Tombeau

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Tombeau (French for "tomb") is an instrumental composition in memory of a well-known personality in the form of a "musical gravestone ". This genre is particularly associated with lute music in the 17th and 18th centuries: of a little more than 60 pieces that have survived, most are composed for the lute or theorbo , five are also known for the baroque guitar (e.g. by François Campion and Robert de Visée ) , seven for viol and three for harpsichord . The earliest piece of the genre is likely to be the Tombeau de Mezangeau (1638) by the French lutenist Ennemond Gaultier .

Musical precursors are memory pavans such as those of the Englishman Anthony Holborne ( Countess of Pembrokes Funeralle, 1599). In France, where this musical genre first appeared, the strong orientation towards literary models may also have played a part, namely the model of the memory poem , which flourished from the 16th to the beginning of the 17th century.

The preferred forms of the tombeau are the allemande grave and the pavane , both gracefully striding dances, although the pavane had already gone out of fashion as a dance in the 17th century ( e.g. Denis Gaultier, Tombeau pour M. Racquette). Occasionally the tombeau also appears in the form of the jig ; this is because the transitions between Gigue grave and Allemande were fluid.

In contrast to the Italian lamento , the tombeau manages without the use of expressive elements of the lament , which were rather reserved in France. Nevertheless, clay painting elements are used, such as B. repeated bass notes for the death bell , falling or rising tones for the distressed or rising soul (as in Johann Jakob Froberger , Lamentation on the death of Ferdinand III. And Méditation sur ma Mort Future ).

First developed and maintained by Parisian lutenists (Robert de Visée, Denis Gaultier , Charles Mouton , Jacques Gallot , Du Fault ), the genre was then also adopted by the French clavecinists and gambists ( JJ Froberger and Louis Couperin on the death of their friend Blancrocher in 1652 , M. Marais and Sainte-Colombe the Younger on the death of Monsieur de Sainte-Colombe ), and also carried out to Europe ( JA Logy , SL Weiss ). Silvius Leopold Weiss composed a Tombeau Sur La Mort De M. Comte De Logy for Count Losy von Losinthal.

Tombeau de Mr. Meliton, No. 83 by Premier livre de pièces à une et à deux violes (1689), performed by Viols of Fort Wayne

According to the conductor Nikolaus Harnoncourt, the opening choir of the St. Matthew Passion by Johann Sebastian Bach is inspired by a tombeau by the French composer Marin Marais . Harnoncourt is possibly referring to the Tombeau de Mr. Meliton, No. 83 from the Premier livre de pièces à une et à deux violes (1689).

It seems that the tombeau was especially cultivated in Catholic areas, as a secular parallel to the setting of funeral masses . At the end of the 18th century the genre faded and was only rediscovered in the 20th century - for example by Maurice Ravel's Le Tombeau de Couperin (premiered in 1919). Nowadays, however, it means more of a tribute to the baroque era .

literature

  • Tombeau. In: Brockhaus-Riemann Musiklexikon. Volume 4: R - Z. 2nd revised and expanded edition. Schott, Mainz 1995, ISBN 3-7957-8399-2 , p. 247.
  • Lament. In: Brockhaus-Riemann Musiklexikon. Volume 3: L - Q. 2nd revised and expanded edition. Schott, Mainz 1995, p. 9.
  • Clemens Goldberg: Stylization as a process that communicates art. The French tombeau pieces in the 17th century. Laaber 1987.
  • Günther Birkner: Tombeau. In: Music in the past and present . Volume 13. Kassel 1986, pp. 477-478.

Web links

Individual evidence

  1. ^ Adalbert Quadt : Guitar music from the 16th to 18th centuries Century. According to tablature ed. by Adalbert Quadt. Volume 1-4. Deutscher Verlag für Musik, Leipzig 1970 ff .; 2nd edition ibid 1975-1984, volume 1, p. 46 f., And volume 3, p. 52 ( Tombeau de M me Franncisque Corbet ).
  2. ↑ See for example Frederick Noad: The Frederick Noad Guitar Anthology. 4 volumes. Ariel Publications, New York 1974; Reprints (with CD): Amsco Publications, New York / London / Sydney 1992 and 2002, UK ISBN 0-7119-0958-X , US ISBN 0-8256-9950-9 ; here: Volume 2: The Baroque Guitar. New edition: Hal Leonard, Milwaukee, ISBN 978-0-8256-1811-6 , pp. 93 f. ( Tombeau De M. Mouton , an allemande from Pieces de Theorbe et de Luth , Paris 1716, dedicated to the lutenist Charles Mouton ).
  3. ↑ Frederick Noad: The Frederick Noad Guitar Anthology. 4 volumes. Ariel Publications, New York 1974; Reprints (with CD): Amsco Publications, New York / London / Sydney 1992 and 2002, UK ISBN 0-7119-0958-X , US ISBN 0-8256-9950-9 ; here: Volume 2: The Baroque Guitar. New edition: Hal Leonard, Milwaukee, ISBN 978-0-8256-1811-6 , pp. 124-127.
  4. ↑ after Maarten 't Hart, Bach und ich, Munich (Piper), 9th edition 2011