covered in such a discussion* The first should be an attempt to discover if Le Begue was markedly influenced in his style of writing by any of his predecessors or by any of his contemporaries* The second topic serves as an evaluation of the style of Le Be*gue»s work and, finally, one should proceed to see if the style of practice of Le Begue had any influence on his near successors in the field of composi tion for the harpsichord. It is this three-point plan that the author has followed in the make-up of this chap ter. Glancing at the possible influences on Le B^gue’s style, one must keep in mind one fact, in order not to be led astray. Nicolas Le Begue was not cosmopolitan in any sense of the word. His education was undoubtedly French and, as far as we know, his entire adult life was spent in Paris and Versailles in the service of a French king. Therefore, the true influences on Le Begue*s style of writing should be those which actually had their effect in France. These narrow down to the English Virginal school, the German composer Froberger who was in Paris in l653. 2 9 8 the Lutenist school and the French harpsichordists of the early period, Chambonnieres and Louis Couperin. In the English Virginal school, the composers were much more interested in the variation form than in the var ious dances so beloved by the French. Even when they assayed to write Allemandes and Courantes, the result was either a short theme with variations or a series usually of four-bar phrases using different techniques in each. For example, the Meridian Alman of Giles Parnaby is by title an AllemandeThe form of the piece is that of three eight-measure sections, each followed by a variation. The Duke of Brunswick *s Alman^ by John Bull is in a similar style. A Coranto3 by William Byrd uses the same proced ure. This last piece is in 6/Ij. time and has a certain dance character, but none of the consistent change of rhythm or consistent A•■X figure of the French courante. Since any question of influence of form is out of the question, one turns to the internal structure itself. In the harmonic structure, there are several similarities ' S . to that of Le Begue *s music. Although the similarities ^ Fltzwilliam Virginal Book, ed. Fuller-Maitland and B. Squire (London: British and Continental Music Agen cies, n.d.). 2 Ibid. ^ Ibid. 299 may have come via the French lutenist school, the Virginal school was the original source* The impression of a melange of major and minor tonalities is found in the Eng lish music, although this is a more modal feeling than that in Le Begue. The use of the melodic minor scale and the arbitrary switching from B to B^ and back is found with the English composers. In the domain of melody, there is not much compari son. In the Virginal school, the melodies are either very diatonic or exist as the top line to a series of blocked chords. Le B^gue »s work is outstanding for the flowing melodic line. Although limited to two kinds of written ornaments, the Virginalists used them frequently. However, Le Begue seems to be the champion as to excess in ornamentation, at least in his first book of pieces. We shall see to what extent the lutenist school influenced this. There is one other striking point of technique used by both the English and Le B'egue, this being the suspension Naturally, other schools used it, but the similarity be tween these two is striking, especially in a piece such as Goe from my window. 300 ^ - I GOE PROM MY WINDOW by John Munday g f r—cr r r Example I | . 2 The façt that Johann Jacob Froberger was in Paris in l653 and that his works were held in high repute could well bring forth a question as concerns Le Begue. It is known that Froberger was acquainted with Chambonnieres and that he frequented the milieu of the French lutenists. However, the similarities between his music and that of Le Begue are almost non-existent# In the suites of Froberger, the tendency is for the Courante to grow from the Allemande, or at least to employ certain basic motives thereof. This practice is absent in the works of Le Begue. Froberger was a master of the variation form. Le Begue almost ignores the poss ibilities of variation. Froberger»s style is simple. Ibid. 301 s straight-forward and to the point. Le Begue»s style is that of changing, shimmering tonalities# Le B^gue and Froberger could have known each other in Paris, but it is certain that the French musician derived no stylistic benefit from the German. One thing only might have been possible. Le Begue was twenty-three years of age when Froberger was in France. The French musician*s first book of harpsichord pieces did not appear until fourteen years later (1077)• It would seem likely that Froberger could have suggested to him the possibilities of forming a stricter framework within the suite. After all, the suites of Froberger contain Alle mande, Courante, Sarabande and Gigue and so do those of Le Begue. Froberger may have suggested to Le Begue that he limit the number of dances within a suite and eliminate the long series of one type of dance, a practice of Le Begue fs contemporaries. With the French lutenist school, one comes upon similarities which are indeed striking. The external style of the lutenists and that of Le Begue is almost identical. The first thing that one notices as a consistent characteristic of Le Begue * s pieces is the use of the broken unison-fifth-octave which occurs almost without 302 fall in the Allemandes and Courantes# The first measure of the First Section and of the Reprise is a favorite place for its use as v/ell as the final bar of each measure# This was practiced by the lutenist school as a main procedure of the style brise# Another borrowed feature is the harpe- gement or breaking of triads and chords, a habitual prac tice in the Sarabandes# The light harmonizations of certain dances such as Menuets and Bourrees is probably due to the efforts of the lutenist school, for the lute excelled in pieces of this sort# The idea of the unmeasured Prelude used by Le Begue comes from the repertoire of the lutenists but, as has been previously stated. Le Begue's Preludes are much more florid than those of the lutenists and with reason, taking into account the construction of the two instruments# When one comes to the harpsichordists themselves, there are only Chambonnieres and Louis Couperin to consider# There were other clavecinists at this time, to be sure, but one can make no judgments on non-existent compositions# Chambonnieres » clavecin works appeared only six years be fore Le Begue *s first publication but, as Dufourcq says, • • • his work, although published in I67O, dates from the years I63O-166O that he passed at the court, as successor to his father as harpsichordist of the 303 king*s chamber, a post that he was to occupy until 1662.1 It is therefore likely that Le Begue either studied under Chambonnieres or was closely associated with s. ■ > , him* It is from Chambonnieres that Le Begue received instruction in the melodic figurations, the merging and diverging of voices, the hints of imitation which form the make-up of a part of his style. The harmonic structure of Chambonnieres* work is similar to that of Le Begue, although chromaticism played a more important part with the latter composer. The cadences within the phrase are striking with Chambonnieres, so it is also here that Le Begue was influenced. It would be well to quote here some remarks made on Chambonnieres by one of his contemporaries, for the same remarks would also apply more or less to Le Begue, so similar are the styles. The first is the eastern Le premier est le style style, florid, diffuse, and asiatique, fleury, diffus, extended, to which, like et etendu, auquel on ne that of Cicero, nothing can peut rien adjouter sans be added without distorting 1*enfler, tel qu*estoit it, celuy de Ciceron* The first is that beautiful ^ The original text is as follows: "..,son oeuvre, quoique jubilee en I67O, remonte aux années I63O-166O qu»il passait a la Cour, tant comme survivancier de son pere, que comme claveciniste de la Chambre du Roi, poste qu * il de vait occuper jusqu’en 1662.** Dufourcq, Norbert, Le Clave- cln. o£. cit., p; 50. --------- 30! * . and agreeable manner used by Chambonnieres, Every one knows that this illus trious person excelled above all others, as much by the pieces he has com posed as by his beautiful manner of playing,,.. It is also known that he employs in his pieces natural, ten der and well constructed melodies, such as are not noticed in those of others, and that each time he played, he added new beauties by ports de voix, passages, dif ferent ornaments, with double trills. Le premiere^est cette^ belle et agréable maniéré dont seu Chambonnieres se servoit. Tout le monde scait que cet illustre personnage a excelle par^ dessus les autres, tant a cause des pieces qu *il a composées, que parce qu* il a esté la source de la belle manier de toucher. On scait aussi qu *il em ployait toujours dans ses pièces des chants naturels, tendres et bien tournez, qu*on ne remarquoit point dans celles des autres; et que toutes les fols, qu *il jouoit une piece il y , meloit de nouvelles beautés par des ports de voix, des passages, et des agreraens differens, avec des doubles cadences,^ Corning to Louis Couperin, the case is somewhat different, Couperin was only four years older than Le Begue, so that the chances of his influencing the latter are less. However, even despite the fact that Couperin*s works were in manuscript at this time, he could have in fluenced Le Begue through performance or friendly contact. There is little in Couperin*s learned style that could be compared to the uninliibited style of Le Begue, For Couperin, the clavecin was an instrument of improvisa tion (Preludes) or of tonal architecture (Chaconnes and ^ Gallois. op, cit,, pp, 6? and 7 0, 30g Passacailles)• Le Begue seems to be between these two extremes. Both he and Couperin use the unmeasured Pre lude, but Couperin introduces a fugal section in the middle, while Le Begue adheres to free treatment through out • In several pieces of Le Begue, where he ends his cadence on empty octaves, one is reminded of Couperin, but the affinity between the musicians is at a minimum. We know, despite this fact, that Le Begue and Couperin were probably acquainted with each other from the presence of the Gavotte by Le Begue to which Couperin set a Double in the manuscript at the Bibliothèque Nationale,1 On examining the works of Nicolas Le Be*gue, there is much that must be left unsaid for, after all, the musical aesthetics of the seventeenth century were totally different from those of our day. Apart from this aspect, there is another consideration. In the latter part of the seventeenth century, a school of keyboard music was in the process of formation. In this period one finds a melting pot of ideas and ideals, some of which are to be preserved for the use of future generations, others discarded. With this idea in mind and, above all, exercising as much understanding as possible, an honest picture of Le Begue * s 1 Bibliothèque Nationale, Res, Vm7 6?L (Bauyn), 306 merits and faults may be drav/n. s . Looking at Le Begue*s work, comparing it with that of his contemporaries and bearing in mind the social circle which surrounded him, can this musician be justly condemned for such banalities as may be found here and there in his works. Recall that this is the period of the glorious reign of Louis XIV, Music is not, as it was for Bach and his contemporaries, for the glory and magni fication of God, but for the diversion of the king and his royal entourage. Above all, the king must not be bored. With this in mind, the composers outdid one another in creating graceful petits-riens which drew praise for their abundant ornamentation, varied rhythms and, above all, for their brevity. Were this a disser tation on ornamentation, one would proceed from the time of Chambonnieres, Le Begue and d'Anglebert, where orna ments were placed here and there in hit-and-miss fashion, to the time of Rameau and Couperin, noting in this pas sage of time the gradual orientation of ornaments to a period where they take on logical significance. The most direct question to be asked is this. What are the elements in the style of Le Begue? These can be generalized under four headings— harmonic, contra puntal, melodic-rhythmic and form. 307 Two outstanding harmonic characteristics of Le Begue * 8 work are (l) dual tonality and (2) seeming chro maticism* One has the feeling of being in both major and minor tonalities, also of continued use of chromatic alter ation* In reality, these two characteristics are one and the same, or more explicitely, one complements the other. For Le Begue, chromaticism involved the changing of inter vals from major to minor and vice versa* For example, in the key of G minor, the interval G to B natural is chro matically altered. Le B'egue usually applies this prin ciple to thirds and sixths * As a result, in the key of G minor, one would find the following tones employed: G — A — B^ — B — C — D — — E — F — Fi^ — G The leading tone is movable, but usually raised at cadence points. This procedure of chromatically rais ing and lowering thirds and sixths gives in reality a scale which is a combination of major and minor. This is again a melodic minor scale with a flexible third degree, capable of giving a major or minor tonic triad. Another point should be mentioned* Whenever Le Begue uses a dominant chord, even though not really modu lating, he feels free in using accidentals proper to the key of this dominant. For example, in the key of G major, one finds frequently a present when a dominant 308 D P# A is in the vicinity. In his modulation. Le Begue for the most part uses two procedures* He modulates by common tone or by chro matic alteration. After having seen Le Begue*s manner of harmonic writing, this latter process is a simple matter. For example, in the key of A minor, since he has a G natural at his disposal, the dominant to C major is easy. Also, in G major, since he is going to the dominant, he raises a C to C# and achieves his dominant to D major. Going from the First Section to the Reprise, Le Begue quite often modulates by assumption of key. Some times it is merely a change of mode, other times a complete change of key* This is very effective. Le Begue *s final cadences are always neat and definite in feeling* However, as with many composers of this period, he does not always use a full four voices in approaching the final full chord. The effect is, never theless, satisfying. Only about half the time does he include the seventh of the dominant in his final cadence. A favorite cadnece of Le Begue is the V - vi, used mainly to extend the phrase line. On the average. Le Begue uses the standard inter vals, although occasionally he comes through with an unusual chord. For example, the augmented fifth C - G# 309 in the Fourth Couplet of the Chaconne in D major is unus ual, although pleasant sounding. All of the commonly used by-tones are employed by Le Begue, the suspension and the passing tone being the most effective. Many times Le Begue creates what seems to be a major seventh chord or even a ninth chord by means of suspensions. Again, such use of the passing tone as in the following passage is frequent and very effective. ALLEMANDE m Ü Example I | . 3 In his part writing, the composer has the habit of adding and dropping voices at will. This was, however, a common practice with the composers of keyboard music. As to the contrapuntal element in Le B*egue*s music, the situation is quite clear. In general, the Allemandes, Gigues and to some extent the Chaconnes and Passacailles T Nicolas Le Begue, Pieces de Clavecin. Book 2. 310 receive contrapuntal treatment. The other forms are quite harmonic in their scope. In many of the Glgues the voices enter strictly and there is a good deal of imitation of motives, both rhythmic and melodic. In the Allemandes, there are no outstanding contrapuntal devices used. Yet in his hand ling of the voices. Le B^gue proves that he knows the secret of good contrapuntal voice juxtaposition. In the field of melodic creation. Le Begue offers a real talent. He has a gift for creating melodies which curve to high and low points and which seem independent of bar lines. His melodies are far from resting a series of diatonic successions and his method of interweaving scalar and intervallic passages is commendable. One might expect to find certain melodic and rhythmic motives which form basic aspects of Le Begue * s style. In general, such is not the case. What one does find, however, is the employment of certain rhythmic figures over and over in an individual work. In other words, these motives may be related to each work as a separate unit but not to the style of Le Begue in general. As to form, there is not much to say except that in Le Begue *s work, the phrases within a section usually balance each other and that despite an unequal length of 311 sections, the First Section and Reprise always seem to go together. In forms such as the Chaconne and Passacaille, Le Begue does not always adhere to a set number of bars in each couplet, but the musical flow of the phrase seems to counterbalance this* In looking for the influences of Le Begue»s music on that of later composers, one is forced to deal in gen eralities. Le Begue *s Pieces de Clavecin do not, as a general rule, call forth praise for their masterful con struction or superb workmanship. These works were written to charm and charm they do, but they do not enchant* Therefore, rather than look for specific technical fea tures in works of other composers which may, by chance, coincide with those in Le Begue*s music, let us see what general ideas may have been taken from his style and either used or completely reversed* The greatest influence of Le Be*gue, outside of his fashioning the framework of the Suite as a close unit, is that he so adeptly gave the needed esprit to the harp sichord suite* We are now speaking strictly of the Suite as it applies to the medium of the harpsichord* Cham bonnieres gave the school its start, but, as with all innovators, there is a certain feeling of embryonic empti ness in his work. The melodies are sectional, many times 312 repetitious and non-directional* The harmony often gets lost within itself and becomes confused. The dances them selves exhiibit a certain charm, but there is present an air of préciosité which detracts from any possible serious impressions. On the contrary, Louis Couperin, in his few Suites for harpsichord, exhibits a skill in harmonic and contrapuntal technique unknown to his teacher. His fac ility in constructing pieces in canonic form and his dex terity in contrapuntal imitation is the first of its kind to be found in the French harpsichord school. , by the same token, this preoccupation with techniques many times gives a dull luster to his dances. In the Alle mande Tombeau de M. ^ Blancrocher. the intrinsic merits are admirable, but as an Allemande, or as a dance, the work falls short of its purpose. Nicolas Le Begue, the third in the early school of French harpsichord music, was perhaps too negligent of structural demands. However, in his Pieces de Clavecin, he so adroitly gives each dance its expressive character that one forgives the other faults. It must be remembered that we are dealing with a Suite of Dances. stylized though they may be. In the school that followed the period of Le Begue, 313 that of Marchand, Clerambault, de La Guerre and Le Roux, one finds a continuation of this effort to characterize the mood of each dance by means of judicious choice of harmonic materials. One finds also a more natural melodic line and continuity within the phrase. Certain changes are to be noticed in this later school. The use of ornaments is more restrained than that of Le Begue and there is more ornamentation with a purpose. There is a tendency to ornament notes of longer values, contrary to Le Begue, who frequently ornaments even sixteenth notes. A more even balance of phrases is observed in this later school. The procedure of two uneven phrases combin ing to form a period of eleven or thirteen measures is tempered to a more happy relationship between two phrases. This is markedly noticed even in the later works of the second book Of harpsichord pieces of Le Begue. Again it must be mentioned that Le Begue regulated the outline of the Suite itself to a framework of Alle mande, Courante, Sarabande and Gigue, followed by several additional dances. The great number of Courantes was re duced to only two and the other basic dances are usually found singly. Some later composers, such as de La Guerre, Le Roux, Rameau, were to use this framework as originally 311+ established by Le Begue. Others insisted on the old formula: a series of dances in one form as practiced by Louis Couperin. However obscure may seem the obvious influence of Nicolas Le Be^ue upon future generations, it is certain that he played a definite part in the formation of a school of harpsichord composers which eventually culminated in the masterworks of Rameau and Couperin. CHAPTER X SUMMARY AND CONCLUSIONS The harpsichord works of Nicolas Le Begue are the product of a man of his epoch and should be viewed in this light# Not only was this musician one of the very first in the French harpsichord school, but he lived dur ing an age when much was demanded by a public and a king whose tastes were as frivolous as the society they com posed. One could not expect to produce a Bach from an environment such as this, nor even a Rameau* Nicolas Le Begue was, nevertheless, a serious musician in the respect that he fulfilled to the best of his ability the tasks imposed by his position and by his conscience. He was greatly respected, not only as a musician, but as a man. As to a frank appraisal of his work, one must agree with Dufourcq that "The man had little genius, but a great knowledge and talent. His works are interesting in that they reflect the spirit of the times and the aesthetic concept of music in his time. His works are important in that they bridge 1 Norbert Dufourcq, Musique d * Orgue Française (Paris: Floury, 19^0), p. 70. The original text is as fol- lows: "L*homme avait peu de genie, mais un grand savoir et du talent." 316 the gap between the first attempts at an original reper toire for the harpsichord in Prance and the finely- constructed ones which followed in the eighteenth century. In Nicolas Le Begue »s two books of harpsichord pieces one finds idioms and characteristic devices which are used so consistently as to form an integral part of the composer* s style* For example. Le Begue borrows two procedures from the French lutenist school: the broken unison-fifth-octave and the harpegement or breaking of triads and chords. » . Other characteristics of Le Begue * s works are : the use of tonal-modal scales; modulation by common tone, chro matic alteration and assumption of key; use of the decep tive cadence to extend the phrase line; and, the use of similar rhythmic figures within an Individual work. Finally, it has been shown that Le Begue was the first composer in France to regulate the outline of the Suite itself to a framework of Allemande, Courante, Sara bande and Gigue, followed by several additional or : optional dances. There is little chance today that the works of Nicolas Le Begue will become as popular as those of a Daquin, Couperin or Rameau, but it is hoped that they may be appreciated for the part they played in the evolution 317 of a musical style* BIBLIOGRAPHY 319 A. BOOKS Ammerbach, Nicolaus, Orgel Oder Instrumental Tabulatur* Leipzig: Jacob Berwalds Erben, 1^71• Apel, Willi, Masters of the Keyboard. Cambridge, Mass.: Harvard UniversilEy Press, l9it-7. 323 pages. 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Mersenne, Pere, L Œarmonie Universelle * Paris; S* Cra- moisy, 1636* 2 volumes* Neimeitz, Séjour de Paris, c'est a dire Instructions fi dèles pour les Voyageurs de (Conditions. Leyde: 172?* Pagnerre, Louis, Origines et Variations de Notre Tonalité * Paris* E* Dentu, l8d5T" l l } . Ô pages* Parry, C. Hubert, The Music of the Seventeenth Century* London: Oxford University Press, 1902* Vol. Ill of the Oxford History of Music* Pirro, Andre, Les Clavecinistes* Paris: H. Laurens, n.d*, 125 pages* Playford, Introduction to the Skill of Music * London: W* Godbid, lô61|.* ^volumes. Poisot, Charles Smile, Histoire de la Musique en France * Paris: E. Dentu, I80O* pages* Praetorius, Syntagma Musica. Anno JUDICIUM plos non terr eat nam Mihi a DIVtor ChrIstUs* I61I 4.* 3 tomes in 2 volumes * Prunigres, Pirro et al, Musique Française du Moyen Age a la Revolution* Parisl Ëditions des BiUTioth&ques Nationales de France, 193L. 196 pages* Raugel, Felix, Les Organistes* Paris: Laurens, 1923» 126 pages* 323 Reîmann, Margaret$e, Untersuchungen zur Formiygeschlchte der franzosischen Klavier-Suite* Regensburg : G* Bosse Verlag, 1 % 0 . 1^7 pages. Sachs, Curt, History of Musical Instruments. New York: W. W. Norton, 19lj_0. 503 pages. ^ O'ur Mus 1 c al Heritage. New York; Prentice Hall, 1%81 1^00 pages. , World History of the Dance. New York: W.W, Norton Co., 1^3Y• 1^69 pages. Saint-Rene, Taillandier, 1^ grand roi et sa Cour. Paris: Hachette, 1930. 253 pages. Saint-Lambert, Les Principes du Clavecin contenant une Application exacte de tout ce concerne la Tablature et le Clavier. Paris; Ballard, Ï7Ù^. "EB pages. Simpson, Christopher, The Division Violist. London; W. Godbid, 1659. 67 pages. Schlick, Arnolt, Spiegel der Orgelmacher und Organlsten. (Modem reprint ed. by E. FIade• ) Mainz: Druck und Verlag von Paul Smets, 1932. Voltaire, Francois Marie Arouet, Le Siècle de Louis XIV. Paris: Charpentier, I87I 4 .. 6§9 pages. Van den Borren, Charles, Sources of Keyboard Music in Eng land. London; Novello and Co., lylil* 378 pages. Wolf, Johannes, Handbuch der Notationskunde. Leipzig: Breitkopf und Hartel, 1899* 2 volumes. B. ARTICLES AND PERIODICALS Apel, Willi, "Early German Keyboard Music," Musical Quar terly; (XXIII, 1937). Borrel, E., "La Musique vue par les Français des XVII et XVIII Siècles," Guide Musical, *^une, 1929; March, September, October, November, December, 1930# 32k La Laurencie, Lionel de, "L'Anoblissement d'un Musicien sous Louis XIV," SIM. 1905# page 386. Mercure Gai an t. l672-l67il# I678-I702. Quittard, Henri, "Les Origines de la Suite de Clavecin," Courrier Musicale. November l5 and December l5, 1911* Tiersot, Julien, "Lettres de musiciens écrites en Français du XV au XX© Siecle, Rm, 1910-19llj-. Van den Borren, Charles, "La Musique de Clavecin au XVII© Siecle," Revue Musicale. April 1, 1921. C. DICTIONARIES AND ENCYCLOPEDIAS Boblllier, Marie, Dictionnaire practique et historique de Musique. Paris : A. Colin, 1926. 14^87 pages. Brossard, Sebastien de. Dictionnaire de Musique. Paris: Ballard, I703* 2nd edition. J8ü“pages. Ecorcheville, Jules, Catalogue du Fonds de Musique an cienne de la Bib 1 iotliëgue Nationale. l9lO-19llk* 8 volumes. Eitner, Robert, Quellen Lexikon. Leipzig: Breitkopf und Hartel, 1901-ÔlJI 10 volumes. Fetis, F .J., Biographie universelle des Musiciens et Bib liographie générale de la Musique. Bruxelles: Leroux, l835-%l^* E volumes. Grove's Dictionary of Music and Musicians. New York: Macmillan Co ., 19%. 5 volumes. Lavignac, Albert, Encyclopédie de la Musique et Diction naire du Conservatoire. Musicalisches Conversâtions-Lexikon. Berlin: Verlag von L. Heimann^ 187O. 12 volumes. Riemann, Hugo, Dictionnaire de Musique (révision by Y. Rokseth). Paris: Payot, 1931* 3rd édition. ll|_85 pages, 325 Rousseau, J.J., Dictionnaire du Musique. Paris: Duchesne, 1760, 5% pages. Vifeisz, Relier and Busson, Dictionnaire Historique des Hommes qui Se Sont Fait Un Nom. Paris: Gaume Frères, n.d. 8 volumes. D. DOCUMENTARY INFORMATION Archives Nationales Archives Départementales de 1'Aisnes Archives Municipales de Laon Extrait de 1 'arrest définitif de la cour de Parlement prononcé' en la grande chambre le 7 mai, 1095* En faveur des Oompositeurs de musTque, organistes et professeurs de clavecin. Paris: lo95* Ecorcheville, Jules, Actes d'Etat civil de Musiciens in sinues au chatelet de t^aris de l539-1650." Paris: 1907. Recueil d'edit, arret du Conseil du roi, lettres-patentes, mémoires, et arrets du Parlement, et £. en faveur des musiciens ïïïï royaume. Paris: Ballard, 177% 22? pages. Recueil Thoisy, Bibliothèque Nationale de Paris. E. MUSIC Angelbert, Jean Henry d'. Pieces de Clavecin. Paris; Librairie E. Droz, 193% Î61 pages. Apel, Willl (editor). Musik aus fruher Zeit. Mainz; B. Schott's Sohne, 1*93% 2 volumes. Attaignant, Pierre, Dix-neuf chansons musicales redulcte en la Tablature des orgues, espinettes, manichordions T33% Facsimile edition, Munich, T91% Ballard, Christophe, Pieces choisies pour le Clavecin, de différents Auteurs. Paris; Ballard MDCCVII. 326 Bataille, Gabriel, French Ayres from Gabriel Bataille's Airs de différents autheurs IÔO8-16IÜ. Trans. by Peter Warlock. London: Oxford University Press, 1926. Buxheimer Orgelbuch. Munich: Staatsbibliothek. Mus. Ms. 3725. Bonnet, Joseph (editor). Historical Organ-Recitals. New York; G. Schirmer, 1917* ^ol. 1 and 6. Cavazzoni, G., Intavolatura cioe recercari Canzoni hinni magnifie ati. Vinegia: Scot ta, 1514-3. Chambonnieres, Jacques Champion de. Pieces de Clavessin. Paris; Jollain, I672. Clerambault, Louis-Nicolas, Pièces de Clavecin. Paris: Editions de l 'Oiseau Lyre, 193% Couperin, Louis, Oeuvres Completes (ed. Brunold). Paris; Editions de l'Oiseau Lyre, 1936. Davison and Apel, Historical Anthology of Music. Cam bridge, Mass. : Harvard University Press, 19l|-6, 1950. 2 volumes. Farrenc, Louise, Trésor des Pianistes. Paris; Farrenc, 1861-67# 20 volumes* Fitzwilliam Virginal Book (Ed. Fuller-Maitland and B. Squire). London: British and Continental Music Agen cies, Ltd., n.d. 2 volumes. Frescobaldi, G.. Fiori Musicali (Les Grands Maitres Anciens de 1'Orgue5, ed. Bonnet and Guilmant. Paris: Eschig, 1922. , Toccate e Partite d'Intavolatura di Cembalo et Organd. Rpme: Edizioni De Santis, 1937* 2 volumes. Gaultier, Denis, Rhétorique des Dieux et autres pieces de luth de Denis Gaultier, ed. A. Tessier. Paris: La Société’ française de Musicologie, 1932-33. 2 volumes. Glogauer Liederbuch. New edition by H. Ringmann. Kassel; Heribert,1936. 327 \ Guilmant, Alexandre, Archiva des Maitres d'Orgue. Paris: Max Eschig. Ileborgh Tablature. Curtis Institute of Music, Philadel phia, Pennsylvania. Kohler, L. (editor). Les Maîtres du Clavecin. Braunschweig Henry Litolff» s Verlag, n.d. 2 volumes. Le Be'gue, Nicolas, Les Pièces de Clavessin. Paris: Bail- Ion, 1677. _______ , Second Livre de Clavesln. Paris; Lesclop, I687« Le Roux, Gaspard, Pieces de Clavessin. Paris : Poucaut. 1705. Lully, _jJ.B., Oeuvres Completes de J.B. Lully, ed. H. Prun- ieres. Paris : Editions de La Revue Musicale, 1930* Vol. 1. Marco Antonio de Bologna, Recerchari. Motetti, Canzoni. Venice: Bernard, 1523. Paumann, Conrad, Locheimer Liederbuch und Fundamentum Qrganisandi. ed. Karl Ameln. Kassel: Barenreiter- Verlag, 1925 * Pessl, Yella, The Art of the Suite. New York: Edward B. Marks, 195% Petrucci, Ottaviano dei, Intabulatura de Lauto. Wien: 1507 B.B. Hofbibliothek. Robertsbridge Codex. British Museum. Add. 28550* Rotta, Antonio, Intabulatura del Lauto. Venice: Gardene. 15% * Sachs, Curt, The Evolution of Piano Music. New York: Edward B. Marks, 19%* Schlick, Arnolt, Tabulaturen etlicher Lobegesang und Lied- lein uff die Orgeln und Lauten. New edition by Gott- Tieb Harms. Klecken, Ugrino/abt. Verlag, I92I 4 .. 61 pages. APPENDICES 329 APPENDIX I DEFINITIONS Chorale-Prelude An organ composition based on a chorale or liturgical melody. Colorists The name applied to a group of German organ composers in the late l6th century. Their use of stereotyped ornamentation formulae brought about the use of this term. Estampie The most important instrumental form of the 13th and ll^-th centuries. Consisted of several sections called puncta. Each punctum had two endings called ouvert and clos similar to our first and second endings. Fauxbourdon A l5th century term which has been adopted into mo dern usage as a general term for harmonic progressions based on parallel sixth chords. Mensurae Instrumental compositions based on a song tenor in measured rhythms. Prelude The earliest type of idiomatic keyboard music. Usu ally short pieces in free keyboard style. Style brise A technique of the French lutenists carried over into harpsichord music. To preserve an air of finality each member of a chord is sounded separately usually starting from the lowest tone. Tablature A general name for the various early systems of nota tion for keyboard instruments. The tones are indicat ed not by notes on a staff but by letters, figures and other signs. 330 APPENDIX II THE DEVELOPMENT OF THE SUITE A* The origin of the Suite is to be found in the paired dances for the lute. 1. Occurred in France, Germany and Italy around the same period. 2. As far back as the Middle Ages, there has persist ed a preference for a dance of two sections, the last being a kind of variation of the first. 3* In a fourteenth century dance called Lamento di Tristan,! a section in triple time is immediately followed by one in duple meter. The Glogauer Liederbuch^ (1I 4 . 60) contains many such dances for instruments as Der neue Bauernschwantz, where a dance in quadruple time is followed by one in triple meter. A little later, Hans Neusidler re sorts to the same practice in Der Juden Tanz5 for lute. B. As early as 1%5, Cornazano, in his Libro dell ' arte del danzare5-. mentions the slow and stately character of the bassadanza. This dance is probably descended from the estampie and is usually in duple time. 1. Serving as Nachtanz or after dance was the Sal- tarello which was a leaping dance in triple time. C. Gradually the Pavane replaced the Basse danse, the first example of a Pavane appearing in Petrucci*s In- tabolatura de LautoS in l50?* The Passamezzo also came 1 Davison and Apel, 0£. cit., No. 59. 2 Das Glogauer Liederbuch (new edition by H. Ring mann, 193%*------------------- 3 Davison and Apel, o£. cit., No. 105* 5- Antonio Cornazano, Libro dell'arte del danzare (15-55). 5 Ottaviano dei Petrucci, Intabulatura de Lauto (B.B. Hofbibliothek, Wien, 150?)* 331 about this time and was a Pavane of a lighter char acter, D. The Galliard, which came to be coupled with the Pavane, first appeared in Lombardy at the end of the fifteenth century. Attaignant, the French publisher,brought out editions of Galliards in 1529 and the form invaded England around 155-1 • Although the combination of Pavane and Galliard does not appear until after l550, the Galliard replaces the Saltarello in the Intabola- tural of 155-6 of Antonio Rotta. E. From the previous discussion, it is now evident that the formation of the suite, beyond the primitive Tanz and Nachtanz, took place in Italy. 1. One of the first combinations of more than two dances is to be found in Petrucci's Fourth Lute Book of 1508^, where the trio of Pavane, Saltarel- ïo and Piva form a kind of miniature suite. The Piva, which was abandoned as a dance form as early as l l | _50, was in fast quadruple time. F. One may now go to France, for with a repertoire of several dances borrowed from Italy and Spain, France was ready to develop in her own right. 1. A collection by Attaignant in 1529^ included the Basse danse. Recoupe and Tordion or Tourdion, the latter being a kind of varied Galliard. This form disappeared with the Basse danse. 2. Besard's lute collection Thesaurus Harmonicus5- of 1603 contained ten books, one for each type of dance. By now, more attention is to be paid to the individual style of each separate dance form and 1 Antonio Rotta, Intabulatura del Lauto (Venice: Gardens, 155-6) • 2 Ottaviano dei Petrucci, Intabulatura del Lauto (B.B. Hofbibliothek, Wien, l508)l 3 See Hermann Halbig, Klaviertanze des I6 Jahrhund- erts (Stuttgart; Gotta, 1928% 5- Jean Bessard, Thesaurus Harmonicus (Coloniae, I603) See Also Madrigali, villanelle e'd %ie di danz a del cin- quecento, trans. Oscar Chilesotti (Milan: G. Riccord% 1915)• 35 pages. 332 here the Prelude appears. (See below for discus sion of the Prelude.) G. Around this time, 16OO, the Allemande ceased to be danced and became a stylized dance type. In basic structure, the Allemande is similar to the Passamezzo and is a dance in moderately duple time. Grave symphony, usually in duple time, often in quadruple: it has two sections which are played twice.1 H. Menuet originated from a kind of Branle (Menuet de Poitou) during the sixteenth century. However, during the reign of Louis XIV, the dance took on the char acteristic form known today and became very popular. It was with Lully that the dance received first ser ious treatment in instrumental music. I. The Courante dates from 1550 and was mainly a solo dance deri-fred from the Beanie or Allemande. From l660- 1700 the dance was in great vogue, but was also incor porated into instrumental composition. It was no longer danced in I7OO, but remained as one of the favorite forms of the harpsichord schools. Courante... seems to be derived from a kind of bransle or allemande. The measure is ternary and the rhythm based on the formula 3/2 which may be varied in many ways.2 J. The S arabande was known before 16OO in Spain and was extremely popular, so popular that by I6OO it had 1 The original text is as follows: "Symphonie grave, ordinairement a 2 temps, souvent a^quatre; elle a 2 Re prises qu'on joue chacune 2 fois." S. de Brossard, 0£. cit. page 5. ^ ^ The original text^is as follows: "Courante...semble etre dérivée d'une variété de bransle ou d'allemande. La mesure en est ternaire et le rhythme bas^ sur la formule.. .qui peut être variée de multiples façons." Riemann, Dic tionnaire de Musique (Paris: Payot, 1931)» P* 297* 333 spread over the continent and begun to receive inde pendent instrumental treatment. in ternary measure, of noble and composed allure (in notes of long value but often bearing ornamentation) comprising two sections of eight measures each. The Sarabande begins on a strong beat and often presents a prolongation of the second beat.^ K. England apparently introduced the Gigue, a piece in ternary time. First appearing around I0O3 in the Virginal music of Robinson and Ford, the Gigue came to the continent around l650 and was cultivated with great delight. .... is an air ordinarily for instruments, almost always in triple, which is full of dotted and syn copated notes which make the melody gay and, in a manner of speaking, sparkling.2 L. Appearing in Auvergne at the end of the sixteenth cen tury, the Bourree was incorporated into the suite group around the time of Lully. M. The Prelude appeared in France around the beginning of the seventeenth century and probably goes back origin ally to the stylistic processes of the early sixteenth century Italian organ school. The Prelude was an improvisatory piece, consisting of chords alternating with passage work. This dignified introduction was composed in a 1 The original text is as follows: "..en mesure ternaire, d'allure noble et compassée (en notes longues, mais souvent chargé d*ornaments) comprenant 2 reprises de 8 mesures chacune. La Sarabande commence sur le temps fort et presents souvent une prolongation du deuxième temps." Riemann, o£. cit. 2 The original text is as follows: "..un air ordin airement pour les Instrumenspresque toujours en triple, qui est plein de Nottes pointées et sincopées qui en ren dent le chant gay et pour ainsi dire sautillant." Bros sard, 22" cit.. p. 30. 335. most peculiar manner without fixed note values like a rhapsodic toccata. The lute player was supposed to bring the freely hovering lines into a rhythmical order according to his own conceit so that no two performances of the same prelude were identical.2 The unmeasured prelude was one of the favorite forms of the lutenist school. It seemingly served two pur poses. First, it gave the lutenist a chance to test his instrument as to justness of pitch and secondly the performer could warm up, so to speak, before proceeding to the Allemandes, Courantes and Gigues. The same explanation would apply to the Prelude as used by the clavecinists, for equal temperament was not yet a common practice and even if it were, the structure of the harpsichord would have made frequent tuning necessary. It is to compose and play in impromptu fashion pieces filled with all that compo sition has to offer in the way of skillful design, fugue, imitation and harmony. It is above all in "preludiz- ing" that the great musicians, exempt from this strict ad herence to rules that the eyes of the critics impose on them on paper, shine forth in these skillful transitions that delight the listeners. Here it does not alone suf fice to be a good composer, nor to be in command of the keyboard, or to have a well- rounded technique, but one must subscribe to this fire of genius and to this inven tive spirit which finds and treats immediately the most favorable subjects to har mony and the most flattering C'est composer et jouer impromptu des Pieces char gees de tout de que la Composition a de plus savant en Dessein, en Puguq en Imitation, en Modula tion et en Harmonie. C'est sur-tout en "Préludant" que les grands Musiciens, exempts de cet extrême asservissement aux règles que l'oeil des critiques leur impose sur le papier, font briller ces Transi tions savantes, qui ravis sent les Auditeurs. C'est la qu'il ne suffit pas d'être bon Compositeur, ni de bien posséder son Clavier, ni d'avoir la main bonne et bien exercée, mais qu'il faut encore abonder de ce feu de génie et de cet esprit inventif qui font trouver et traiter sur I Manfred Bukofzer, Music in the Baroque Era (New York: W.W. Norton, 191+7), p. l68. 335 to the ear. It is by this great art of preludizing that the excellent organists of France excel, such as mes sieurs Calviere and Daquin, both surpassed by the Prince d'Ardore, ambassador from Naples, who by the vivacity of his invention and the force of his execution out does the most illustrious artists and evokes the ad miration of French connois seurs. le champ des sujets les plus favorable a 1'Harmonie et les plus flatteur a l'oreille. C'est par ce grand Art de Preluder que brillent en France les ex- cellens Organistes, tels que sont maintenant les Sieurs Calvière et Daquin, surpas ses toutefois l'un et l'autre par M. le Prince d'Ardore, Ambassadeur de Naples lequel, pour la vivacité de 1'execution, efface les plus illustres Artistes et fait a Paris 1'admiration des con noisseurs.n N. Shortly before the beginning of the seventeenth cen tury, other dances appeared now and then in the col lections of suites. Such dances as the Chaconne. Passacaglia. Rondeau, Canaries, Gigue d'Angleterre, etc., were not integral parts of tne suite but were interpolated from time to time at the discretion of the composer. 0. French harpsichord music received its greatest impulse from the Lutenist, Denis Gaultier. His two collections of lute tablatures. Pieces de luth sur trois différents modes nouveaux and the Rhétorique des Dieux2 sum up, as it were, the contributions of his predecessors and give a clear picture as to what materials were available to the harpsichord school upon its first undertakings. 1. Here for the first time in France are found pieces according to key. 2. In Gaultier's Rhétorique des Dieux are to be found sixty-two pieces divided into twelve groups, writ ten in seven different tonalities. Here, as was T J.-J. Rousseau, Dictionnaire de Musique (Paris: Duchesne, 1768), p. 377* 2 New edition in Andre Tessier, La Rhétorique des Dieux et autres pieces de luth de Denis Gaultier (Paris ; française de Musicologie^ T?32-33). La GocTêtW 336 the practice, each piece carried some picturesque title, in most cases having nothing to do with the real content of the music. P. Looking at all of these previously-mentioned dances from a historical point of view, this writer has arranged a simple diagram on the following page to show the approximate appearance of each dance. The brackets indicate that a group of dances have origin ated from a common source and the dotted lines indi cate a gradual decline in the cultivation of a certain form. f i 1 î f f -c V 337 ‘î J- h i T / / / ' / % / #■ i' - +f J v t r - 5' ï \ l é % '— % . _ ---Il— ï - A f * ? o o s o o < * ï 00 o o » O s E O o >« O l o V0 O O F * 338 APPENDIX III ORIGINAL EDITIONS OF THE WORKS OF LE BEGUE Les Pieces de Clavessin. Paris : Bâillon, 1Ô77* Biblio- theque Wagener, Bibliothèque Berlin, British Museum, Bibliothèque Nationale. 2me Livre de Clavessin. Paris: Lesclop, I687. Biblio- thèque du (Conservatoire. New Edition of contemporary period by Etienne Roger, Amsterdam. Bibliothe'que Berlin, Bibliothèque Wagener. Les Pieces d 'Orgue. P^giris; Bâillon, I676. O.P. Krems- munster, Bibliothèque Nationale, British Museum. 2me Livre d'Orgue. Paris: Bâillon. Bibliothèque Wagener, Bibliothèque du Conservatoire. 3me Livre d'Orgue. Paris: Baussen. Bibliothèque du Gon- servatoire, Bibliothèque Wagener. The three organ books in MS B. Joachim and ^ 1275, Bibliothèque Berlin. Méthode pour toucher 1'orgue. MS Autograph avec 133 pTeces de lô7ô# Magnificat 1er toni et pieces d'Orgue. MS I686, Bibliothèque Nationale. 339 APPENDIX IV PRINCIPAL MANUSCRIPTS OF HARPSICHORD MUSIC 1# Manuscript Bauyn. Bibliothèque nationale de Paris. Contains complete works o f L. Couperin, 123 pieces of Chambonnieres and miscellaneous works of Froberger, Richard, Mezangeau, Du Mont, anonymous. 2. Bibliothèque Sainte-Genevieve, MS. 2356. 3 pieces by Ghambonnieres, 5^ by L. Couperin, one each by Richard and Buret and 11 anonymous pieces. 3# Bibliothèque Sainte-Genevleve, MS. 23% & 2353. Contains some anonymous pieces for organ, 2? pieces of Chambonnieres, 3 by Louis Couperin, one by Monnard and 7 anonymous pieces. 5_. Bibliotheque du Conservatoire, Res. 18223. 5-8 pieces, mostly by d'Anglebert. Transcriptions of Lully, Pinel, Mezangeau, Gaultier. 7 pieces by Chambon nieres. 5# Bibliothèque du Conservatoire MS sans cote (n© barre 2389, BibiTotReque de 1 'Universit'e de France) . Works of F. Couperin and Rameau. 1 piece by Chambonnieres. Many anonymous. 6. Bibliothèque de la Ville de Versailles MS 139-15-3. Transcriptions for 2 dessus de violin and bass of 2 sarabandes of Chambonnieres. 7. 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J F r r p - e ------------- — ■ J . . - ^ ^ j ------- - 1 - j ---------- J -------- "'^........■ — 1 - 4 - 4 --------- ., „ vh- - - - Z t i - \ - i r - - é - -J 1 J Y W A W W W I J I E T - - M f - #Am . M W W i T m w f -- T - r ___ " T _AA5=, F X = f feV f 1- fc jd 4: ^-r— ■ — — ■ ■ ivj 4 r r1 1 1 : . Ü J y - - ) - ^ -^- LJ--1 J-.X J L_a__C2__ m __ ^ j r ^ u r j i T^j-^jii-jirni JTjii j-^ jri»f i4 i i J j m f W t = ^ — t — — : --' “ Vf- M A - . W . A # -y f-f--f f-fy " T — T----rys * 4 ^ p ..y ,--- ^. À. tWd 3 1 . r 1 ■ ■ ■ H M4 J i .J . 4 .1... " f f ...- * - p - - - zLzt— "i:{f - XLD tXJXEE 7? f- ^ r — r-f^ d —z C -p :J--- J -1 :_ L L ■ L p — _L----- 1 .I4 ..J . Y — T "-"--: - ^ - ■ - . - - «-p- T TT f T T f Tt fJ T^r f P ■ ■ ■ «; - f y > p f tT tXX*l i - ^ * — U- m r -tT f f 4 z_ z ry. " 1 .. . 1 T j f— ----1 — r p — J ------- )L * 3 j Hi |.^ : : . J J. n | L r 37 ggTtrUa 91____ f^T T f - X — X-^ r - m ^:::_nm r W # X .: j. i. fÿ : 4 r r I T f d X f f _ % Z i: lz = : J. 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Asset Metadata

Creator Gillespie, John (author)

Core Title The harpsichord works of Nicolas Le Begue

Contributor Digitized by ProQuest (provenance)

Degree Doctor of Philosophy

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag communication and the arts,OAI-PMH Harvest

Format application/pdf (imt)

Language English

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c37-7000

Unique identifier UC11631744

Identifier DP32393.pdf (filename),usctheses-c37-7000 (legacy record id)

Legacy Identifier DP32393.pdf

Dmrecord 7000

Document Type Dissertation

Format application/pdf (imt)

Rights Gillespie, John

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA