Musette (baroque dance)

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Antoine Watteau : "Fêtes galantes" (also known as "The Shepherds"), around 1717. Berlin, Charlottenburg Palace

The Musette is in the Baroque music of the 18th century a piece of music and dance in the style of the musette de cour , a particularly fine form of bagpipe that in France as part of the Shepherd Fashion was very fashionable. There is a close relationship to the pastoral , which in the baroque - in contrast to the musette - was mostly related to the birth of Christ (the " good shepherd ") and the Christmas festival.

Shape and character

Jean-Philippe Rameau : "Muzette tendre", from: Acanthe et Céphise , Act I (1751)

Based on the drone pipes of the musette bagpipes, musette dances have a characteristic drone bass (called: basse de musette ), which usually consists of a long organ point ; however, the drone can also be played at regular intervals in individual cases (e.g. in Gavotte I & II en musette in Rameau's Le Temple de la Gloire (1745)). Sometimes the drone can be omitted.

The musette can be in two or three meter meters , so it occurs in very different time signatures, such as 2/4, 2/2, 3/4, 6/8 or 12/8. Accordingly, it is by no means a uniform, clearly defined dance form. Rousseau explains that the musette is "a kind of melody" (" Sorte d'Air ") to which one "... dances of a suitable character" ( Dictionnaire de musique , 1768).

The tempo is usually moderately slow, but there are also moderately cheerful pieces; the character is lovely, peaceful, idyllic and affectionate regardless of the pace - just as one imagined the life of the shepherd since the Renaissance at least . Rousseau called the musette "... naïf et doux, le mouvement un peu lent ..." ( Dictionnaire de musique , 1768). Compan tells the following anecdote in his Dictionnaire de Danse (1787):

“... In olden times you saw shepherdesses who - adorned with garlands of flowers - led their flocks back in the evening while Corydon played the musette. The shepherds, to please their beauties, ... united the sound of their extremely soft and flattering voices in their dances. One regrets that one does not live in an area where there is no other ambition than to please and no other occupation than to love and be happy. "

- Charles Compan : "Musette", in: "Dictionnaire de danse ...", Paris 1787, p. 247 f.

The shape of the musette is either the typical two-part shape with repetitions like many other baroque dances, so ||: a: ||: b: || ; or a rondo form (e.g. ABACA) - the latter pieces are then called Musette en rondeau (e.g. in Rameau's Les Fêtes d'Hébé (1739) or Le Temple de la Gloire (Act I; 1745)).

history

On stage

The musette was particularly popular in France and was used as a dance in French operas and ballets , mostly in shepherd scenes or in a rustic, rural setting. There are examples in Les Muses (1703) and Les Ages (1718) by André Campra , and in Callirhoë (1712) or Les Éléments (1721) by Destouches . "The Musette" from Callirhoë is originally called " 1re Air des bergers " (First Air of the Shepherds), it is also sung and was the most popular piece in the entire opera in the 18th century; there were even parodies with satirical text. In 1734 Jean-Féry Rebel used a musette as the opening for his ballet Les plaisirs champêtres (= "The rural joys"). Rameau wrote several musettes for some stage works, e.g. B. for Les Fêtes d'Hébé (1739), Le Temple de la Gloire (1745), or for the "heroic pastorals " Naïs (1749) and Acanthe et Céphise (1751), individual pieces also for Platée (1745), Daphnis et Aeglé (1753) and a. He often uses music-making instructions such as tendre (tender) or gracieuse (graceful, graceful). Unless a musette de cour is actually prescribed in the instrumentation , oboes have often been used to achieve a similar sound (although this is not mandatory).

Some dance choreographies for musettes in the notation after Pierre Beauchamp and Raoul-Auger Feuillet have survived, including the musette from Callirhoë (1712) by Destouches, and for another piece a choreography by Pécour (1724).

Chamber and harpsichord music

The musette was also sometimes adapted in French harpsichord and chamber music as part of the suite or sonata , for example in François Couperin's Concert Royal No. 3 (1722).

In harpsichord music , the drone bass was often designed as an even legato movement in parallel octaves with the fifth switched on , as long sustained notes are not possible on this instrument. Examples are François Couperin's Musète de Choisi (6/8) and Musète de Taverni (12/8) in the 15th Ordre ( Pièces de clavecin , Livre III, 1722), which, however, are intended for any two instruments, either two harpsichords, or Harpsichord with a melody instrument such as the transverse flute , violin , oboe - or musette de cour . Other examples of harpsichord are the famous Musette en rondeau (3/4) by Rameau ( Livre II , 1724/1731 ), which he also reworked into a ballet in Les Fetes d'Hébé (1739); and also Daquin's Musette en rondeau (Allabreve; in Livre I , 1735).

Outside France

Handel: Concerto grosso op.6,6 HWV 324 - Beginning of the musette

The musette was occasionally adopted in other countries, but did not play the same role as in France.

A known and relatively elaborate " Musette is" for orchestra the third set of Handel s Concerto Grosso op 6 No 6 HWV 324. In contrast to the relatively dark main key G minor is the Musette in E flat..; the drone stops working or changes to a different tone. The whole concerto could be thought of by Handel as a more modern counterpart (or an homage) to Corelli's Concerto grosso op. 6 no. 8 " per la notte di natale " - both concertos are in the main key of G minor and contain pastoral music.

Even Mozart used a Musette in his early work Bastien et Bastienne (1768), which on a piece of Rousseau is based ( Le devin du village ) and its maxim illustrates "back to nature". Even Brahms wrote a kind Musette as no. XXII his Handel Variations op. 24 .

Musette-like and musette-like works

The addition of " en musette " means that a piece is made in the style of the musette; It was used to describe dances that already have a strong and clearly defined character of their own, and which also have the musette drone and character. Such a combination was particularly popular in the case of the gavotte and minuet , e.g. B. Shepherd scene of the first act of Rameau Le Temple de la Gloire (1745), where both a Menuet I & II en musette , and are Gavotte I & II en musette - while I have the Gavotte a continuous drone. Even Johann Sebastian Bach's "musette" G major from the third English Suite in G minor BWV 808 is actually a Gavotte II en musette . The same applies to his English Suite No. 6 in D minor BWV 811, where the drone d 'in Gavotte II (in D major) is, however, enclosed in a regular eighth note movement, based on the practice of the French clavecinists. In the 19th century Edvard Grieg wrote a Gavotte musette for his Holberg Suite op.40.

Occasionally there are pieces that have a musette bass but are not so named. Here the boundaries to the "real" musette are blurred, especially in French harpsichord music with its character pieces . In such cases, F. Couperin is very specific about what he is imagining. This applies e.g. B. for the piece " Les vergers fleüris " (sic !; "The blooming orchards") from the same 15th order as the above-mentioned musettes ( Pièces de clavecin , Livre III, 1722): It is in 6/8 and the second part has a drone bass, the whole mood and the rural Association of orchards is quite typical, but Couperin hovering here a very precise cornamuse ago. The only difference to the musettes lies in the low tenor to alto range of the upper parts.

Also in Couperin's " Les Fastes de la grande et ancienne Mxnxstrxndxsx " (sic! = Ménéstrandise) in the 11me Ordre (2nd book, 1716) - a representation of beggars and jugglers - there are several pieces with a drone bass, including two Airs de Vièle (2/2), imitations of a hurdy-gurdy . The main difference between these pieces and a musette lies in the rather gloomy key of C minor and the somewhat tearful tone of voice, and of course in the relatively "unpleasant" or z. Sometimes grotesque associations of the beggar and juggler world, which are completely incompatible with the idealized idyll of the musette.

Other composers sometimes left it completely open whether they wanted to imitate a musette or a hurdy-gurdy: Dandrieu published in his first book Pièces de clavecin in 1724 a piece called La Fête de Village ("The Village Festival "), which consists of a series of small dances consists (Gavotte (2/4) - Gigue en rondeau (6/8) - Menuet I en rondeau (6/8) - Menuet II & Double (6/8)), - all continuously en musette ; but it is possible that, apart from the introductory gavotte, all the other pieces are more reminiscent of a hurdy-gurdy. The same applies to the Air gay & Air II (2/4) in A major and A minor by Balbastre ( Livre I , 1759), where a rhythmic "snore" effect is presumably imitated in the alto, which is more likely to be found in the hurdy-gurdy knows.

See also

swell

literature

  • Charles Compan: "Musette", in: Dictionnaire de danse: contenant l'histoire, les regles & les principes de cet art, avec des reflexions critiques & des anecdotes curieuses concernant la danse ancienne & modern ... , Paris 1787 p. 247 f. See also: https://archive.org/stream/dictionnairededa00compuoft#page/247/mode/2up viewed on August 18, 2017.
  • Marianne Bröcker & Stephanie Schroeder: "Musette, 3. ...", in Music in Past and Present ( MGG ), Vol. 6, 1997, pp. 644–645.
  • Françoise Escande: "... Airs à succès, Dryades et Musettes, un séduisant monde pastoral et champêtre", in the CD booklet: André Cardinal Destouches - Callirhoë , Le Concert Spirituel, Hervé Niquet, published by: Glossa, 2007, p. 28-30.
  • Jean-Jacques Rousseau, "Musette", in: Dictionnaire de musique , Paris 1768, p. 307. See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau,_Jean-Jacques) , seen on 18. August 2017.

grades

  • 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).

Recordings

  • 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).
  • Destouches - Les Éléments & Le Carnaval et la Folie + Campra - Les Fetes Vénitiennes (orchestral suites ), Ensemble Baroque de Limoges, Jean-Michel Hasler, published by: Lyrinx 1999 (LYRCD069).
  • Jean-Philippe Rameau: Le Temple de la Gloire , Choeur de chambre de namur, Les Agrémens, Guy van Waas, published by: Ricercar, 2014 (2 CDs).
  • Jean-Philippe Rameau: Orchestral Suites ( Acanthe et Céphise & Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/ reference.aspx? id = 130 , viewed August 14, 2017).
  • Jean-Philippe Rameau: Orchestral Suites Vol. 2 ( Naïs & Zoroastre ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/reference.aspx ? id = 271 , viewed August 14, 2017).
  • Rameau - Suites from Platée & Dardanus , Philharmonia Baroque Orchestra, Nicholas McGegan, appear in: conifer classics, 1998.

Individual evidence

  1. ↑ Unless otherwise stated, the information in the article comes from: Marianne Bröcker & Stephanie Schroeder: "Musette, 3. ...", in Musik in Geschichte und Gegenwart ( MGG ), Vol. 6, 1997, pp. 644–645 .
  2. ↑ See the CD: Jean-Philippe Rameau: Le Temple de la Gloire , Choeur de chambre de namur, Les Agrémens, Guy van Waas, published by: Ricercar, 2014 (2 CDs);
  3. ^ "... Sur ces Airs on forme des Danses d'un charactère convenable , et qui portent aussi le nom de Musette." Jean-Jacques Rousseau, "Musette", in: Dictionnaire de musique , Paris 1768, p. 307. See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau,_Jean-Jacques) , seen on 18. August 2017.
  4. ↑ For example, Couperin's Musette de Taverni in 12/8 time and with the performance designation " légèrement " (light, light-footed, fast). François Couperin, Pièces de Clavecin , Vol. 3, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, p. 50 f ( M. de Taverni ).
  5. ↑ "... Naive and gentle, the pace a little slow ...". Jean-Jacques Rousseau, "Musette", in: Dictionnaire de musique , Paris 1768, p. 307. See also on IMSLP: http://imslp.org/wiki/Dictionnaire_de_musique_(Rousseau,_Jean-Jacques) , seen on 18. August 2017.
  6. ↑ "Dans l'ancien tem (p) s on voyait des Bergères ornées de guirlandes de fleurs, sur le soir, ramener leur troupeaux, tandis que Corydon faisoit résonner la musette. Les Bergers pour plaire à leur Belles, (et pour les engager ), unissoient leur Danses à leur sons de voix les plus doux et les plus flatteurs. On regrette de n'être pas habitant d'une contrée où l'on ne connoissoit d'autre ambition que celle de plaire, & d'autre occupation de celle d'aimer et d'être heureux. "Charles Compan:" Musette ", in:" Dictionnaire de danse ... ", Paris 1787, p. 247 f. See: https://archive.org/stream/dictionnairededa00compuoft#page/247/mode/2up , viewed August 18, 2017
  7. ↑ Jean-Philippe Rameau: Le Temple de la Gloire , Choeur de chambre de namur, Les Agrémens, Guy van Waas, published by: Ricercar, 2014 (2 CDs). And: Jean-Philippe Rameau: Orchestral Suites ( Acanthe et Céphise & Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/ glossa / reference.aspx? id = 130 , viewed August 14, 2017).
  8. ↑ Marianne Bröcker & Stephanie Schroeder: "Musette, 3. ...", in Music in Past and Present ( MGG ), Vol. 6, 1997, p. 645. See also the CD: Destouches - Les Éléments & Le Carnaval et la Folie + Campra - Les Fetes Vénitiennes (orchestral suites ), Ensemble Baroque de Limoges, Jean-Michel Hasler, published by: Lyrinx 1999 (LYRCD069).
  9. ↑ Françoise Escande: "... Airs à succès, Dryades et Musettes, un séduisant monde pastoral et champêtre", in the CD booklet: André Cardinal Destouches - Callirhoë , Le Concert Spirituel, Hervé Niquet, published by: Glossa, 2007, p 28-30.
  10. ↑ See the CD: Concert de Danse (music by Rebel, Rameau, Lully and others), La Petite Bande, Sigiswald Kuijken, published by: Accent, 1996/2006 (CD).
  11. ↑ Jean-Philippe Rameau: Le Temple de la Gloire , Choeur de chambre de namur, Les Agrémens, Guy van Waas, published by: Ricercar, 2014 (2 CDs). Jean-Philippe Rameau: Orchestral Suites ( Acanthe et Céphise & Les Fêtes d'Hébé ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/ reference.aspx? id = 130 , viewed August 14, 2017). Jean-Philippe Rameau: Orchestral Suites Vol. 2 ( Naïs & Zoroastre ), Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http://www.glossamusic.com/glossa/reference.aspx ? id = 271 , viewed August 14, 2017).
  12. ↑ Rameau - Suites from Platée & Dardanus , Philharmonia Baroque Orchestra, Nicholas McGegan, appear in: conifer classics, 1998.
  13. ↑ "Musette tendre" and "Musette gracieuce en rondeau" in Acanthe et Cèphise , "Musette tendre en rondeau" in Les Fetes d'Hébé , or "Musette - Gracieux" in Platée . See the table of contents for the CD recordings: Jean-Philippe Rameau: Orchestral Suites (Acanthe et Céphise & Les Fêtes d'Hébé) , Orchestra of the Eighteenth Century, Frans Brüggen, published by: glossa GCD C81103, 1997. ( http: / /www.glossamusic.com/glossa/reference.aspx?id=130 , viewed August 14, 2017). Rameau - Suites from Platée & Dardanus , Philharmonia Baroque Orchestra, Nicholas McGegan, appear in: conifer classics, 1998.
  14. ↑ In: L.-G. Pécour & M. Gaudrau: Nouveau Recueil de dance de bal et celle de ballet , Paris 1713. And in: XXII . Recueil de danses , Paris 1724. Further information in: Marianne Bröcker & Stephanie Schroeder: "Musette, 3. ...", in Music in Past and Present ( MGG ), Vol. 6, 1997, here: p. 645.
  15. ^ 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).
  16. ↑ They can also be played on a harpsichord, but then one part is always missing, either the drone or the middle part, which is very intertwined with the main part and can only be played on a second manual (as a so-called pièce croisée ). François Couperin, Pièces de Clavecin , Vol. 3, ed. by Jos. Gát, Mainz et al .: Schott, 1970-1971, pp. 46-48 ( M. de Choisi ), and p. 50 f ( M. de Taverni ).
  17. ↑ Louis-Claude Daquin, Premier Livre de Pièces de Clavecin (1735), New York: Performer's Facsimiles 30442 (n.d.), p. 4.
  18. ↑ Corelli's Concerto op. 6,8 ends with the famous Christmas pastoral (in G major). In both collections - Handel and Corellis op. 6 - there is only one concerto in G minor (the two mentioned).
  19. ↑ Marianne Bröcker & Stephanie Schroeder: "Musette, 3. ...", in Music in Past and Present ( MGG ), Vol. 6, 1997, p. 645.
  20. ↑ Jean-Philippe Rameau: Le Temple de la Gloire , Choeur de chambre de namur, Les Agrémens, Guy van Waas, published by: Ricercar, 2014 (2 CDs).
  21. ↑ In the 6th English suite, however, the Gavotte II is not marked with "musette" or "en musette".
  22. ↑ "dans le gout de Cornemuse". François Couperin, Pièces de Clavecin , Vol. 3, ..., Mainz et al .: Schott, 1970–1971, p. 55.
  23. ↑ The lively following movement (3/8) also has a drone bass, but represents "jugglers, jumpers and acrobats with bears and monkeys". See: François Couperin, Pièces de Clavecin , Vol. 2, ..., Mainz et al .: Schott, 1970-1971, pp. 124-125.
  24. ↑ Jean-François Dandrieu, Pièces de Clavecin (1724, 1728, 1734), ..., Paris: Editions Musicales de la Schola Cantorum, 1973, pp. 69–71.
  25. ^ Claude-Bénigne Balbastre: Pièces de Clavecin, Premier Livre, 1759. New York: Performer's Facsimiles 87424 (n.d.), p. 25.