Pieces de clavecin

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Title page of the Pièces de Clavecin by François Couperin, first book 1713

The French term " pièces de clavecin " means translated: "harpsichord pieces" or "pieces for harpsichord ". Under this title, Jacques Champion de Chambonnières published the first printed collection of harpsichord music in France in 1670. The title became a standing term, and subsequently all other French composers of the 17th and 18th centuries called the music they published for this instrument "Pièces de clavecin".

history

Before 1670 and after that, harpsichord pieces were collected in manuscripts , which is why some important harpsichord works were never published, especially by the late Louis Couperin , but also by Chambonnières himself, and by composers such as Henri Dumont , Joseph de la Barre , Jacques Hardel , Etienne Richard et al. These early and mostly unpublished Pièces de clavecin have survived in a few large (and some small) manuscripts, the most important of which are the Bauyn manuscript , the Parville manuscript , and the Rés manuscript. 89th of the Bibliothèque Nationale in Paris. A special feature are the 255 handwritten harpsichord pieces by Jean-Nicolas Geoffroy , which go through all keys in major and minor.

The music in the manuscripts, however, has some disadvantages: The music text is often copied relatively carelessly, as compared with e.g. For example, the handwritten pieces by Chambonnières and his publication from 1670 show where details of the melody and voice guidance sometimes diverge considerably. Ornaments , as they are essential for a stylistically correct and aesthetically appealing interpretation of this music, were mostly only rudimentary or not entered at all. They belonged to performance practice and probably also to the secrets of good interpreters and could turn out different from time to time even with the same musician. In his published Pièces de clavecin of 1670, Chambonnières published an ornament table for the first time and thereby passed on some of his secrets to a wider public. This practice became common, and so the French harpsichord music of the late 17th and 18th centuries is one of the best and most precisely traditional music of all.

Another disadvantage of the manuscripts is that compositions by Louis Couperin and Chambonnières in particular have been handed down according to genre or key. H. the pieces were mostly put on a list rather than in a meaningful order as they would be performed to an audience. In this respect, too, the publication of Chambonnières' Pièces de clavecin had the merit of presenting the pieces in real suites . In musicology, the idea prevails that the suites of the French are only loosely put together and that you can simply choose which pieces you like best. This assumption is based mainly on the manuscripts described above, and on the publications by d'Anglebert (1689) and the first book (1713) by François Couperin , where the two bring very long sequences of dances and other pieces. However, if you separate his original pieces from transcriptions with d'Anglebert, you get suites that are acceptable in terms of length and sequence of the dances and are typical of his time. And even the three overlong Ordres Nos. 1, 2, 3 and 5 by François Couperin (with 18, 24, 13 and 14 pieces) all bring a meaningful sequence of pieces in contrast to the lists in the Bauyn or Parville manuscripts . All other composers since Chambonnières (1670), however, bring suites in their publications that are by no means excessively long, and the sequence of dances between 1670 and 1710 is very similar to one another.

Since the harpsichord was a favorite instrument of Louis XIV and the French in general, numerous pièces de clavecin came out over the next 100 years . The content of these publications changed over time depending on the fashion. Chambonnières' two volumes of Pièces de clavecin from 1670 deal with dances such as Allemande , Courante , Sarabande , Gigue , Pavane , Gaillarde , Canarie and Menuet , which are divided into suites according to the key. In the collections of his younger contemporaries and successors such as Nicolas Lebègue , d'Anglebert , Élisabeth Jacquet de la Guerre , Marchand , Clérambault , Gaspard Le Roux and Rameau , Préludes non mesuré and other dances such as Gavotte , Chaconne , Passacaille , Bourrée ( rare!), Passepied and Rigaudon . In 1689, D'Anglebert published not only his own original pieces, but also numerous transcriptions of overtures , dances and other pieces from stage works by Jean-Baptiste Lully , as well as some "Old Wise Men" ( "Airs anciens" ) and popular songs.

Chambonnières already had some of his pieces with imaginative titles ( "Les Baricades" ("The Barricades"), "Jeunes Zèphires" ("Young Zephyre "), "La Rare" ("The Rare")) or the names of well-known and important personalities inscribed ( "Courante Madame" , "Sarabande de la Reine" ("Sarabande of the Queen")). This practice became completely fashionable at the beginning of the 18th century by François Couperin , who in his first book Pièces de clavecin in 1713 still mixed dances with character pieces, but in his following three books almost entirely switched to character pieces, e.g. B. “L'Auguste” (the sublime), “Les Idées heureuses” (the happy ideas), “La Voluptueuse” (the voluptuous), “Les Papillons” (the butterflies), “Les Vergers flëuris” (the orchards in bloom) ), "Les Brinborions" (the "odds and ends") etc. He also created a new style that was influenced by Italian music and was much freer and more imaginative than the traditional dances. Many of these pieces were also rondeaus , which have existed before, but not in the measure and abundance as since F. Couperin.

His younger colleagues such as Rameau, Dandrieu , Daquin , Duphly and others followed him, but did not give up the dances quite as radically as Couperin. On the other hand, music from Rameau, Dandrieu and Duphly became more and more "Italian" and virtuoso, and collections of sonatas also came out (e.g. by Jean Barrière , 1740). One of the last collections, entitled Pièces de clavecin , was published by Duphly in 1768. Michel Corrette published eight books Les Amusements du Parnasse for harpsichord between 1749 and 1772 with popular arias, minuets, romances with variations and other pieces, but he no longer uses the title Pièces de clavecin. The same applies to Balbastre and Armand-Louis Couperin and others, who after their first books with Pieces de clavecin (1751 and 1759) published sonatas, variations and other pieces for harpsichord until the 1780s. There are also manuscripts of harpsichord pieces by various composers of the 18th century.

A special case are pièces de clavecin in combination or with other instruments. It is already known that Jacques Hardel played before Louis XIV accompanied by the lutenist Porion. The pieces by Gaspard Le Roux (1705) can also be played with two harpsichords and are thus among the first known works of this kind. There is also an Allemande for 2 harpsichords in the 9th order by François Couperin (2nd book, 1716) , also pieces with a second solo part that can be played either on a second harpsichord or on any other instrument. Élisabeth Jacquet de la Guerre had the idea of ​​having the melodies of her collection from 1707 played on a violin. Michel Corrette later explained that in such a case the violin had to be played very cautiously, in “demi jeu” (= half game, with half tone). The most famous harpsichord pieces with other instruments are the Pièces de clavecin en concert by Rameau (1741); Mondonville's Op. 3 (1734) and Op. 5 (1748) are also enjoying a certain popularity - his Op. 5 is unusually “with voice or violin”.

From the 1770s onwards, even in France, the harpsichord slowly lost its popularity to the new pianoforte and was completely "washed away" by the revolution because it had the reputation of being aristocratic: aristocrats died under the guillotine, and their harpsichords were overwhelmed by angry hordes of the "Mob" z. Sometimes just smashed or burned.

The opinion of Carl Philipp Emanuel Bach 1753

(In the following quotation, the term "clavier" is used in the historical sense for "keyboard instruments" in general.)

“... One is particularly taken with a bad prejudice against the French piano things, which have always been a good school for piano players, in which this nation has particularly distinguished itself from others through a coherent and proper way of playing . All necessary manners are expressly set there, the left hand is not spared and there is no lack of ties. These, however, contribute to the learning of the connected lecture the most important thing. ... "

- Carl Philipp Emanuel Bach : "Attempt on the true way of playing the piano", part 1, Berlin 1753

List of pièces de clavecin

The most important manuscripts and publications by Pièces de Clavecin are listed below. The list of publications follows chronologically the date of the first publication; in a few cases (e.g. Rameau's 3rd book) the exact date is not known. A modern publication is usually also mentioned - these are not complete, but just a random selection.

Manuscripts

  • Jean-Nicolas Geoffroy: Livre des pièces de clavecin de tous les tons naturels et transposéz, 255 pieces. In: Paris, Bibliothèque Nationale de France, Rés. 475.
  • Manuscript Bauyn. In Paris: Bibliothèque Nationale de France, Rés. Vm7 674-675. ( 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 ( de la Barre, Dumont, Froberger, Hardel, Richard etc.) . Facsimile edition, prés. Par Bertrand Porot, Courlay: Édition JM Fuzeau, 2006).
  • Parville manuscript. In Berkeley: University of California, Music Library, MS 778.
  • Manuscript Rés. 89 ter. In Paris: Bibliothèque Nationale de France. ( Manuscrit Rés. 89 ter, Pièces de Clavecin: D'Anglebert - Chambonnières - Louis Couperin - Transcriptions de pièces pour luth ("Vieux Gaultier", Mezangeau et al.), Facsimile, publ. Sous la dir. De J. Saint- Arroman, Courlay: Édition JM Fuzeau, 1999. = Second volume of the D'Anglebert complete edition of the Édition Fuseau).
  • Jean-Philippe Rameau: La Dauphine. 1747. Manuscript in Paris: Bibliothèque Nationale de France, Dép. de la musique (single piece; in: Pièces de Clavecin (complete edition), edited by ER Jacobi, Kassel et al .: Bärenreiter, 1972).

Publications (chronological)

  • Jacques Champion de Chambonnières: Les Pièces de Clavessin, Vol. I & II, 1670. Facsimile of the 1670 Paris Edition, New York: Broude Brothers, 1967.
  • Nicolas-Antoine Lebègue: Les Pièces de Clavecin, Premier Livre, 1677. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1995.
  • Nicolas-Antoine Lebègue: Le Second Livre de Clavessin, 1687. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Edition JM Fuzeau.
  • Elisabeth Jacquet de la Guerre: Les Pièces de Clavecin, Premier Livre, 1687. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1997.
  • Jean-Henry d'Anglebert: Pièces de Clavecin - Édition de 1689. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  • Louis Marchand: Pièces de Clavecin, Livre Premier, 1702 (see next point)
  • Louis Marchand: Pièces de Clavecin, Livre Second, 1703. (Complete edition, Facsimile, publ. Sous la dir. De J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2003.)
  • Louis-Nicolas Clérambault: Premier Livre de Pièces de Clavecin, 1703–1704. New York: Performer's Facsimiles 24522 (no year).
  • Gaspard Le Roux: Pieces de Clavessin Composées… avec la maniere de les Joüer, 1705. (Fac-similé de l'édition de 1705, Montréal: Éditions les Goûts-Réünis, 1983).
  • Jean-François Dandrieu: Three books Pièces de clavecin, called “de jeunesse” (ie from his youth), 1705 (these must not be confused with Dandrieus great books from 1724, 1728 and 1734!).
  • Jean-Philippe Rameau: Premier Livre de Pièces de Clavecin, 1706. (In: Pièces de Clavecin (Complete Edition), edited by ER Jacobi, Kassel et al .: Bärenreiter, 1972).
  • Élisabeth 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 Siret : Pièces de clavecin dédiées à M. Couperin (1707-1711). (Ed. Of: Ministère de la Culture et la Fondation Francis et Mica Salabert, 2001.)
  • François Couperin: Pièces de Clavecin, Premier Livre, 1713. Ed. By Jos. Gát, Mainz et al .: Schott, 1970, ED 6045; Edited by Denis Herin, Kassel et al .: Bärenreiter, 2016, BA 10844.
  • François Couperin: Pièces de Clavecin, Second Livre, 1717. Ed. By Jos. Gát, Mainz et al .: Schott, 1970-1971, ED 6046; Edited by Denis Herlin, Kassel et al .: Bärenreiter, 2018, BA 10845.
  • Nicolas Siret: Second livre de pièces de clavecin, 1719. (Ed. Of: Ministère de la Culture et la Fondation Francis et Mica Salabert, 2001.)
  • François Couperin: Troisième Livre de Pièces de Clavecin, 1722. Ed. By Jos. Gát, Mainz et al .: Schott, 1970–1971, ED 6047.
  • Jean-Philippe Rameau: Pièces de Clavecin, Second Livre, 1724. (In: Pièces de Clavecin (Complete Edition), edited by ER Jacobi, Kassel et al .: Bärenreiter, 1972).
  • Jean-François Dandrieu: Premier Livre de Pièces de Clavecin, 1724. (In: Pièces de Clavecin, edited by P. Aubert & B. François-Sappey, Paris: Editions Musicales de la Schola Cantorum, 1973).
  • Jean-Philippe Rameau: Troisième Livre de Pièces de Clavecin, approx. 1726–1727 (?). (In: Pièces de Clavecin (Complete Edition), edited by ER Jacobi, Kassel et al .: Bärenreiter, 1972).
  • Jean-François Dandrieu: Second Livre de Pièces de Clavecin, 1728. (In: Pièces de Clavecin,…, Paris: Editions Musicales de la Schola Cantorum, 1973).
  • François Couperin: Quatrième Livre de Pièces de Clavecin, 1730. Ed. By Jos. Gát, Mainz et al .: Schott, 1970–1971, ED 6048.
  • Joseph-Hector Fiocco: Pièces de clavecin (Op. I), 1730.
  • François d'Agincourt : Pièces de clavecin, 1733. Paris: Heugel, 1969.
  • Jean-François Dandrieu: Troisième Livre de Pièces de Clavecin, 1734. (In: Pièces de Clavecin, …, Paris: Editions Musicales de la Schola Cantorum, 1973).
  • Michel Corrette : Premier Livre de Pieces de clavecin, oeuvre 12 e , 1734th
  • Louis-Claude Daquin: Premier Livre de Pièces de Clavecin, 1735. New York: Performer's Facsimiles 30442 (undated).
  • Joseph Bodin de Boismortier : Quatre Suites de Pièces de Clavecin (op. 59), 1736. Facsimile, Courlay: Édition JM Fuzeau 8932.
  • Bernard de Bury: Premier livre de pièces de clavecin, 1737.
  • Charles-Joseph van Helmont : Pièces de clavecin (Op. I), 1737. Facsimile, Courlay: Anne Fuzeau Productions 8860.
  • Charles-Alexandre Jollage: Premier livre de pièces de clavecin, 1738. Facsimile, Courlay: Anne Fuzeau Productions 8806.
  • Jean-Adam Guilain : Pièces de clavecin d'un Gout nouveau, 1739.
  • Jean Barrière : Sonates et Pièces pour le Clavecin (op.VI), 1740.
  • Jean-Philippe Rameau: Five pieces from the: Pièces de clavecin en concerts, set for harpsichord solo, 1741. (In: Pièces de Clavecin (Complete Edition), edited by ER Jacobi, Kassel et al .: Bärenreiter, 1972).
  • Jacques Duphly: Pièces de Clavecin - Premier Livre, 1744. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1990.
  • Louis-Gabriel Guillemain: Pièces de clavecin en Sonates (avec accompagnement de Violon), op.XIII, 1745.
  • Pancrace Royer : Pièces de Clavecin - Premier Livre, 1746. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1996.
  • Jean-Baptiste Antoine Forqueray / Antoine Forqueray : Pièces de Viole composées par Mr. Forqueray Le Pere mises en Pièces de Clavecin par Mr. Forqueray Le Fils - Premier Livre, 1747. Ed. par Colin Tilney, Paris: Heugel, 1994.
  • Jacques Duphly: Pièces de Clavecin - Second Livre, 1748. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1990.
  • Armand-Louis Couperin: Pièces de Clavecin, (op. I), 1751. New York: Performer's Facsimiles 17341 (n.d.).
  • Christophe Moyreau: Pieces de Clavecin, (opp. I, II, III, IV, V), 1753.
  • Jacques Duphly: Troisième Livre de Pièces de Clavecin, 1756. New York: Performer's Facsimiles 25367 (undated).
  • Charles Noblet: Nouvelles suites de pièces de clavecin (et trois sonates, avec accompagnement de violon ), 1757.
  • Claude-Bénigne Balbastre: Pièces de Clavecin, Premier Livre, 1759. New York: Performer's Facsimiles 87424 (n.d.).
  • Simon Simon: Pièces de Clavecin, / Dans tous les Genres, / Avec et sans Acompagnement de Violon. / Œuvre Ière, around 1761.
  • Jacques Duphly: Quatrième Livre de Pièces de Clavecin, 1768. New York: Performer's Facsimiles 37168 (undated).
  • Jean-Jacques Beauvarlet-Charpentier : 1 er livre de pièces de clavecin, 1770.

Pièces de clavecin with other instruments or voice

  • Elisabeth Jacquet de la Guerre: Pièces de Clavecin qui peuvent se jouer sur le violon (with violin), 1707. Facsimile, prés. par Catherine Cessac et J. Saint-Arroman, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 2000.
  • Jean-Joseph Cassanéa de Mondonville : Pièces de clavecin en sonates, op. 3 (6 sonatas for harpsichord with violin accompaniment; 1749 in orchestrated version as: Sonates en Symphonies ), 1734.
  • Jean-Philippe Rameau: Pièces de Clavecin en concerts (with violin or flute, and viol or 2nd violin), 1741 (edited by ER Jacobi, Kassel et al .: Bärenreiter, 1961/1988).
  • Michel Corrette: Livre de sonates pour le clavecin avec accompagnement de violon, Op. XXV, 1742.
  • Louis-Gabriel Guillemain: Pieces de clavecin en Sonates avec accompagnement de Violon, op.XIII , 1745.
  • Jean-Joseph Cassanéa de Mondonville: Pièces de clavecin avec voix ou violon (with voice or violin), Op. 5, 1748.
  • Jacques Duphly: Troisième Livre de Pièces de Clavecin (partly with violin), 1756. New York: Performer's Facsimiles 25367 (no year).
  • Charles Noblet: Nouvelles suites de pièces de clavecin et trois sonates, avec accompagnement de violon (partly with violin), 1757.
  • Armand-Louis Couperin: Sonates en pièces de clavecin avec violon (with violin), opus II, 1765.

See also

swell

literature

  • Bruce Gustafson:  Champion,… 3. Chambonnières, Jacques Champion. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 4 (Camarella - Couture). Bärenreiter / Metzler, Kassel et al. 2000, ISBN 3-7618-1114-4 , Sp. 704–705 ( online edition , subscription required for full access).
  • Bruce Gustafson: Introduction. In: Hardel - The Collected Works ( The Art of the Keyboard 1 ). The Broude Trust, New York 1991.

Recording

The following CD is mentioned in one of the receipts:

  • Jean-Nicolas Geoffroy, Pièces de clavessin, Ewa Mrowka (harpsichord), published by: Dux 0137.

Individual evidence

  1. ↑ Jean-Nicolas Geoffroy, Livre des pièces de clavecin de tous les tons naturels et transposéz, 255 pieces. In: Paris, Bibliothèque Nationale de France, Rés. 475.
  2. ↑ This is also pointed out by Bruce Gustaffson. (Bruce Gustafson, "Champion,… 3. Chambonnières, Jacques Champion", in: Music in Past and Present (MGG), Person Teil , Vol. 4, Kassel: Bärenreiter, 2000, pp. 704f.)
  3. ↑ The reported z. B. Le Gallois on Chambonnières' game. See: Bruce Gustafson, “Champion,…, 3. Chambonnières, Jacques Champion”, in: Music in Past and Present (MGG), Person Teil, Vol. 4, Kassel: Bärenreiter, 2000, p. 705. (Gustafson refers to : Le Gallois, 1680, p. 70).
  4. ↑ Bruce Gustafson, "Champion, ... 3. Chambonnières, Jacques Champion", in: Music in Past and Present (MGG), Person Teil , Vol. 4, Kassel: Bärenreiter, 2000, pp. 704f.
  5. ↑ This is shown by comparisons with Chambonnières 1670, Lebègue 1677 and 1687, and Jacquet de la Guerre 1687.
  6. ^ Ordre is what F. Couperin calls his suites.
  7. ↑ A standard order is: (Prélude) - Allemande - 2 to 3 Couranten - Sarabande - Gigue - Gavotte - Menuet. However, other dances can appear (or drop out), and especially the order after the sarabande is not precisely defined.
  8. ↑ The Bourrée is used almost exclusively by Lebègue. On a CD recording by Geoffroy with Ewa Mrowka, there is only one bourrée out of 50 pieces (the author, however, does not currently have a closer look at Geoffroy's works). Jean-Nicolas Geoffroy, Pièces de clavessin, Ewa Mrowka (harpsichord), published by: Dux 0137.
  9. ↑ Bruce Gustafson, "Introduction" to: Hardel - The Collected Works ( The Art of the Keyboard 1 ), New York: The Broude Trust, 1991, p. Ix (+ footnote 5). The lutenist probably played a continuo accompaniment.
  10. ^ Gaspard Le Roux, Pièces de Clavessin Composées ... avec la maniere de les Joüer, 1705. Fac-similé, Montréal: Éditions les Goûts-Réünis, 1983.
  11. ^ The pieces "La Juillet" (July), "La Létiville" and some musettes in the 3rd book (1722).
  12. ↑ Élisabeth Jacquet de la Guerre, Pièces de Clavecin (qui peuvent se jouer sur le violon), 1707. Facsimile,…, Courlay: Édition JM Fuzeau, 2000, pp. VII – VIII.
  13. ^ Jean-Joseph Cassanéa de Mondonville: Pièces de clavecin avec voix ou violon, Op. 5, 1748.
  14. ↑ Carl Philipp Emanuel Bach: "Attempt on the true way of playing the piano"; Part 1, Berlin 1753; Part 2, Berlin 1762. Reprint of both parts with the additions to the editions of 1787 and 1797: Kassel Bärenreiter, 2003 (Ed. Wolfgang Horn) (digitized and full text in the German text archive; online version).