Courante

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The Courant (French; the "Running" or "runner"; ital. Corrente , . English Coranto , Corranto or Corant even Currant ) is a lively ballroom dance in triple meter and triple meter , and was from the late 16th century until about 1730 / 40 in fashion. It is typically in two parts (with reprises ) and begins with a prelude. In the 17th century there was a differentiation between the French Courante and the Italian Corrente . Together with allemande , sarabande and gigue , it is one of the basic dances of the baroque solo suite , and is usually between allemande and sarabande.

The early Courante until around 1625

character

The word courante comes from the French courir and means "continuously". The early baroque courante was a very happy, lively, fast, youthful dance in 3/4 or 6/4 time; it came into vogue as the Gaillarde became more and more complex, festive, elegant and slower, and evidently formed a kind of counterbalance - out of a natural human need for cheerful and exuberant movement and entertainment. The Courante was originally faster than the Gaillarde, but not quite as fast as the English Jig , and not disreputable or lascivious like the Volte .

According to Cesare Negri ( Nuove inventioni di balli , 1604) the courante was danced with fast running and jumping steps, forwards, sideways or backwards, "as the dancer likes". Thoinot Arbeau described the following combinations of steps ( orchèsography , 1589):

  • simple à gauche : (1) left foot to the left, (2) right foot connect.
  • simple à droite : (3) right foot to the right, (4) left foot connect.
  • double à gauche : (5) left foot to the left, (6) drag the right foot, (7) left foot to the left, (8) connect the right foot.
  • repeat the whole thing in reverse, in the opposite direction and with the other foot (9-16).
Courante by Michael Praetorius from Terpsichore , 1612 (excerpt)

Musically, early Couranten are built relatively simply, the basic rhythm consists of a string of a half and a quarter, usually with a quarter as a prelude. From time to time dots are noted, sometimes eighth-note figures. The famous Courante pictured from the Terpsichore Musarum dance collection (1612) by Michael Praetorius is very typical .

Spread and composers

The courante apparently had a lasting success: Praetorius has 162 courants in his Terpsichore , compared to: 23 gaillards, 21 branles , 37 ballets , 42 volts, 3 passamezzen and 13 “other däntze with strange names”. Presumably several courants were often lined up in a row (as was later also the case in France). Some of the dances published by Praetorius do not come from him, but from the French dance master Francisc Caroubel, so they reflect a certain French influence.

There are also typical examples of the early Courante from England ( called Coranto there), especially from the virginalists William Byrd , John Bull , Giles Farnaby and others. a. In the Fitzwilliam Virginal Book , many Corantos have been handed down anonymously.

Other composers are William Brade (1560–1630), Robert Johnson and Robert Ballard as well as anonymous Englishmen, Johann Hermann Schein ( Banchetto musicale , Leipzig 1617), Samuel Scheidt ( Ludi Musici , Hamburg 1621) and Johann Staden (1581–1634). In the handwritten lute book by Ernst Schele (or Scheele) from 1619, which is kept in the Hamburg State Library, there is a so-called Maien-Courante .

The Courante also reached Spain, where it was referred to as Coriente in the 17th century (for example in Gaspar Sanz's guitar work ).

Relationships with other dances and initial refinement

Little by little , the Courante (C) was paired with the Allemande (A) as a counterpart to the established dance couple Pavane -Gaillarde. The order A - C had not yet been determined and all of the dances mentioned existed side by side at the beginning of the 16th century, especially since the Courante initially differed significantly from the Gaillarde, due to its fresher character and faster tempo (the latter is not used in today's interpretations always clear, as some musicians apparently have vague ideas about the genres or are confused by later developments).

An example of what has been said are Schein's suites in the Banchetto musicale (1617) with the order:

Padouana - Gagliarda - Corente - Allemande - Tripla. It is noticeable that here the allemande appears after the courante and has its own tripla , in contrast to the later development (with A - C).

The gaillarde gradually went out of fashion and the composers began to refine the courante. Already Brade and Schein composed courants whose simple structure was made more interesting by more and more eighth runs and / or rhythmic irregularities and finesse, e.g. B. Emphasis on the 2 of 3/4 time. In the case of the English virginalists, the reprises were sometimes decorated with a drive (as in the case of Pavans and Galiards).

In the first half of the 17th century, two forms of the courante emerged: the French courante and the Italian corrente .

Italy

Character of the corrente

The Italian corrente remained true to the early form described for a long time: It was and remained a fairly fast and happy dance in 3/4 or 6/4 time and early on achieved a relatively high degree of refinement in Italian lute and theorbian music Kapsberger ( Libro Primo ... di chitarrone , 1604, and Libro Primo ... di lauto , 1611) and in the harpsichord music at Frescobaldi ( Primo Libro 1615).

Frescobaldi, Corrente I and Corrente II (beginning), from: Toccate e Partite Libro Primo (rev. 1637)

Melodically, these corrents partly consist of a manageable number of small motifs that are strung together, sequenced or processed in imitation.

Frescobaldi often breaks up the relatively simple structure of the early form by creating irregular phrases. In his Primo Libro the phrase lengths are e.g. B. (in bars):

Corrente I: 6 - 4/6 - 10.

Corrente II: 4 - 8/3 - 9 - 15 - 4 - 4.

Corrente IV: 3 - 3 - 3 - 5/3 - 4 - 3 - 3 - 4.

This complete irregularity and unpredictability is made even more complicated by the different phrasing in other voices and by numerous imitations; it is also emphasized by the use of distinctive motifs on the one hand and more flowing stretches (often in quarters) on the other. Numerous lead formations take place harmoniously (but this is not a recognition feature). The musical effect of these seemingly completely free structures and almost chaotic structures is lively, sparkling and witty.

In Frescobaldi's Libro Secondo (1627), the corrente is notated in 3/2, which means that he most likely wants to indicate a somewhat slower tempo than for the other five pieces in 3/4 - according to the instructions for three bars he wrote in the Libro de 'Capricci (1624/26) gives. Slower corrents can be found e.g. B. also sixty years later with Vitali . In addition to the usual two-part form, there are sometimes also three-part corrents (e.g. Frescobaldi in Libro secondo 1627, Storace in Selva 1664).

The character of the Italian Corrente was based on this model for a long time, even if not always with such irregularities - this is especially true for pieces that were really intended for dancing. Examples can be found in Michelangelo Rossi (1657) and in some cases up to Bernardo Pasquini (1637–1710), who uses the Corrente in his suites. In the field of lute and theorbian music, in addition to Kapsberger, Piccinini (1566–1638) should be mentioned in particular . Corrents for instrumental ensemble were composed by Salamone Rossi (approx. 1570–1630), Kapsberger, Martino Pesenti (1600–1648) and Bartolomeo de Selma y Salaverde (around 1595 - after 1638), as well as the violin virtuosos Biagio Marini (1594–1663) and Marco Uccellini (1610–1680), who even published two-part corrents for solo violin in his op. The corrente was cultivated until the end of the 17th century and up to the Corelli's era in Italian dance and violin music at an often artistically high level by Maurizio Cazzati (1616–1678), Giuseppe Colombi (1635–1694), Giovanni Battista Vitali (1632-1692) et al. a .. Much of this music is hardly played today and is almost forgotten.

Use of the Corrente

The corrente was apparently mostly used as a single piece that could be used with other dances or pieces of music at will. So it is e.g. For example, it is questionable whether Frescobaldi meant his four corrents from 1615 or his six corrents from 1627 as a suite, especially since they are all in different keys. This is also supported by the Correnten collections of the blind Venetian dance master Martino Pesenti from 1630 (with 18 Corrents) and 1635 (with 26 Corrents).

In his Balletti of 1637 Frescobaldi uses a corrente, all dances are in the same key, in the following sequence: Balletto - Corrente - Passacagli (Balletto I and III), or Balletto - Corrente (Balletto II). Decades later, baroque violinists such as Cazzati, Colombi and Vitali (1632–1692) did a very similar thing: in 1662, Cazzati published twelve ballettos with corrente as op. 30, and Vitali still coupled nine ballettos with one corrente each in his op . In addition, other dances, such as B. Sarabands or Giguen, which ultimately led to the form of the Sonata da camera .

The Italians also used the Corrente in works of variation. B. Frescobaldi's famous Cento Partite sopra passagagli interrupted by a corrente ; Bernardo Storace ends his Passamezzi and his Monica with variations in the form of corrents, and Bernardo Pasquini brings z. B. in the middle of his Variazioni d'Inventione three variations in the form of the Corrente.

The Corrente as a concert movement since Corelli

Corrente from 12 sonatas for violin and continuo, op. 5, no. 7, D minor by Arcangelo Corelli

Kapsberger invented virtuoso ornamentation for the reprises of his corrente for chitarrone as early as 1604 (similar to the English virginalists), and Frescobaldi brought a variation of his corrente seconda with virtuoso eighth runs in his Secondo Libro (1627) . In 1640 Kapsberger published in his Libro quarto for chitarrone then corrents (e.g. Corrente seconda ), the reprises of which are resolved into eighth arpeggios. This type of corrente with virtuoso flowing runs and above all with broken, arpeggiated chords becomes independent in the course of the emergence of concert solo music in Italy, gains entry into the Italian sonata and the concerto grosso of the high baroque , and finally becomes over the extremely influential works of Arcangelo Corelli , Antonio Vivaldi u. a. also adopted internationally by composers such as Bach and Handel .

An example of an Italian corrente in the new high baroque concert style is Corelli's Concerto grosso op. 6, No. 10 in C major, with a continuous virtuoso eighth note movement, chord breaks and many sequences in the solo cello . This movement is actually no longer a real dance, but a concert movement in a 3-time Allegro. The term Corrente in these sonata and concerto movements evidently means above all the literal running or flowing movement (from Italian correre : "run", "flow"). From a normal 3/4 Vivace, as Corelli uses in his Sonata and Concerti da chiesa , his concert corrents differ only in a few allusions to the actual corrente, or rather to the French courante: the typical beginning with a short eighth note Prelude and subsequent dotted quarter, and hemiolic phrase endings. The idea was a complete success, especially in the Italian and Italian influenced violin and solo literature. Even today, the greater part of the audience understands this type of high and late baroque concert movement by an Italian corrente .

The Italian concert corrente with arpeggiated chords, however, only gradually established itself in Corelli's work, and he also used other, more dance-like forms. In his Sonate da camera op. 2 from 1685 he used a corrente five times in a total of 12 sonatas, of which only No. 10 is a fully developed concert corrente with continuous virtuoso eighth-note arpeggios in the first solo violin, which he evidently used wrote his own body. No. 6 in the same op. 2 is a somewhat more harmless mixed type or a precursor with occasional arpeggios in both violins. In Corelli's op.4 of 1694, the total number of corrents has noticeably risen to 8 in 12 sonatas, of which Nos. 1, 3, 9 and 11 bring the new concert type in an even more mature form: the two solo violins are mostly equal, the virtuosos throw each other Pieces towards each other (ie one after the other) and / or concert in parallel (arpeggios simultaneously). A corrente for solo violin and bc contains Corelli's Sonata Op. 5, No. 7, D minor (see illustration).

French and other forms of Corrente at Corelli

In addition to this relatively new form of the Italian concert corrente, Corelli also has other forms of corrente, just as he used different types of allemandes (slow and fast):

In op. 2, the corrents in nos. 1, 2 and 7 are heavily colored in French with short eighth notes, very dance-like with rhythmic games, opposing accents and hemiolas (in 3/4 time). The Corrents in Op. 2, No. 6 and Op. 4, No. 4 are mixed forms of French and Italian. Corelli's French Corrents also include the one in the Concerto grosso op. 6, No. 9 in F major, which despite the fast tempo also has a festive, solemn character that can be considered typical of the French Courante.

In op.4, the corrents of nos. 2, 5 and 7 cannot be assigned to either of the two types mentioned, they correspond stylistically to the traditional dance corrente in the successor of Frescobaldi, Marini etc. with a mostly continuous quarter movement (no.2!) , and sometimes imitations (No. 7).

French corrents can also be found in the harpsichord music by Bernardo Pasquini.

Position of the Corrente in the Sonata da camera

In Italian music, the position of the corrente, as well as that of the other dances, is less fixed than in the German harpsichord suite, although in Corelli too an allemanda is very often followed by a corrente: In the sonatas op. 2, no.1, 2, 6, 7; and in op. 4, no. 5; in the Concerti grossi op. 6, nos. 9 and 10.

His first real concert corrente in op. 2 No. 10, however, forms the finale after three preceding movements, that is: Preludio - Allemanda - Sarabanda - Corrente. Op. 4, No. 2 also has a similar sequence of movements.

In op. 4, nos. 1, 3, 4, 7, 9, and 11, the Corrente follows the Preludio directly, i.e. without the Allemanda. In nos. 1 and 11, however, a quick (!) Allemanda is added and is at the end.

Similar findings can also be found e.g. B. in the Bonportis Invenzioni a Violino Solo op. 10, or in Vivaldi's 12 Manchester Sonatas for solo violin and bc. In Bonporti's numbers 4 and 10, and in Vivaldi's half of the aforementioned sonatas, end with a virtuoso concertante corrente as the fourth movement. In two of the cases mentioned there are even two 'corrents', in the second and fourth positions of the sonatas RV 755 and RV 758. This leads to the sequence of movements: Preludio (Largo or Andante) - Corrente - Andante - Corrente.

The last example in particular clarifies what has been said before: The high baroque concert corrente with continuous eighth or even faster movement and broken chords is actually not a real dance, but a two-part concert movement in three-time.

France from around 1625

Beauchamp-Feuillet notation: The steps of a courante

The typically French Courante was created in the first half of the 17th century under Louis XIII. and was fully developed at the beginning of the reign of Louis XIV , in the 1640s and 50s. The peak of its popularity extended to around 1690. According to Antoine Furetière (1619–1688) it was "... the most common of all dances practiced in France ...".

Couranten for court balls and Ballets de Cour composed: Guillaume Dumanoir (1615–1697), Michel Mazuel, also Jean-Baptiste Lully (e.g. “La belle Courante” LWV 75/24, which was later set for harpsichord by d'Anglebert and was provided with a double ). The Clavecinists Chambonnières , Louis Couperin , Jacques Hardel , Lebègue , d'Anglebert , among others, left behind a particularly large number of typically French Couranten. Johann Jacob Froberger (1616–1667), who traveled widely internationally, is one of the early composers of the French Courante. It was also mandatory in the suites of French lutenists and theorbists such as Ennemond Gaultier ( Le Vieux , approx. 1575–1651), Denis Gaultier († 1672), Robert de Visée (1660–1732) and others.

Character of the French Courante

Jacques Champion de Chambonnières : Courante de Madame in D minor, from Les pièces de clavessin , 1670.

The French courante is a very noble, elegant dance, and at the same time moderately lively to lively. In contrast to the early form and the Italian corrente, it was almost always notated in 3/2 or 6/4 time. The typical characteristic is a great rhythmic complexity, with frequent changes between 3/4 and 3/2 time, sometimes simultaneously in different voices. In addition, the 3/4 sections are no longer just rhythmized in the flowing traditional form as long-short (half-quarter), but also often and often the other way around as short-long (quarter-half) - this often creates piquant accents against the Tact. This can also happen in different voices at the same time. The end result are structures that can represent a pitfall of problems for beginners or rhythmically less gifted people, but which mean the greatest joy for real dance-rhythmic talents.

In contrast to the Italian Corrente, the French Courante works almost exclusively on the melodic and rhythmic level, there are fewer imitations and fewer sequences. The melody usually begins with a short prelude to the value of an eighth note, which often anticipates the first note in the treble. Despite the rhythmic piquancy described, the melody is beautifully formed, lyrical, noble, sacred. The accompaniment in the middle voices is often lively, and especially in the harpsichord music partly in the style luthé or brisé ( lute style), i.e. H. interspersed with chord breaks or looking up chords. Another typical characteristic are the long final chords at the end of the first and second parts, with a backward movement in the middle and / or lower parts, usually in rhythm as two 3/4 bars. In harpsichord and lute music, these final chords are often decorated with broken chords and / or arpeggios.

The zenith: from Chambonnières to d'Anglebert approx. 1640–1690

The courante was the French favorite dance, especially in the music of the clavecinists . In the harpsichord suite it was mostly - but not always - second. In Ballets de Cour or instrumental divertissements , the rules were apparently (even) looser.

In the complete works of Jacques Champion de Chambonnières (1601 / 2-1672) or Louis Couperin (1626–1661) one finds at least three or four times as many courants as other dances. In Chambonnières Pièces de clavessin of 1670 - the first ever published harpsichord pieces - six of eleven suites have 3 courants in succession, three of these six suites have the following sequence:

Allemande-Courante-Courante-Courante-Sarabande .

Of the remaining five suites, four have 2 courants, two of which are suites with the following sequence:

Allemande-Courante-Courante-Sarabande .

Only one suite (of 11) has 1 single courante, and this in the extravagant sequence: Pavane-Gigue-Courante-Gigue .

A similar preponderance of courants can be found in the Pièces de Clavecin by Nicolas Lebègue (1677) - with 2 courants each in 5 suites - and in Jean-Henry d'Anglebert (1689) - with 3 courants each in the suites in G Major and G minor, and 2 courants each in D minor and D major. Even François Couperin brings even 2 per courantes the 1st, 2nd, 3rd and 5th Ordre (1713), and the 8th Ordre (1716). In the 17th Ordre (1722) with 5 movements there is only a single courante in the fourth position.

3 different types of Courante

With so many courants in a suite, it is predestined that the really good French composers should develop a special art of characterization in order to create contrasts. A first and simple means was to write a virtuoso, intoxicating double, as Frescobaldi had already done in 1627. Examples of this can be found at Chambonnières, Louis Couperin, d'Anglebert, Lebègue, Elisabeth Jacquet de la Guerre (without claim to completeness).

At the height of the French Couranten love between approx. 1640 - approx. 1690 there were also three different types, which, however, were rarely clearly designated. The contemporary connoisseur could distinguish them (but not every harpsichordist today):

  • The normal Courante, which had all the characteristics described above, at a moderately fast pace, with a certain emphasis on the lyric-melodic, sometimes with a tendency towards the longing and melancholy (especially in the minor).

Compared to the Courante grave , it can also come across as a bit teasing. Examples abound as this was the most common type; Chambonnières is particularly beautiful, and it is clear that he was particularly inclined to the lyrical.

Nicolas Lebègue : Courante gaye in d, Pièces de clavessin, Premier Livre (1677)
  • The courante gaye , the "happy" courante, which was faster and more light-footed, with a slightly more erratic melody. It was probably the direct successor of the cheerful early form, and at least in character it had a certain resemblance to the Italian Courante. Lebègue expressly refers to the second courante of his Suite No. 1 in D minor ( Premier Livre , 1677) as Courante gaye , in this case it also has a double (but this is not a distinguishing feature). The 2me courante of his suite in A minor is probably also a courante gaye , although it is not so named. Chambonnières has a relatively large number of courantes gayes , but he never specifically names them that.

Further examples are (unmarked): Chambonnières: Courante with double in D minor ( MS Bauyn , f.18v-19r, vol. 1, pp. 36–37); Chambonnières, Pièces de Clavessin (1670): Courante No. 3 of the first suite in D minor (Vol. 1, pp. 27–28), Courante No. 3 of the second suite in D minor (Vol. 2, p. 17-18), Courante No. 2 of the Suite in D major (Vol. 2, pp. 25-26); Louis Couperin: first Courante in C major in MS Bauyn , f. 20v (vol. 2, p. 40).

The Courante gaye in its actual form does not seem to have existed from around 1690 (and perhaps earlier); possibly this was u. a. on the influence of d'Anglebert, who was so inclined to adornment splendor that this automatically had a slowing effect on any speed. It is also conceivable that Louis XIV, who was an excellent dancer in his youth, no longer had any need for the fast courante gaye as he grew older .

Nicolas Lebègue : Courante grave in g, Pièces de clavessin, Premier Livre (1677)
  • The Courante grave : This is more of a character than a tempo designation, although it is slower and heavier than the Courante gaye , but not necessarily slower than the normal Courante; the name is probably also a musical instruction , in the sense of a strongly dotted Inégalité . The character is pompous, powerful, pompous. It manifests itself very clearly, especially in the first 2 to 3 bars, in the form of sweeping, splendid chords and sharply dotted rhythms, the bass often with bass octaves in the lowest octave. The Courante grave requires at least the use of the belt, or tutti , on the harpsichord , while the other Couranten also get by with 8 ', 4' or a simple 8 ', depending on the character and sequence in the suite. Clear examples with the designation “ grave ” come from Lebègue in his first suite in D minor and in the suite in G minor of Premier Livre (1677).

Other examples are (unmarked): Chambonnières: Courante in C ( MS Bauyn , f. 13r., Vol. 1, p. 25); Louis Couperin: Courante in d ( MS Bauyn , f. 31v., Vol. 2, p. 62); d'Anglebert: first courante in G minor, 2nd courante in D minor (1689).

18th century: Couperin, Rameau, Marais and the end

The Courante in France had already passed its real zenith around 1700. In the divertissements of Lully's ballets and tragédies lyriques , other gallant dances such as the menuet , bourrée and gavotte had been in the foreground since 1670 at the latest. In 1687, Nicolas Lebègue, in his second book, Pièces de Clavecin, focused more on the aforementioned gallantries and chaconnas and limited the number of courants per suite to a single one. The clavecinists of the middle and younger generation such as François Couperin (1668–1733), Elisabeth Jacquet de la Guerre, Clérambault , Marchand , Dandrieu and Jean Philippe Rameau (1683–1764), the gambist Marin Marais (1656–1728) and others. a. held the Courante in honor between 1690 and 1715. However, they only composed a maximum of two courants per suite, and different types can no longer be distinguished. After the death of Louis XIV in 1715, the courante seems to have quickly gone out of fashion, it apparently symbolized the grand siècle , and no longer corresponded to the lighter taste of the Régence (1715–1723) and the time of Louis XV.

François Couperin composed by far the most interesting and successful Couranten at this time, and he also introduced a little more drive, probably in the course of his reform in the sense of a union of the French with the Italian style of Corellis ( Les Gouts Réunis ). The rapidly decreasing number of Couranten in his particularly influential 4 books of the Pièces de Clavecin is significant : In the first book of 1713 there were four Ordres (No. 1, 2, 3, 5) each with 2 exquisitely beautiful Couranten, which he also did always very nicely contrasted with each other, so in the second book of 1716 only the formally conservative 8me Ordre has 2 courants - in a sea of ​​character pieces . The piece “ L'Intime” in the 12me Ordre , which Couperin calls Mouvement de Courante , is not a typically French Courante, but rather Italian influenced, in 3/4 time, without a prelude and with a flowing eighth note movement. In the third book of 1722, Couperin's last Courante appears in the five-movement 17me Ordre , and strikingly no longer in the traditional second position, but in the penultimate position. In the fourth book of 1730 the courante disappeared for good.

Couperin also contrasted a typical courante françoise with a courante italienne in the fourth of his Concerts Royaux in 1722 , whose runs pointé-coulé (dotted and tied) are to be played.

Similar findings can be found in the extensive and important work for viola da gamba by Marin Marais. He published 5 books with Pièces de Viole : 1686/1689, 1701, 1711, 1717 and 1725. In the first three books, each of his (very long) suites has at least one courante, although in 1701 in Livre Second he usually had two per suite (or more) brings allemands, sarabands, gigues and minuets. In terms of quantity, the Courante already performed worse than other dances in 1701. In 1711 this somewhat 'unjust' picture was corrected somewhat, but in Livre IV of 1717 the courante has disappeared from all seven suites (87 pieces) for solo viol; it only appears in the two suites for three viols. In the fifth and last book of 1725 (with 114 pieces) there are no more Couranten - this is particularly noticeable since Marais sticks to all other traditional movements in the suite, and even brings two or three allemandes per suite.

Jean Philippe Rameau, Courante in a (detail), Nouvelles Suites de Pièces de Clavecin, ca.1727.

A third example is Rameau, who is almost a generation younger and who only published a total of 3 Courants in 3 books by Pièces de Clavecin (1706, 1724, 1728), one in each book. The first from 1706 is a successful piece with chromatic turns and interesting 'painful' harmonics (including many sevenths); the Courante from 1724 exemplarily reflects the lost interest in the genre, it almost seems like a compulsory exercise. Rameau's last Courante in A minor (c. 1727, see illustration), on the other hand, is a brilliant and dramatic virtuoso piece in an extremely Italianizing style, which shows off his brilliant and progressive harpsichord technique, with continuous eighth note chains in all voices and chord breaks in the bass span over 2 octaves. This piece has very little to do with the traditional French Courante: It is a stunning and unrepeatable mixture of the French and the late Baroque Italian concert corrente that could not catch on.

What was still written by the Clavecinists in Couranten in the 1720s to 1740s does not bring much new information and is mostly nostalgic. This is true in the truest sense of the word for Daquin's only Courante in his Pièces de Clavecin (1735), the motif and key (D minor) clearly going back to a piece by his godmother and teacher Élisabeth Jacquet de la Guerre: the one that was stylistically original in its time , dramatic and Italianising Courante of her Pièces de Clavecin from 1707. Dandrieu makes a few, very pretty Couranten, but he disguises them as character pieces : The chromatic La Patétique (1728), as well as La Fière and La Précieuse (1734); also L'Imperieuse (1728) and L 'Afligée (1724) are somewhat unusual courantes. Dandrieus L'Empressée (1724) is a purely Italian concert corrente in the style of a violin sonata by Corelli or Vivaldi. The two very beautiful “Couranten” by Duphly in his Premier Livre (1744) are also Italianizing and influenced by Rameau , but both in a 6/8 and far from the traditional Courante.

In 1768 Jean-Jacques Rousseau was able to write that the Courante was "... no longer in use ..." ( Dictionnaire de musique , 1768).

England from around 1625

"In the meantime we must content ourselves with those that make no difference between a hymn and a coranto."

"In the meantime we have to be content with people who don't know the difference between a hymn and a coranto."

- Charles II Stuart : Letter from Cologne to his aunt Elisabeth Stuart , the former Queen of Bohemia, August 1654.

The most important composer under Charles I Stuart (1600–1649) was William Lawes (1602–1645), who also used numerous corants in the ten suites of his Royal Consorts - often two in a suite of 5 to 7 movements. Lawes Corants are musically like the rest of his music of the highest quality, and often very contrapuntal. They are a stylistic further development of the early Courante and, as in France, at least two different types can be distinguished: a faster and a quieter type. Some pieces also show features of the French Courante, such as a. the characteristic short prelude. These are the corants of nos. 1 and 7, the first corants of nos. 3 and 9, and the second corants of nos. 5, 8 and 10. Interestingly, these pieces belong to the first 'French' courants in general, although the time of origin is not entirely certain and probably extended over a longer period of time: It is generally assumed that Lawes wrote the Royal Consorts in the 1630s, but later added individual sentences.

England sank in 1642 in the Civil War , and during the following rule of the Puritans under Oliver Cromwell dance music and entertainment were generally frowned upon. After the restoration of Charles II Stuart (1630–1685) in 1660, music and art also flourished again. Since the king had lived partly in France during his exile, he loved French dances. Three years earlier in 1657, John Playford had published around 20 melodies by French Couranten in the third edition of his collection The Dancing Master , more followed in the new edition in 1665. The French origin and aristocratic character of these melodies is already reflected in the titles: Corant Madam , La Altes , La Princes , La Dutchesse , La Fountain Bleu , La Mounser (= Monsieur?), La Moor (= L 'Amour?), Corant New La Royall , The Queen's Corant etc.

This is how the French Courante came to England, but was soon anglicized by the local composers. Matthew Locke (1621 / 2–1677) and John Banister the Elder (1630–1679) wrote short corants in French for court balls . Locke, as the leading composer of this era, also liked to use the courante in his consort and harpsichord music, e.g. B. in the Melothesia Collection , published in 1673 , which also contains harpsichord sets by numerous other composers, such as Christopher Preston, John Roberts and John Banister; the Corants in Melothesia are partly written in an English form of lute style. The Italian harpsichord master and composer Giovanni Battista Draghi († 1708), whose courants - like his music in general - are more French than those of his younger English colleagues John Blow (1649–1708), Henry Purcell (1659–1695) and William Croft (1678-1727). These tie in with the English tradition of Locke and his generation and cultivate their own typical English style. Such English corants from the period between approx. 1680 and 1710 are formally based on the French courante, but are often notated in 3/4 instead of 3/2, and stylistically tend to be bitter, brittle and angular, with frequent dots, and sometimes 'holes' (rests) on the first beat of the measure in one or more voices - even and especially when they are written in the lute style. Style features that are typical of Froberger, who was indeed in England around 1650, are also striking: Purcell still uses e.g. For example, at the end of some Corants there is a syncopated closing formula that is often found in Froberger.

The Purcell generation no longer used the Courante in their orchestral or theater music, much like Lully and his successors in France and Germany.

In the course of the great enthusiasm for Corelli's sonatas and concerti grossi, the Italian concert corrente also reached the British peninsula in the last years of the 17th century and was used in their sonatas and concerts by some of the composers who emigrated to England from many countries.

Germany from around 1625

17th century, ensemble and orchestral dances

It is not very easy to define what German violin or ensemble composers understood by a courante in the middle of the 17th century. A certain linguistic confusion is already noticeable, because depending on where one was working, the words Corrente , Correnta or Courante actually meant the same thing for a German composer. In Germany around 1640–1680 one can assume its own ensemble tradition, which went back to composers like Johann Hermann Schein (see above), but which then also incorporated more modern Italian and / or French elements.

This applies, for example, to Johann Rosenmüller (approx. 1619–1684), who was a direct successor to Schein in Leipzig between 1645 and 1655, and during this time he published “Couranten” in his suites from 1645 and 1654 ( student music ), while he was in during his time in Venice in 1667/1670 published " Sonate da camera " in which he used the term "Correnta". Heinrich Ignaz Franz Biber (1644–1704), who was actually very Italian influenced, used the term “Courante” (but Allamanda, Sarabanda, Balletto ) in his Sonora cafeteria in 1680 . Both composers compose little courants that seem like a mixture of French and Italian elements and can be classified as German.

With Georg Muffat (1653–1704) it then became more modern, but not much clearer, as he mixed influences from Lully and Corelli. He used the Courante extremely rarely in his ensemble music: in the Armonico Tributo only one in Concerto grosso No. 3 in A major (Salzburg, 1682 / Passau 1701). The Lullists such as Kusser , Johann Caspar Ferdinand Fischer , Johann Fischer , Benedikt Aufschnaiter , rarely or never use the Courante - they were apparently very well informed that the Courante went out of fashion at the court of the Sun King around 1700.

The Courante in German harpsichord music before Bach and Handel

The courante has had a permanent place in the German harpsichord suite since Johann Jakob Froberger. In contrast to France, however, they were satisfied with a single courante, in the following sequence:

Allemande-Courante-Sarabande-Gigue.

Only Froberger himself experimented with the gigue in second place, and with the sarabande in the last place, which everything also occurs in Chambonnières (1670). Although Froberger was an extremely Italian-influenced composer and a student of Frescobaldi and Carissimi, he composed purely French courants. He had his own style, however, which was even louder than the French, and his couranten are not as varied as those of Chambonnières. Since Froberger notated some courants in his Libro secondo (1649) in 3/2 and some in 3/4 (but always as double time and with the same default C3), it could be that he distinguished between faster and slower courants; But that is not entirely certain, and in terms of composition, his 3/2 and 3/4-Couranten do not differ from each other, in contrast to the normal Courante and the Courante gaye of the French clavecinists.

Due to the high quality and expressiveness of his music, Froberger had an enormous influence, although his suites were not printed until the end of the century. His successors included Johann Kaspar Kerll (1627–1693), Alessandro Poglietti († 1683), and also the North German Buxtehude (1637–1707). Caution is also advised in German harpsichord music with the terminology: Johann Krieger's (1652–1735) “ Correnten ” in his six musical parts from 1697 can hardly be distinguished from Froberger's Couranten, although Krieger goes his own and 'more Italian' ways in his Allemanden; the courants of his Nuremberg colleague Benedikt Schultheiss ( courageous and encouraging Clavierlust first & other part , 1679 & 1680) are sometimes more idiosyncratic with chord breaks that go across the entire keyboard. Similar idiosyncratic and non-French courants can also be found in Handel's teacher Zachow (1663–1712), or in Georg Böhm (1661–1733) in his suites in d, in E- flat , and in a - but Böhm's other courants are completely traditional in Froberger- Buxtehude style.

Around 1690 a different wind began to blow with Muffat and Fux , they themselves no longer followed Froberger in their harpsichord works, but Lully, so their courants are French, but in a more modern way than before in Germany. The same applies to Johann Caspar Ferdinand Fischer in his harpsichord suites in “ Blumenbüschlein ” (1698) and in Musikalischer Parnassus (1738?): He brings colorful sequences of gallant dances such as Bourrée, Menuet, Gavotte, Rigaudon and others. a., with a few typically French but not very important Couranten (three in the eight suites from 1698, and two in nine suites from 1738).

18th century: Bach, Handel and their contemporaries

After the great days of the Courante in France are already over, and the Lullists are not among their great friends either, it is actually almost a miracle that they can celebrate another resurrection in Germany, especially in the harpsichord suites of Georg Friedrich Handel (1685–1759) and Johann Sebastian Bach (1685–1750), but also by their contemporaries Christoph Graupner (1683–1760) and Gottlieb Muffat (1690–1770). Most of these courants can no longer be clearly classified as French or Italian, but mixed forms, as indeed the German composers of the late Baroque period created their own style from a mixture of different styles, which is different for each composer and at the same time can be considered typically German.

An exception in every respect are the courants in the lute suites by Silvius Leopold Weiss (1687–1750), who clearly preferred the virtuoso form of the Italian corrente. The Italian concerto corrente in the successor to Corelli was of course also used in many sonatas by German composers, e. B. by Johann Christian Schickhard (1670–1740), who in his recorder sonatas op. 1 demonstrated a preference for corrents in dotted eighth notes. The same applies to the sonatas and suites of the Dutch-German viol virtuoso Johannes Schenck (1656–1712), who already shows a clear Italian influence in his op. 2 (1688), in addition to typically German double stops in the style of Biber and Walther , and later cultivates the concert corrente based on Corelli's model.

Handel's “Couranten” (published in the Suites de Pieces of 1720 and 1733, among others ) have a strong Italian touch (like his style in general) and follow Corelli, they are in 3/4 time with continuous eighth note movements, sequences and imitations, although he often does wrote a loud, but extremely voluminous contrapuntal sentence that at first glance might seem French. All of this is fused into a rushing whole with his unique melodic talent.

Graupner was a very original composer who invented very charming, piquant Couranten in 3/2, which appear more French and flirtatious than Handel, but also do not forego the intoxication of Italian virtuosity ( monthly clavier fruits 1722, and suites in manuscripts).

Gottlieb Muffat's Couranten in the Componimenti musicali , which was not published until 1739, are among the last of their genre. They are mostly Italian-influenced, original concert pieces, and the influence of Bach's partitas and Handel's suites sometimes comes through. Muffat tends to be somewhat bizarre and angular, an example of which is the Courante of Suite No. 4 in B flat major.

JS Bach: Courante from the lute suite in E minor BWV 996 , played on a lute.

In contrast to his contemporaries mentioned, Johann Sebastian Bach wrote some clearly French Courants, namely the two Courants of the English Suite No. 1 in A major (the second Courante with two doubles), the Courante of the English Suite No. 4 in F- major, and the Couranten of the French Overture in B minor (BWV 831), as well as the lute suite in E minor BWV 996 (see audio sample on the right).

JS Bach, Courante from Partita No. 2 in C minor, BWV 826, from: Piano Exercise 1st Part (1731)
JS Bach, Corrente from Partita No. 1 in B flat major, BWV 825, from: Piano Exercise 1st Part (1731).

It is noticeable, however, that Bach's Couranten are all consistently in 3/2 time, but do not play any rhythmic games with 3/4 measures inserted, as are typical for French composers - the only exception is Courante No. 2 in the English Suite No. 1 in A major, and the compulsory final bars at the end of the first and second parts, which Bach always gives rhythm as two 3/4 bars. Bach's Couranten are rhythmically simpler than the Couranten of the French, on the other hand they are more agitated and complex than French models. In the English suites , apart from No. 1, all other Courants are a mixture of French and Italian, although they are all in 3/2. The most Italian are numbers 2 and 6 because of the virtuoso eighth note movements that run through, but that is always mixed with French melodies and rhythms. In Nos. 3 and 5, the mixture of French and Italian elements is particularly successful; they are no longer next to each other, but have merged into a uniform, rounded whole. You could say that Bach created his own ideal type here. The same applies to the Couranten of the French Suites No. 1 and 3, and the Partita No. 2 in C minor (see illustration). The “Courante” of No. 4 in D major is a unique special case: although notated in 3/2, it is - apart from a few hemiolas - actually rhythmically in 3/4 (don't be fooled by the counterpoint and the many tied up Notes in the middle part!); Together with the numerous runs and virtuosos, this is Bach's most Italian “Courante” - or a highly stylized in-house creation.

Clearly Italian corrents are in the French suites No. 2, 4, 5 and 6, and in the partitas No. 1 (see illustration), 3, 5 and 6 - but only the latter are also referred to as " corrente" . All eight pieces are two-part, in contrast to Bach's Couranten , which mostly have at least a hint of polyphony - this transparent, but also somewhat strict two-part character of his corrents , however, is Bach's peculiarity and cannot be transferred to other composers (e.g. and especially not at Handel!). The corrente of Partita No. 6 in E minor is probably one of the most idiosyncratic that Bach wrote, with constant syncopation, which would be much more typical in a horn pipe, and exploding thirty-two-digit runs - it is somewhat reminiscent of Bach's violin music, and is like the entire partita stylized to the highest degree. In his solo partits and suites for violin, cello and flute he always used the form of the Italian corrente (even if they are sometimes referred to as "Courante"), in the two lute suites once a mixed form and the other time the French form (BWV 996, see audio ex. Above).

GP Telemann: Courante from the Concert Suite in D major TWV 55: D6 for viola da gamba, strings and figured bass.

Bach, Handel and Telemann also occasionally wrote Couranten in their orchestra suites. A prime example of particularly noble and solemn dignity and beauty is the Courante in Bach's orchestral suite No. 1 in C major BWV 1066. In his suite in D (TWV 55: D6) for viola da gamba and string orchestra, Telemann creates an attractive mixture of French Courante with a virtuoso trio à la Corelli for the solo viol (see audio sample on the right).

“The passion or emotion which is to be presented in a courante is the sweet hope . Because there is something heartfelt, something demanding and also something enjoyable in this melody: lots of pieces from which hope is put together. "

- Johann Mattheson : The perfect Capellmeister 1739, p. 231

Web links

Commons : Courante  - collection of images, videos and audio files
Wiktionary: Courante  - explanations of meanings, word origins, synonyms, translations

literature

  • Thoinot Arbot, orchésography. Reprint of the 1588 edition. Olms, Hildesheim 1989, ISBN 3-487-06697-1 .
  • Peter Holman, booklet text for CD: Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, published by Hyperion (CDA66667), 1993.
  • Peter Holman (translated by M. Willmann), booklet text for the CD: Johann Rosenmüller, Sonate da camera & Sinfonie 1654–1682 , Hesperion XX under the direction of Jordi Savall. Astrée / Auvidis E 8709.
  • Catherine Massip (transl. K. Knüpling-Bimbenet), booklet text for the CD: Guillaume Dumanoir, Michel Mazuel, Mr. de la Voye & Anonymes - Suites d'Orchestre 1650–1660 , Le Concert des Nations, Jordi Savall. Auvidis / Fontalis, 1996.
  • Paul O'Dette, booklet text for CD: Baroque Lute Music Vol. 1: Giovanni Girolamo Kapsberger , with Paul O'Dette - 10-course lute & chitarrone, published by harmonia mundi, 1990/2001.
  • Johann Mattheson , “XIII. The Courante, or Corrente. ”, In: The perfect Kapellmeister 1739 , facsimile, ed. Margarete Reimann, Kassel: Bärenreiter, 1954 / 5th edition 1991, pp. 230–231.
  • John Playford, (PLAY.1-3A, 1657) The Dancing Master: or, plain and easie Rules for the Dancing of Country Dances, with the Tunes to each Dance. To which is added the Tunes of the most usual French Dances. And also other New and Pleasant English Tunes for the Treble Violin. London, printed by WG and are sold by J. Playford and Z. Watkins at their shop in the Temple, 1657. London: J. Playford, 1657, pp. I, 1-132; II, 33-60. (Glasgow University Library)
  • John Playford, (PLAY.1-3B, 1665) The Dancing Master: or, plain and easie Rules for the Dancing of Country-Dances, with the Tunes to each Dance ...., London: J. Playford, 1665, pp . I, 1-132; II, 33-60. (Bodleian Library.)
  • Jean-Jacques Rousseau: "Courante", in: Dictionnaire de musique , Paris 1768, p. 136. See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau%2C_Jean-Jacques) , seen on 12. August 2017.

grades

harpsichord

  • Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  • Manuscrit Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières , deuxième part: Pièces de Clavecin de Louis Couperin, troisième partie: Pièces de Clavecin de divers auteurs, Facsimile, prés. by Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.
  • Georg Böhm, Complete Works for Harpsichord , ed. v. Kl.Beckmann, Wiesbaden, Breitkopf & Härtel, 1985.
  • John Bull, Keyboard Music I (Musica Britannica 14) , ed. by J. Steele u. Francis Cameron, rev. by Alan Brown, London: Stainer & Bell, 1960/2001.
  • John Bull, Keyboard Music II (Musica Britannica 19) , ed. of Thurston Dart, London: Stainer & Bell, rev. by Alan Brown, 1960/2016.
  • William Byrd, Keyboard Music I (Musica Britannica 27) , ed. by Alan Brown, London: Stainer & Bell, 1969/2013.
  • Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  • A Choice Collection of Ayres for the Harpsichord or Spinett (London 1700) (music by John Barrett, John Blow, Jeremiah Clarke, William Croft, Francis Pigott), New York: Performer's Facsimiles 28201 (undated).
  • François Couperin, Pièces de Clavecin , 4 vols., Ed. by Jos. Gát, Mainz et al .: Schott, 1970–1971.
  • Jean-François Dandrieu, Pièces de Clavecin (1724, 1728, 1734), ed. by P. Aubert & B. François-Sappey, Paris: Editions Musicales de la Schola Cantorum, 1973.
  • Louis-Claude Daquin, Premier Livre de Pièces de Clavecin (1735), New York: Performer's Facsimiles 30442 (undated).
  • Giovanni Battista Draghi, Harpsichord Music , ed. By Robert Klakovich, Madison (Wisconsin): AR Editions, Inc., 1986.
  • Jacques Duphly, Pièces de Clavecin - Premier Livre (1744), Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1990.
  • Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument (including: " Blumenbüschlein " (1698) and Musical Parnassus (1738?)), Publ. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901).
  • The Fitzwilliam Virginal Book (revised Dover Edition), 2 vol., Ed. by JA Fuller Maitland u. W. Barclay Squire, corrected et al. ed. by Blanche Winogron, New York: Dover Publications, 1979/1980.
  • Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615 and 1637. New edition by Pierre Pidoux, Kassel: Bärenreiter, pp. 70–71 ( Corrente prima - quarta ).
  • Girolamo Frescobaldi, Il secondo Libro di Toccate ..., Libro Primo , Rome 1627 and 1637. New edition by Pierre Pidoux, Kassel: Bärenreiter, pp. 92–95 ( Corrente prima - sesta ).
  • Johann Jacob Froberger, New Edition of All Works , Volumes I-IV, ed. v. S. Rampe, Kassel: Bärenreiter, 2002.
  • Christoph Graupner, monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.
  • Christoph Graupner, 17 Suites pour Clavecin (manuscrit inédit) , Facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1993.
  • Elisabeth Jacquet de la Guerre, Pièces de Clavecin qui peuvent se jouer sur le violon, 1707, Facsimile, prés. par Catherine Cessac et J. Saint-Arroman, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2000.
  • Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995.
  • MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. With a choice Collection of Lessons for the Harpsichord and Organ of all Sorts. The First Part. (1673) (harpsichord suites and individual pieces by Matthew Locke, Christopher Preston, John Roberts, William Gregorie, William Hall, Robert Smith, John Banister, J. Moss, G. Diesner, William Thatcher), New York: Performer's Facsimiles (01234), undated ..
  • Gottlieb Muffat, Componimenti Musicali per il harpsichord (1739), in: Monuments of Tonkunst in Austria Year III / 3 - Vol. 7, Graz: Akademische Druck- u. Publishing house, 1959 (originally 1896).
  • Bernardo Pasquini, Opere per tastiera - Vol. II (SBPK Landsberg 215 - Parte I) , a cura di Armando Carideo, Colledara: Andromeda Editrice, 2002.
  • Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann (n.d.).
  • Jean-Philippe Rameau, Pièces de Clavecin (Complete Edition), ed. by ER Jacobi, Kassel et al .: Bärenreiter, 1972.
  • Michelangelo Rossi, Toccate e Corenti d'Intavolatura d'Organo e Cimbalo , Rome 1657. New facsimile edition by: Studio per Edizioni Scelte (SPES), Firenze: 1982.
  • Benedikt Schultheiss, Muth- und Geist-ermuntrender Clavier-Lust ..., 1679–1680 , ed. By R. Hudson, American Institute of Musicology / Hänssler (Neuhausen / Stuttgart), 1993.
  • Bernardo Storace, Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo , Venezia 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Firenze, 1982.
  • Friedrich Wilhelm Zachow, Complete Works for Keyboard Instrument , ed. v. H. Lohmann, Wiesbaden: Breitkopf & Härtel, (originally 1965).

Violin and ensemble music

  • Heinrich Ignaz Franz Biber, Mensa sonora seu Musica instrumentalis . Salzburg 1680.
  • William Brade, Newe extra-select Paduanen, Galliard, Canzonen, Allmand and Coranten can be used on all musical instruments (with 5 voices) , Hamburg 1609.
  • Maurizio Cazzati, Correnti, Balletti, Gagliarde A 3. e 4.…, ristampati in Venetia , 1659.
  • Maurizio Cazzati, Correnti e Balletti per sonare nella spinetta, leuto o tiorbo; overo Violino, e violone, col secondo Violino a beneplacito , op. 30, Bologna 1662.
  • Giuseppe Colombi, Balletti, Correnti, Gighe, Sarabande a 2 Violini e Violone o Spinetta, Op. 3 . Bologna 1674.
  • Arcangelo Corelli, op.2: 12 trio sonatas da camera op.2 ( Sonate da camera a tre, doi violini, e violone, ò cimbalo ... Op. II), Rome 1685.
  • Arcangelo Corelli, op.4: 12 trio sonatas da camera op.4 (Sonata (da camera) a tre, ... Op. IV), Rome 1694.
  • Arcangelo Corelli, op.5: 12 sonatas for violin and continuo ( Sonate a violino e violone o cimbalo , Rome 1700)
  • Arcangelo Corelli, op.6: 12 Concerti grossi , Amsterdam 1714.
  • Marin Marais, Premier Livre de Pièces de violes , for 1 and 2 viols, Paris 1686/1689.
  • Marin Marais, Second Livre de Pièces de violes , for 1 and 2 viols, Paris 1701.
  • Marin Marais, Troisième Livre de Pièces de violes , Paris 1711.
  • Marin Marais, Quatrième Livre de Pièces de violes , for 1 and 3 viols, Paris 1717.
  • Marin Marais, Cinquième Livre de Pièces de violes , Paris 1725.
  • Martino Pesenti, Il Primo Libro delle Correnti alla francese per sonar nel clavicembalo, et altri stromenti, ristampato con una agionta di alcune Correnti et un Balletto a 3 . Venice: Alessandro Vincenti, 1635 (second (?) Edition of an earlier print).
  • Martino Pesenti, Il Secondo Libro delle Correnti alla francese per sonar nel clavicembalo, et altri stromenti, con alcune Correnti Spezzate a 3 . Venice: Alessandro Vincenti, 1630.
  • Michael Praetorius, Terpsichore, Musarum Aoniarum Quinta. In it Allerley French Däntze and Lieder / as 21 Branlen, 13 Other Däntze / with strange names, 162 Courants, 48 ​​Volts, 37 Ballets, 3 Passameze, 23 Gaillards, and 4 Reprinsen. With 4, 5 and 6 votes. How it was played by the French Dantz masters in France ... , Wolfenbüttel 1612.
  • Johann Rosenmüller, Paduan, Alemanden, Couranten, Ballets, Sarabanden. Leipzig 1645.
  • Johann Rosenmüller, student music. Leipzig 1654.
  • Johann Rosenmüller, Sonata da Camera. Venice 1670.
  • Salamone Rossi, Il terzo Libro de Varie Sonata .... Venice 1613.
  • Samuel Scheidt, Ludi Musici , Hamburg 1621.
  • Johann Hermann Schein, Banchetto musicale , Leipzig 1617.
  • Bartolomeo de Selma y Salaverde, Canzoni fantasie e correnti da suonar a 1, 2, 3, 4 voci con Basso Continuo . Venice 1638.
  • Johannes Schenck, Tyd en Konst-Oeffeningen , op.2 (15 suites for viola da gamba and basso continuo), Amsterdam 1688.
  • Johannes Schenck, Le Nymphe di Rheno , op.8 (suites and sonatas for two viols), Amsterdam 1702.
  • Johannes Schenck, L'Echo du Danube , op.9 (6 sonatas for viol), Amsterdam 1704.
  • Johann Christian Schickhard, Six Sonatas for treble recorder and basso continuo op. 1 (2 vol.), Rev. FJ Giesbert, Mainz: Edition Schott, 1957.
  • Marco Uccellini, Sonata, symphony et correnti, a 2–4, bc, libro II (1639).
  • Marco Uccellini, Sonata, arie et correnti, a 2-3, bc libro III (1642).
  • Marco Uccellini, Sonata, correnti et arie, a 1–3, bc, op. 4 (1645).
  • Marco Uccellini, Ozio regio: compositioni armoniche sopra il violino e diversi altri strumenti, a 1–6, bc, libro VII (1660).
  • Giovanni Battista Vitali, Balletti, correnti e capricci per camera a due violini e violone ò spinetta, op.8 . Modena 1683.

Recordings

  • Baroque Lute Music Vol. 1: Giovanni Girolamo Kapsberger , with Paul O'Dette - 10-course lute & chitarrone, published by harmonia mundi, 1990/2001.
  • Arcangelo Corelli: Concerti Grossi op. 6 , Ensemble 415, Chiara Banchini, Jesper Christensen, published by harmonia mundi France 1992 (HMC 901 406.07).
  • François Couperin: Concerts Royaux & Nouveaux Concerts 10, 12, 14 , S. Kuijken, W. Kuijken, B. Kuijken u. a., published by: Philips SEON, (no year) (2 LPs).
  • Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, published by Hyperion (CDA66667), 1993.
  • William Lawes - The Royal Consort, Phantasm & Laurence Dreyfus; Linn CKD470; 2015.
  • Antonio Vivaldi: "Manchester" Sonatas , with Romanesca (Andrew Manze, Nigel North, John Toll), published by harmonia mundi usa 1993/2002.
JS Bach: Suite for flute solo in A minor, BWV 1013

Remarks

  1. ↑ At this time, a distinction between 3/4 and 6/4 is not particularly useful, as it was often common to notate double bars, so a 6/4 would be the same as two bars in 3/4.
  2. ↑ "simple à gauche  : (1) pied gauche à gauche, (2) pied droit joint simple à droite  : (3) pied droit à droite, (4) pied gauche joint double à gauche  : (5) pied gauche à gauche, (6) rapprocher pied droit, (7) pied gauche à gauche, (8) pied droit joint recommencer le tout pieds et sens inversés (9-16). "
  3. ↑ but without a designation, but the position in second place after an allemanda, the three-bar and the general character are clearly those of the Corrente.
  4. ↑ According to the title, Pesentis Correnten can be played on spinet or harpsichord, but their strict two-part structure speaks more for a performance with a solo instrument and bc. Incidentally, Pesenti's designation of his Correnten as " alla francese " is misleading insofar as they have nothing to do with French music around 1630–1635, but are purely Italian. Some of them have echoes of the arias of the early opera. Probably the invocation of France was a kind of guarantee of elegance, especially in the field of dance. Martino Pesenti, Il Primo Libro delle Correnti alla francese per sonar nel clavicembalo, et altri stromenti, ristampato con una agionta di alcune Correnti et un Balletto a 3 . Venice: Alessandro Vincenti, 1635 (second (?) Edition of an earlier print). And: Il Secondo Libro delle Correnti alla francese per sonar nel clavicembalo, et altri stromenti, con alcune Correnti Spezzate a 3 . Venice: Alessandro Vincenti, 1630.
  5. ↑ The high number of pieces prevents Pesenti from referring to them as a 'suite', although it is possible that several selected corrents have been attached to one another, as was later also the case in France, where, however, apparently no more than three courants per suite were used. See: Martino Pesenti, Il Primo Libro delle Correnti alla francese per sonar nel clavicembalo, et altri stromenti, ristampato con una agionta di alcune Correnti et un Balletto a 3 . Venice: Alessandro Vincenti, 1635 (second (?) Edition of an earlier print). And: Martino Pesenti, Il Secondo Libro delle Correnti alla francese per sonar nel clavicembalo, et altri stromenti, con alcune Correnti Spezzate a 3 . Venice: Alessandro Vincenti, 1630.
  6. ↑ Balletto in Italian actually means "little dance" and actually means a dance here, not a "ballet" in today's sense.
  7. ↑ It is possible that Kapsberger did similar things before 1640, but most of his other publications are lost or not accessible ( Libro terzo ). See Paul O'Dette in the booklet text for the CD: Baroque Lute Music Vol. 1: Giovanni Girolamo Kapsberger , with Paul O'Dette - 10-course lute & chitarrone, published by harmonia mundi, 1990/2001.
  8. ↑ This is supported by the fact that they are most frequently found in Chambonnières, and otherwise only in a few early clavecinists such as Lebègue and Louis Couperin.
  9. ↑ In the case of Marais, it is presumably true - similar to the harpsichord pieces in the manuscript Bauyn and Couperin's very long Ordres in the Premier Livre (1713) - that one can choose from the large number of pieces per key, as they appear mainly in the first two books , can or should put together smaller suites as required.
  10. ↑ Since music for three viols is very unusual, it could be that some of these pieces were older, but were not published until 1717. Hence perhaps the courants in these two suites.
  11. ↑ This eighth-note mechanism is, however, always very "Bachian", complex and of a certain contrapuntal severity.
  12. ↑ But the beginning or the end can have full chords.

Individual evidence

  1. ↑ In Will Foster's Virginalbooks (Brit. Mus., Royal Lib., MS 24.d.3), three pieces (in a) are, interestingly, handed down as "French Coranto" (French Courante); only the first of these Corantos is also in the Fitzwilliam Virginal Book (vol. 2, p. 305, and another (in a different key) on p. 359). See: William Byrd, Keyboard Music I (Musica Britannica 27) , ed. by Alan Brown, London: Stainer & Bell, 1969/2013, pp. 78–80.
  2. ^ John Bull, Keyboard Music I (Musica Britannica 14) and Keyboard Music II (Musica Britannica 19) , rev. by Alan Brown, London: Stainer & Bell, 1960/2001 and 1960/2016.
  3. ↑ The Fitzwilliam Virginal Book (revised Dover Edition), 2 vol., Ed. by JA Fuller Maitland u. W. Barclay Squire, corrected et al. ed. by Blanche Winogron, New York: Dover Publications, 1979/1980.
  4. ↑ Couranten in: William Brade, Newe extralesene Paduanen, Galliard, Canzonen, Allmand and Coranten on all musical instruments to use lovely (with 5 voices) , Hamburg 1609.
  5. ↑ Keiji Makuta: 51 selections for Lute in renaissance era. Arranged for guitar. Zen-On, Tokyo 1969, ISBN 4-11-238540-4 , pp. 48-55.
  6. ↑ www.jarchow.com .
  7. ↑ Cf. Hubert Zanoskar (Ed.): Gitarrenspiel old masters. Original music from the 16th and 17th centuries. Volume 1. B. Schott's Sons, Mainz 1955 (= Edition Schott. Volume 4620), pp. 4 and 24.
  8. ↑ Jerry Willard (Ed.): The complete works of Gaspar Sanz. 2 volumes, Amsco Publications, New York 2006 (translation of the original manuscript by Marko Miletich), ISBN 978-082561-695-2 , volume 1, p. 78 f.
  9. ↑ See for example Adalbert Quadt (ed.): Guitar music of the 16th – 18th centuries. Century. 4 volumes. Edited from tablature. Deutscher Verlag für Musik, Leipzig 1970–1984, p. 19 f. (Giovanni Battista Granata: Allemande and Courante from Novi Capricci armonici Musicali pour la Chitarra Spagnola from 1674).
  10. ^ Giovanni Battista Vitali, Balletti, correnti e capricci per camera a due violini e violone ò spinetta, op.8 . Modena 1683.
  11. ↑ Bernardo Pasquini, Opere per tastiera - Vol. II (SBPK Landsberg 215 - Part I) , a cura di Armando Carideo, Colledara: Andromeda Editrice, 2002, pp. 17-28.
  12. ↑ Alessandro Piccinini, Intavolatura di liuto e di chitarrone, libro primo (Bologna, 1623) and Intavolatura di liuto e di chitarrone, libro secondo (Bologna, 1639).
  13. ↑ Seven Corrents a 3 in: Salamone Rossi, Il terzo Libro de Varie Sonata .... Venice 1613. Rossi's Correnten basically still correspond to the early form.
  14. ^ In: Giovanni Girolamo Kapsberger, Libro Primo de Balli, Gagliarde et Correnti a quattro voci , Rome 1615.
  15. ↑ in: Bartolomeo de Selma y Salaverde, Canzoni fantasie e correnti da suonar a 1, 2, 3, 4 voci con Basso Continuo . Venice 1638.
  16. ↑ Marco Uccellini, Ozio regio: compositioni armoniche sopra il violino e diversi altri strumenti, a 1-6, bc, libro VII (1660).
  17. ↑ Colombi brings z. B. a balletto primo in the unusual key of B minor, and a few numbers further a corrente with giga in B minor, which in view of the above-mentioned customs almost certainly belong to the balletto, so: Balletto-Corrente-Giga. See: Giuseppe Colombi, Balletti, Correnti, Gighe, Sarabande a 2 Violini e Violone o Spinetta, Op. 3 . Bologna 1674.
  18. ^ Maurizio Cazzati, Correnti e Balletti per sonare nella spinetta, leuto o tiorbo; overo Violino, e violone, col secondo Violino a beneplacito , op. 30, Bologna 1662.
  19. ^ Giovanni Battista Vitali, Balletti, correnti e capricci per camera a due violini e violone ò spinetta, op.8 (Modena 1683).
  20. ↑ All these pieces belong to the aggiunta of the new edition of his Primo Libro di Toccate from 1637. See: Girolamo Frescobaldi, Toccate d'Intavolatura di Cimbalo ..., Libro Primo , Rome 1615/1637. New edition by Pierre Pidoux, Kassel: Bärenreiter, Pp. 72-76 (Balletti), p. 78 ( Cento partite sopra passagagli ).
  21. ↑ Also variations in the form of gagliards. The Passamezzo is a dance anyway. See: Bernardo Storace, Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo , Venezia 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Firenze, 1982, pp. 6–7, pp. 12–13, Pp. 19-20.
  22. ↑ Bernardo Pasquini, Opere per tastiera - Vol. II (SBPK Landsberg 215 - Part I) , a cura di Armando Carideo, Colledara: Andromeda Editrice, 2002, pp. 17-28. There is also a corrente in the Variazioni Capricciose .
  23. ↑ But with 'Grave' instead of 'Sarabanda', and another type of corrent.
  24. ↑ also Preludio-Corrente-Allemanda (op. 4, No. 11) and Preludio-Corrente-Adagio-Allemanda (op. 4, No. 1).
  25. ↑ Antonio Vivaldi: "Manchester" Sonatas , with Romanesca (Andrew Manze, Nigel North, John Toll), published by harmonia mundi usa 1993/2002.
  26. ↑ “C'est la plus commune de toutes les danses qu'on pratique en France, ...”, in: Antoine Furetière (1619–1688), Dictionnaire universel contenant généralement tous les mots françois, tant vieux que modern, et les termes de toutes les sciences et des arts (publ. 1690, posthumously, with a foreword by Pierre Bayle).
  27. ^ Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999, pp. 43–44, and foreword p. 55.
  28. ↑ Most of the complete works of both composers can be found in the important manuscript Bauyn , where the pieces are not sorted according to suites, but only loosely according to key and genre. E.g. from Chambonnières in F major: 2 Allemanden, 15 Couranten, 1 Rondeau, 4 Sarabanden, 1 Volte, Chaconne, 2 Brusques, Chaconne. ( Manuscript Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières ,…, Facsimile, prés. Par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006.)
  29. ↑ These are the suites in A minor, D minor and F major in Livre Premier , and the suites in D minor, D major, and G major in Livre Second . See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  30. ↑ In the Livre Premier the 2nd Suite in C major and the 5th Suite in G minor / G major, and in the Livre Second the 1st Suite in C major and the 4th Suite in F major. See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  31. ^ In Livre Premier the 2nd Suite in C major, and in Livre Second the 4th Suite in F major. See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  32. ↑ The 5th Suite in G minor in Livre Second . See: Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  33. ↑ The suites in D minor, G minor, A minor, C major and F major - the second Courante of the suites in D minor and C major also has a double. Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995.
  34. ^ Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  35. ^ François Couperin, Pièces de Clavecin , 4 vols., Ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, Vol. 1 (1713), Vol. 2 (1716), Vol. 3 (1722).
  36. ^ Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Edition JM Fuzeau, 1995, pp. 7-8 (facsimile).
  37. ↑ Manuscript Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières , ..., Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, pp. 36–37 (f. 18v-19r).
  38. ↑ Jacques Champion de Chambonnières, Les Pièces de Clavessin, Vol. I & II , Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  39. ↑ Manuscript Bauyn, deuxième part: Pièces de Clavecin de Louis Couperin, Facsimile, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. 40 (f. 20v).
  40. ↑ In the copy shown here, the Courante in G minor from the Bibliothèque Nationale in Paris (Dép. De Musique: RISM A / I: L 1212 ) is inscribed with grave , but in the facsimile edition by Fuzeau no inscription; Fuzeau used the manuscript Rés D 1529 of the Bibliothèque Municipale de Grenoble as a template . Nicolas-Antoine Lebègue, Pièces de Clavecin, Premier Livre, 1677 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995, p. 33.
  41. ↑ Manuscript Bauyn, première partie: Pièces de Clavecin de Jacques Champion de Chambonnières, …, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. 25 (f. 13r.).
  42. ↑ Manuscript Bauyn ,… deuxième part: Pièces de Clavecin de Louis Couperin, prés. par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006, p. 62 (f. 31v).
  43. ^ Jean-Henry d'Anglebert, Pièces de Clavecin - Édition de 1689 , Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999, pp. 39-40 (G minor), and pp. 75-76 (D minor).
  44. ^ François Couperin, Pièces de Clavecin , 4 vols., Ed. by Jos. Gát, Mainz et al .: Schott, 1970–1971.
  45. ↑ See the recording: François Couperin: Concerts Royaux & Nouveaux Concerts 10, 12, 14 , S. Kuijken, W. Kuijken, B. Kuijken u. a., published by: Philips SEON, (no year) (2 LPs).
  46. ↑ Johann Christian Schickhard composed similar dotted corrents in his recorder sonatas op. 1 (shortly after 1700); see J. Chr. Schickhard, Six Sonatas for treble recorder and basso continuo op. 1 (2 vols.), rev. FJ Giesbert, Mainz: Edition Schott, 1957.
  47. ↑ Marin Marais, Premier Livre de Pièces de violes , for 1 and 2 viols, Paris 1686/1689. Second Livre de Pièces de violes , for 1 and 2 viols, Paris 1701. Troisième Livre de Pièces de violes , Paris 1711. Quatrième Livre de Pièces de violes , for 1 and 3 violes , Paris 1717. Cinquième Livre de Pièces de violes , Paris 1725.
  48. ↑ One and a half or two years after the death of Louis XIV in September 1715.
  49. ↑ In contrast to Couperin, who almost only uses character pieces, but still often introduced his ordres by Allemanden who also have character titles.
  50. ↑ In: Jean-Philippe Rameau, Pièces de Clavecin (Complete Edition), ed. by ER Jacobi, Kassel et al .: Bärenreiter, 1972.
  51. ↑ Élisabeth Jacquet de la Guerre, Pièces de Clavecin qui peuvent se jouer sur le violon, 1707, Facsimile, ..., Courlay: Édition JM Fuzeau, 2000, p. 5.
  52. ↑ Whether Daquin meant this in honor of his godmother, who had died six years earlier, or whether he simply made a brazen plagiarism for lack of inspiration, must remain an open question.
  53. ^ Jean-François Dandrieu, Pièces de Clavecin (1724, 1728, 1734), ed. by P. Aubert & B. François-Sappey, Paris: Editions Musicales de la Schola Cantorum, 1973, pp. 50–51.
  54. ^ Jacques Duphly, Pièces de Clavecin - Premier Livre (1744), Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1990, pp. 4-5 and pp. 16-17.
  55. ↑ "Air propre à une espèce de danse ainsi nommée à cause des allées et venues dont elle est remplie plus qu'aucune autre. Cet air est ordinairement à 3 temps graves, et se note en triples de blanches, avec deux reprises. Il n'est plus en usage, non plus que la danse dont il porte le nom  ». Jean-Jacques Rousseau: "Courante", in: Dictionnaire de musique , Paris 1768, p. 136. See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau%2C_Jean-Jacques) , seen on 12. August 2017.
  56. ↑ Peter Holman in the booklet text for the CD: Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, Hyperion (CDA66667), 1993, p. 4.
  57. ^ The English Queen Henrietta Maria , wife of Charles I, was a sister of the French King Louis XIII. This apparently also led to musical contacts between the two courts, e.g. B. by the lutenist Denis Gaultier. Jaques Champion de la Chapelle, the father of Chambonnières, is said to have been in England for a while.
  58. ↑ See the complete recording: William Lawes - The Royal Consort, Phantasm & Laurence Dreyfus; Linn CKD470; 2015.
  59. ↑ Peter Holman, booklet text for CD: Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, Hyperion (CDA66667), 1993, pp. 18ff.
  60. ↑ John Playford, (PLAY.1-3A, 1657) The Dancing Master: or, plain and easie Rules for the Dancing of Country-Dances, with the Tunes to each Dance ... London: J. Playford, 1657, pp. I, 1-132; II, 33-60. (Glasgow University Library) John Playford, (PLAY.1-3B, 1665) The Dancing Master: or, plain and easie Rules for the Dancing of Country-Dances, with the Tunes to each Dance ...., London: J. Playford, 1665, pp. I, 1-132; II, 33-60. (Bodleian Library.)
  61. ↑ Unfortunately Playford does not give any step sequences or descriptions of danced figures for these corants . Possibly because the steps and figures were more complicated than those of the English country dances that he usually shared. He could also assume that aristocrats had their own French dance masters (or were still living in exile in 1657!). It is also noticeable that Playford did not publish any corants in his numerous new editions of the Dancing Master after 1665 !
  62. ↑ A simple and helpful overview of the contents of all editions of John Playford's Dancing Master is provided on the following website (most Corants under the letter C) : The Dancing Master, 1651–1728: An Illustrated Compendium. By Robert M. Keller , http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/ (accessed April 30, 2017).
  63. ↑ The author does not currently know where Playford got these melodies from, and whether they were actually of French origin, or whether there has ever been any research on the subject.
  64. ↑ Four and Twenty Fiddlers - Music for the Restoration Band (instrumental suites by Matthew Locke, John Banister, Louis Grabu, Henry Purcell), The Parley of Instruments Renaissance Violin Band, dir. Peter Holman, published by Hyperion (CDA66667), 1993.
  65. ↑ MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. With a choice Collection of Lessons for the Harpsichord and Organ of all Sorts. The First Part. (1673) (harpsichord suites and individual pieces by Matthew Locke, Christopher Preston, John Roberts, William Gregorie, William Hall, Robert Smith, John Banister, J. Moss, G. Diesner, William Thatcher), New York: Performer's Facsimiles (01234), n.d.
  66. ↑ On the other hand, it is possibly more likely that the English knew his music from manuscripts.
  67. ↑ Henry Purcell, Piano Solo Complete Edition (Urtext) , ed. By István Máriássy, Budapest: Könemann ( undated ), p. 94f ( Corant of the Suite in D minor), p. 124 ( Corant of the Suite in a) .
  68. ↑ a b Peter Holman (translated by M. Willmann), booklet text for the CD: Johann Rosenmüller, Sonate da camera & Sinfonie 1654–1682 , Hesperion XX under the direction of Jordi Savall. Astrée / Auvidis E 8709, pp. 9-10.
  69. ↑ In the Libro Secondo of 1649: the courants of the Partita I in A and V in C in 3/4 (but as double bar), the other four in 3/2 (as double bar). Johann Jacob Froberger, New Edition of All Works , Volume I, ed. v. S. Rampe, Kassel: Bärenreiter, 2002. In Libro IV from 1656 he no longer makes this difference: There he only uses 3/4 as a double time (which, according to modern understanding, looks like 3/2, but not that in Froberger's notation The same is as with the above-mentioned suites in 3/2 as a double bar from 1649). Perhaps he increased his courant pace between 1649 and 1656? It is a shame that Froberger's first and third Libro are missing.
  70. ↑ Examples in: Benedikt Schultheiss, Muth- und Geist-ermuntrender Clavier-Lust ..., 1679–1680 , ed. By R. Hudson, American Institute of Musicology / Hänssler (Neuhausen / Stuttgart), 1993, p. 14f (D Major), p. 19f (A minor), p. 27f (F major),
  71. ↑ Courante of the Suite in B minor, in: Friedrich Wilhelm Zachow, Complete Works for Keyboard Instrument , ed. v. H. Lohmann, Wiesbaden: Breitkopf & Härtel, (originally 1965), p. 70.
  72. ↑ Georg Böhm, Complete Works for Harpsichord , ed. v. Kl. Beckmann, Wiesbaden, Breitkopf & Härtel, 1985, p. 5 (d), p. 9 (Es), pp. 21-22 (a).
  73. ↑ Johann Caspar Ferdinand Fischer, Complete Works for Keyboard Instrument (including: " Blumenbüschlein " (1698) and Musical Parnassus (1738?)), Ed. v. Ernst von Werra, Wiesbaden: Breitkopf & Härtel, (originally 1901).
  74. ↑ Created shortly after 1700 and dedicated to Princess Henriette Amalie von Nassau-Diez . Johann Christian Schickhard, Six Sonatas for treble recorder and basso continuo op. 1 (2 vol.), Rev. FJ Giesbert, Mainz: Edition Schott, 1957, Vol. 1: pp. 5f, 24f; Vol. 2: p. 6f, and p. 20f.
  75. ^ Johannes Schenck, Tyd en Konst-Oeffeningen , op.2 (15 suites for viola da gamba and basso continuo), Amsterdam 1688. Le Nymphe di Rheno , op.8 (suites and sonatas for two viols), Amsterdam 1702. L ' Echo du Danube , op.9 (6 sonatas for viol), Amsterdam 1704.
  76. ↑ Christoph Graupner, monthly clavier fruits (1722) , facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Edition JM Fuzeau, 2003. Christoph Graupner, 17 Suites pour Clavecin (manuscrit inédit) , Facsimile, prés. par Oswald Bill, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1993.
  77. ↑ Gottlieb Muffat, Componimenti Musicali per il Cembalo (1739), in: Monuments of Tonkunst in Austria Year III / 3 - Vol. 7, Graz: Akademische Druck- u. Verlagsanstalt, 1959 (originally 1896), p. 49ff.