interpretation baroque music

104
E1 Jean-Claude VEILHAN The Rules of Musical Interpretation in the Baroque Era (1 7 th - i8th centuries) common to all instruments According to BACH, BROSSARD, COUPERIN, ,, HOTTE TERRE, MONTÉCLAIR, QUANTZ, RAMEAU-d'ALEMBERT, ROUSSEAU, etc. ALPHONSE LEDUC - PARIS _1 75 , rue Saint- Honoré Réf.: UN

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Page 1: Interpretation Baroque Music

E1

Jean-Claude VEILHAN

The Rulesof

MusicalInterpretation

in theBaroque

Era(1 7th - i8th centuries)

common to all instruments

According to BACH, BROSSARD, COUPERIN, ,,HOTTE TERRE, MONTÉCLAIR, QUANTZ,

RAMEAU-d'ALEMBERT, ROUSSEAU, etc.

ALPHONSE LEDUC - PARIS_1 75 , rue Saint-Honoré

Réf.: UN

Page 2: Interpretation Baroque Music

VI

ContentsPREFACE IX

METRICAL SIGNS AND THEIR CHARACTERISTICS

Metres of four beats 1

Metres of two beats 3

Metres of three beats 6

Lesson on every variety of metre (Montéclair) 10

PHRASING

Articulatory silences 11

Detached notes 13

Slurs 1

Complete indication of slurs, 15; Complete or partial absence of slurs: should they be added, 16

Unequal notes 20

Different degrees of inequality, 22; Reversed inequality, 23; Table for unequalising values in theprincipal metres, according to Cajon and Hotteterre, 24; Exceptions to the rule of inequality, 25

Dbuble-dotted notes - 27Different instances of double-dotted notes, 27; Exceptions to the rule of double-dotted notes, 31

Rubato 32

EMBELLISHMENT

GRACE NOTES 33

Accent, 34; Chute (Fall), 34; Coulade (Run), 35; Coulé (Passing appoggiatura), 35; Flattement(Finger vibrato), 36; Pincé (Mordent, Schneller), 37; Port-de-voix (Appoggiatura), 38; Son enflé(Messa di voce), 42; Tour de gosier (Turn, Gruppetto, Doublé, Circolo mezzo, Double cadence), 43;Trill (Shake, Cadence, Battement), 44; Vibrato, 47

Two examples of pieces with grace notes added by their composers 47

ORNAMENTS 49

French ornamentation

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^i^Co

ee^

F.i.^

L,,

^=c

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VII

German ornamentation 51

Italian ornamentation 55

The cadenza (improvised on a pedal-point) 58

THE VARIOUS TYPES OF ADAGIO AND ALLEGRO

CLASSIFICATION — TEMPO — CHARACTER 60

Classification of tempo indications according to Marpurg 60

Classification of tempo indications with their metronomic valuesaccording to Quantz 61

Characteristics of the various tempi according to Brossard and Rousseau 62/63

OF THE MANNER IN WHICH THE ADAGIO SHOULD BE PLAYED (Quantz) ...... 64

OF THE MANNER IN WHICH THE ALLEGRO SHOULD BE PLAYED (Quanti) ..... 67

CHARACTER AND TEMPO OF THE VARIOUS MOVEMENTS

AIRS AND DANCES 70Allemande, 70; Aria, 71; Ariette, 72; Bourrée, 72; Branle, 72; Canaries, 73; Chaconne, 74;Contredanse, 75; Cotillon, 75; Courante, 75; Entrée, 76; Forlane, 76; Furie, 77; Gaillarde, 77;Gavotte, 78; Gigue, 79; Loure, 80; March, 81; Minuet, 81; Musette, 83; Overture, 84;Passacaglia, 85; Passepied, 86; Pastorale, 87; Pavane, 88; Polonaise, 88; Prelude, 89;Rigaudon, 90; Rondeau, 91; Saltarello, 91; Sarabande, 92; Siciliana, 92; Tambourin, 93;Villanelle, 94

BIBLIOGRAPHY OF WORKS CITED 95

INDEX OF TERMS, SUBJECTS AND AUTHORITIES CITED 96

INDEX OF MUSIC EXAMPLES (by subject and composer) 99

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IX

PREFACE

What would Lully, Corelli, Couperin and Rameau be saying today, if the performanceof their works could already be described as "appalling" in 1775, only a few years or decadesafter their graves had been freshly dug?

Indeed since 1 750 (the year of J. S. Bach's death), the Baroque era had been in decline.The dawn of Classicism was beginning to be clearly visible. In 1775 Haydn was forty-three,Mozart nineteen, Beethoven five years old: another musical world had decisively eclipsed thepreceding one. Even though certain traditions persisted, the old forms, concepts and instru-ments had undergone a radical development.

Nowadays, however, and especially over the past few years, research into specificperiods can guarantee greater fidelity to authentic interpretation. We are witnessing a truereturn to the sources, the instruments and the rules of the past.

For it is essential to speak about rules. The word may seem didactic and suggestive offixed precepts. But in fact, for the musical era known as the Baroque, what we are con-cerned with is a body of traditions, principles, effects, conventions and inventions whichmake up `good taste', and it is this same good taste that in the long run remains the solecriterion for expressing a musical discourse that is at once both alive and sensitive. And it isall this that the qualificative term rules, used in its most flexible and general sense, must betaken to indicate and encompass.

Formerly rules were passed on from master to pupil; indeed, they constituted the verymusical and social air they breathed. It is this state of awareness we must seek if we want tomake the music of our predecessors live again in the present with a true sense of continuity:a resurrection, not an exhumation!

Theoreticians and musicians of the period often tried to lay down these rules in treatisesso as to convey them more easily to students and music lovers, and thus to help them inavoiding inconsistencies of style. This book is simply a compilation from the p rincipalcontemporary treatises (chiefly those published in French) in which the most significantdefinitions and opinions have been selected in such a way as to present today's reader—asfar as is possible—with a synthesis of this famous `good taste' in interpretation. We have,then, confined ourselves to the principal rules (common to singers and instrumentalists ofall kinds) which constitute a set of clues enabling us to decipher and complete the outlinethat a score of this period generally represents, knowing full well that a book of the presentsize cannot hope to be complete (a totally comprehensive study would take up dozens ofvolumes!).

Even within the period itself, there was not always unanimity over ce rtain points ofinterpretation: where there is disagreement I cite the general prevailing opinion in an

objective way, adding, where necessary, the divergent views put forward at the time.In the last resort , it is the job of the musician to create his own interpretation. There

is not just one possible interpretation, but many. Freedom of choice, however, must alwaysremain within the limits of the style and practice of the time.

J. C. Veilhan

N.13. All quotations in this work are printed in italics.

Certain writers being quoted more than once, the date of their works is not restated at each quotation. See the Biblio-

graphy, p. 95.

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Metrical Signsand Their Characteristics-

The most perplexing thing when one starts beating time is the number of signs whichdistinguish its different species.

In all metres it would be a very good idea to indicate the tempo as the Italians nearlyalways do, since the same species is sometimes very fast and sometimes very slaw. (Hotteterre)

This chapter gives some of the p rincipal contemporary definitions of the variousmetrical signs used, along with the characteristics of each.

In these definitions one often finds the terms `slow' and `light' which correspond roughlyto the tempo indications `lento' and `allegro'.

N.B. See the table of `unequal' values in the principal metres on p. 24.

METRES OF FOUR BEATS

This relatively little used metre has four beats to the bar; the unit is the half note.

This metre is used only in fugues and counterpoint. (Marpurg)

Allegro: F. BARSANTI (1724)

1

• . .. .-=MOW ---- ---- /11P"111_ MIP".__ 111/71M ISM_.. _ ..•„AM:AMII= MI MN NM 1.1r1111111•1111./MO IMMa WM NM NM 411•1111.I AMINO 011 NMI MIMI JIMr.../n rrlrrlMINIM= —.+rrlrM•rrlrrOMrr ...• RIM rrlr11MM.a MIMI MN MOMSr

D L'Affilard:The measure of four slow beats is shown by a C:

. — —n—!— 1111r71.11n ---r MIMI OMr^^ l

.l=r11/M 1111111111-NIMrr113rr 1.11-AI IIIIIIIIIIIMIrIMI.IIIrO1s>L •rrr* •iMMIE= 11/.rn=111111rnrrrr•WI/O!^rr^.^^.^rrr^^^.. sum rw•••••n r MOM ea sour .1L./ •-a NMr•••nrILA rn •nI SW' V rrr►►l>♦orrrrrr^^^ rll n•=rM.rlNBNIN• nnn .rrrrLt a.rr^ ILlrt MOM •^I

Hotteterre:The metre of four slow beats is indicated by a C (...) It is taken in 4 and, normally,

very slowly ( . . . ) It is used both in vocal and instrumental music (... ) For instrumentalmusic it is suitable in Preludes or first movements of Sonatas, Allemandes, Adagios, Fugucetc., but not really in `Airs de ballet':

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Largo

128

16 Italians describe with the word prestissimo. (Brossard)

(1) That is to say,4 eighth note triplet groups to the bar.

(2) That is to say, 4 sixteenth note triplet groups to the bar.

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x• ^ ^-^ '~ `^ -K $^ ^-

- ^ ^ - -'a^..r

.

2

Prelude from a Sonata b y Signor CORELLI, op. 5 Allemande from the same

Allegro

15. it

flagThus the sign C alone does not suffice to indicate the tempo: the real determining

factor is the character of the piece at the head of which it is placed. Z^r

tig(This metre) is suitable for tender, affectionate kinds of expression, and sometimes forlively and animated kinds. (Brossard)

In former times this sort of metre was performed with two beats to the bar, each with`six subdivisions, but as this was found too complicated, people used the expedient ofbeating in 4. (Choquel)

L'Affilard:This metre is shown by a 12 and a 4 and is performed with four beats to the bar, but

gravely, each beat having three crotchets or the equivalent:

t

I-011n11111111••• NM1111•111=111111MMI,111r »MIAOW 1•1/ .1111111B∎ MIN IBM =1111••••^^^^^^^^^I5D—_ a — arm- a~emme w— _. _^^^^^s— t

The metre 8 , parallel to the preceding (4) metre (... ) is similarly taken in 4, but

half as fast again. There are three quavers, or the equivalent, to each beat. ( lion)

^L'Affilard:This metre (... ) has four beats, but of a very light character:

N.B. The sign 4 was hardly in use at this time.

This compound metre ) is exactly right for spirited and lively kinds of expression.However, it is often used by the Italians for tender and affectionate feelings though it willthen carry the words adagio affettuoso or some other verbal indication, since on its own itdenotes gaiety. (Brossard)

'S..R V '10•11111•1111M^^ ^^^^..^^^. M^I^^^^^^^1^t /._^IIMS 4•11,70•1^•a __`'111,- iINNIIIII'f IfXIMINIM WM JINN MI

, t1IIMMIINNI •=Yn••.r1111•11••••• ..111/^^^

12 This compound metre (2) is suitable for extremely lively and rapid music, which the 5101

1.P•

i••

Page 7: Interpretation Baroque Music

3

by Sign' CORELLI, op. 5

Tempo di Gavotta

by Sign' STUK, 1st book,

Tempo di Cappella

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Poursuivons, poursui - eons jusqu'au trépasQuickly

Hotteterre:A famous composer of our times has introduced a metre of 16; we are referring to a

harpsichord piece by Mr. Couperin. It is made up of (the value of) 4 dotted quavers, hence12 semiquavers, and has 4 beats to the bar:

'...< U' . ^ «n•• ..•IIM• .11n a--•••n.MIMI, I." Ma M. n••/.n•n••••n iii•MINI MU= IN JOB MIMI •nn••••••n•••..s V• 1E= a WNW ••n••••••n..••••• •1•1•.- ow.^v.••n • • •IMINII0 MOM MIS 1=III MOO UMW

METRES OF TWO BEATS

The metre of 2 beats comprises:

1) 2 slow beats shown by Q'

2) 2 light beats shown by a 2

3) 2 lively beats shown by a

4) 2 very fast beats shown by a 85) 2 extremely fast beats shown by a ló

6) 4 which is taken in two slow beats7) finally, % which is taken in two spirited beats (Denis)

In a four-beat metre, when the C has a line through it one must be sure to observe thatthis line means the notes will be given a different value, as it were, and should be per-formed twice as fast as when the C has no line. This sort of time is called: alla breve oralla cappella, or a metre of two beats. (Quantz) — (See also note (1) , p. 29)

It must be noted that this metre (which the author calls quadruple time with alight beat) may equally well be taken in a slow duple time (... ) This should changeabsolutely nothing, either in the pulse of the metre or in the manner of playing thequavers, since the different ways of beating do not change its nature. (Cajon)Hotteterre:Normally the pulse is 4 light beats or 2 slow ones. The Italians only use it in what they

call tempo di gavotta, and tempo di cappella or tempo alla breve; this last having two lightbeats. Mr. de Lulli used it in his operas pretty well as the equivalent of plain duple time.

( han - tons, chan -tons les doux trans-ports

Ist extract from the opera Alceste (Lully)

2 slow beats

2nd extract from the opera Armide (Lully)

4 light beats

Page 8: Interpretation Baroque Music

From the 1st Cantata by Mr. Clérambault From a Sonata by Sigr Masciti

4

It may be concluded that this metre is mid-way between quadruple time shown by a Cand duple time shown by a plain 2, which we are about to look at. (Hotteterre)

The sign for this metre is 2. Commonly it is indicated merely by a plain 2 ( . . . )

The metre is taken in 2 beats. (Câjon)

When the words alla cappella or alla breve appear alongside the time signature, anexceedingly fast tempo is indicated ( 1 ). (Marpurg)

There are two sorts of tempo in duple time: sometimes slow, sometimes extremely cP*fast. (Choquel) p

Hotteterre:This metre (... ) is normally lively and `piqué' (spiccato). It is found at the begin-

nings of Opera overtures, in the Entrées of ballets, Marches, Bourrées, Gavottes, Rigaudons,Branles, Cotillons, etc. (... ) It is not known in Italian music. If it is used in slow pieces,there should be a clear indication of the fact. Moreover it can be said that th, metre is inreality that of C divided into two, with the quavers changed into crotchets:

Overture from the opera Phaéton (Lully)

2 rGrr r March from the same

Bourrée from the same

I22 or 2

Gavotte from the opera Roland (Lully)

+Rigaudon from L'Europe Galante (Campra)

The speed of this type of metre is neither too slow nor too fast, but should be moder-ately paced. (Choquel)

Hotteterre:This metre has two light beats. It is suited to light and `piqué' (spiccato) airs. It is

found more in cantatas and sonatas than in motets or operas. If you think about it, it isreally no more than light quadruple time cut in half:

a -F- +I

.."\ i--IAA nMION/1111•11t .'>.••11 ,.-4=1t.a.t OM .411 r>•••1 n -t:i.WON An.a. MOM n -AM Min •11 SI

••••-•11•1ft. aa\.r II -Alln t1INIIINI.a t/.i. MIN ..a.at01111atat./ A= 11•7IMINMOI' - -.Mr •1•11 MI MEE INN WI VIM OM MIN. I•11. MI^I,..s.11118n..1•IMI.Alm= 1111nn••••••nn•n Or •M• -••••... M• MINIM .^NI= t^.^r^.a< ^.^^ .^^.^^^S.W.' >^as /Mil ED MIME ME V%i: >11•11La/rn l

Qu'à vo-tre gloi -------tout cons - pi - re

(1) Marpurg applies this same rule to the 4 metre.

i

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^EŸ, 1

Entrée from the same opera

, . . .. !MIR Da. •a MAW Lartar AM MENDE-MO /MI -..W-.11NWII•.NNI.•1=• AM =II MI NM MIN^

^•. •M1E1E1 4111•11•10 NMI WINN •^a^a^

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5

r

48

Hotteterre:Some composers have indicated it (4 metre) in this way:

Shepherds' air: Mr. de Lulli, from Roland Sailors'air: Mr. Marais, from Alcionne

L'Affilard calls this metre: a metre of two rapid beats, adding: this metre is shown by a4 and an 8 and is taken in 2 very fast beats, so that each beat is occupied by a crotchet orits equivalent:

•A.. 1•1•1.___•....•. •ION•11111.1• •.111,11I •I•••• ^...........t•.i ^r•r.••/far/•. ^ f 1 •I ts C^7 I,.^ I/ta+Ct•.11I.I•I••.\•^'t/fa/• Y Yr.•.•r•.•rra.rGJr.— .r.••_ •••n . MD IN alMS/NMI •n = Y tL^/'11111.•••'.nI r•.••n •n•• nf• NEE iY••••••••^^^^ ^^.^ -.••rra t••

28

One might also use 8 metre which ( . . . ) would be taken in one very light beat. This

metre would be suitable for certain Tambourins or other tunes of a similar character.(Hotteterre)

Tambourin DENIS

^•el. = rAt/IBr••rrwAIMIIr•I=•r•r•••J►Srf• t !7r•1•t•11•r.Jr••0•1r.••••./.MEZIN•l•^^^r•7f•^^r_J_•_r^^r•^^^••^fa./+/•^r••.^.Jr•^ .w►'f^---^•.•I^•='••J_+_n MN- 1111•11M-.....••••111•1111....__+•—__—S_ •1111.-ta•__ MIMI"It•\•M^• r•- r•rr• 'r•• -AMU

rr.ra OM •••• MEN r•^r•••^ts - NO _.•••IIM•......

6 Hotteterre:4 This metre is nearly always taken in two beats ( . . . ) Some call it 'the metre of six

slow beats' (1) ; however one seldom sees a slow air composed in this metre, and on the,contrary many lively, buoyant airs are so written ( . . . ) It is used in the reprises ofOpera overtures, in Loures, Gigues, Forlanes, in some Airs from 'ballets de caractèresetc. It is rarely found in Italian music:

Reprise from the Overture to Armide (Lully)

Gigue, from Roland (Lully)

Loure: this is from Thétis (Lully)

•^ .111111••^^. r•^ ^^.r•^r•rr.rr•^M.^,^._^.^.. ^•^^trs1•tr.•v. 11n . =SIM r.rna .1, .iratrar MII•raav+.•. atvaIMMa:s.. •a•••ta

Forlane, from L Europe Galante (Campra)

•_• MOWS __ NMIir'.••r ►tr.00••,I SINIMNP71•.••••1t•. IMI^•

Air of the zeph yrs, from Le Triomphe de l'Amour (Lully)

(1) As, for example, L'Affilard.

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68

- t< >ga -^"^vas

6

Normally this compound time (1) is used for tender, affectionate movements; some-times, and in France quite often, though very incorrectly, it appears in swift, fast pieces.(Brossard)

The sign 6 over 4 decrees a very spirited speed, especially when the metre is taken in2; but a 6 over 8 suggests a movement twice as fast, that is, extremely lively. (Saint-Lambert)

According to the above definition by Saint-Lambert it is clear that normally a 68

indicates a faster speed than a 4

. L'Affilard tells us that it may be taken in 7ix lightbeats:

i

'^.s¢Yn^^^..^.^nq,...^...^^^..^^ ^^^ r .::^^^.^..•.....^.^..^.. .:^.... ►.n ^O . ..^...n..^t .^..^: ...^n^. NM.:.Z.n^n^wnrrn^^^.u► n .^.^.^^..r n^n.^ ^►^nrnrn^ .^:ras ^i^n ^n ..a.^.nr ^...^ ^^r s ^r..ni^^..^.rn^^-..^ n^a^^^^^...rr^^.r==..^± •

i

^but more commonly it is in two.

Hotteterre:It is taken in 2 beats ( . . . ) It is in fairly general use, but chiefly in Cantatas and r6

Sonatas; it is particularly suitable for Gigues etc. 16

This compound time (2) is suitable for modes of expression that are lively, animatedand spirited; in consequence, it is taken at a tolerably fast speed. (Brossard) i^

METRES OF THREE BEATS

This metre is shown by a 3, and it is composed with a strong beat, being the first, aweak beat, being the second, and a final 'idle' beat. The metre in three beats is the mostvaried, yet it is the one in which indication of the various kinds of pulses by special signsor characters has been the most neglected; amongst all composers, whether old or new,

only four characters or signs are found—namely 2, plain 3, 4 andg

. (Denis)

Nevertheless, Denis adds the metres 4 and $, which were not in widespread use inFrance.

This metre is very much used; it is cálled double t riple, or again major triple, becauseits pulse should be twice as slow as that of ordinary triple time (4). (Choquel)

(1) That is to say, two quarter note tri p let groups to the bar.

(2) That is to say, two eighth note triplet groups to the bar.

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I16

!

Page 11: Interpretation Baroque Music

OM MI n 111111•111 n11.111111• I= NMI WIN ALJr1101.nf• nl*Mal MINN IMIN•M1••••••=1r1•11/111•111111•n •111^^1I\• t)111n11a11111. MINIM 11••=111•01111I

It is also notedin this way:

tant dc mi - sé - ra - bicsqui

Minuet from Roland (Lully)

Spirited

--.---

Courante by Sig+' Corelli

Allegro

7

Hotteterre:Titis metre is normally taken in three slow beats (... ) It is used for moving, tender

pieces such as Lullabies, Plaints, Cantatas, Graves, in Sonatas and in Courantes intended fordancing, etc.:

The Sleep of Protée, from Phaéton (Lully) Another lullaby, from the opera Persée (Lully)

Air from the Cantata by Mr. Bernier

On this particular way of notating 2 Choquel has this to say:

Sometimes in this sort of metre, white quavers are used so as not to use black quavers whenthe minims are to be divided in the vocal line; this is what Mr. Clérambault has done in hisCantata A lphée et Aréthuse , so one should expect to find these (white) quavers elsewhere.

When triple tizne is written with a 4, it is suitable for tender, affectionate kinds ofexpression and the pulse should be moderate: neither too fast nor too slow.When it is written with a simple 3, the pulse is normally a trifle brisk; in France itcommonly serves for Chaconnes, Minuets and other spirited and animated dances.(Brossard)

Hotteterre:Titis metre is indicated by a 3 or sometimes 4. It is taken in 3. Sometimes it is very

slow and sometimes very fast. It is used for Passacaglias, Chaconnes, Sarabandes, `Airs debùllet', Italian Courantes, Minuets, etc.

134 or 31

Passacaglia from the opera Armide (Lully)

Sarabande from Issé (Destouches)

Solemn tempo

Slow tempo

Chaconne from Phaéton (Lully)

Demons' Air from Thésée (Lully)

Spirited tempo Lively

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Page 12: Interpretation Baroque Music

In pieces having the sign g, the metre is again taken in 3, but since the bar contains

only three quavers, with but one to place on each beat, it should go twice as fast as the

(previous) triple sign (4 metre), that is to say, very fast: however, on account of this

great speed and of the difficulty of making three such hurried movements with thehand, the metre is customarily taken, as it were, in one beat only. (Saint-Lambert)

8

38

Hotteterre:This metre, !alled minor triple, is made up

when up to speed, which should be fast. Some

slow Airs; it is then taken in three beats, in the

the major triple (2). It is suitable for buoyant A i

of a dotted crotchet, etc. It is taken in onecomposers, however, have used it for very

same way as the ordinary triple (4) or even

rs such as Canaries, Passepieds, etc.

Canaries from Isis (Lully)

Passepied from Le Temple de la Paix (Lully)

(in one)

(in one)

Vivace by Sig' Corelli, op. 5

Adagio by the same, from op. 3

(in one)

(in three)

The metre 4 (... ) is taken in 3 slow beats. (Denis)

This compound time (1) is suitable for tender and affectionate kinds of expression andshould be taken at a moderate tempo: neither too slow nor too fast. (Brossard)

Montéclair:

Slow

94

on thesecond beat

The metre 8, parallel to the preceding one (4) ( ) is similarly taken in 3, but half as

fast again. Each beat is made up of three quavers, or their equivalent. (Cájon)

This compound time (2) is suitable for lively, spirited kinds of expression and shouldbe taken at a lively, spirited pace. (Brossard)

Hotteterre:This metre is taken in 3 beats ( . . . ) Sometimes it is used in Cantatas, but more often

(1) That is to say, three quarter note triplet groups to the bar.

(2) That is to say, three eighth note triplet groups to the bar.

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Page 13: Interpretation Baroque Music

Res - per-tons l'A - mour (Hotteterre)

Montéclair:

Light

'/'.)1t11•tIJ /Il/J• .1,7S7 a./_ D INNS 1^r.IIl^ IW1./ 1J^r/1^II lt♦l7r1^I ^)^* + AII[/1A lil/ ^^/^/^l^i/ri/1`^tiis i lï>!^ MUM. ^^//n^^•^^•ii^^t.J /If -.1•11111•111111t1 /Jr^.il1

mil •,01e116.1=0 MUM, /1J• ,I1^/^^^i1VI^\Ir^^^^^i^t.^tr^.-. _JIMMINEMII1 1 /111111 411111tLA=111111111•111 /...101111•1 =M t

This air may also be sung at a slow and tender pace.

Finally let us mention three rarer metres given by Hotteterre and Brossard:

3 This compound time (1) is suitable for extremely lively and exceedingly rapid music.16 (Brossard)

Passage-work Hotteterre

Jestingly (in one)

tJ•INIV AIM= Ilia M11.•=UMNP,•MINIi SOINIM .01.7111111• JIM OW t`7 >•i n111n111111M111I•/ GnINIV'1•11n!!i lANNI •i<) MINIM \t• i.4•111.111•11-4n111rIMI11•1tiM1111•r 1111101•1n1111n1 111n irN1•1 1111Y1•111•111111i..WNi11<)1•^ I. /NM Nt1 ^1^•N a•^1iN 1^^1•s •1111M WM, INN ^^i^ ^ i•1^.^^

V— ^^^•=^/^1•^^r•^ NM ^1^ MUM

6 This compound time (2) is for varieties of movement and expression of the greatest16 rapidity: what the Italians describe with the word prestissimo. (Brossard)

Passage-work Hotteterre

Spirited, equal semiquavers (in three, or better still in one)

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V:+Nii^^•=r^^1•^i^^^^i^•i^ti^i^li^^-- _.i•1-- —^^^— i.w^.=.

9 This compound time (3) is really for very fast and very swift kinds of expression.16 (Brossard)

Passage-work Hotteterre

Briskly (in three)

Briskly (in three)

.- /.1/r1MIIIVAiiIT It 1.I f./if./•/i... 11•1111i1I/ f:/1IIMMr7 7IIIMMINMI i^ MS_--+11iÌ•.r..1^11•` ^I^iiitA^-^i--^l^^^Ì^• ,: ^ á••••• ' Jr- r•i^1^^I_ tI RIM I1IIIIIIIIriNM MP• /^- i./•t•1^ _a — i-1 W en" t I/...i•illttelr Ln I r11111II.•

a

aaa^►

9

in Sonatas, and above all in Gigues. In France it has only been in general use for a shorttime.

1st Cantata by Mr. Bernier

Gigue by Sigr Masciti

(1) That is to say, one sixteenth note triplet group to the bar.(2) That is to say, two sixteenth note triplet groups to the bar.(3) That is to say, three sixteenth note triplet groups to the bar.

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Page 14: Interpretation Baroque Music

MN /3;4 IRAN' Iron aMaa..faLd..a sa. 1.L.1 a'aPaa a^aa -•/ A r.al•aarA•ssll•t^tlit.aa,^ I ra^rlsaa.artll►wlrr.u.^rw'- n•na í twrl*ma.r• ,Arm J Amax arnrmmo017s atna••••• mow mil r11• a! n 11171. ia/1•• t! a►a1a a•n• s/• •na•7r•^a•t.wa• n•nma^ •!^alttyt_^^•S - ^rs^^G^^nmlár^•^ 11•!!•1fE• 11114111nM•1r•11•11111111. ►•••1nlinr•11a4sltrr :OM1P0JtG

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^ rsuux ra7AipOJet .tt Italft tLi Y V. allo.

10

LESSON ON EVER Y VARIETY OF METRE

Montéclair. Principes de musique (1736)

rPe't'Il stir tt 'll^tcS 1 ,+' sé7Iti;^ de/flexure..A main, &rrs • ntivrs. A uabr In,u • err •

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• d aalrc Ion; - err.. •'^naar•rnar ^J7irlt ^aala•a•l•a••al•^•r^Te7•r^1• 1.7•a^afAlf. axa^aa+,.e^rcf•O^t .11^j 7e ••••••0•• APR* ••••••••/'^tra^n0t J6N>/'Q .1142111111•111$161•1•30 maima e^r.`f:r mums ..lr,•wlan^I^nwnagar>tin.•►.r S ow/••n•a^.^•lwrr^u /a^c. ...•r..a•^a.a...alr•a••6 . ..r.afa. ;^^^a^..l^ • eta=•^all ....s . rr^i•^.^^aJ ' • oseL . • t.rutlr .nnjp.e.r rd áruarfsn>,r v s

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\V • ^ ^ ^^í.^ .? ^•r! MI MINI mMy^• l•r••• ia•• s1••• ••M•a lbSotr.

.t l.,rrtlQz .

a•=n•l•al a7l111 n•lwlq••aq••1• anttE ar►.^ltMm^mra Mrs t•!amaa•arspTam^:U 1a/'+roa =Momarli►ti•a rla^.r♦ . s(s^srr^a7^t^^r^ n^^ri>iÌ11^•1an► •► sarwn •:wr, ^nm s ►i•lalarmualsrYar.wa^r1n /.^wtlr►,a► all.^tilaref nfa•r^ Oirsi•l•••••t 1•r a••1a•a;•1r•.•n.^aAilrn./f

as •nanl,.•.a\M .^rl^k^lr^^f.l•:/^^N^^ u^s^mattm^/mrSi^ limm/

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E.ttt C •. . ^ • NO.

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Page 15: Interpretation Baroque Music

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11

Phrasing

ARTICULATORY SILENCES — DETACHED NOTES — SLURS — UNEQUAL NOTES —

DOUBLE-DOTTED NOTES — RUBATO

ARTICULA TOR Y SILENCES

In Baroque music, as a general rule, notes were not held for as long as their notationwould subggest. This `aeration' between the notes is called an articulatory silence.

j\'otes must not appear to be glued together. (Quantz)

Engramelle explains this practice in detail: Notes in the music (i.e. notation) indicatevery precisely the total value of each note; but their true lengths and the value of theirsilences which are integral to them and serve to detach them from one another are notshown by any sign ( ) However in performance they are not all realised in the samemanner, and even those of equal value are in some cases to be interpreted in quite differentways ( . . . )

In performance every note, whether trilled, with mordent or without, is partly sus-tained and partl y silent; that is to say, it has a given duration of silence which, when addedto the sustained sound, gives the total value. That part which I call sustained or sounding isalways at the beginning ofa note; the part which I call silent is always at the end. Sustainingwill be more, or less long, depending on the character of the note; and the length of thesilence will depend on the duration of the sound ( ... ) These silences at the end of eachnote define, as it were, its articulation and are as important as the sounds themselves; with-out them these could not be detached from one another; and a piece of music, no matterhow beautiful, tivithout articulatory silences would have no more grace than a folksong fromPoitou played on insipid musettes which produce only blusterous, unarticulated sounds.

Again, one distinguishes between sustained notes and those called broken (`tacté'):sustained notes sound for the greater part of their value and their silences are cbnsequentlyextremely short; broken notes on the other hand are those in which the sustaining is veryshort, so that only the touch (`tact') of the notes is indicated, and they are consequentlyconcluded by a considerable silence ( ... ) There are not even strokes ofa trill that are notseparated by very short tiny gaps between the rise and fall of the fingers upon the keys; myuse of the term articulatory silences in music refers to every such hiatus, great or small,from which no note is exempt.

To sum up what Engramelle says in another way, each note should be shortened by asilence whose length will vary according to the duration of the note and the character of thepiece. This is a general principle in old music, French or otherwise, that is practised in per-formance but is difficult to notate (as are most other rules of interpretation). •

In the following two pieces one must try to respect an articulatory silence after eachnote, but without playing in too dry or `piqué' (spiccato) a manner. On the contrary, eachnote should be rounded: for this, it is necessary to soften the attack and release, avoidingany sharp cut-off. In the Sarabande, we give an approximate transcription of the articula-tory silences as they ought to be (it will be seen how complicated the notation becomes'In the subsequent Allemande, the player will have the task of determining the silences forhimself. As Engramelle makes clear, these latter apply equally to faster pieces, and are thenshortened in proportion to the duration of the notes.

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12

Sarabande: A. Van HEERDE (1st half of the 18th Century)

(Played) (1) IVY

IM1* MUMa•^t•t ^^n7tt^^^t•1^ta OEM NMIt^rtn^ltr^trl•t^7^tt^ i^W.^.raa^at/^-^.^+e•r ar►^crer^c^a^ r=-^:•/aa^^twc-sw^^ ^^t^r:-rt ^r. ..^s^^: ^I^ttn..^n^tt^ aJttt[-^tn^S.:^tt^^ 1•111~as•tr•tl'•tL:^^ IL.•c ^^n^ t^c•ttr /a ^ •1^^ • a ^ ^ ►^••♦ ^^n

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(2) (3)t

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WV.AININNO — MEN tttr 1

Allemande: D. DEMOIVRE (1st half of the 18th Century)

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r.. O7•INI •w•• .••••R••I•^.11•I._•—...4•1M111—attr...••n MOM 11=1••••1••7••n MI= __+•••• •1=111•••t^lr^ttt^MI/NMI a>•1=11 MN NM __M MIMI =MINIM1111n•••••• a, MOM J1•M•11-n••••t1••nn•n

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(1) See double-dotted notes, p. 27(2) See unequal notes, p. 20(3) See double-dotted notes, p. 28 (ex. 3 and 4)

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13

In a group of slurred notes, the final one is not exempt from the rule concerning articu-latory silences, as Dom Bédos points out:

Two notes slurred

Three notes slurred

DETACHED NOTES

Beyond the customary use of articulatory silences, composers might ask for moremarkedly detached notes in certain pieces. In this case they would spell it out in words orindicate it with short dashes (or sometimes dots (1) ) over the note-heads.

Detaching the notes is when one divides a note intotwo others of equal value and pitch, of which only thefirst is made to sound:

Here the rest takes the place of the second note. When this detached articulation is notexpressed by rests as in the preceding example, it is indicated by dots or little dashes (2)

above those notes which should only be half heard, as has been said above. (Marpurg)

In the following example, the word detach implies a dot or dash on each note:

(1) The dots signifying 'detached notes' should not be confused with similar dots signifying 'equal notes'. See paragraph'unequal notes', p. 20.

(2) Marpurg does not seem to establish any distinction between dots and dashes (short lines, strokes). For all that, dashessometimes indicate a more marked articulation than dots: When there are dots above the notes oYe must play them

with a very short pressure or bow-stroke which should not, however, be really detached. (Quantz) Quantz adds: Ifthere is also an arch (slur) above the dots, all the notes must be taken in one

bow, however many there are, and each one marked with a pressure on the bow:

Bordet defines the latter as pearled notes: one must simply increase the sound of

each dotted note under the sign (slur), and not detach them.

For notes with dashes, Bordet explains: One must use a sharp attack

(piquer) and cut off the sound of each note regardless of its value.

(Méthode raisonnée pour apprendre la musique, 1755)

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T

14

Gracefully: A. DANICAN-PHILIDOR (1712)

Equal notes (1), and detach

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..-^ II

When the word staccato is found alongside a piece, every note is played with a short,detached bow ( . . . ) It is customary to put dashes above the notes to be played staccato(... ) They must only sound for half the time they last according to their (written) value( . . . ) Thus crotchets become quavers, quavers semiquavers and so on. (Quantz)

Aria: J. S. BACH — Cantata BWV 127 (1725)simile

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staccato

.b

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I•ANW. WM—.AWa../WILAWIWEWaJEW •WIIIWIWINEN W=,1111P4M1 e11WN..1.UM .ASMISMIASI.MISSIIIMMINIIIIIIISIMMIIII n111M1o .8•0111n AMP Mill eIMI.n7WIMP MIMI WIIII7ININ WW..r. / AWI77WW_n e^ :WNW. •^^^^^^^7e^M^ ^1..•^^^—__777 ^^e^^^^irWW.IWINGW.ea - 1=1"." -...WIN WINIIMrIn IMIEW..r111....-WA.--

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(1) See unequal notes, p. 20

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Page 19: Interpretation Baroque Music

15

Grave: J. F. FASCH (1688-1758)^ I I I I I

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. ' I I

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SLURS

In this highly articulated, `aerated' manner of performance (we have seen the impor-tance of articulatory silences) that is characteristic of music of this pe riod, the use of slursis much more restricted than it was to be in the Classical and more especially the Romanticperiods..

Different instances may be cited according to whether the composer indicates the slurscompletely, partially, or not at all:

Complete slurs.

Sometimes the composer himself writes in all the slurs he wants, making it unnecessary,therefore, to add any further ones:

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16

Andante: J. S. BACH (1721)

MINI rN= MOMS MINIM •nnn• 01•1 ..=MIM. r1111111111amnia •111 NIrsIIMIMININI •11111- -•••••011•10

Complete or partial absence of slurs: should they be added?

Very often, however, composers do not write in the slurs, leaving it to the performerto decide whether or not the musical text needs them. In this case, it is as well to recallQuàntz's warning: Notes must not appear to be glued together.

Thus, in the following example, any slurs would seem superfluous:

Andante: A. VIVALDI (1678-1741)

Cantabile

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Page 21: Interpretation Baroque Music

Allegro non molto: A. VIVALDI (1678-1741)

•••AfraA•ANEV—`^^^

Mr r__—.` a^7ifa^./ f/ rv__+ J•^^..a•Ma•f l•A►^A^7faA'—_—^` aff^r^—J/ alral---_= M^--__+ fIii_`^..rJral.ifl^^a>rafa•_ +••al^^.^a•ffl m,f^^^f^^ ^f•f•f•af^a^^a fi^Vr^•fa—'^ ^i -.main f•nM^t -^^ "...Mi..- -.- ^^^^^^.^1-^ ^ ^^.

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(b)

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17

;. ••LJ,. /••f/-!'irilla• MN AI UMW Jilin •••• El Will //.1f ,sMIIIMi,.i. NAM ff:1.i..M1AiAfiiir 41 MI AIllAi••••I v•••f•l MnillA^..••••JA v IAfiAfAJftrf !Mil 1

I .i. 11011á•ffii Mil IMralir!♦ Maiafif•a/1An.M•11A1••• •W Milli MIno

By contrast, in the Allegro movement below, the rapidity and a rticulation of thephrases may permit the sort of slurs suggested here uy means of_ dotted lines (all otherligatures are original):

I •1 MI J• At!•lliO.I rIlraL••••••1afll•Mrlfli UM M•f_i••f•.I 1•7N•.f/7t•J I7.r!•r1^••.^f• -1^ ••r^r^. iff

•_...- 1•11I ..^]•ra•••'J^ ill i^^^►.••_.r r^ J Millivrl^A^•r•^ . =.^•^f......... i•

^^)

(.I ...,)(

. ')( ,i./11•'aA,1♦f••Mai iJAr 1111• _^^IM\^ ^li!MMIMMAJ••• ►Inn•n••n ill.a•y• • Maiff•ifffAJi 1 ! ^il^:l^tY1^7Arf/^^f/ffA^7tl/7 i^^i^C^ _..\•I,a•^^f•_ - f/^•^i^f• J•^/ffi•id•/ ••J•^._,r•ar•^ara,.1•^f/J•I /J1ra•miOr• ,•^•nri —r>•.^._ ral`^^r^ffi^/ff^•flalaf•^^fafLffi fla►ffl•f•1••^r^,r •'p `

•Mat =J 1oimi• ^7^7^a1•^urIIID.4•11111U---

fffiJ • •r•af a►fJirarl.• AIM JIar7 af!^ _A MMJ

t•— ^_•^^^^^1Alfaa^ffalJ•f•^^ ^^JfflJ•r

^^=f• Eli ^^^^^Af^fi^MMMAlM MUM ff^^^MAI^Afffr

Similarly, in the following example, Telemann only indicates a few ligatures_ Asidefrom these, one can choose between an interpretation entirely in detached notes and onethat is enhanced by a number of slurs to be determined by the articulation, expression andrapidity of the phrases.

In the following extract, the choice is left to the performer:

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^^ _^ ^,_ ^ g -

(Allegro): G. Ph. TELEMANN (c1716)

^MINIM ^^aJF ^ ^ ^^ ^^^ ^^^ ^^_`^__+

^^ .+-ár/^ .^^= 1•!.. ^^ ^^ _ *w^^^^^ 1^^•. ^ 1/^ut =^^^ -.•r=1 ^

18

vo - lez, vo - Icz, petits of - seaux vo - lez pe-tits

The tirata (detached) and the coulade' (run) (1)

However, the absence of slurs may also indicate the composer's wish for an interpre-tation entirely in detached notes, as this definition of the tirata by Montéclair suggests: Thetirata requires separate bowing or, on wind instruments, tonguing for each note, and the'coulade' (run) takes all the notes under a single bow, or in a single tongue stroke, or r thesame syllable:

MONTÉCLAIR. (1736)

tiratas

...^11n1,1•1M •11111111•1111110M,. . n..1^ 1.41.111 /AMU ...^.t)^^. I /^1'Jr1^7^^r^^^,^/^.^r•.^.J^^J . N t, t • J JJ^^^1^^^^.►f ,L:r.^^-' _ MI MINI ^ lJ.d ^^1:i:^w^rr i^/ r.r^^ —/_—. ^^; _ ,

Oi - seaux

According to the character of the piece, then, a succession of rapid notes may requireto be performed as detached notes: ... when there are three or more demkemiquavers aftera dot or rest ( . . . ) they are then played at the fastest possible speed (2), as often happensin Overtures, Entrées and Furies. However, one must give to each of these fast notes its owndistinct bow-stroke (3) and hardly anything may be slurred. (Quantz)

(1) See also the `coulade' (run), p. 35

(2) See paragraph `double-dotted notes', p. 27

(3) What Quantz says here for the strings can equally apply to the wind, in particular the flute, the detached notesbeing produced by very rapid double-tonguing.

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19

Filling in slurs according to a given opening

When the nature of the passage-work is constant, the composer often indicates the slursat the beginning only. It is then correct to apply the given phrasing to the whole section:

Passage-work: HOTTETERRE (1719)

• MN -.maw _á NNW nn MOM:^ ^:D^:D^: ^?^ ^_ ?;^.^'r .r C:^ ^C^ ^C.^^^^..^^ ^^ ^C;= :^ ^^CM=^:d n•••_,•- ^_^^^

Arpeggio (simile)

• JWM• MOMMIMIJ7JIW allIIIIJ•1JIIIIIMWM IIIMMINt 1111•11111/ff ./1IIIMMIMIWJMIrtJWM OM MAIMS WM OW OM MIMI J I...^.7^J _^^J^^^^/^^/^^_^^^_^^^^r_ •„mi.

^^r^^^^^^^_^_—_^_-_^_J /^I/19^•1^ ^V-m _ ow.-- _—` .^—_— ^^ —_- ^^—^ _^^t—^+^n—m^^.^1Vr .-^^^^^^.O^^ ^^...^^ 1M---...-^^.^-- ^^_ - _ -- ^

Alternation of slurred and detached passages

It may happen that the composer, as with Hotteterre for example, marks slurs overcertain passages and not over others. In that case it seems logical to observe what he haswritten: Notes which must be slurred should be played as they are written, since a parti-cular expression is often sought thereby. But equally, one must not slur those whichshould be stressed. (Quantz)

Prelude: HOTTETERRE (1719)

Moderately

;1:I ^. ^ ^ ^^^ I7 JO WM MIAtir.•=)>i weir >I.^ _=7 ^^ _

1..^A^.^^ ^^' 1 r. >r^^^ 1^ JMMMM^ ^M_V. •MM..__ i=

+•

ÌI'lUMWW>'1>•MO MMIW MOW' a ... 1J11W • WWI t./ 111111W1 WM 1..WIOMIIIIr.lJI /D= .M IN 5.7.111 MII1. MMMMM.571 11111MIM WOW /OM 011J w-..111nI1n111Y011111M.n 1011 is•ammon- J.^- 1^^^^^i^^ -MUt IIINIMINI11Jn11111 Iw^1

N.B. The performer, however, is allowed a certain amount of freedom to modify the articulation shown by the composer;

we have this on Bordet's authority: Although I have almost always slurred the first two quavers of each bar or beat,one is at liberty to detach all of them, or group them in twos, especially in the pardessus (1) and the violin, so as tofacilitate the bowing ('Six Sonatas for 2 transverse flutes, pardessus de violes and all similar instruments). This

liberty, however, should be taken only rarely and with great care, and should be exclusively reserved for cases in

which there are special instrumental difficulties.

It may be seen, then, that the possibility of adding slurs (where they are not indicatedby the composer) depends on the musical context, but that as a general rule the performershould introduce them only with the greatest discrimination, always bearing in mind Quantz'swarning—which it is worth recalling yet again: The notes must not appear to be gluedtogether.

(1) (Translator's note) Pardessus de viole —a member of the viol family, smaller than the treble and tuned a fourth above it.

^.s^►^^^^^^^^^^...— _ JONI

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(,) (y) (') (,) (,) (>) (›-) (>)

20

UNEQUAL NOTES

Inequality of notes is a manner of playing which bestows on them a sort of swingingmotion, designed to give then more grace (Saint-Lambert); it gives a flow to the melody andmakes it more supple. (Choquel)

This inequality is not only found in Baroque music. It is to be seen in older music (1),both Western and Eastern, and in various present-day forms of music (Pop music, jazz, etc.).The Baroque era, however, was pretty well systematic in its use of it. Here is Quantz'sdefinition:

In pieces in a moderate tempo, or even in an Adagio, the fastest notes must be playedwith some inequality, although they appear to be of equal value; in such a way that in eachfigure there should be a stress on the strong notes, viz. the first, third, fifth and seventh,more than on those which come between them, namely the second, fourth, sixth and eii h,although one should not sustain them for as long as if they were dot:cd. But this is c reonly if these notes are not mixed with figures of even faster, or shorter notes in the samemetre; for then it is these la tter which should be played in the manner just described. (2)

If for example one wished to play the (following) semiquavers slowly with equal values,this would not be so agreeable as when one leans a l'-tle on the first and third of the fournotes, giving the sound a little more strength than on Le second and fourth notes:

But exempt from this rule are, primarily, fast passages in Q very rapid pulse where thespeed does not allow unequal playing, and where one cannot lean or apply a stress except onthe first of the four notes ( . . . ). (See the second example from Naudot on p. 21)

This definition sums up the principal points on unequal playing made by musiciansof the 17th and 18th centuries, namely:

— Inequality consists in prolonging and leaning on notes to make up pairs ofone long and one short. This inequality cannot easily be notated. In very schematic andgeneral terms it can be roughly transcribed as follows:

(1) As early as 1550, in France, Loys Bourgeois mentions this in his treatise 'Le droict chemin de musicque

(2) See also Câjon's observation on this point, p. 24.

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=1 NM Min ME MN MOr .s r71 .A1111111 M_MMMM,WI'IMMII

=rMU^^.-—M=M^—MIMI MI 111 IMI..A1 NM/ WV!w^^^^MMM J —.^I /rMM^^^

' MI MI ME MI =MIMI M.MIMr110 MOMMOM Mom^^

21

I iinI•wilmn•MNs1n=11MON1 NI UMw.011P,IIMIMIMMIS MI/r-- _

—^—^—Ii..r. f^'a ^^►^---MAO-^wa: MINIIMIM MOM IMMJIM Mil ^MUM 1111111111

I RE_` 7- R ^ 3MIMPAIMMn11010" MEN NW IMAM= roaromeri

r..W.710nAW a^^ ^^^^M^^^vr^.. •11111=M1 -AM=^^

— It is the smallest values of any single movement (or, within a movement, those of agiven passage) which are made unequal (1 ) (with the exception of notes considered as grace-notes. See p. 27).

The two examples below are extracts from the first movement of a concerto by J. C.Naudot: the eighth notes in the first example and the sixteenth notes in the second areunequal:

J. C. NAUDOT (c1741)

Allegro

i .1) ^-^, ^^^.^^^^^ _^^^.^ ..^..».^^^^^^^^^.^. ,M^o...,^^^ AU s7^7 ^=^.^.,^ • r

• ;_.11MINMI^.^

WM/BM MAI MM.= ME NMI MMIL— „.011M IMIN.M1/ s^^r

M .MIN NM MIn MEMO NMI NM MINN ^A^^^a,•^^^i ' r

Allegro

2):t7>•

! ^^\Vi

— Inequality is applied to every movement permitting notes to be unequalised in twos,except for those of too fast a speed to make it practicable (see p. 25 for other exceptions).In this case only the first note of each group is lengthened and stressed. Thus in the previousextract from Naudot's concerto, if the speed chosen does not allow the sixteenth notes tobe played unequally, they can be rendered as follows:

Allegro(_)

(^)

(=)

(y)I .•t:ANUO1---_^—__—_ 1+ _^—._—_-_--tJ^s WM/ Ar 12/.40.ili/s77»— m• =EMU MIME= M

_ ../W

lr^__'.. ^^ ^ n^^^^^^^t 5^^^^ — ^-------_` nV = ^^.— ^^^•^^ ^^^^^ ^L ^ ^^ M^^^^ ^

(-)

N.B. Only a considerable rapidity of execution can, therefore, prevent the sixteenth notes from being played in unequaltwos, for we must not forget Montéclair's caution: Whatever the metre may be, where there are four notes to fillup a beat, these should always be unequal.

(1) Again on this point, consult Cajon's remark on p. 24

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fi

22

Different degrees of inequality

When notes are to be unequalised, taste must decide whether they should be unequalby little or by much: there are some pieces where it is appropriate to make them very un-equal, and others where they require to be less so; as with pulse, this too is decided by taste.(Saint-Lambert)

Engramelle defines the different degrees of inequality thus:

There is an essential observation to be made concerning quavers that are often playedunequally in twos. Written scores do not tell us what the value of this difference is; if it isa half, a third or a quarter; yet it would seem essential to define it; for if the notated valueof the quavers were to be observed exactly as they are written on the music paper, theywould all be equal in duration, sustaining and silence, and this is rarely heard in per-formance (... )

Unequal quavers are marked in twos ( . . . ) of which the first ( . . . ) is longer, and thesecond ( . . . ) is shorter: but what is the difference between the longer and the shorter?

In some cases the difference is a half, so that the first notes are to be played as ifdotted quavers and the second notes semiquavers; in others the difference is of a third, sothat the first note is worth two thirds of a crotchet and the second its remaining third;finally there are others where this difference, a less palpable one, should be in the propor-tion of 3 to 2 as if the first note were 3/5 of a crotchet and the second 2/5.

Here are two examples of inequality cited by Engramelle which relate respectively tothe first case (marked inequality) and to the third case (slight inequality):

Marked inequality:

The King's March

(+)^, (+)• MIINI NOrt ar7 Ma/ 17•111110 M/ /WIN aa.+ rJ•

I) .^Il^^/'^^ L1d^1M^^J^^/^ t=^>•i1^^^J^^^J ^1

/ l..^ II/r^r Y+_rI_-^-,^^^^^I^^r^/r^^ I/ ^^^^^MIIMrlNNV.=1111 =MN AIMrarrrarr -"MOM ^r111111 NEr Min^^^ `.-71♦^

• MINI-NI MINI I 1 MN 01;1) WiaIIIPrara.n Lot r.INNIMIN:1IINIn ►tr.MMr► , aJ0OINrrrrrMIIF MM. 11111111110111M11 rt>•MI MN..INIJMNII MJIrra1MINP.•rINI IJrrJrrr MINuacr171MIIIIIIIIM11 V OM' /MAIM Va NM•MINIMi^V MINNr=^=raaJrMrlrr^i/1•

11111

'MIMI if... .r^n^^.^.^.^..^w^In/7.iN/I WW1 ..1111•11111.1n11.111 .rl• ... I'M^.^^.rrrtrrrrr/1rr••Jf /MINN IIINIA>•M OM MI arT rrJ MEMO ENNMI/ IJMMMJM.^//l^liONN MINNrJrar a..1111i/-aMMrraMIJlIN/ wrrta^ll^^rrr^r^^r^^^^a^ar^71V t^^^^^=rr1 ^r•VIM =MEMO= • 1M.^.^.

Speaking of the eighth notes, Engramelle says: It is as if the first notes were dottedquavers and the second semiquavers. As to the triplet quavers, they will be made equal.This gives us:

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._... ..__„...`v

x, •.^: ». .,

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23

I 1..• . .. . TaIM• MINIt•SIM 1I•mMI MN, 1..n r1'1r•_11n11J ar7 INI 7•1.11.SIMNS I[ memr-wwww Q=minonrI•asso1 JIM MIMI= IMP 11 r• /NE IMI1SIM111.4•111 RV 1^ ^^^as Ma a^1 ^^ r>t'^^r•r1^^II ^l1^•• ^1^^

^ 8 . ` alh'Z -......eC etc.

N.B. The performer will determine the articulatory silences for himself. The same applies in the following example.

Slight inequality:

The Fountain of Youth

• — .11— NI1171: /7 /:IOW 1 11/.... A/1/ra/T 1 A1 1♦ 17 1.I n 1/7/ M //1/N I r1111= 1'.111M- 011111•1•1=J1=_1IMMIlJ AIM11/4111=/ tsr1W1 i.///J1t 1/I/_11/J 1IIIIIIII/1►1/f 1111/ Air MIMI• ^ 1♦^r1sr^1^^^l1Jt r/ ur^1/1^I/r1///1^11//•1J1 /Y /a1^/1/.a1^1I.iss. ...... t,1 MIMI IN IMI MI Mr•INE_ '''IMI/t• ^^1^1^^1sJ^^L^ - t♦^1 1^ — ^\

/ MOM IRE JItJ MOW 1rr7/1 1 I /I /7J /= al Illr= /T IJ1r1 = n7IM.INII IIINr/•1r^.t I011IIMI•n1I1111W ^SJ^11r1NIr^rI11^Jr1/I nr11Jr^1J= WI IJI^^rlrlrrr^i« n MN =...811•11111111111111 ^ simmwmpossossala NM USN ^^^^^^1_^^^^^^^n••/^ r^ ^^— — n

I aNS/ _^1 1J/^1 1• IOW SI../1111111W^ L•^ ^^r/•r111=1 r IM=-1• aJIMEr/Jr1111111•11, 11011111/.J0110•r1MINI•J1r/ MON rrMS IM11 ►111111 1JrI••J /7•1•11 ^1..111•111P. IN MI SW In1 =MIMI MSS /1.-=Yr1/=_=====J1/^1V. t•1 ^^^t♦• t♦1 L^1^ 111111 MIN Ell^1

The semiquavers are unequal in the proportion of 3 to 2, as Engramelle specifies. Thiscan be realised as follows:

s s^ r^ /1 1/r MI•A^^L^^r,^^ IIMPW 1 . 1.•^_taJr^/I^t•Jf ^^^^t,tlt♦^t: •J•r1^.a1^11. ^_^•1111^11/^1— S/ Yrlrrr^rlt•1^1^w/i. a==`1N^^^ 1 ^a^ó ^ii•1^

Reversed inequality:

Sometimes inequality can be reversed by making the first (half beat) shorter than thesecond:

LOU LIÉ

This type of inequality, less common than the first, is not without resemblance to the`chute' (fglling appo ggiatura, sec p. 34), and is particularly applicable in fast movements.

Thus it can be seen that inequality may assume different forms, and that it may varyaccording to the character and speed of a piece. As a result one must be careful not tointerpret this inequality in a systematic or monotonous way, which would make a per-formance as dull as if the notes were being played with strict equality. There again, goodtaste and musicality remain the only touchstones.

In the following table, we set out the note values which should be unequalised (dotted)according to the principal metres in which they are found along with the definitions byCajon and Hotteterre which epitomise contemporary practice:

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7

etc.

Page 28: Interpretation Baroque Music

•^ :^ =^-:- _.^^^^m-3.- ^--_-r

24

Table for unequalising values in the principal metresaccording to Cdjon and Hotteterre

Metres in 4:

C Quavers are equal and semiquavers unequal (Câjon)

124 Quavers are unequal (Câjon)

12 Quavers are equal and semiquavers unequal (Câjon)8

Metres in 2:

s*, 2 and Quavers are played unequally (Câjon)

4 and 8 Normally quavers are equal and semiquavers dotted (Hotteterre)

8 One might also use a which would be composed of 2 equal quaversor 4 unequal semiquavers (Hotteterre)

6 Quavers are unequal (Câjon)468

Metres in 3:

Quavers are equal and semiquavers unequal (Câjon)

Here quavers are played unequally, and when these are not used in `hismetre then it is the crotchets that are played unequally (Câjon)

32

3 and 4 Quavers are unequal (Câjon)

3 Quavers are equal and semiquavers dotted (Hotteterre)89 Quavers are unequal (Câjon)4

9 Quavers are equal and semiquavers unequal (Câjon)8

(Observation):When in a melody there are notes of lesser value than those which are prescribed as

unequal by the kind of metre in which they are found, then, as the notes of lesser valueshould be unequal, those which the nature of the metre ought to render unequal willbecome equal.

Thus, if semiquavers have been used in a melody whose metre is 2, then the quavers be-come equal; it is the same for every metre in' which quavers are declared to be unequal.

For the same reason, in every metre in which semiquavers ought to be unequal, theywill become equal if the melody has demisemiquavers. This rule would even extend todemisemiquavers if a melody made regular use of hemidemisemiquavers. (Câjon)

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^

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•w11$111111/7»

:0•7..11111V11111/ INI NE ).111Pt./ MIPt 1111111 = 1n7 n r71n ^ ^ •/ ^ • MI•/I^1^^./^M.^^^M.^^^ ^^^^• r

V

• • •

L*^ . C —•

{

25

Exceptions to the rule of inequality

The rule of inequality is of general application, except in the following cases:

—contrary instructions from the composer (`equal quavers', etc.)—when the notes are played in groups of three, which does not allow unequalisation in

twos: All notes, of whatever value, that are played in groups of three are always equal,whether these be natural or incidental to the type of metre present. (Cájon)

Gigue: E. F. DALL'ABACO (1675-1742)

IaW •a•11M•411111111.^7•_ _^^I •• 1nI

r=1/11111111111111•1111=100rMIN-,MEN--^

ra..alln111•111•7•11111MNI/S-71M-41•11MINNIOnIIMMMIN^^^^^^^^^^

IMM

—when the tempo is too fast for inequality in groups of two to be performed or per-ceived (see p. 21).

—repeated notes: One must also make the same exception when several notes of thesame pitch follow one another. (Quantz)

Allemande: J. C. SCHICKHARDT (1670?-1740)

Allegro

MNIMII ^^.^...^^...^^_ ^^^_^^^.^1^f= ^^^^^^n^=M^^^^^^Y^^J^^^,/^.^^

MINN 1111111.1• n••••111111111111MM111•111•M MO MI^ ^^^ ^rrrrrrrr_^^i- ^^^^^^^^^^^^^^^^^^.

—note-heads which have dots or dashes: an exception should be made for notes onwhich there are dashes or dots. (Quantz)

When one finds quavers or semiquavers with dots above or below, one must then makethem equal and detached. (Denis):

Passage-work: HOTTETERRE

Briskly and with equal quavers

^- —^:.^^^^ ^^ ^ _.^^^► ^^^^^^^^^^^ •=a^ ^^ r^ LIC_r= n-n•11rr1111•111111111.-1=111 MO rIN10rr0111

V► ^= ^^^^• ^^`••1111 .41.

spiccato

— slurred notes: (... ) when there is an arch (slur) over notes in groups of more thantwo, that is, groups of 4, 6 or 8. (Quantz)

Passage-work: HOTTETERRE

Spirited

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i[;

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26

c í^

N.B. It may happen, however, that a number of slurred notes greater than two will notalways preclude a certain inequality, such as that required by Hotteterre in the followingexample:

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Musette: HOTTETERREGently, with the quavers dotted

to.

— a sequence of disjunct intervals:

Fugue: HOTTETERRESpirited, equal quavers

%maim nnnn... n W/ ^^^.,I7 Mrs^^rs+.r^^ ^n.^fífl'^uJ^I.Iu^^^^^ • 1^ ^ ^^f^^f?ir /m^/'7r^^^..^/rl/t.J^^lJ^^rM •^ J^17^a^s.I ^=^^^^^^^j^^:^.fl^^v^^•w=M^rMMMM^^:== ^ ^r :::^^.:^^.^ wr^• ^^^ MU^.^^^^

Couplet from the Passacaglia in Armide (Lully)

l.^What makes the quavers equal on this occasion is firstly their intervallic leaps, and further, the fact that they are inter-mired with semiquavers. (Hotteterre)

I Go

Another example of equalquavers, this time in Italian music:

Courante by SigrCORELLI

Allegro

(Hotteterre)

— the basses of Sara-bandes when the y arcentirely in quavers:(Hotteterre)

Sarabande: A. D. PHILIDOR (1712)equal notes

^^ ^= ^ r..^ ^^^.r..^^,R:S]= mamma =Mir ran. Mr/^^^^^^^^I=..m, . ^ .... m ^^^^:! }_^_•_iss^^^^1111111.111M...IM.ILAMM+..^...n^.^— ..

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27

— notes of small value which correspond to ornaments:

Passage-work: HOTTETERRESolemnly

^ 1- (equal) --

r - ... (equal) --- - •+

-a-• NM 7 'IMINf' UNIM.Mt1 =1111111=1111 :7.7 7J.1/IU IrIIMIInM --1^^^^i7^^^r^Mj r1•^^ L7•- NMI..wry

^n^^ ^--- M^^.7^M>•rM^M^- M^^,mumg WIWI.

'(equal) - -

^-___

^T r (equa» ;

Y:.M ^^^^MM[ :MMMI M1MMlIMIMMIMM14/11' WM= 111n1(74E1 AION7•INV /rM- milt.•M>>I

=NI -• n••7=11J••^>•^^^1+^'^^^M^MI-7•••••n11111110n1n1^^^^ ^1m

Observation: The Italians make less use of inequality. According to J. J. Rousseau: InItalian music the quavers are always equal, unless they are shown as dotted.

DOUBLE-DOTTED NOTES

This is the name for a type of inequality which is very pronounced, applying to dottednotes followed by notes of small value: in performance the dotted note is double-dotted andthe small value shortened.

The note which follows the dot is always extremely short. (Quantz)

The short notes which follow dotted notes are always shorter in performance thantheir value suggests; it is therefore superfluous to add dots (to dotted notes) or hooks (toshort notes). (C. P. E. Bach)

This would be transcribed as follows:

or rather, with the articulatory silences which L'Affilard does not neglect to mention (Tomake the dots into their value, one must hold the dotted crotchet and play the subsequentquaver quickly):

h • IN _^^-

Different instances of double-dotted notes

Quantz is very explicit about these different cases: The dotted notes in example 1(see below) require almost the full value of a crotchet, and those in ex. 2 that of a quaver (1).

(1) Hence it is necessary to double -dot the dotted notes.

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rit

I 1

a ; t,,^^ ^ • .rr

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Ex. 3

Ex. 4

(Quantz)

–^-r?=^ r ,__.-.. . -:-^-e . ^ ..- .__^..^.'.,—x-_ =^^ - -- — _. -;-^-^ -^-' ^^. s ?^ _ r--=•,---r..^.:^:>._-°- -- — " ...

28

One cannot determine precisely the value of the short note after the dot. To form a cleareridea of it ( . . . ) play the upper notes (of ex. lb and 2b) and hold the dotted notes until thetime required for the lower dotted notes has elapsed. The dotted notes( 1 ) will only last aslong as the lower hemidemisemiquavers.

Ex. 1

Ex. 2

Ex. lb

Ex. 2b

Dotted notes followed by more than one short note

(Quantz)

In this case the shortnotes must likewise be playedmore rapidly than they areshown: The more one prolongsthe dots after the notes(examples 3 and 4), the morecaressing and agreeable will bethe expression:

Thus this extract from a Prelude:

HOTTETERRE

Solemnly

. .i.nmm.= /01111111•111n71^^^•s^r r^^r8üi^ ^1^irMí^r^.^•^^^ v ^ ^.^•^rrs^^^^ ^ r.^ita^ n^^.s AIM/Wits MIMI n^^^^^^^^t^^^ ^^^^^^s.^ ^sa^^^^a V ^^^^ n11111111•1•11M-

/MEW MMININW~ a1•••111111111-11111n11r111MN L

should be performed:

%1

^^i'a ^r^ ^áw^^^.^^^^^w N^^ító•i^i ` .í irr^^r•i^c^áií^r ^i^^^ l

AM as.►INI1..MIrIIMIin s'.sn•n ••n •-aJssummoomiw/wniar/seum....•r cosiLarossus•r I/wwwwwe- womr1.asnV• imuot/— ann•...•n••n=rsinI/eummummamor sow imaw mallowm^••=lreescnOW 1.111= ^ E E n: É

(1) By `dotted notes' Quantz here means the notes a/ter the dots, that is to say the sixteenth notes and thirty-second notes

in the upper line which would be played as sixty-fourth notes (see ex. lb and 2b).

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29

Reversed dotted rhythm

When the rhythm dotted note—short note fl is reversed ^•, the same rule stillapplies to the short note and it must again be shortened.

The notes D and C (in example 5) should not last longer than those (in example 6),whether the tempo is slow or fast:

Ex. 5

Ex. 6

Silence replacing the dot

When the dot is replaced by a short rest, the same rule must be applied. When, after along note and a short rest, there are demisemiquavers (example 7), the latter should alwaysbe played very quickly, whether in an Adagio or an Allegro. Before playing them, there-fore, one must wait until the very end of the beat to which they are allocated, and at thesame time avoid getting out of time. (Quantz)

As C. P. E. Bach confirms: When there is a short rest, it must be prolonged, even at theprice of hurrying the group which follows.

Ex. 7to beperformed:

It is the same for a brief rest followed by a group of notes in dotted rhythm. Quantzspecifically tells us: If in a slow Allabreve (1) or in a full bar of four beats one finds a semi-quaver rest on the beat with dotted notes following it (example 8), the rest must be per-formed as if there were a dot or a rest of half its value after it and the following note had anextra hook.

Ex. 8to beperformed:

AAA

(1) When the Italians modify the metre whose sign is a large C by drawing a line through this sign (4), it indicates, as weknow, the Allabreve metre. The French use this metre for different types (of movement), as for Bourrées. Entrées.Rigaudons, Gavottes, Rondeaux, etc. However, instead of the ¢ they put a large 2 which likewise indicates that the notesare to be played twice as fast as in other metres. Moreover, in this metre as well as in crotchet triple time (3/4) whichis used for the Loure, the Sarabande, the Courante, and the Chaconne, the quavers which follow the dotted crotchets arenot expressed according to their true value, but in a very short, sharp manner (... ). All dotted notes are treated in thesame way if the tempo permits, and when there are three or more demisemiquavers after a dot or rest they are not alwaysperformed according to their true value, especially in slow pieces; but one waits for the very end of the beat to which theyare allocated and plays them as fast as possible, as often happens in Overtures, Entrées and Furies. (Quantz)

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!' U.rr^^^^1 Ir ^—^ t t Mr sMai MEININN arr III II. ANN All=111n9•1=1111 ^

According to Quantz,then, ex. 1 should beinterpreted in this way:

which thus differen-tiates clearly betweenthe two rhythms.

r

30

A nacrusis:

Similarly, when a short note (anacrusis) Allemandebegins a movement, this may be furthershortened: A single quaver is always short.(Saint-Lambert)

Superimposition and succession of different rhythms:

On this subject, Quantz writes: This rule (of double-dotting) should also be observedwhen one of the parts has triplets against which the other part has dotted notes (example 1).The short note following the dot must not be sounded until after the third note of thetriplet rather than at the same time as it. Unless this is done the metre could be confusedwith 6/8 or 12/8 (example 2), and the two types of note must be treated very differentlyfrom each other ( . . . ) If one were to play the dotted notes appearing beneath the tripletsin such a way as to give them their normal value, the effect, instead of being brilliant, wouldmerely be deformed and insipid:

Ex. 1 Ex. 2

(J);..^•^ ..^..: ^^^A•...1.MI•11••^t

L...1 • r

Observation: Quantz's rule only applies when triplets are added to a rhythm which is ini-tially dotted. If, on the contrary, the rhythm is essentially composed of triplets, the dotted

notes are then interpreted as in the lower part in example 2, the notation r -77 not being inuse at this time.

Thus the third movement of the Fifth Brandenburg Concerto should be performed inthe rhythm shown above the stave:

Allegro: J. S. BACH (1721)

r— s –I J

oh 171

^ 3 3 -rrlaa ^r 'Mar a1r 11111r0ttrW111.11111111Pr.illl 11111111•11M1NIM4// Mad= ININI►lIg-,1111M.s-7.1111M ►t.lMa7//ralr^lr^^r^I .^^IA♦^ ^^rrlI^^rr^^^ /l•^rl./n^^^V ^^ i^Ilr^'^t ^^^^ ^r/^r^ a^ --—

M 1":71 Of"7"")

R1110140I /1Ilegg.á+il111111111111•1111111 iVW— W..-

ti r^rr11^1^^lr^It^r^t.sas •^^^ ^rr^ ^^Iworrl^^^^r1IPAIl.imillirMa.irrl^riniirsmw^=r^—i— ^^^l^r^s ^-^o^^^

` ut.

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Exceptions to the rule of double-dotted notes

Naturally, double-dotted notes should be used knowingly, and one should distinguishbetween melodic passages and those cases where the short values following a dotted note aresimply the opening of a rhythm which does not lend itself as a whole to double-dotting.

It is only in the generality of cases that short notes should be played quickly, for thereare exceptions. Melodies in which they occur should be examined carefully. (C. P. E. Bach)

Thus the short notes in the examples below do not appear to need double-dotting:

2nd Brandenburg Concerto: J. S. BACH (1721)

Andante

n•.•^^11111111111111•11•11111111ogimmol Mir OEM

••n• witm allow1n1111111111/ -.am=

sow mu 11111•11111=1111^a^^

Sonata: J. F. FASCH (1688-1758)

Allegro

Passage-work: HOTTETERRE

Spirited

,=M /11/7M-AM _-../N1 _EMI MI- MO_^S.t ='7. ^7^^^s a^r^^^^^^= ^^^^ OM =Ell/..t^1^^S.^^^^^^^^^ m n MI ^^ ^^_ ^^-^--Vr^^^^^n^^ - NNW ^i MIMI=^^

^^^^ ^.

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[0:

32

RUBATO

t-

What we call rubato—that sort of elasticity in playing and of suppleness brought to a rigid beat—is not an invention of the Romantics: far from it! Already in 1601 Caccinialludes to it (Nuove Musiche), and it was to become a characteristic feature of musical inter-pretation in the 17th and 18th centuries.

The beat—whether in two or in three—is changed a number of times to make a given pieceof music sing, hurrying or retarding the downbeat or tale upbeat according to the text and tr•words, or to the differing passions of the subject. (Mersenne, `Harmonie Universelle', 1636)

Perhaps in an .4 it there may be no four bars that are of exactly the same length (... ) OhsFor if Italian music draws its energy from slavery to a strict beat, the French put all theirs 1001

into subjecting this same beat to their will, hurrying it and retarding it, according as thesavour of the song and the agility of the singer's organs dictate. (Rousseau)

One must not adhere too precisely to the beat in the Double below; everything must be dsacrificed to taste, to the neatness of the passage-work, and to an adequately affective r^rendering of the accents marked with a mordent:

Double of the Nightingale in love (1722)

MÌL.On•'n-a1 /7 WWI 1111•71,••n•••n• nI>•••• n.....M11111 IM1^^^_.d111110 111•111 h11/211/./11111 .^_rI/1trrn^—=ICs^^e^_^^^^^^M r_^_/\n ^M^^^^^^^—l^^M1^^II^ IIINn11111111•a-aln a/•111111MINNI1111116.M1

•••_ My 1. ^wv ,.....•~~ ^ T --

a. •--. -^ , ^^ i .r^• ,.n^r^ ^^Mr^ NI., /M AP7MIIIIM111•1111117 AO r .Mina MOM=I.r11•rfr101L7l'I 11,M.IM•1M0 MlIIII•r MTIMII/•PIM =IMPIP"INE MIMI MI IMI 111/111•Mo1 lrAr \1Ei..1Ma.n ••_••a.f 4.-t•MIIIIMIIIMMIIIME M=MIMINIMI•1110r.^.rr1Pra•18-ININIIIINNINIZIMrsir11141 .^ 1f 1'1-1•NIF • /Mr,V11NMt PI MrMEIIIIMMrM-74S1111•1MINIM7 11.1rI/MINNIa:aaIN/aINO r .

.•

} =

(F. COUPERIN)

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NNW

—'r. /NM•1M011nr •J111INK.ILi .T.d.rlS-an•n NM!

^r S./M^r tn^^' . !n

_11•NM I

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33

Embellishment

For greater convenience, a clear distinction should first of all be made between gracenotes and ornaments, even though these two terms were frequently confused in the past(as they are today). (1)

Let us say that ornaments are variations, embellishments designed to vary, indeed toadorn the skeleton of the musical text (we shall return to this later), and that grace notes (or`notes de goût')—more sober and more concise—are the little notes, the trills, the vibratosetc. added by the composer or (more often) the performer to embellish, or grace, the musicaltext and increase its beauty. (Saint-Lambert)

GRACE NOTES

It is almost impossible by using the written word to teach the manner of forming these grace notes well,since even the living voice of an experienced master barely suffices for that. (Montéclair)

When, where and how to apply grace notes

It is easy to err in any of four ways over this important aspect of melody (the subjecthere is grace notes) ( ... ), to wit: by omission, by inappropriateness, by excess and by wantof skill. By omission, the melody and harmony become naked and unadorned. By inappro-priateness, the playing becomes crude and uncouth. By excess, it becomes confused andridiculous. And by want of skill, heavy and constrained. This is why great care must betaken over these invaluable adornments of music every time there is need of them; muchcircumspection is required in knowing where to place them correctly, and much dexterity inexpressing them well (... ). (Muffat)

Where can one learn to distinguish those notes which should be coloured and thoseplaces in the melody where one kind of grace note is more suitable than another? One muststudy pieces in which all the grace notes are written out and in which there are neither toomany nor too few of them (see examples at the end of this chapter). Afterwards one mustlisten to people who have a reputation for playing well. It is from such models that one'staste must be formed while doing one's own practising at the same time. For it is impossibleto give rules for the placing of grace notes that will apply in every case. (Marpurg)

It is impossible ever to fully understand how all these grace notes must be expressed;because it is not possible to explain it completely in writing, since the manner of expressingthem changes according to the pieces in which they are used. And here I can only say in ageneral way: grace notes should never alter the melody nor the metre of a piece; thus, forpieces in a spirited tempo, the appoggiaturas and arpeggios should be quicker than when themovement is slow; one must never hurry in making a grace note, however quickly it has tobe played; one must take one's time to prepare the fingers, and perform it with boldness andfreedom (,... ) Good taste is the only criterion. However, it is very important to knowhow to perform grace notes well; for otherwise they will disfigure pieces instead ofincreasingtheir beauty, and it would be better not to play them at all than to play them badly. (Saint-Lambert)

Here, in alphabetical order, is a list of the p rincipal grace notes, with a summary ofcontemporary definitions. Sometimes two authors will give the same grace note differentnames. In such cases the more usual terminology is adopted.

(1) `Ornaments (ornements) were often termed optional ornaments or grace notes; and 'grace notes' (agréments) essential

ornaments oi grace notes.

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•7

ü^ILO

a i

^

s-:. _ _ -_ __ -P . --<;

v ..-_. -. . . . . .,

34

Observation: In the majority of cases, tables of grace notes given by writers of the past are only schemes for realisation.These grace notes should therefore be interpreted flexibly and in accordance with the context in which they appear.

ACCENT

The accent, also called aspiration, or `son coupé' (interrupted sound), is terminated bymeans of an imaginary note above the one on which the sound is; it is expressed by a brokeninflection of the voice:

A^

i7

I 1 A ^ ^^ 1^[l^

^

(David)

The accent is marked by a small perpendicular dash above the note and is only madeupwards or at the end of a held note, according to the expression (of the piece). (Denis)

( . . . ) The little quaver must be felt as if it were indeed a note, but with a very weaksound, since otherwise the performance of this grace note would not be in good taste; thesound of the first note must therefore be lengthened, leaning heavily on its vowel, and theaccent must be felt at the end of the name (I) of this note, on the pitch of the note above.(Choquel)

strongnote

accent accent

StrongnoteThe accent is an aspiration or sorrowful

lifting of the voice which is practised moreoften in plaintive Airs than in tender ones; itnever appears in spirited Airs nor in those ex-pressing anger:

One can hardly determine all the placeswhere the accent should be placed; normallyit appears at the very end of a dotted crotchetwhen it is followed by a quaver on the samedegree, in metres, that is to say, where thequavers are unequal:

CHiJTE (Fall)

r

(Montéclair)

lam(Hotteterre)(1st book for the transverse flute, 1708)

The fall is an inflection of the yoke which, after having leant on a note for sometime (A), gently, and as if dying, falls onto a lower degree (B) without lingering there ( . . . )The fall brings much grace to songs of pathos:

sar.ass.:-1......^.aromm..^^•v^. 111•1•1•111111

WI=111ria

• ^ ^^ri^•^it:.^.^_^w• ^.^^^^n

fall

fall fall

fall

A B

A B A B

port de voixa i^►car.11MM IMiNN/WZA..IMraa.MON/fi0.411•111INOI riiIIIIIIIMMII.mWEIINIOI ^^^ NIMMr_^11•=1

• MI 1111•rn.ua.11rin 1111111 1w11111.MMIa..IIII s 1-21MINi.IIritar.AM.a. n •Ir i1= i'r MN OIIIIIIirui .r1/1111•MisIBMVAIIIMM INIOr^^u.a^.^^^r.^^uw.^^. 1

(Montéclair)

(1) i.e., its name in solfège (translator's note).

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E' 0.ta

Page 39: Interpretation Baroque Music

(Hotteterre)

A

35

The fall has a totally different effect from the `coulé' (see below). It is an inflection ofthe voice which, falling from a strong note, reaches a lower, less strong one, and this dependson the words; for to judge by the note alone this would not show the slightest differencefrom the `coulé'. (Choquel)

COULADE (Run)

The run is two or more ( . . . ) small notes in stepwise motion, that is to say, followingdirectly on one another, inserted between two disjunct notes to make a more graceful linkbetween the one and the other. (Loulié)

The run is shown by a number of little additional notes following one another in risingor falling conjunct motion, which can be made without interrupting the flow, the smooth-ness or the beauty of the melody:

run fall

run run run

>~^^^7^ri^irA^^^^^7a.A MJt a< t111/711«I-`^NMI MI MI IA OM :AIM • fJf.rid= VM III NM 'MIMIi-^iir^^ 1i ^^^^C ^rï^^ si^^^'iii3 ,í^iÓl

flatté

(Montéclair)N.B. See also p. 18

COULÉ (Passing appoggiatura)

The coulé' is a grace note that softens the line, making it smoother by binding thenotes together. It is used on various occasions, particularly where the melody falls by athird. There is not normally any sign to identify it, and tastetkìvill decide on the placeswhere it should be inserted; however, there are some masters who show it by means of asmall note linked by a slur to the strong note onto which it must flow (... ) or simply bymeans of a slur:

T ♦:t^f/11UNINI1111/2•111...5•11111mm/1•mma t/m =Iw/

AM )1l7 tA :aMIIli.f/AINIIMUMMI- MI NM WI =II_^^

ha.Iffl•r/. t1M1/7 111111111111 Mff.1111=11

MIL I/lt...%/111111111MIN 1111IIff.;n 1♦ 1

coulé coulé coulé coulé

1 ^ i i ^ / ^^^ ♦ /Wen.' 6 :^ ^^f/I!•1:_ _7:` ^ UI1• _//J• _ ^_^/^O ^_^/^ ^_ Miff MIMI IMP IN

I^^^^^ •0^^^^^^ •5l1^^^^^r11d^^^^i.//

^^S!•^^^i• MIN •n^^

(Montéclair)

`Coulés' are performed by means of one or more notes interposed between the 'back-bone' or essential notes of the melody where the interval is a descending third or fourth:

41 r J J I _(r^^^J^ I o

(David)It will be observed that a coulé' should

be made between nearly every interval of afalling third:

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• t+ ::r^.

rn ^a x

•.tJ ir-u..^^!•

VI^

Page 40: Interpretation Baroque Music

mordentaccent

flatté

coulé

quasi suddenshake shake complete shake

fall

cadence

36

When the words express anger, or when the melody is in a precipitate tempo, thedescending thirds are not joined up by a `coulé':

good

poor

;MILD NMI MNIIIMMINNE•111r .1•11 IMI.1111n1 NMI.^r^^^S7=_•= M __&_$_I__.____ II 1=INIPIIIIM1111111111•t•INIILIMO,n.MIIIIII^^^." `S.r^t^^1nIW O MIN ^^I^I^ ttlllllr.^1^ 1^1^iN 1I If utr/tl^It• /1^ M^.Iia *41n1n1IW111I411111111111 If Mat n43nNOININI M ► all•n•••111•tl c>n 11111t 111111••

etc.Fais tom - ber, fais torn - ber ton ton - ner - re. Fais tom - ber.fais tom -ber ton ton - ncr - re.

(Montéclair)

FLATTEMENT (1) (Finger vibrato)

The `flattement' is a characteristic embellishment whose effect falls roughly betweenthe shake (trill) and what is today meant by vibrato. Formerly, the terms `flattement' and`vibrato' did not always have distinct meanings, especially for stringed instruments.

On the viol, for example, the `verre cassé' (2) or plainte' (3) is usually effected by thelittle finger, with a wavering motion of the hand (M. Marais, 1st book of pieces for the viol).It can also be achieved with the bow, by pressure on the hair.

On wind instruments, where the holes are stopped by the fingers, the `flattement' is asort of finger vibrato produced by rapidly tapping the finger (or fingers) on the edge of oneor more holes, and sometimes over the centre of one or two complete holes.

The ;flattement' is a slower throbbing than the `tremblement' (shake), and is madewith a lower note that does not form the interval of a semitone; this embellishment is mostoften added where one is swelling or diminishing the sound of a long note.

Some tap it on the extremity or edge of the apertures by stretching out the fingerwhich is to effect the throbbing; others tap it over the whole aperture and even over two atthe same time depending on the force and expression they wish to achieve. The fingerwhich makes the throbbing should remain in the raised position to finish with. (Mahaut)

Hotteterre adds: One will observe that flattements' must be made on almost all longnotes, and that, just like shakes and short trills, they must be made slower or faster accordifi

• to the tempo and character of the piece. (1st book for the transverse flute) -

Montéclair:The ' latté'isa sort of rocking which the voice makes with many soft, short aspirations,

on a note of long duration, or on a note of repose, without raising or lowering the pitch.This embellishment produces the same effect as the vibration of a taut string set in motionby the finger. There is at present no sign to identify it with; it might be shown by a wavyline ^•^:

(1) Sometimes this term leads to confusion; at this period, ' lattetnent' or flatté' can also mean a lower mordent or a

shake.

(2) See also under Vibrato, p. 47

(3) Plainte can also mean accent; see p. 34

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37

Were the ' latté' to be used on every strong note, it would become unbearable in that itwould make the melody tremulous and too uniform:

mordentpoor

mordent mordentpoor accent

completeshake

preparation cadencenote tr.

flatté flatté flatté flatté

MESSA DI VOCE: see SON ENFLÉ, p. 42

PINCÉ (Mordent, Schneller)

The `pincé' is one of those shakes so short that they have neither a preparation note(`appui', see p. 44) nor a pause (`point d'arrêt', see p. 46). (F. Couperin) It was frequentlyidentified by the term martellement in France, or Schneller in Germany. It is somewhatlike our present-day mordent.

Generally it comprises a single alternation (`pincé simple'), sometimes two or more(`pincé double', `pincé triple', etc.). It can be performed with the lower note (this is theusual `pincé') or the note above (this is often called `pincé renversé', `martellement',`Schneller'):

Lower mordent:

pincé

pincé renversé(lower mordent)

(martellement, Schneller, upper mordent)

To form this well, the voice must first of allbe carried onto the pitch of the strong note (prin-cipal note) and then descend to the next degreeafter which the voice reascends promptly to thestrong note and stays there:

P

pince noteof

repose

Upper mordent:

(Montéclair)

When one uses the pincé' bycontrary motion, it is called the`pincé renversé' (... ) The termSchneller' serves to describe it inGerman:

: i• NIIIMINIII ri1111111 ^^ •t irnwrmn nInii~..Ns 1.1 /MMININIMt.4111. n

rr.n91111CnIIMMINININEWw 011•ao..4111..=1•1•1111•••011M.MMIIs3MINO./MINI.IN•11111/= --MIIII .4MI..MINIMINII—JMINI.:

^^ /' W.".^_=

(Marpurg)

The `martellement' is a very short trill which one makes after having sustained thesound of a note (Choquel):

martellement

ntartellemen t

which, according to Choquel's directions, would be performed as follows:

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flatté

(Montéclair)

Page 42: Interpretation Baroque Music

Ms AEI + ..^.^^MUM/ ^^ •-•1111. MI ^N= IMIIIIWOI BIN rlIM riMM.-S • AMP =NINO aJIM L! WIN. MN MI Ng 'W// .= IMMEnIMIn M

MN ••n• n IMMn11n111111nnn•••• W/

WWI MI MNIO.4, a/' i

b

38

How and where to perform the mordent

Short trills or mordents are a sort of appoggiatura, but they are taken abruptly, that is( . . . ): one must tap the finger on the aperture, which should be done rapidly. Short trillsor mordents are made on notes which begin the air or melody, such as the minim, crotchetand quaver, so long as the metre or pulse is not too precipitate. One should never play twoin a row. When it is made on a third, a fourth or a sixth, so long as it is in the minor ... ),it must be emphasised like an appoggiatura, and must first rise, with the finger curledrapidly just once or twice.

All quavers that are preceded by a dotted crotchet or its equivalent should be playedwith a mordent.

In metres which are solemn, such as some in four and in two, and all those in threebeats, there must generally be a mordent on the last notes of each piece, by which I meanon the first of the last two notes. One should only make one mordent in each bar whenthere are only crotchets, and the same applies proportionately to the other values; note thatone can play more of them in lively airs, because they make the melody more brilliant.(Freillon-Poncein)

PORT-DE-VOIX (Appoggiatura)

(V)The port-de-voix is sometimes

marked by a little added note (... )It is also shown by this sign: V . Theport-de-voix is the inverse of thecoulé' I think that this sign / wouldbe more suitable than the sign V toidentify it:

The port-de-voix is not markedat every place where it must bemade; taste and experience providethis knowledge (... ). The port-de-voix is always accompanied by amordent:

Port de voix

Port de voix

(Montéclair)

David:The port-de-voix is one of the most essential of the melody's appurtenances; it adorns

it in so graceful a manner, that it serves to express all that the soul can feel; therefore it isvery difficult to give a good written definition of the manner in which one must set aboutforming it well, and few singers have succeeded in making it as touching and sensitive asit should be. Only through the feelings of a mind thoroughly imbued with what it is sayingcan one attain perfection in this embellishment. There are three varieties:

1) The prepared and sustained port-de-voix is played upwards and it originates on thenote beneath that on which the sound will settle, whether a tone or a semitone beneath;and when the sound has been lodged it must be softly threaded through the first of thethree segments into which the duration of the note must be divided, imperceptibly swelled (1)

(I) See 'son enflé' (lit. 'inflated sound'), p. 42.

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Lia

^

^.^

`1

Page 43: Interpretation Baroque Music

39

on the second segment, andmade to die, just as it has beengiven birth, on the third seg-ment; this is what characterisesthe port-de-voix (... ):

V

Z r1°

(David)

Ex. 1

Ex. 2

tti 0

2) The double port-de-voix originates on the third below the note on which the voicewill come to rest:

?) 2

3) The disjunct port-de-voix, both descending and ascending, originates on the notepreceding that on which one will come to rest, borrowing the sound of the first to slur itonto that of thesecond; this is too ,^l ^

o 1r , `Gothic' and unbear- R^ 1 1

able to make generaluse of; but it can betolerated and practisedin certain cases:

Quantz:Without them (ports-de-voix), the melody would often be dry and extremely simple

(.. ) Dissonances should sometimes excite and arouse (the ear). To that end ports-de-voixhave much to contribute (... ).

They are sounded on the beat, in place of the principal notes. Ports-de-voix are aslowing-up of the preceding note (... ) When the preceding note is one or two degreeshigher than the following one, in frontof which the port-de-voix is found,the latter should be taken from above(example 1). But if the precedingnote is lower than the following one,it should be taken from below(example 2):

There are two kinds of port-de-voix. One kind should be sounded ( . . . ) oñ the beat.The other kind ( . . . ) on the previous upbeat. One could call the first accented and theothers passing appoggiaturas.

Passing appoggiaturas (be-fore the beat) are found whena number of notes of the samevalue descend by leaps of athird:

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(Quantz) .. .

C

D

(M. CORRETTE: Méthode raisonnée ... , 1750)

40

The appoggiaturas we are dealing with here require a caressing expression.Often there are two appoggiaturas before a note, the first being indicated by a small

note and the second by a note which counts within the metre:

Accented appoggiaturas (on the beat) are found in front of a long downbeat thatfollows a short upbeat. The appoggiatura must be sustained for half of the following prin-cipal note (1):

Where the port-de-voix or-naments a dotted note, the latteris divided into three equal seg-ments of which the port-de-voixis given two and the note itselfonly one, namely the length ofthe dot:

When, in a metre of 6/4 or 6/8, two noteas may happen in a Gigue, one should hold thenote with the dot:

s are tied, the first being followed by a dot,port-de-voix for the entire value of the first

1 11 ., ,I. a11111MIlMININIIIII..a a/ (a JO .w i MI . a WM71111E1 INI..III? n MINI

MIS LI./ t A= NMWII11IIMII•111 WARM II /tJ1aO1alIn11♦ a•. l•a^^=^^^^^-^1^. 1•^at I^I^I/O/a^^iVA AN`=^^J•^rs^.•^ i^/V^a^

1 ,l

•=IIIIIIMM-1111n1 a.4•If. aIMP"7111111•11.111•11M11 1

ALI MI n.I • aIIIIMr1•111I•It♦• iN IIIMInra1IIIaIIIIIIII OM al.t•M^t^^a^r^^•al^. •n^t•S r^^••1•In^1^ÌI .•an INrSatMIN•tM14 i•n111111tsnt.—a1M11/ NM

IIEn

When there are shakes on notes which form dissonances against the principal harmony(... ), one should make allports-de-voix preceding theseshakes exceedingly short, so asnot to change the dissonancesinto consonances:

: - nNit me sr r. own am/ ai mare/ 11111aP•maleIaaia.7 I

MY .1 '411111•111n In1Y.• M...M111I11=11111111a11111n1•11&.I —a 1a /tt7111111•111l• 11/711 Mi. UM MSS 111114111111111111M1 Ifr•r11~ 1111, M1111110./ !NallIV tal.MB =I NM 10111•1 MI MN l:li1111111111•11la MIN^^

When there is a port-de-voix before a note and a restnecessary to take abreath, the port-de-voix is given the valueof the note and thenote the value of therest:

after it, unless it is absolutely

(1) In Adagio movements the Italianssometimes make the port-de-voix(C) as long as the note which followsit, and even longer (DJ, making asmall shake after it.

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41

( . . . ) It is not enough to be able to perform ports-de-voix according to their char-acteristics and individual differences when they are marked in the score; one must also knowhow to insert them in an appropriate way when they are not written. Here is a rule thatmay be of use in learning this:

Wizen after one or more short notes on the downbeat or upbeat of a bar there comes along note which remains consonant to the harmony, a port-de-voix must be placed beforethe long note, in order that a pleasing line should be constantly maintained; the precedingnote will show whether the port-de-voix should be taken from above or below.

The (following) brief sample contains most of the ports-de-voix (... ) It will be seenfrom this example that ports-de-voix are most often placed in front of notes that arepreceded or followed by faster notes and that there must also be ports-de-voix with mostshakes.

If one wishes to mix the grace notes of examples 1, 2 and 3 with ports-de-voix and usethem in the following example, this may be done on the notes over which the correspondingfigures appear:

Moderato 3!JJ1Jn-^ i^.^—^^^=^^ JIJr aJlll^^^i M".n ws BM nIMIInIMMI.1•1111 i 11M= INMEJ L1/" IIINSIMr• /,n•_ /^ ^n/^^n—JL^^M^l/' 1^^^.^^/^^M^i—^► L^/^ ^^►^ ^^^n^^M.^i/ I^

V^—\ t/^^ / ^ nIIMIN ^— ^^ ./•=^ ^ ^^

2A

^ ^^i I I ^irv^^.^ >•aña^0 ^^.^i no7 Ira

.^NM MOMSt•.i7JMMInn•nJ 1MILIM/ /TI/ R2•11M=t,ONNIM =GIFT>. J©n ./ /IMMIONNII• =WM J IN=.n MI W MI WWI IML MN /IMJ^ •^I^^ ^^/^—/^^^^r ll7i^MM

Matz_ . _ .^` ,

¡

2

1 1. ^^

, . Il 1.^ ^iJll^.^^'/.^^^ wil^t r:I^r—^ 1..^^ t --a^1111^ .-:-a^^^r....IMMI—

.NINISIMr/ /•11111111~SI/ AllnMr MINIM A•11110'.7JMiY Mam/ TM /if 1.7• •

1J^1^^^^0_^^^_^W^^ Jl

^L^^^ J^ .—^ ^^^^^J^__^ MIME ^^^J_^^^^^^^ M. ^1^^^^.^^.^ ^ ^—^^ ^^^^^^^ 11.I_ MI NM

...am 11.... ...."'°-

v . i,. -^ y --^ • •4•111111..IN n 1•11n111/Itl OPM11^_-1111./ /1111111.011111111— 1••tJV71 •1•01•Mo^I^.t/^^

MUM IMnP INE•1111nn••n1.1 /IMM 11••n /11•111iMtM1111111111111M11/...WW JrPINIMMI /111111n01•11111111111114—^/^^^^ ^ l•

(I)

^^^I^L ^^/ !In^^^ :^_^J .^^iI11n1 4/NOSHOMM MNIMIIIIIINiNILa MO=^^^^

Ex. 1

half

shakes

Ex. 1 A

mordents turn

Ex. 2 Ex. 2 A Ex. 3

(Quantz)

N. B. See also p. 42 for Quantz's observation on how to make ports-de-voix on the transverse flute: 'If there is a held

semibreve or minim .. .

(1) These examples should be adapted to the pitch of the relevant passages.

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full voice

42

SON ENFLÉ (Messa di voce)

Inflated sound (`son enflé') and threaded sound (`son filé'):

`Inflated sound' is the opposite of `threaded sound' which Montéclair defines as follows:'Threaded sound' is executed on a note of long duration, by prolonging the voice

without any wavering whatsoever. The voice should be, so to speak, as smooth as a mirrorthroughout the entire duration of the note.

Unlike `threaded sound', `inflated sound' arises from the vocal procedure which consistsin attacking the sound softly, `inflating' it mid-way through its duration (that is, increasingits strength), then diminishing it during the final part:

If there is a held semibreve or minim, it must first be sounded softly (... ); afterwhich one starts to breathe out—quietly, however—and to increase the volume of sounduntil half-way through the note; thereafter one starts to diminish the sound until the end ofthe note. ( ... ) But in order that the sound should neither rise nor fall in pitch as it isbeing reinforced or weakened (a defect which might arise from the nature of the flute), therule which we have given (1) must be applied here. In this way the sound will always be intune with the accompanying instruments, whether one is blowing strongly or weakly.(Quantz)

Quantz, then, gives special attention to intonation and moderation in `inflating' thesound. On the recorder, where the embouchure by itself (fixed wind-way) does not allowso great a correction of tuning as on the transverse flute, it is therefore advisable to executethe `son enflé' with circumspection: Reflecting on the difference between (... ) the trans-verse flute and the recorder, one will find that, despite the resemblance between these instru-ments, each requires to be treated in its own particular way. (Quantz)

`Inflated sound' was a stylistic feature much in use at this period (particularly inGermany) and was practised on all instruments with the exception of keyboard instruments,where it was not possible (2) (apart from the clavichord and the bowed harpsichord). Hereare some comments referring to the `son enflé' taken from composers of the 18th century:

How to inflate a sound:

.To inflate a sound well, it must first go forth from the breast, beginning with a tinyfraction of the voice: it is threaded, and strengthened bit by bit, thrusting out and éxtendingthe voice until it reaches its greatest fullness ( . . . ) There is no symbol by which to identifyinflated and diminished sounds. (Montéclair)

Montéclair here shows it by wedges:

inflated sound diminished sound inflated sound diminished sound

.This sign: -411111 ► means that one must begin softly, strengthen the bow mid-waythrough the value of the note on which the sign is found, and end with the same softness asone began with; the transition from one to the other should be made imperceptibly:

(1) Quantz here refers to the technique of embouchure on the transverse flute which makes it possible to maintain correctintonation when the dynamic level varies. Quantz adds, moreover: Piano and forte must never be exaggerated, normust instruments be forced beyond what their nature allows: for that is exceedingly disagreeable to the car.

(2) Though the harpsichord cannot swell its sounds (...fit has other advantages (... ). (F. Couperin)

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Prelude

Grave e affettuosoi

Plyf *

(J.-A. Desplanes, Sonatas for solo violin and violoncello with harpsichord, 1712)

Where to inflate the sound

Long notes should be sustained in a manner distinguished by swelling and diminishingthe strength of the tone.

(.. ) each note, whether a crotchet, a quaver or a semiquaver, should have its own pianoand forte, as far as speed allows. But if a number of notes follow one another, and thespeed does not allow one to swell each note's sound, one could still increase or lessen theforce of breathing during these notes in such a way that some notes will be louder andothers softer. And this change in the strength of the sound should be made from thechest, that is to say, by exhaling.

(... ) the tongue should begin ports-de-voix softly, make them swell, if the speedallows it, and move on to the following note slightly more softly. (Quantz)

N.B. See also on pp. 38-39 the example and the quotation from David concerning the `sonenflé' which accompanies a port-de-voix; also the 'Messa di voce' on the first note of aFermata, p. 59.

TOUR DE GOSIER (Turn, Gruppetto, Doublé, Circolo mezzo, Double cadence)

The turn is indicated by the sign 419 ; the five notes which serve to make it are takenin a single breath ( . . . ) To execute it well, the voice must emphasize the strong note (M)where the sign cv appears (... ) After having paused on the stressed note, the throat(`gosier') must make its turn by moving lightly from the first note to the fifth, making akind of very sudden shake on the second small note (o):

.mm/ ar7mt Lawsniissdmormi^i =^.1111'

N.B. The turn can also be the termination of a trill. See p. 46.

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o

r P Pi /

n^ (Montéclair)

43

Page 48: Interpretation Baroque Music

-..' _.^_ v! . . _. _ ^ — r ^'-F• v ..... mr Tr —., ,_

44

When a slur precedes the turn (`doublé'), then thefirst note of that turn should not be reiterated:

eka

.^^^^..s :.^..^^

(Marpurg)

TRILL (Shake, Cadence, Battement)

In 17th- and 18th-century France, what we call the trill (derived from the Italian'Trillo') was given various names, chief among which were `tremblement' (shake), `cadence'and `battement'.

Here we will deal with the usual, or long, t rill. For the short trill (`martellement',mordent, `battement'), see under 'Pined' on p. 37.

Signs for the trill

These are numerous and their interpretation often varies from one composer to an-other. The most frequent are •, t, tr, +. The latter sign (+). probably derived from t,often indicates a trill; but it may equally well mean a different embellishment of the per-former's choosing (mordent, gruppetto, `flattement', etc.).

Rules for the trill

The trill obeys the following general rules:

— A shake should occupy only the space of a tone or a semitone, according to therequirements of the mode and the note from which the shake originates. (Quantz)

— It always starts on the beat and generally on the note above (except when it is pre-ceded by a port-de-voix from below). This is the preparation note.

— If the duration of the preparation note permits, the speed of the strokes will increase.

—The termination is preceded by a `point d'arrêt' (a rest or a pause on the principalnote).

—This termination is always rapid.

The trill can be illustrated roughly as follows:

'point

preparation notestrokes ^ d árret

mï^r10111•71111 ^ r e►• e7 I7 17

^ iii^N^^^^^^^^r-^n111s11s111s

The beginning of the trill (preparation note)

With which note should one begin a trill?

The preparation note, which should be formed on the note above the principal note.(F. Couperin) This is the general rule. However, depending on the note that precedes thetrill, it may start on the note below the main note of the trill. Every shake begins with a

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r1

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45

port-de-voix which is in front of the note and is taken either from above or below.(Quantz)

Duration of the preparation note

The preparation note of a shake should be longer or shorter in proportion to the valueof the note on which the shake is made. (Loulié)

One should mark it (the trill) by leaning on the note which immediately precedes thatwhich carries the trill, and that for half the value of the note, and then humming (trilling)for the other half of this duration:

becomes•.MINI^^....^IME.//. ..IIIN IM.

',.1•1111 ^ ^C^ ^^

(Choquel)

Choquel's advice is, of course, rigidly schematic. However, it underlines the impor-tance of the preparation note, which should always be perfectly perceptible.

The strokes

In tables of embellishments of the period, strokes in trills are most often represented asequal. This must be regarded merely as a simplification of notation:

Although the strokes are shown equal in the table of embellishments in my first book,they should nonetheless begin more slowly than they end: but this gradation should be im-perceptible. (F. Couperin)

To succeed in making a good trill, which is a meritorious achievement on any instru-ment, one must begin by moving the fingers very slowly, strike progressively faster whileswelling the sound, and end it (the trill) as fast as possible. (Van der Hagen)

Quantz:One does not have to play every shake at the same speed. One should adjust not only

to the place in which one is playing, but also to the piece itself that is to be performed. Ifthe place in which one plays is large and reverberant, a somewhat slow shake will make abetter effect than a fast one (... ) If, on the other hand, it is a small place or a room hungwith tapestries, where the listeners are quite close, a rapid shake will be more suitable than aslow one. Beyond that one must be able to distinguish what kind of piece one is playing( . . . ) In sad pieces the shakes are played slowly; but in spirited pieces they must be playedfaster ( . . . ).

It would be rather difficult to indicate precisely thecorrect speed of a good shake. I would imagine, however,that the speed of a long shake in preparation for the end ofa piece would be neither too fast nor too slow if, duringthe space of a pulse ( = 80), the finger made hardlymore than four movements, and consequently eight notes: ^s

In fast, lively pieces the short shakes can be a little faster, and one can then lift thefinger once or twice more (hence making two or four more notes) during the time of a pulse.(Quantz)

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:^t:"^ i:ti:^^_L:. - ::+. rr... :.r•...: .. . ... . . ... ..^ 'a ,..+

Page 50: Interpretation Baroque Music

^

(pause)

J.-J. ROUSSEAU:

NI AW.►/ ari r^^.I.^ J^J^J^^ •• .•^^ ^^^^^^^/ ^. ^\w^^MMrMM • ^^1

sounding

{

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46

The `point d'arrêt' (pause)

Just before the termina- HOTTETERRE: Preludetion, the strokes are inter-rupted on the principal (i.e.lower) note of the trill in asort of pause. In those days,it was called the `point d'arrét'(halting point).

The length of the pause is included in the value of the trilled note: The strokes and thenote where one stops should both be included in the value of the essential note (i.e. the notecarrying the trill). (F. Couperin) (See the first example under `Trill', p.44.)

The termination

Sometimes one ends the shake with a fall (`chûte ), and sometimes with a turn:

stroke

fall

turn

(Montéclair)

This turn is called `after-stroke' by Quantz: The ending of each shake consists of twolittle notes which follow the (principal) note of the shake and which are added at the samespeed (as the strokes). In German they are given a name meaning 'after-stroke' (ex. 1).Sometimes these two little notes arewritten out (ex. 1 and 2), but when Ex. 1 Ex.2 Ex.3only the principal note itself is given

ir(ex. 3) one should assume there will be ¡ ^',.:.^ ^^1^ ^^Iboth a port-de-voix and an after-stroke; ^,^^,MU.^^,^^.,

because otherwise the shake would beneither complete nor brilliant enough:

The termination of the trill is always rapid,whatever the speed of the piece in which itappears (the note which follows the dot shouldalways he extremely short, Quantz). Thisrapidity can vary according to the character ofthe piece, but it is always greater than thatgenerally indicated, which merely represents asystematic way of notating it.

The terminations in the above examplesby Montéclair and Hotteterre, just as in theexample opposite by Rousseau, are explicit inthis respect.

Those who find it awkward to make certain shakes, where they appear too difficult to play, may pass over them,not wishing their hands to be constrained in any way, but rather for tempi to be observed very precisely. (N. Lebèguc,First organ book, 1676)

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47

VIBRATO

Today vibrato has become an almost systematic, obligatory embellishment, especiallyamong string players. In former times, in fact, this oscillation of the sound was very diver-sified and was consciously used as an embellishment. Tartini writes:

This embellishment (tremolo, or `tremblement' in French) is never used on half-bodiedsounds (`threaded sounds') (... ) This embellishment produces a very good effect on thefinal note of a musical phrase, when the note is a long one ( . . . ) It also makes an extremelygood effect on the long notes of any melody at all, whatever the metre ( . . . ).

It is known that in the 17th century, French lutenists and viol players termed thiseffect the 'verre cassé' (lit. `broken glass') ( 1 ). It appears to have been particularly highlyvalued in Poland, since in 1545 Agricola recommended flautists to use it in imitation of thePolish viol players.

The vibrato seems to take its origin from the rocking motion of the finger on the stringof a viol or lute or on a clavichord key. Mersenne puts it precisely: Whilst the bow is inmotion on the strings, the finger should be rapidly rocked on the fingerboard. (1636)

Marpurg adds: 'Rocking', in Italian 'tremolo', is nothing other than the repetition of anote on the same pitch, with the difference that the repetition is not made by fresh articu-lations (... ) It is not possible to represent it in notation. It is an imitation of the Tre-mulant organ stop ( ... ) On a long note, 'rocking' must be preceded by a messa di voce('inflated sound').

Concerning the tremolo, De Lusse writes: There is yet another kind of flexible shakewhich the Italians call 't remolo', which lends a great deal to the melody when used appro-priately. It is made simply by an active movement of the lungs breathing out these syllables:Hu, hu, hu, hu, etc. (L'Art de la flûte traversière, 1761)

TWO EXAMPLES OF PIECES WITH GRACE NOTES ADDED BY THEIR COMPOSERS

C. DIEUPART: Overture (c1710)

M. 11 IMO I.MIMI= s aJMIlli.if 1•t./_^..41n1111Jn1.r 1MIN11•r•ta . 11•111•110M1nn•11r1IIMINIIPUINIMMI =NMI 1•1•5.1•jn^•^• rWO= 1•1111a-n111111t• ONOMINI IMO/^^.^.^^^^^^•^+ ANNIMvirn IMMIMIN AINNIIMMINN^^^

MN NSW NW MwI .•LANIM1 01nt:TEMIMINNW _ow JIM/ S.MTE>•NIIIMIn1111111•111WaMINMI1 IMO WIWI.111111=11111.f l>• WI • MIIMi.1.~ZIP71 OMNI NBLIINIMrMINIIIII> /9M !t/1•^i^T^^^^&M .^...n11t VIM ^^Y^^^ I^Y I^ I^M^^y^^^^Y .^J^^s •I t=^^

• _ •

ww

0

NW 11M1

•..• ^^ ^ ^^^^í^iu^^^á i á►a:i^•=cm ^• ^

...minor-Irmo, ^^^ i i,...^. !I, m ...wr ►RIMY UM VANNES / MI /MI 1alM1111 I I

(1) See also p. 36.

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Extract from Dieupart's table of grace notes:

Explanation of signs

shake double 'cadence'mordent (lower)

.Iin•• n .A•••17 '-n•n .11••.•110r

.; _^^.^^^^^

shake with mordent fall port-de-voix and mordent

a.11111/ SS L••nIMP

J. B. de BOISMORTIER (Six suites of pieces for the transverse flute, 1731)

These pieces are embellished with all their grace notes:

Courante

•..«Nrs11111,

Amme Y MPì=1NY M.n1•1AM:7 I ICII•E-1111111..11111^^ •1•7•Ir MINIM•• WNW r•••••n•••/^^^^^L^1•11n1J11•• •• IIM•1•11rNMI MOE I= MI IN••n l••••t1 ARUM...WM111•111••n•• MIMI MUM M•11•1111•111,M.f 17/11n.nIMMINI 1•MMIII .1•1/M•11•1111•11INMAIi\f RUE^

^••••-

, ^ .... _•MOMINIIIW7 1 0/__^_7^^^__^^^^^_^.7_r_^^^^s^ ^I^^^ ^-.•^^^^ a^^^M n ILL^ I.ii/^^^^; t^r M -//UNIMII =NI IN •11111111 mar•rn• I•• =al IMI n1=IMIMI•10•1••nn•111M•r MINN a nI•NIMInIMO=1•a-•••11111111111111

N. B. One may add to these pieces embellishments which it was not customary to notate,such as `threaded' and `inflated' sound, 'flattements', vibrato, etc.

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'diminished'

r lr r n-7 -F3•77:-F--

(1) See the chapter on Grace Notes, p. 33.

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î _?

49

ORNAMENTS

Let us recall (1) that by ornaments we are here referring to variations and embellish-ments designed to diversify and decorate the bare bones of the musical text, thus distin-guishing them from grace notes, which is how we have described the little discretionarynotes, appoggiaturas, trills, etc.

Ornaments are therefore the variations added (by the composer or the performer) tothe melodic line. Rousseau defines variations thus:

Under this name one designates every manner of decorating and varying an air, whetherby diminution or by 'passages' or other embellishments to adorn and embroider it. Howevermuch one multiplies and crams the variations, it must always be possible in the midst ofthese decorations to recognize the heart of the air, called the `simple', and at the same timethe character of each variation must be marked by differences which sustain the attentionand prevent boredom.

The word variations encompasses the terms doubles, diminutions and passages, ofwhich Loulié gives the following definitions: Passages' are many little sounds that are inter-woven amongst the simple grace notes. These 'passages' are commonly called doubles(variants). Diminution, which is a sort of embellishment of the melody, consists of severalmeasured notes put in place of a single one.

Examples of `passages' or doubles (Montéclair):'simple'

'passages' or variants

Examples of diminution (Montéclair):'simple'

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50

FRENCH ORNAMENTATION

The French musician of the 17th and 18th centuries was inclined to make more use ofgrace notes than of ornamentation such as we have defined it on p. 49, in contrast to hisGerman, and, above all, his Italian neighbours. (1)

The incomparable Lulli (... ) preferred melody (... ), fitness of expression, lack ofaffectation and, lastly, noble simplicity to the absurdity of doubles and irregular kinds ofmusic ( . . . ) Passages are arbitrary, and everyone can play them more or less to taste andinclination. (Montéclair)

If the French musician uses ornaments, his `good taste' persuades him to do so withdiscretion and poise (later we shall see examples of Italian `extravagance'):

An important point, and one which cannot be stressed enough, is to avoid this confu-sion of notes, which are added to melodic and expressive pieces and which only serve to dis-figure them. (J. M. Leclair, 4th Book of Sonatas for the Violin, 1738).

From this 4th book, here is the beginning of a Minuet which Leclair follows with twosuccessive doubles (on the sanie bass), the first in triplets, the second in sixteenth notes. Forgreater clarity we have here set them out vertically under the theme of the minuet:

Minuet (J. M. LECLAIR) 1738

Allegro non troppo

r•I.aatf^^^^•^^•/^ ^^ft♦l3tsi^ri'm n^>i

(Double 1)

3orrL. -....ew•afÌ/'v7i /r •w1lA1fafl111M1iii/.11i JrNIIIIMMI a IIIIII•t __fi1Mt♦ ai111•ai1MINIIMI MOMI.4111•1111 SWIM L = ft:..^^__^^^J^_ BMW AO," MOW=\V r<^ • a^ •^ ^i^ir•^^^^ fff/fa^ •as arT••r^iilrt=ai^a7tl a^i^ u AIM raL.1111n.aJ. ar 1111.n•n•111f12

(Double 2)

WM: araa•l•11•ifi11M MOI aaali tt//1,1111i.4/1/1./••11n1111P11111•1111=1..- --...m...........= afa•i1.-ar IMims mama NMIar .a•aff>♦^ira/ i^•alai^^a^iJaif♦•i BMW /7J^^I♦Nfif.^fifa^^ffafafa/r^^^i -^^M•►i•^I .6^11•a/\r^^a/".." ^^

^itfa^- MEN r^^^rir^rf ^a^/^^^^^^rr i/'r►V•—^ S.fi^ : ^^ n^^^.^^^^w ^^uut is ^J= MEN Li^7

,••••"---n

^r

'/:'n ^^^^ ^>.^ ^^^^=11J MNP.fi•fiIIIIIIaAafINILt AMP'--•r

^f•s7f^^ar^ aia^in•f /7•T^•^•nai•••arai•i•ralaft'a..t /111171111aal1•11aiIIMIiWa •u•110•lANIia•LAM •1111111•111MfY •/S AV^M1111nr11 ILA fa1i1•i•^•^a•^r1111111111,•i/ nai1•i•ia•11n11rdEll

^ n ••.* MSSal' t♦Omfinnrffit♦=eamt•fi.nme<•frfif 1• rip) f/fifafsffifaifflf/lutiffurI.afaat MINf3•i ft111r 1M1 Am•-.m:ai.r /1/11•15 MP" a►Vfa al.•11111•111a•iJ•1• L// /11111/al•A111M1aaaalitaa/ia.11111MWMII/ -/ /\ -. aWi4I1•1J LI'1/V'l.111•<.11•1111al,•arif Mts • sanfif = sf ai "Sa111111n1=i•O1S =YIP'^i

(1) One can consider the Adagio in two ways, with respect to the manner in which it must be played and decorated;firstl y according to French taste, secondl y according to that of the Italians. The first manner calls for a clear and sus-tained expression throughout the melod y, and a style always combined with the essential grace notes, such as appoggia-turas, single and double shakes, mordents, turns, short trills, finger vibrato, etc., but in addition there must be no ex-tensive passage-work, nor a lot of arbitrary grace notes. (Quantz)

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51

Here is an example from Michel Blavet of the ornameï iation of a phrase upon its beingimmediately repeated (as before, we have set out the simple form above the ornamentedone):

Adagio (M. BLAVET) 1732

^------ =nnMr MVO^^^^^ MINIM ^,^–•^^7 l./ r'7••^-^ ^^^^=I.^^^•^-^^-!' -r1111 _ I7I a•.i 1t Bah •nONS–wrM IaI-1=1,-M-ENIM--MNI–,,..limi arm n a-a.,•n-I •rC•.t •'• u L•n••—ncL/rl-sorJ---rms-am-arJ •-/-•1am-rI • •••••\V, - W--IIII---1J =I -1111Mn-n11MI ---mmll

GERMAN ORNAMENTATION

Amongst the numerous precepts given by Quantz, let us cite the following:

Almost every person who applies himself to the art of music, especially outside France,is not content to play solely the essential grace notes; in the main they wish also to followtheir own taste, and seek to perform the melody with different arbitrary variations ( ... )

In general, care must always be taken in variations that the principal notes on whichthese variations are based are not obscured. When variations are made on crotchets, the firstof one's added notes must usually be the same as that of the simple form; and the samemust be done for every variety of note, whatever its value, whether greater or smaller than acrotchet. One can also choose another note in harmony with the bass, provided that theprincipal note is heard again immediately afterwards ( ... ).

Variations should only be made when the unadorned melody has already been heard(... ) Likewise, melodies which are already well written and which already have enoughgrace notes must not be varied, unless one is sure of making them better still ( . . . ).

It is not enough to play a long succession of quick notes (... ). It is in this respectthat the greatest abuses are perpetrated; this is why I would advise against becoming too in-volved in variations instead of rather applying oneself to playing a simple melody in a noble,appropriate and clean manner.

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i

1110111ININP7 <117:011/71 •/ ^^ /1111.4/f -MINN r"NV _^^ ^t. ^•^..^r,ïiir^ ^^^^^^^^=M^ ^_ 11111111:::

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^ ^^^^^ ^sil

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d)

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NW 11.7 ..111.40 J110•11srr,SSis^s^w^=isss•^^;t•`- t•t_t•

— - — _ -_ ^ .

52

} •^

QUANTZ: different ways of varying a single phrase:

In the matter of ornamentation Germany underwent French and Italian influen.ìes. (1)Here, from Telemann, are two examples of ornamentation, the first more specificallyFrench (mainly grace notes), the second more Italian in the style of its ornaments:

Example 1

Sicilienne (G. P. TELEMANN) 1732

t•• ): mow rJ,i..AMNIr- /MOM ^- i=7^r• .r•,1,r• ►^t••^r- ^^v•-rr•N^r ^•^I a•^•- ^•: ^•JON=•..^Irri•'rr rrn rr^r^ ,IIMrt•.4^-r^-rrrrrr-r^rrllL-_==.- 1.=♦ ^ris•r•a^^-rrrr- ID ^t ^r ^rr = rn

•'/.Ai &a •r.^^.r• r•-.1=1

OM MIN\\Ì •^

^•^^^=t•t•^^^^^:vta_^ ^^ ..^=r•^ r•rrr•-r)rrt• -••.^r/ •/ _ ^ NW ^^t•t•t^^^^-- _ ^_:

••LJ1IM•I<!t•rrtl.Art- //1nP'77•11- I]./ !.!111111111•V .4/•n/=11111/Ir =It^^ ^ ^^ ^ r8iiíiií7 ^^ ^=ó = ri^ i^C:s^i-av,t•^rrrr- •^^

, -^- ^ + /` .-

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J 1J^^r••r►\t^ 14 ^ ^t•r.r••.^ ^t..n^r-••r-rrrr•mr+c•ca.r•^r^1^n^rr ^I^.-on^imeMamoso•verr ama ras 0.41M.imo -r.u. ... IMIIM rim mil r -_/'m_ w-^-J+M-_)^--•_-)_+_^^/r••+•- •rrrr•^lV•^t♦'r^-^t• í_t•iiit•_Ÿtrrt•t•^ - ^r^-•t••^^+^-r<f/^-<tt•^^t•^^w/t•t♦<IIt•t•--- - ^ e^ - - n^^

Ì .,IM^ - _ ^,a^rrr,.^r^~••r •^^•rrrr•rr•. ^^r.-rr.1111t<r••nMININLrI AIM Ial111.11111t• •411111111t• min)f tL7^ • t/ ► ^10=1•111•1•12ts t-•I^O•r^l^^r^t<t^^^r^^^ • •a•- 11^rr/`^rr/.^•.rrr,•r NIP" ^^^ ^^^r ii ^.•^.a

`

• •í.. ^mt . .v n+w+r __ r•ttr► ION r.^ ^áe Lr^^1r_r" ,^ ^^r^ i^^••^r•- ;^^ii^^^ r••rt•tr•t.•t<^^a•^^i^•^^^^oíi•4r^ii=ii^á^^i^i •^i ^^^1\•.a•-..._ t••tr•t•)anl^=/ rr•^•r•r/\J•► ^t3/t••I•••L•s<tt•r!•t♦^•1^-

/P'". 111==1. _ ^n .

(1) Resulting in what Quantz called 'style mêlé' (mixed style), and Couperin les goûts réunis' (conjoined tastes).

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^•:

l^

: . ^^ r ;•r^ ® ,^-zs^'a _ ^ ;, `' ^

Page 57: Interpretation Baroque Music

53

Example 2

Adagio (G. P. TELEMANN) 1732

I•M,..^- CM= .^ >_.=^.^^. o^. ..^^.^ M-MM^-IM^M-MMM=1./.•11111

.^^••11M..^ •^ ^-

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=.Jtt I 1T Man==.•111I111=i1J1Ns-III IMOENS =NM.I

M M./ AlMr1 Emir .0MMM IMI-- 17.• MM/MI.I.ls.J1>a7M- == =MEIN= =111/41nINNI lt..I/. .61111111s-ME NOMIP711I/t-I/ .•t]M•MVJ-.61n11Yi41..I -MI-MrMI WNW =.4nI - !•YrLr.•1111111 - _-MI..M1M-MI-r•16,4 • IZa ..W.i.1••nt^•••'". iIME• MMMM_IMMMMM

-^ • ^— .......s' MS/-Y^.J.. 1 .^^^^ ..^^^^ .1 l»i^r.^ ^.t I. 1 MI ^ ^M.I^I/_lE1MM MI MI./ /W7^".I..^^ISI0.^/ 1^N/.t7=/.E^..^^J DYA 1 ./...JI/MV/JM^MIM=^I.IJI /•.M!•./'M^t M rf .^.^.J ! J.f ILMIY^MM^.M.M....^V _ IN► ,.r 7s_ ^ MM.- ^I^IMt/ .7f ^^^r^_ tMM f^/'►a^M.^MMM. _^MMI^ SI—II ^ — ^ ^^^

• •

MEMO MIN

^• -.1MMEM/ !A M-117311111n 1 1 1 1 J.. 1 1 1 IMMf.a.JMM.IMS 7MINN M=J- 1a^-III-II- M.IM7MMMM—ll..7I•- M-MCMMMMI-M-M-I^MM-MIII^I MM-1.MMMMM^...^^MI^--- _MI MM-M.0 M^^.

+

^/MMEINSI! M—MMMEIEIMMr7MMM---I MMMMMI••• M. -I-MM -IME1111

In the example below, J. S. Bach has ornamented (for the harpsichord) a theme takenfrom tarcello. It will be especially noted how Bach varies his ornamentation at differentrepetitions of the same motifs:

Adagio (MARCELLO-BACH)

Alessandro Marcello (1684-1750)

(oboe)I ^ -

soy M^^^^MIMMMI. M^- MI M1^^MIM^-MIM^^-^^ .01•111MINa./ .I7<7 -AND -- IN= MIMM-MMIME= - 1•NM -EINS =II MMMMMM71111M►-ANNIENIMAINIEN MMMIMMMI .•{MNIS. NM I= MM1=11=, Min I MIR MIN MON= -MMMM^ _^MM^

• MI- MI^^t^^s^

.."

MI' .ME1!-7i.aMM- IMMM =SIM I7 NI MIIMIMMMIMMIIMMEMEINISnMr7r Mr7f II -.61M ¡roam...Irmer7 -.MMM MIN MMMI- =NM IME= MM II-MMI IMM-1111111M►7 17i.• 1J61 1r111MM.611-11-I ..1MS,. s-M.- MIEN Im..- BIM MMMMr MINI= -II-nMI...IIM-MMMJM I../M1IMMMMMNMI.M-=-MN! •Ali i- M--MMM-M MMIM MSS INN M ME- MM-MI••=M._MM- N.A. •^^-..

J.S. Bach(harpsichord)

IM MM- ININIMPnII n/.I7 .IN_. ♦1=1=11 MMMM- MiI M^J----M-^M M MM 7 - I- M^ MMM^I

•MEMM I —/IM OEM MM EMI MMM7t l.• Jai/ /.IIMJMJM IME MIM-MJ l.MNI►.I711 MMIIIM/TM1/gat I'1 II /JMM.MIMMMMMMMMM MEIN M.MIM-MM=ME.•r • M I'1•I WS./ JI.i.MYMIMMIMMMM.MMMMMMM-.iM _.^M-c>r-^MMM/\.' • MI. NO IN ._M - o-^^MM

M tM- MM-- MMMMI.t./ Ml EINMPIIIMIIIIIIIIIIMM-MMr/ 1 /7.• I_W•I7^7 w^.-^MMMM -^MM MI-.nn•I4JMMEI-M-I-I a. • 1^MM^_M _MM` MMMMMMMr-^MN-MMM--^-MMSuMMM^ —I—I—i• ^M^M ., . -••••••. , _ ^..^ -- I-M—I -••=1•M-MENIP^

^^^iI• ••1 I= 1

(^), Jr

I JJMIMAI 1M J1rsrvsMMMI•n .6IMi /II., 1J-RMMMM1111•111.././11-IaMrM ^—n-M

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1 rw

n

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54

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55

ITALIAN ORNAMENTATION

Quantz:In music composed in the Italian taste, much is left to the caprice and capacity of the

player (... ) One cannot deny that for a piece to make its full effect in Italian music, theperformers contribute as much as the composers.

Knowledge (of figured bass and the art of composition) is essential in Italian music;this is because .of certain passages written in an extremely simple, dry manner, leaving t'eplayer free, within the limits of his capacity and judgment, to vary them repeatedly so asconstantly to surprise the listener with new inventions ( . . . ).

Wizen perfori p ing in the manner of the Italian taste (in playing and decorating theAdagio), one does not content oneself with these little French grace notes; but one tries tofind such larger ornaments as are elaborate and refined, yet always consonant with theharmony. Here the (following) example may be taken as a model where these optionalornaments are fully written out in notation:

Adagio (QUANTZ)

n=r01111111=NNW.s-NE NMI ^

=MI

=IN

a,

^ s)I i 1 M III. li + ^r

^:a/ ta^^:3^sM./7 SLAM r^s r r.i.^^r MU =Y:a^^^a^^^^^ ^'_^W.^rrl//^^J/^^^^rRilJ^J^^^ N^^n^1^^^^iM1^►...r/o.•^^^a_^ n ^^^---^ +--r-^i-^^ n--^^^^'w ^^ u^^.1.,^^^^^^.^•^.^^ _^^^_^^^^^w^^^^r^.^^^^

- ..^_^ ^_.... _.

Page 60: Interpretation Baroque Music

II. -.^^ lfJ 1 l<: Js 11^ ^ ^^__^• ^11•^=^^=i^{^

i-MY I•_^^•I I .J^^^^ ^^If•..^1• ^^^7`^7^•^^ ^^r^^^^ ^^ 1^1/•J/_. I ^:Jr^

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^^... ^^.

56

: ^.-_ ,.... ^

...^.^{^ . ^^.^...r :^^•n .^.^^...._^I^J.t^

,,,•••••nNIMI. .1. ^ . .^7// nnnr^^^^An^•1^^•V7^^= 1.t 1^t 1^•i -^OL1^1//f lr^ 1^^^rnn ^J.T1^►n •• ^.rJ•^^ ^^^^A^^^ltL !^_^I!•H^^lr^^^^^•^ai^—.^ {{/- - .r^^.m•^.n^nt

- The Italians often decorate melodies with even greater . imaginative freedom and virtuo-sity, which is not always to the taste of the French: They (the `passages', ornaments) arepractised less in vocal than in instrumental music, especially now, when instrumentalists,wanting to imitate the Italian taste, disfigure the nobility of simple melodies by variationswhich are often ridiculous. (Montéclair)

Here is how Tartini decorates the melody of an Adagio, the line of which is alreadyover-written in the first place. This constitutes only one suggestion among some fifteendifferent variations offered by him; moreover, he leaves it to the performer to invent othersas he pleases ... :

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Page 61: Interpretation Baroque Music

G. TARTINI (1692-1770)

Adagio

117••••n•1 Ii/CI I'

II

á.y,-^..

^ sì^^^i ^^^ ^^^^t ii ' i >r^^^^^r ^^ci i^ ^n i.^l^^^^ u.^^^r ri-7011►•IAR:VW 177 W3f •••11•111=1••n •111•11•1101 •••sr115•1•n11••rI vv.? 1•7►71•• MN ••••••1111•1•/ NAB1i.•111•11<1••••••111111 IN MOM MI MUM MI IN •••• NM OMNI NB L/ // 1 /••••n •11=11MrrL/J•11JIn•1•17ii•••n•n••••^' %MN MIN n 71••••n••••n••••••r1111•"•n ••••••• IBM 11••Il ••• •1•11•1•••1•1110 MIN 1=11•IIIMIM =MINI EMI ••••

.MNI _.. 11..—sommtw... _IN _"11111111.11.1.,

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(+)

:: .• •^^ A. A11 •.u••c1•••n••••=1\C •41•1• MUM MINIM=Ana

^:,.^.^^-Unlr ,^i n ••••/, r^r ,^^^^^^.^^ r7t:•••••••7111•MI1EOM= •••••n•11iit•1M•11J1M•111MI•lwaf Jai ! /t.1/7I 1 iJ•1111MIIIIMIIMI•11•1JINI/ IM1i/11J IJILII

/•MIMI 111•11••n••1111•11••n••n•••••••n^^^S.1rn^^^^^^^= =^^^•1•^ ^=^L1 i`^.^al^r^^^.^^--^ •n•1 n imp mown MIIM!!•IIIIIMINI MOM= 1•••••••=1I.1. us...

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, . ^^:-•L'

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58

THE CADENZA (improvised on a pedal-point)

Here we refer to that optional ornament which, depending on the performer's wishesand imagination, is added in the principal (solo) part at the end of a piece, on the penulti-mate bass note, to wit, the fifth of the key in which the piece is written. (Quantz)

It is rare for pedal-points to be made in our Latin music, and they have n-ver been usedin French music, at least until now (1759); I do not know whether tastes migra change, andthe Italians excel in this sort of decoration. (Choquel)

Quantz devotes a whole chapter to the manner of performing the cadenza. Here aresome important extracts:

It is perhaps not yet fifty years since these cadenzas became fashionable 1, rh theItalians, who have been imitated by the Germans and by other nations who are intent onsinging and playing in the Italian style. Up to now, the French have abstained ( ... ). Itwas only in the period roughly between 1710 and 1716 that cadenzas such as we now have,with a pause in the bass, became fashionable ( ... ).

They only occur in sad, slow pieces, and in fast pieces which are serious at the sametime. The aim of cadenzas is to surprise the listener yet again unexpectedly at the end ofthe piece, and to leave a singular impression on his mind; for this reason it is sufficient tomake only one cadenza in a piece ( ... ). Cadenzas should be invented virtually on the spot;they require not so much knowledge as a lively mind. Their greatest beauty is in that theyarouse the listener to a new, touching admiration through something unexpected, and ele-vate to their highest point the passions one is aiming for ( ... ).

Cadenzas for the voice or for a wind instrument should be such as can be completed ina single breath. A string player may make them as long as he wishes, provided that they aresufficiently rich in invention. However, he stands to gain more from appropriate brevitythan from tedious length (... ).

Cadenzas should always partake of the principal sentiment that prevails throughout thecourse of a piece. They must contain a short repetition or imitation of the most agreeablepassages found therein. It sometimes happens that other preoccupations may prevent onefrom inventing something new on the spot; there is then no better solution than to chooseone of the most pleas-ing passages, and tofashion the cadenzafrom that ( . . . ).

The more one sur-prises the ear with newinventions, the morepleasure one gives.Therefore one must al-ways blend togetherfigures of differentkinds:

(... ) Care must be taken here not to mix the spirited with the sad in an absurd manner,nor to confuse the one with the other. A lively cadenza will consist of large disjoint leapsand of spirited passages with an admixture of triplets and shakes:

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59

va

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A melancholy cadenza is almost entirely made up of intervals which are very close together,intermingled with distances:

I should make some further comments on fermatas, where a pause is made ad libitum.Sometimes they are encountered in vocal pieces, at the beginning of an air; but for instru-ments, they are much rarer, though even so, they may be found, for instance, in the Adagioof a concerto. The fermata usually consists of two notes, forming an interval of a descendingfifth, over the first of which there is an arch with a dot inside it, and it is used to give thesingers an opportunityfor making an embel-lishment at this point(... ). This embellish-ment should consistonly of such principal Va donotes as are found inthe chord of the figuredbass, as passing intoother keys is not per-mitted. The example(opposite) may serveas a model:

One may stay on the first note under the arch with the dot, (messa di voce) (1) for aslong as one's breath permits, decreasing and increasing the strength of the sound. However,one must have enough breath left over to complete the subsequent decoration in the samebreath.

(...) But since it is not possible to write out cadenzas just as they should be played,any number of examples of well-wrought cadenzas would not be enough to give a completeidea. Thus it is only by paying great attention to cadenzas played by several able peoplethat one will learn to perform good ones too. (Quantz)

(1) Messa di voce (`inflated sound'): see p. 42.

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(1) See note (2) on p. 61. A.L. - 25332

The Various Types of Adagio and Allegro

•CLASSIFICATION — TEMPO — CHARACTER

There are five principal modifications of tempo which, ranging from slow to fast, areexpressed by the words Largo, Adagio, Andante, Allegro and Presto; and these words arerendered in French (with much less precision and in a much looser sense than in Italianmusic) by the following: Lent (slow), Modéré (moderate), Gracieux (graceful), Gai (spirited)and Vite (fast).

Each of these degrees is further modified and subdivided into others, of which onemust distinguish those which indicate only the degree of rapidity or slowness, such as Largh-etto, Andantino, Allegretto or Prestissimo, and those which additionally indicate the char-acter and expression of the Air, such as Agitato, Vivace, Gustoso, Con brio, etc. (Rousseau)

IMPORTANCE OF THE TEMPO

No-one can doubt ( ) the importance of seizing upon the tempo required by eachpiece, or the major errors that can be committed in this regard. If, then, there were certainrules about this and they were to be observed as they ought to be, a great many pieces thatare at present completely ruined by an ill-chosen tempo would make a better effect andbring more honour to their composers. (Quantz)

To do this, Quantz suggests a pulse beat (at 80 to the minute) as a standard whichcould se rve to give one an idea of each tempo in question.N.B. Quantz goes on to say: It must be observed that above all else it is necessar y to give as much consideration to theword written at the beginning of a piece to indicate the tempo as to the quickest notes that make up the (rapid) passage-work, for each of these different tempi has two principal kinds of pulse, namely one which is fast and one which is mod-erate (in the ratio of 2 to 1), depending on whether there are sixteenth notes or eighth notes in bars of 2/4, 3/4, C, etc.,and thirty-second notes or sixteenth notes in bars of 3/8, 6/8, 12/8 etc. Concerning rapid tempi, Quantz remarks: In thepast, what was said to be played exceedingly fast was performed almost twice as slowly as today. Where the words Allegroassai ( 1 ), Presto, Furioso, etc. were marked, the music was written in the same manner and played barely faster than .finAllegretto is written and performed today. Thus the great number of fast notes formerly found in instrumental pieces byGerman composers were much more difficult and perilous in appearance than they proved in performance. The French oftoday still, for the most part, observe this moderate speed in fast pieces.- (Let us remember that Quantz is writing thisin 1752.)

CLASSIFICATION OF TEMPO INDICATIONS ACCORDING TO MARPURG

The three gradations of slow tempo are:Very slowly Less slowly

Adagio assai ( 1 ) Andante Poco adagio

Adagio di molto Andantino Poco largo

Largo} ( i ) or di molto, etc.etc.arghetto Poco lento

Slowly

AdagioLargo

Lentoetc.

The three gradations of fast tempo are:Very fast Fast

Presto or Prestissimo

AllegroAllegro assai (1)

VeloceAllegro di molto

VivaceVelocissimo

Poco prestoVivacissimo etc.

etc.

Less fast

AllegrettoPoco AllegroPoco vivacePoco veloceAllegro ma non troppo (non tanto, non presto)etc.

1

<... ,,,..Pt •,.-,.,.. ,

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CLASSIFICATION OF TEMPO INDICATIONS WITH THEIR METRONOMIC VALUESACCORDING TO QUANTZ

4. J = 40 Oh= 40Adagio assai 12)Adagio pesanteLentoLargo assai 121MestoGraveetc.

J=40 CJ = 40Adagio cantabileAdagio spiritosoAriosoLarghettoSoaveDolcePoco andanteAffettuosoPomposoMaestosoAlla sicilianaetc.

12/8 J1 = 160(Alla siciliana)

¢J=80 CJ=80AllegrettoAllegro ma non

tantoAllegro ma non

troppoAllegro ma non

prestoetc.

CJ= 120(1)AllegroPoco allegroVivace

4/8_(2/4) J = 160when these metresare taken fast

6/8 J. = 160when these metresare taken fast

12/8 J. = 160when this metrecontains no semi-quavers

4a=160CJ =160

Alleg ro assai (2)Allegro di moltoPrestoetc.

3/4 J = 40(Adagio assai,Lento and Mesto

=40when the bass movesin quavers

3/4(Adagio cantabile)

J = 160when there are semi-quavers and quavertriplets

314

=80if the bass onlymoves in crotchetsand the melody isarioso rather thansad

3/8 J1 = 80(Arioso)

J. = 80when the speed isextremely fast andthere are only 6quick notes (eighthnotes) to the bar

3/8 J. = 80when the speed isextremely fast andthere are only 6quick notes (six-teenth notes) to the.bar

(the metronomicsigns for all thesemetres refer to theAllegro tempo)

3/4 J• = 107 (Presto)when the speed isextremely fast andthere are only 6–.quick notes (eighthnotes) to the bar

3/8 J. = 107 (Presto)when the speed isextremely fast andthere are only 6quick notes (six-teenth notes) to thebar

if the bass onlymoves in crotchets

(1) Note that this tempo is the same as that indicated by Engramelle for an Allegro of twenty bars in duple time, which

should be performed in twenty seconds, that is to say: 2/4 J = 120 or ( J = 120 etc.(2) According to Brossard, the adverb 'assai' for some means 'a great deal' and for others means that the metre and the

tempo should be in no way exaggerated, but should remain within a prudently moderate slow or fast speed dependingon the different characteristics that have to be expressed.

Quantz, as we can see, here takes 'assai' to mean 'a great deal', which is its usual sense.

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CHARACTERISTICS OF THE

SÉBASTIEN DE BROSSARD

Largo means extremely slowly, as if broadening the metre and emphasizing main beats that are often unequal

Larghetto

Crave means that one must beat time and sing and play gravely, sedately, with majesty, and consequentlyalmost invariably slowly

Adagio means smoothly, comfortably, in a leisurely way, without hurrying, consequently almost invariablyslowly and drawing out the metre a little

Affettuoso lovingly, tenderly etc. and consequently almost invariably slowly(or affetto)

Andantino

Andante from the verb andare': to go, to walk with even paces; means, especially for the continuo bass, that allthe notes must be made equal and the sounds well separated

Allegretto

Allegro

Vivace

Presto

Prestissimo

Arioso

Dolce

Maestoso

Soave

Légèrement(lightly)

diminutive of Allegro, means a little spirited, but in a graceful, pretty, playful, etc. way

always means lively and really animated; very often quick and nimble but also sometimes at a moderatespeed, bordering on the lively and animated

Italian adjective often taken ( . . . j as an adverb to show that one must sing or play with fire, vivacity,spirit, etc. Often it also means to sing or play quickly, or at a bold, brisk, animated, etc. pace. Itroughly the same as Allegro

means fast, that is to say the metre must be hurried along or its beati made extremely short. This nor-mally indicates liveliness, rapture, frenzy or swiftness, etc.

means in the saine tempo as if one were singing an Air

means that the voice must be made tender and the melody rendered in the softest, most graceful mannerpossible

means in a majestic, pompous, emphatic manner, etc. and consequently gravely and slowly, though withvivid and well-marked expression

agreeable, sweet, graceful etc.

blithely, spiritedly

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s t

t:.

VARIOUS TEMPI ACCORDING TO

JEAN-JACQUES ROUSSEAU

a tempo slower than Adagio, and the very ultimate in slowness.It shows that the long sounds should be 'threaded', the beats andthe metre drawn out, etc.

a slightly less slow tempo than Largo, slower than Andante, andvery close to Andantino

adverb which indicates slowness in tempo, and in addition, acertain gravity in performance

adverb which suggests leisurely, steady performance

adjective taken as an adverb (...) indicates a tempo halfwaybetween Andante and Adagio, and an affectionate and sweetexpression in the character of the melody

the metre slightly less spirited (in relation to Andante): itshould be particularly noted that the diminutive Larghetto hasquite the opposite meaning (in relation to Largo)

present participle of the Italian verb andare'.' to go. It des-cribes a tempo that is decided without being lively, corres-ponding almost to what in French is denoted by the word'Gracieusement' (gracefully)

indicates a more moderate liveliness (than Allegro), the metrebeing slightly less vivacious

adjective taken as an adverb ( . . . ) means lively; and it is alsothe indication for a spirited tempo, the most lively of all afterPresto. But ( . . . ) it is often applied to transports of fury,frenzy and despair, which are anything but sprightly

spirited, quick, animated tempo; to be performed with bold-ness and fire. In French: 'Vif, Vivement' (quick, quickly) (seebelow: Légèrement)

means fast

sometimes an even more precipitate tempo is indicated by the

superlative Prestissimo or Presto assai. () Very fast

adjective taken as an adverb (...) indicates a style of melodythat is sustained, elaborate and appropriate for important Airs

this word Dolce (sweet) is the opposite not only of strong(`Fort') but of harsh (`Rude')

this word indicates a tempo still faster than 'Gai' (spirited), apulse halfway between the spirited and the fast. It corres-ponds almost to the Italian Vivace

(1) See note (2) on page 61.

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64

OF THE MANNER IN WHICH THE ADAGIO SHOULD BE PLAYED (1) (extracts):

J. J. QUANTZ

DIFFERENT SORTS OF ADAGIO—THEIR CHARACTER AND TEMPO

Thé principal mood of the Adagio is one of tenderness and sadness.The Adagio affords more occasion than the Allegro for both exciting and subduing

the passions.The right method of playing an Adagio requires the soloist to allow himself to be held

back by the accompanying parts rather than to go ahead of them.In order then to play an Adagio well, the mind must as far as possible be in a tranqur

almost sad state (...) An Adagio can be compared with a flattering supplication ( . . .In playing, one must also be governed by the principal sentiment intended by the composerin Iris piece, so as not to play a very sad Adagio too fast or, on the other hand, a lyricalAdagio too slowly. A pathetic Adagio should be clearly distinguished from these otherkinds of slow piece: Cantabile, Arioso, Affettuoso, Andante, Andantino, Largo, Larghetto,etc. As to the tempo required by each particular piece, it must be judged in the totalcontext of the piece; the key and the metre—knowing whether it is equal (duple) or unequal(triple)—also provide some elucidation.

An extremely sad Adagio is normall y shown by the words Adagio di molto or Lentoassai.

N.B. As regards the two ways of playing and decorating the Adagio, firstly according to French taste, secondly accordingto that of the Italians, see the chapter on Ornaments, p. 50 (now (1)) and p.53 (Telemann).

NOTES FOLLOWED BY A SILENCE

Especially when rests are encountered, the sound must not be cut off at once; it isbetter to sustain the last note a little longer than its value calls for ( . . . ) letting it die awaygradually.

TONGUING

In the Adagio, each note should be caressed and soothed, so to speak, and roughtonguing must not be used; except when the composer requires some notes to be cut shortin order to waken the listener who may have been languishing.

SWELLING THE SOUND

When in an Adagio the soloist alternately swells and diminishes the strength of thesound, thereby putting light and shade into his expression, an excellent effect is produced.

DOTTED NOTES

When in the Adagio there are slurs overdotted notes (see example), the note after the dotmust not be stressed; it must be slurred with thepreceding note, the sound gradually diminishing topiano (see Quantz's chapter on the Violin):

(1) Subheads by J.-C. V.

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AAA

65

A If there t a dot after the second

A note, in an Adagio the first note must beA played as shortly as in an Allegro, butA without as much force:

AAA THE EXPRESSION OF ASCENDING CHROMATIC SEMITONES

A When in a slow movement there are semitones intermingled with the melody, thoseA which are raised by a sharp or natural sign should be

perceived as louder than the others; this is produced °...^ : l^^'V7^^^ sot 1•q -^I

when, on wind instruments, the wind is increased: N3•ININMM.^'^^,".MOI^^n (>)

A GRAVE

A Sostenuto, which is the opposite of Staccato and which consists simply in a wellsustained, serious and harmonious melody, in which there are many dotted notes whichmust be slurred in twos, is normally headed with the word Grave; for this reason it mustbe played with a long, weighty bow-stroke.

A

A Grave, in which the melody consists of dotted notes, should be played in an ele-vated, lively manner (... ) The dotted notes must be swelled as far as the dot, and theyA must be softly and briefly slurred onto the following notes, unless the interval is too large.

A For very distant leaps, each note must be stressed separately. If such notes rise or fall byA i step, the long notes, which are most often consonances and cduld ultimately displease the

o ear, may be preceded by a port-de-voix. (1)

AADAGIO SPIRITOSO

An Adagio Spiritoso is most often composed in triple time with dotted notes, itsmelody being often interrupted; and the expression requires even more vivacity than wehave requested (for the Grave). For this reason the notes should be stressed more thanslurred, and fewer grace notes should be used. Above all, ports-de-voix which finish with

A half-shakes may be used(2) ; but when some cantabile ideas are found amongst the restA

(... ), one must adapt one's performance to these as well, mingling the serious' with thecharming in alternation.

(')

AAA

(1) See paragraph 'Port-de-vo ix', p. 41 ('When after one or more short notes ... J.

(2) See paragraph 'Port-de -vo ix, p. 38, example by Montéclair.

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*fl If many conjunctly rising or falling semiquavers are found in a Cantabile or Arioso in

ow' triple quaver metre (3/8) ( ), one must strive to express these sorts of notes in a simpleand charming way, sotnetimes using `piano' and sometimes 'forte'.

If leaping quavers are interspersed, rendering the melody dry and failing to sustain it,

4 leaps of a third can be filled up with ports-de-voix or triplets. But when tize bass has notes

A of the same value for the same harmony throughout a bar, then the principal part is free tomake more grace notes. Nevertheless, grace notes slzould never deviate from the general

manner of playing in which one is directed to perform such a piece.

4 47

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ANDANTE, LARGHETTO

In an Andante or Larghetto written in triple crotchet metre (3/4), where the melodyconsists of leaping crotchets accompanied by the bass in quavers, with six often remainingon the same pitch and in the same harmony, one can play with more seriousness and withmore grace notes than in an Arioso. But if the bass goes hither and thither by step, onemust be carejtrl with the grace notes to avoid making forbidden fifths and octaves with theprincipal voice.

As regards the interpretation of the Adagio on the violin (for wind instruments sub-stitute `tonguing ' for `bowing'), Quantz says:

An Arioso. Cantabile, Soave, Dolce or Poco andante is played with calm expressionand with a light bow-stroke. Even if the Arioso is mixed with different kinds of quicknotes, it still requires light, tranquil bowing.

A Maestoso, Pomposo, Affettuoso or Adagio spiritoso should be played seriously andwith somewhat weighty and pointed bowing.

A slow. sad piece, which is indicated by the words: Adagio assai, Pesante, Lento,Largo assai or Mesto, requires the greatest moderation of tone and the longest, most tran-quil and weightiest of bowing.

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OF THE MANNER IN WHICH THE ALLEGRO SHOULD BE PLAYED (1 ) (extracts):

J. J. QUANTZ

THE ALLEGRO AND ITS VARIOUS APPELLATIONS

Firstly it must be noted that, of the various names given to pieces of music, theword Allegro, unlike the word Adagio, has a very broad meaning, and under the termAllegro are included several kinds of pieces in fast tempo, for example: Allegro, Allegroassai, Allegro non presto, Allegro ma non tanto, Allegro moderato, Vivace, Allegretto,Presto, Prestissimo etc. Here we are using the word Allegro in this broader sense, referringto all kinds of lively and fast pieces, and paying no attention to the special meaning of theword when it describes a particular sort of fast movement.

Since many composers use the words assembled above more from habit than to give agood description of the true tempo of pieces (... ), many cases are found ( . . . ) in whichthe composer's intention must be guessed at from the content of the piece rather than fromthe word found at the beginning to denote the tempo.

CHARACTER AND TEMPO

The chief characteristic of the Allegro is sprightliness and liveliness.

The Allegro must not be begun faster than one is able to play the (fast) passage-workto be found in it ( . . . ) It is for this reason that the speed must be decided on in accordancewith the most difficult passages of the piece.

However much vivacity the Allegro calls for, one should never deviate from a con-trolled and reasonable speed. For everything that is hurried will cause the ear more dis-comfort than satisfaction. One must always have as one's aim the sentiment that is to beexpressed, and not set out merely to play rapidly ( . . . ) Hence, if in an Allegro one wishesto affect and charm the ear, each piece must in fact be played with suitably fiery expression;but one must never hurry the tempo, as the piece would thereby lose all its grace.

TO AVOID HURRYING

The tempo is hurried when the fingers are lifted too quickly, especially for leapingnotes. To avoid this fault one must give a little emphasis to the first note of fast figures; inthis way the important notes should always be heard for a little longer than those which aremerely passing notes.

As for triplets, one must take great care to make them very full and even, and not tohurry the first two notes too much ( . . . ) To give this effect one may stress the first noteof a triplet since it is the most important note of the chord.

TONGUING (See also p. 68, `To set off the theme', `To express different sentiments')

The fault of hurrying too much also very often results from lack of attention totonguing.

The fast passages of the Allegro are those which must above all be played roundly,cleanly, with vivacity, with articulation and distinctly. To this end, liveliness of tonguingcontributes much (... ) The tongue must sometimes be applied robustly, sometimes gently,according to the requirements of the kind of notes in question.

(1) Subheads by J.-C. V.

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HOW TO BREATHE

Breath must be taken at a suitable time and carefully husbanded so as not to separatethe parts of a melody which belong together by taking a breath at the wrong time.

THE LOW NOTES IN LARGE INTERVALS

In passage-work, the wider the leaps, the more strength must be given to the low notes;because on the one hand they become essential harmony notes; and on the other hand thelow notes of the flute are neither as strong nor as penetrating as its high notes.

CANTABILE PASSAGES

When fast notes are followed by some slow, cantabile notes, one must immediatelymoderate one's fiery expression and play the slow notes with the sentiment they require,so that the listener will not experience any boredom.

TO SET OFF THE THEME AND COLOUR IT

When in an Allegro the subject comes back several times, it must always be well differ-entiated from the less important ideas in its expression. Whether majestic or charming,lively or bold, it can always be made perceptible by vivacity or moderation in the move-ments of the tongue (... ), as also by piano' and forte' And for reprises in general, thealternation of piano' and forte' will lend much grace to one's playing.

TO EXPRESS DIFFERENT SENTIMENTS (spirited, majestic, bold, charming)

Sentiments change frequently, as much in the Allegro as in the Adagio.

Spirited sentiment is imitated and represented by short notes ( ... ); it must againbe noted that it is principally vivacity of tonguing that expresses a spirited sentiment.

Majestic sentiment makes itself felt in long notes ( ... ) and in dotted notes. These lastshould be firmly stressed and played with animation. The dots are sustained and the follow-ing note is passed over very briefly. (1) One can also sometimes use shakes on the dots.

Bold sentiment is represented by notes in which the second or third are dotted, and thefirst ones consequently hurried.

Charming sentiment is expressed with slurred notes which rise or fall by step; likewisewith syncopated notes, where the first half can be played softly, and more force given to thesecond.

If, in an Allegro, there are more spirited than majestic and charming ideas, one mustthen play it in a spirited, lively fashion. But if majestic sentiment makes up the characterof the principal ideas, the piece must as a whole be performed more seriously. If charm isthe piece's dominant sentiment, then more tranquility should prevail in it.

ORNAMENTATION

In the Allegro as in the Adagio the plain melody should be decorated and made morepleasing by ports-de-voix and other small essential grace notes, according to the require-ments of the sentiment it contains.

A majestic sentiment does not allow much to be added, and anything appropriate to itshould always be performed in a sublime manner.

(1) See paragraph 'Double-dotted notes', p. 27.

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^-^^.^^i

A charming sentiment requires ports-de-voix, slurred notes, and a tender expression.

On the other hand, a spirited sentiment demands cleanly finished shakes, mordents,and a playful expression.

As regards the interpretation of the Allegro on the violin (for wind instruments substi-tute `tonguing' for `bowing'), Quantz says:

The Allegro, Allegro assai, Allegro di molto, Presto and Vivace require lively, very light,short and well detached bowing, particularly in the accompaniment where the manner mustbe playful rather than serious. However a certain moderation of tone must be observed.

An Allegretto or an Allegro that is qualified by the words: non presto, non tanto, nontroppo, moderato etc. (... ) should be performed a little more seriously, and with bowingwhich may in fact be somewhat weighty, but nonetheless lively and vigorous. In particular,semiquavers in an Allegretto, as with quavers in an Allegro, will require a very short bow-stroke (... ): but fast passage-work should be played with a light bow-stroke.

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Character and Tempoof the Various Movements

(Airs and Dances)

The various movements (airs and dances) in use during the 17th and 18th centurieswill here be listed in alphabetical order. For each we have selected the principal definitionsgiven by writers of the period, citing more than one when they complement or sometimeseven contradict each other: in such cases, the date of the definition must be taken intoaccount, the character of movements having often been subtly modified from one periodto another.

Whenever a precise speed is given for the tempo, it will be translated into a metro-nomic figure. (The patent for the metronome only dates from 1816. Before then, theore-ticians used different means of indicating the tempo, such as chronometers—pendulums—,pulse beats, the number of seconds required for a given number of bars, and so forth.)

AIR: see ARIA

ALLEMANDE

At first simply a dance, at the end of the 17th century the Allemande became thefirst or second piece in instrumental Suites. Its tempo was generally moderate, exceptin the second half of the 18th century when it often required a fast, sometimes evenvery fast tempo (Dom Bédos: Fast Allemandes of thirty-two bars in twenty seconds,

that is J = 184!).

A sort of tune or piece in which the music is in quadruple time, taken gravely( . . . ) The Allemande in a Sonata is now universally obsolete (... ); those who stilluse it give it a more spirited tempo.

The Allemande is also the tune of a dance extremely common in Switzerland andGermany. This tune, as well as the dance, has much spirit: it is taken in duple time.(Rousseau)

Allemande (HOTTETERRE) 1708

Gravely

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Allemande (HOTTETERRE) 1708

Gracefully

i1.... WI MIM•MIIMINI••••4W7 M..•• I.n MEIN .•.r. 117.01111•.=111 Ma/ LIT n11111./•.^'=J'•^^L7.^^r lnJ^r►I^^^^'I.^/^^ _ Mn^N^^Nr•^f Il^ Iran J:..1^1^ -J• or n.••^•^w•^^^wv..•^•1•^^ ^.^^^ MM^^.^/• ^^^s^ •

. ^ T• 5.11•1111,/ MOM • 7 /1•1MIIIIMI G"6.11=11•ININ EV Mt Jaa:W1111 1M =MO-- 1.^..^ 7 ^r_^=_^_^.J_^J ^1•7^^^T7 /MINIM= 111111 p7_^\1•^^'!^1 1

V `^ ^^^1n11•.^!•r^ l^.[.i.^sr ^I ^_ 1 1_._^ ^• i

Allemande (ENGRAMELLE) 1775 J= 184 (from Dom BEDOS)

ARIA

Aria means Air or Chanson, that is, a melody whose pace is precise and even, andwhose beats, especially the first of each bar, are well marked; its tempo is nearly alwayssomewhat fast and sprightly, provided there is no term such as Aria larga or affettuosaetc. to render it otherwise. (Brossard)

Air (J. B. DE BOISMORTIER) 1731

With spirit

•L..N/r. Am" mart -.a rr Ir.t M•.•11n 71r7. ••=111111n1./7 1=1•r r••./tj /WV 1•11•7/ I.111•111 •f•IIM1•1•.n••,1111111•11. /'I•tA./ •.n .M.I111111•1111111.1.JI.MEMIIIIIN•=•11111'I• ISM MUMA1'.4113/i.•1•tt •1• /I•^•/ 1^^.^^^•^•.••^r1^^^ MO' .

1•___ 1-_•__^l"^R^.11^^11 1[.: ^•!r•^.^^Ir.i ^'^^^^•^^ •^^^^11• •=.111111M •• I1•111111111M11 Ir

Tender air (L'AFFILARD) 1694

Aria (J. M. LECLAIR) 1738

Affettuoso

't.t1~ -...INIIIIMIIIIIIIMINIw MINGrINI./ rr,/• 2>•.I•Ir72111111111/ 1.rlr7iIMIIIIMwINEMIwMIIIII/MIIIBMIIIII MO MINION NM 111r=.:J.e•I /aMIC1i71 1•._IMIS WM IMIIIII!lias MOW 11111n411 ME .'..I11111i liall1♦1MI 71 IVINNIIIIMMI•1=1•1/• !NNW /SWS — IIitlr -••n•..... —NMI ME 1.....=

+`.+

= 80

^ `\

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72

ARIETTE (ARIETTA)

The word Ariette implies a spirited Air, in the Italian taste. (Villeneuve)

Arietta: diminutive of Aria, means a short Air or Chansonnette. An Ariettanormally has two reprises, or is repeated da capo in the manner of a rondeau. (Brossard)

Ariette `Cruel vainqueur' (L.-N. CLERAMBAULT) 1713 J = 87 (Choquel, 1762)

Sweetly and `spiccato'

a..,.^^ ^ 11MMEN'. MAIM.^-=.-av^c^aMINIIIIIIIlal• WIN 11:1111M-MIIIN.IM MLA! .7.' ,7.111111111n 1M1..=1111111Mi /.11111111=1 NI= MN SIM a.. INNI1...u.a/ .../J. Jr.'r1111..i.^. i^ ^^^^^_^^^^^^^^ a^ ^.^.^..^_^^ a^.

^

Ariette `Ce n'est plus la mode' (A. CAMPRA) 1710+ +

= 96 (Choquel, 1762)

..11/111107.f JIIMIP7MM111111=111•11111,11=1=11.1111......11111111 11111. 1.7[^^^ .1^^..7.^.....^...... [>•^.^ =t.7.^....^.^.^.5^...•..01 .... lf...^1^•^^^^/^.1.^ L7/^\^^ If^^^/M. ^I^.1.^ ^^I111^...^ViNNME•1•rJ•111•1141111111•111ra /Mr MIAMI MINI AMMO .MI nS

BOURRÉE = 120 (L'Affilard) 01= 160 (Quantz)

Sort of tune associated with a dance of the same name, which is believed to havecome from the Auvergne ( . . . ) The Bourrée is in brisk duple time, and begins with acrotchet before the downbeat. (Rousseau)

The Bourrée is virtually the same thing as the Rigaudon. (Rameau-D'Alembert)

Bourrée and Rigaudon are played with spirit and with a short, light bow-stroke.(Quantz)

Bourrée (J. S. BACH) c1720

r0JP^

144:•

Bourrée (L'AFFILARD) 1694 = 120

... —r WIC 11111.111111•--^— ---•__.1.= I 1.1..-t)t•^^^^J^^ a^iJl^ ..^ ^lj^^^r^.^-__ INNE/Ms1...—/s-1111•1111n .•1111 11...111111111111111111n =1111111i.=M1a/// AMAMI r1111.- MP B. MitilHarlIMINCI, I

V./OEMn 11M •1111111=1MIr. =MIL-1 111111111•111 MINI111111.r 1 I

BRANLE = 112 (L'Affilard)

Very spirited kind of dance which is danced in a circle to a short tune in rondeauform, that is, with the same refrain at the end of each couplet. (Rousseau)

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73

T

Branle en rondeau (L'AFFILARD) 1694 d = 106

END (1st couplet)

I;sW a^^l^^^.an^:^^./ ^s^^^^^^^ I ^^^ MS11117J11111tJ MIlf ill 1!1M1 A'IllIM NMI I IMMMIIIIIIIIMIt Ma^^^^^^^I•f^^^^l l• Ill ^ft tlf^^7 I a/ f^Vi^^^^–••1tif•Ml Ill

(2nd couplet)MAI

• •IIInlfls/ //.^I.I AIf/'f/ fIIMINA /.•f^^rff= .vIAIMBIA'/If<•= f.r IIIMI:4111111=I1111fa. n1a.f >•.I^^^..111n11/t•fi• ^I<•f•^^^^^^^I^^<i^lf^I^f^ !^ -••• n• px.

MI1111•111f•11t 111/ ^

CANARIES = 106 (L'Affilard) J, = 160 (Quantz)

Whatever kind of metre is indicated, Gigues and Canaries must be played extremelyfast. (Muffat)

Sort of Gigue whose tune is even faster in tempo than that of the ordinary Gigue( . . . ) This dance is no longer in use today. (Rousseau)

Canaries (MONTÉCLAIR) 1736

Quickly

,'_] 1/•••//!'fI t>•.I`ION. »1/, >_.n/Z1 laall•t L» IS /f•^^1 I.s7 =.ir\_IARNE ill–I–_- -11111111Ia11•11n•11:11 Ir ..t.l♦l In IMlIIIIf11111I111•1•= I IlINIfr••1•INIIt_^^^^Il^i^l Ie\,i ..f^^fr•– ^Ia^^I^Ii^^I^ ^^^r^^>•1 I

6/8 metre is more suitable to the Canarie and the Passepied than 318, because of the speelof the temporequired by these two tunes. (Montéclair)

Canaries en rondeau (L'AFFILARD) 1694 J.= 106

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...:^ -^--- -^- ^^t

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74

A.L. - 25.732

Canaries (DENIS) 1747

CHACONNE J = 156 (L'Affilard) = 160 (Quantz)

The Chaconne is a long piece of music in triple time, whose tempo is moderateand whose metre well marked. It is composed of a number of couplets which arevaried as much as possible ( . . . ) Normally the Chaconne begins, not on the down-beat, but on the second beat. (Rameau-D'Alembert)

One may alternate at will between major and minor (... ) and between grave andsprightly or tender and lively, without ever hurrying or slowing down the metre.(Rousseau)

A Chaconne is played as majestically (as the Sarabande, the Entrée, the Loure andthe Courante). (Quantz)

The metre is shown by a 3 which is taken in three light beats, or in one and a halfslow (beats). (Freillon-Poncein)

It is known that the Chaconne, the Villanelle ( ...) which are spirited (... ).(Denis)

Chaconne (M. CORRETTE) 1738

Met^^• • 11•11•11ra ns inr•1111 -NM 10•111rwis.T r7 J^Rn iw.^.^n- ,t^►^ ^^^^n^nr^r^/s .> 111•1r111, MIA ^^^ n.J^^^..^.nr•ItF_•^:^^f ^i^M^tl, n^^^ . n^...^ ' ?lnïr•^—

Chaconne (L'AFFILARD) 1694 j= 156

.,--^ V^!Ç4^14'@P.

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r

75

CONTREDANSE j= 132 (Choquel)

Tune for a sort of dance of the same name ( . . . ) that at balls is normally dancedafter the Minuets, as being more spirited ( ... ) The tunes of Contredanses are mostoften in duple time; they should be very rhythmical, brilliant and sprightly, while stillpossessing much simplicity; since they are repeated with great frequency, they wouldbecome intolerable if overladen (with figurations). (Rousseau)

Contredanse (E. P. CHEDEVILLE, 1696-1762)-4- y

^ + •11• ^ . ^ !

..wstiss

31 • • •

Contredanse (CHOQUEL) 1762 ej= 132

COTILLON

This is a sort of Contredanse which was later to become the Quad rille.

Cotillon (E. P. CHEDEVILLE, 1696-1762)

I . ^a^ + MIME nI.1.•r11•1•••111nr>.11111•11 nr71111111=1.11 MM11111/71111 rNI MI MI ri111/1MINI1n1t MIIIIIII•1111•1111111•1•1131 n1.nWt,aMirt MIS r>rsMINOMI I= war 1111111•11nIf ///n^1•11nr• MINII5.!n111MMII, a n!11n111111=111 Iv %•111n ` s•nnr1Yr1 n!••1111tl!• MI aall•IIIM•• IMMrrJ♦1r!•tlria1l 1—MIMI —..111.111

COURANTE j= 90 in 3/2 (L'Affilard) j= 80 in 3/4 (Quantz)

The Sarabande is really a slow Minuet, and the Courante a very slow Sarabande.(Rameau-D'Alembert)

The Entrée, the Loure and the Courante are performed majestically, and the bowis detached at each crotchet, whether it has a dot or not. (Quantz)

Those who did the Courante put two steps in each bar, the second gccupying thethird beat only. (Bacquoy-Guédon)

Courante in the French manner (MONTECLAIR) 1736

Slow

•AL1>_•1111111•111111 wIMc.11aw 1131171 vIIII WO' r zs^^>r1.^Z1^.ntl!•—,,_-- _••--^_wr Z2/"Ur

n.IV1^^rla•1r)1^^ ►.♦ Ls.1J^^ 111.013///L1 IMP Ila^^^^•^^^a n ^1.11MONIIn— n Ill /UMW.MEN NM W1111111un /11111=1111111//11111=11111111111121111n--r/lbi S=11•11111111111111•1"/ n //•/1•• 111111t/ JO MIMI^n 1

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First part of the air

4-• 6 e^•

_ _ ".`3•:i - ::s-L'A

76

Courante (L'AFFILARD) 1694 J = 92

Unlike the French Courante, the Italian Courante is fast and in 3/4 time:

Corrente (M. BITTI) c1712

Allegro

%a.=:^^_"^r..^^ ^^^i^s^ ra^^^^^^^ .^ a_^r s.a^.^ar•^^ w^ ^.^ ^^^^a..^^^^^a^ss.^^: ^.^^^^a^^^^ ^^^^^ ^.,^^^a^r^^^^^a ^ ^.^-^^w11=11•1••=1 1^^MUM

ENTRÉE J = 80 (Quantz)

These are normally Preludes or Sinfonias which serve to introduce or prepare forthe movements to follow. (Brossard)

Tune for the Sinfonia with which a ballet begins. Further, at the Opera, the termis used for an entire act of an Opéra Ballet where each act makes a separate subject.(Rousseau)

The Entrée, the Loure and the Courante are performed majestically, and the bowis detached at each crotchet, whether it has a dot or not. (Quantz)

Entrée de ballet in two slow beats (MONTÉCLAIR) 1736

FORLANE

The Forlane is in a moderate tempo, half-way between the Loure and the Gigue.(Rameau-D'Alembert)

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77

It is taken cheerfully, and the dance is very spirited too. It is called Forlanebecause it originated in the Friuli, where the inhabitants are called Forlani. (Rousseau)

Forlane (J. S. BACH) c1720

AP,..•NA= MAMA 11 /aL/ /:1111111.1WTf a^L^7 L.^L^L^LLL^../M11111.111111LLI OJM11L11111= i1•1n11•Lt4111111r.•11•111•11•1•1 .•1••M1/11• >♦^^=1L1111111111101 iNI =IN rLW/•11111111t11111111/ O/1 Llrn11=31 I•

Forlane (DENIS) 1747

FURIE J = 160 in C and in 3/4 (Quantz)

A Furie is performed in a very fiery manner. (Quantz)

Con furia: furiously, in a fast, violent and very fiery tempo. (Brossard)

Furies tune (DENIS) 1747

I . '•L.Mtl1:i1LLL I AMIBolm• =nit MUM A=r-- _...n L♦L♦ MI 111•1n1r71 L,/^^.1111MrSIE.LnL<'7IIMr ANI/f AP.IIMIIIIIM NMI L•IIIMILLLL/NM IMINr1•1•111WW• 1 n=1f LM •LN .-.- JAI7^i r•^^^^/^n 11111.1f ANI'' NV,/a<^^^^ M^^^^IJMI milINIOINIW LLL^^INI•sin^ Li nMN InLL^^L^

^

^r : i . UM _ AMU_ ___ __ __!I^I^i v^v^ //2 MI

^ -^ '__-Vr^LLLf /LV^^/^^LM^^^^^ "'LL ILf1Lt 1'L•/NI

GAILLARDE (GALLIARD)

Tune in a spirited (duple or) triple metre from a dance of the same name (... )long out of use ( ...) Formerly it was called Romanesque because it was said to havecome to us from Rome. (Rousseau)

Gaillarde (MONTÉCLAIR) 1736

.M1.-=n 22M/».=11M111111•11..LL1..1=1L^^1•41111111L 11L.••nf S1111n1Ln1•••••^1rrn111111lr111 t: 111 IAMIN= IM111Y.r/LSY1.I i7Laf.f 11KiJANIn1 I

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V

r ^ r r LJ

^

va11,.~ _-.11111.^^..=11..•111, s11•11111111•41=1 M.41111=111•.11,11=111n11 111111.111Mr1n1 J^^ MAW ^^m^.i •=NB ^ ^ •

..^^.^^.^.r — •11V rlmomor AI..=.... MEINMO .11111n11 s

í ii^•^^`r^•

78

GAVOTTE d = 120 (in (V, L'Affilard) = 132 (in (V, Choquel)(1)

The Gavotte is in duple time, and is made up of two repeated sections havingfour, eight or twelve bars each; the pace of the Gavotte is sometimes slow, sometimessprightly; but never extremely fast nor excessively slow. (Rameau-D'Alembe rt)

These are graver and more serious tunes (than Rigaudons and Bourrées) and amore touching kind of expression is found in them ( . . . ) The metre is shown as 2 andshould be taken very slowly. (Freillon-Poncein)

The Gavotte is almost the same as the Rigaudon; however, it has a more moderatetempo. (1) (Quantz—who gives j = 160 for the Rigaudon in (V)

Its phrases and cadential paints are articulated in groups of two bars. (Rousseau)

Gavotte (HOTTETERRE) 1722

With gravity

Gavotte (Jean-Baptiste LCEILLET) cl 715

Presto

..:.n... AL+..111M.1111M1111M1111 MN n...11111..MIIIMB. NM M.A/ NI .rrr .M11111//f.rr^^,IIIM.a, ..11111.1111.•111 —ww--- ....m..me ow gm ..r.^.^.^ ..•11W.'•111=1 NM NM 1NNIIIMIN ^s r ^^^^^i ^^^i-^.^^ -7^ = ^^1^

Gavotte (L'AFFILARD) 1694-1717 61 = 120

Tempo di gavotta: this is when it is only the tempo of a Gavotte that is being observed,without deferring to the Gavotte's normal number of bars or reprises. (Brossard)

Allegro tempo di gavotta (attrib. VIVALDI) 1737

(1) Choquel gives the same tempo for both the Gavotte and the Rigaudon.

A.L.-25.732L. =

1

L^1^^^ : ^,r 77-1^

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PAY

^.n rC^MIMI/ r rs+t 111111i .-MN CM= MP. cMIPIMMININII NMI ••• Mr

:.s •= /JIM MIN n •n•• /PT CI •a11•11• rn111^.a. MI MIMS MIIIIIMr^^^i

•!♦awirmint.Ami me ring/ =maw = a/1•S 1311111111 =11MIl 1amomamo.=mosamemiespimmi.ir Lary, it/w•ala► ••••• LTV !•U1NO.AMINUM.,0,1n 10 WIN NM MI 1111••••••1 I

•:.n•n••Lniu. n 171••f I111.4•MIPS• 1111111111••• MIMI /1/M-4111•uIIIIIIM.41aM •aN= MIMI= MI ./NM III MI PANNE-II I'^•n1111.s•V aAIN/Mr•1111111116YMINIIMI NI= IAMB MIMS MI/ II III- IIIM MN t1•1 l I

1111.- MI L101 --

Gigue (L'AFFILARD) 1694-1717 J. = 116

%a•La) av A ilff IIMIa WIN= 111111n11••t MMIIIP•917111•1•11

4/WIIM7ItnfalnW 1111•111111atar Li../AIIIII NO EOM =AMINE/ MNr AJNM MP^^/..111.211M •7n11111011J MIMEO_ MI OMNI WIIMIIII ZS 111IM ON MPS NI NB Millrl7=WW1^Vr/NM=•!_MI MI M1111^'IMI^^^^^i^V^^1^ ^^ a^^t .^^^r

1LIN

iw•rw9I Mira/NM AEI= 1171MINNIPa7 t.411=1 MIN AI= Mo.r a ENE^l/!1S:aJ MONIAEMBOINI•11•1.n111110 ri rf' /1•11/n =1.4MIN= Mn M I MIMI INN 1 1

1.V.1•1•11111M INL MIN MI MIMI MI MIMI. WW1. I. NNW. EMI^^^1

7 NM- IM ` I= .^.^

(I) Gigues in 4/4, 4/2, 2/4, 3/4 and 3/2 also exist.

IM MN IMP • 1.•n•111111= ME/".c n11=11n-aJNO." ► .• aMIC 1111

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79

J. = 116 (in 3/8, L'Affilard)

J. = 160 (in 6/8, Quantz)

The Gigue requires the metre or pulse of 318, of 618, of 918 or of 1218 (1) ; andvery buoyantly. (David)

The metre is shown by a 4 and a 6 (6/4) and is taken in slow duple time. (Freillon-Poncein)

Whatever kind of metre is indicated, Gigues and Canaries must be played extremelyfast. (Muffat)

The Gigue is really only a very lively Loure, whose tempo is far more rapid.(Rameau-D'Alembe rt)

The Gigue and the Canarie have the same tempo. The Gigue is played by meansof a short, light bow-stroke. (Quantz)

Thus the majority of writers of the period endow the Gigue with a rapid tempo,even an extremely rapid one (as Quantz's tempo indication shows). This contrastswith the contrary indication of Freillon-Poncein quoted above, which applies to theolder and slower Gigue in 6/4.

Gigue (J. PAISIBLE, 1650?-1721)

' MUMS, •Sa.t AIInMIM NM MUM III l•71111•1 Mall= JIM •110•1111•1111•••.M117• nIIIIIMEN11•11/ Ar,_aIIN,: Mr:1•I•1•• INN EMI /7 1/1.11M =V/ A11»L•111110 =WINO =IN NM OEM In11..WMIIIIV.ts I= MN r11•11111111. n•nt 11J^f..!• 11111•11/• AM AM MI MO IIM,.1111 AIM=^a^^•.n•••h. MI INII 1•01 r IMO S-4•01,t^OM Ms NM NUM MI OM Ili•111.

GIGUE J.= 100 (in 6/8, L'Affilard)

•A111110••••••naININ M11a911•r a-411•IIIIN../M BM NB^.r Air 41• IN IIMI

:11ANI61111111I11 NM •11111-JA_____-+1/.111J'f 1.i,1•••_ al_.. r^^^^^ ^^^^r^^^^^^^Y W.-JW ^s

MIIIIIIIIMI.0111111•• ► L7wMSC 1.2.10n11IIIMI SIM IIMINI NM 1 NMI • IN NMI =111•11=1.11 1iJ•^^MN WHIM IN VIM •1111•1n31

Gigue (L'AFFILARD) 1694-1717 el.= 100

Page 84: Interpretation Baroque Music

Gigue (J.-B. LCEILLET) c1710

Gigue (DENIS) 1747

• -^r=I^ MEMO . 1=1 Ir MFENAIM •i-aUa.M.MENEWNIEENnow MN MO rENI>.ME ON,>. a.NIN 11111ti.4111f..ri sr n• r.MEIMMr.sOMEMIr 11W-MINEMIEN •s^^a>.^^^ENEN^rra^lrr uENM^a^Er•rWrMENaMMsw^Ma^i^^^EN•^Mr r^i •aa• alINN1^••►.MIPr rINIF.n 1111111•11lan1_411.411111n11•111•sMERrr•sIIIIMEINiaalm_ in AMMIIMMIMErUNO^^MIEN =WWI& .r ...N.1

I i•^ 'MIMIWIMEMEN-IEWIMEMEMOMIEMENIMI MEO MIME.^^^E-NIJ 17WMEIMIE r>•Irr rarriMENraENNOr>tr•rIENNEMME77 —1• r M..•tENDEMINrMINrut,a aMrNIa•ENaEN.sINIMME .Ill•►rENOWINDErrIEN1EENNrINW ru.411EN =MIEN NIA^

`, UMW •4111EEN ••* nNI ND' INEI• EMY•l7M/ WWII! MOM /rrlEItMUMIMI••n1

LOURE (1) j= 80 (Quantz) (2)

The Loure is a tune whose pulse is slow, is shown (as) 6/4, and is taken in dupletime; it usually begins on the upbeat. Normally the note in the middle of each beat isdotted (i.e. shortened). (Rameau-D'Alembert)

The Entrée, the Loure and the Courante are performed majestically, and the bowis detached at each crotchet, whether it has a dot or not. (Quantz)

The first beat of each bar (is stressed) more perceptibly than the second. (Brossard)

Loure (M. CORRETTE) 1738

I .• la/ar •MEIIr.tM M•NMOM= MEMO IED•Waar•IEM•Et ENNEAD' /-4MOMMIEWMEMI NE MIN riMMII,W MIS.m1rI_I /Wa•rr'rlraal/ NIVltllr MIN r.NEN/INM IMMIN'A NM rENIMrlrla NOIONra/I WaMO, L11II1ENN

r•.Y.MINV.'IN= rlarrarIMMMEE +/'r s!•IIn 41111 OM ENEMA= EN EIME•DOMMIEN• WINNE• mOmM. IMENLa1•••ME•r^ 11EMO MOM MAIMED/NM ENO AMMER

MIN WM

/M•NIEMIOEN1J.I • -.^^I/^^^r^! • ^J.► 7^r>• rll^

_ ^ .41111E MEMO SIO-DIMMENEEIMMININNIIMIEas 'DENIM., Mr/r1♦ MEM•

^^rarir NM ^arar>. ^ /'rlrl•Mo.—

Loure (DENIS) 1747

I-f-+ .10_.

•at.a•v:a/r t1=/^w•rW 11r rtt lr7l=1111 M1111111111111/f J•raIII MMrriMMrllalr....rrl.411./ I^IIrLMMEN ANEM/EEDNENI•4/ !M / Nall/•77111, 1 l.41rrlrlrl /MIMI /rrrNr•rl1/r1...1i.11r.,1•NIEr'NOMM_^^1_r1M1^t'Jtsrrl/r 1 1^ 7/ 1Y 21M11/.1" WIENS ^^I^^ w r1EO1MErI1•S.aMI1 MOW LAM ~MN a EMI• V II.

Lourer (lit. `to Loure'): ' this is a manner of singing which consists of giving a little moretime and force to the first of two notes of equal value, such as two crotchets, twoquavers etc., than to the second, without however dotting or sharply accenting it.(Brossard)

(1) Loure is the name of an old instrument similar to a musette, on which the tune of the dance in question was played.

(Rousseau)

(2) Quantz does not indicate the metre, which here he must be assuming to be 2/4.

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+ (3)

81

MARCH J = (in , L'Affilard) ( 1 ) J = 150 (in 6/4, L'Affilard)

J = (in (t, Quantz)

Duple and triple time (...) are both equally suitable metres for the March.(David)

A March is played seriously. (Quantz)

The tunes of Marches should have different characters depending on the occasionsat which they are used. (Rousseau)

March (L'AFFILARD) 1717 J = 120(1)

• MEWAM•11•:S!^ /^ ^_^ 7. 111•1•1•0111•1..1111••••n MOW!

MEMOIR

i^ Ir111111•1nf •W /NE r%Iái I1./ ••!JIMI•111 1n1•111111= MI/. 11•11•111M IMMIF.-111•11 1^...MN MI•r•l MN NM MIN.. MIN n•01 1IMP—

Marche en rondeau (L'AFFILARD) 1694-1717 J = 150

n•1111.•,. _•.11,..811111n,_ 1•!•.• n 1•111111 1• •r r..^•lr.^ tl•Il11n1110M 111111.1.n= •►•M .•• NNW" mnii MMININNEO.,=••••••l.t••n•-n•1n111AMID 111n.7111•M 111.s1P.11 VIP"t1♦.1 atfM1•••n•i

March of the Shepherds from Jepthé (M. BLAVET) cl 737

Tenderly

. ^ •• !'7• mlIN111 IIII/Tf .111.11=11111/l1111111.1111r► JIMfa7♦/1/IL IN I NM 1• >f1.tY7 :o1.ir•=s lr-.1 .••1/.1•1•..a1•►L i7.tl 11•1nLI1 SLIM a.i1111•1f11•••iisf/MP 1Mil

...11111111•Il a•1 MINIM r•MNI All raVaMI [,1a/!•a•1••11•INE MO .ol••••I 1

^ a.1 .n111111, Vrft/•.••11111J•1•ILaf 17r. 1f/ !1•1. 711E11/ rlrr2/1•111/I ^ iJl.••►1^1.•LL.1=•,11ra. MP' MI1i. /I ► •^^11/l/1^^/^^I^1.^1^•1^•1•:^l^1..^•^•^^\S•Fr1rn I^1rt .^1f^•r1

MINUET J = 160 (Quantz) = 76 (Engramelle) J .=I

70 (L'Affilard)

J.= 76 (L'Affilard)

The importance of the Minuet and the large quantity of writings concerning itmake it necessary to give it a fairly generous amount of space here, while once againnoting only the most significant definitions.

Very sprightly dance which originally came to us from Poitou. In imitation ofthe Italians, the sign 3/8 or 6/8 ought to be used to show the pulse, which is alwaysvery spirited and fast; but the practice of marking it with a simple 3 ( . . . ) has pre-vailed. (Brossard)

(1) In the 1705 edition L'Affilard gives ei = 96, a tempo he increased to 120 in the 1717 edition.

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x

Minuet (M. L'AFFILARD) 1694-1717 J. = 70IO_.. *Th.. ,.^7.._..^^^_ ...^ ^as w0 1 ,L7..^N I

r ^' ^ ^^^.^^^.^^ .^ii^ ^ ^ ^^^^ ^^í+ri^iwsii^i ^

82

It often happens that very good musicians do not dance in time, especially in theMinuet, through the habit they have contracted of stressing each bar, and this over-riding habit sometimes distracts their attention, which ought to be directed towardsalways taking two bars to execute the steps of the Minuet, only the first of which bars,which we call the strong one, being stressed; because of this, we even compare themetre of the Minuet for dancing with that of 614 in terms of its values. (Bacquoy-Guédon)

The downbeat in this metre (6/4) is called the strong beat (`bon temps') and theupbeat is called the weak beat (`temps faux'); and this is the only reason why 6/4 isused instead of twice 3/4, because in 3/4 this strong beat is not distinguishable fromthe weak beat, and it is for this same reason that dancers take the Minuet in 6/4, eventhough it is only ever marked in 3/4. (Loulié)

Moreover, the metre of simple triple time is so hurried for the true tempo of theMinuet that the hand has insufficient time to mark each beat when moving throughthe triangle formed by this kind of metre, so that in taking the Minuet in 6/4 time, allthese inconveniences could be avoided, and a genuine Minuet tempo could be found byusing a pendulum. (Choquel)

Because of this great speed, and the consequent difficulty there would be inmaking three hand movements so hurriedly, it is usual to take this metre ( ... ) only inone ( ) Minuets for dancing are also taken in this way ( ... ) because they areplayed in a very spirited manner. I say Minuets for dancing since there are harpsichordMinuets which are not normally played so fast. (Saint-Lambert)

The Minuet is a tune in triple time and in a moderate tempo. (Rameau-D'Alembert)According to him (Brossard), this dance is very spirited and its tempo very fast.

But on the contrary the character of the Minuet is one of elegant and noble simplicity;the tempo is moderate rather than fast, and it can be said that the least spirited of allthe types of dance in current use at our balls is the Minuet. It is a different matter inthe theatre.

The metre of the Minuet is of three light beats ( ... ) The number of bars in thetune should be four or a multiple of four for each of its repeated sections, because thisnumber is required to complete the steps of the minuet; and the musician should takecare to make this division evident with well marked cadential falls, so as to assist-thedancer's ear and keep him in the correct rhythm. (Rousseau)

The Minuet is played in a manner which carries along or, as it were, lifts thedancer, and the crotchets are marked with a slightly weighty though short bow stroke.(Quantz)

It can be seen that on the subject of how Minuets are written nearly every authorof the period stresses (and often deplores) the difference between their notation in tripletime and their beat in duple time. It is therefore worth making a clear distinction be-tween, on the one hand, the slow character of the steps in the Minuet as it is dancedand, on the other hand, the contrastingly lively character of the music where thetempo is either very rapid if taken in triple time, or moderate if taken in duple time(6/4: two bars of triple time).

Finally, although the Minuet's tempo undeniably slowed down as soon as it wasno longer danced, and consequently the period in question and the musical contextmust both be taken into account in performance, it was only in the second half of the18th century that this tempo became palpably more ponderous.

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^•^--;^^r,.^

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ANIMIIMP..••..W\' 11_JA /v

IIrW n JIMI1♦r•.•••n••ral r1•• —..SII •1•^^^^_/ i ^•MII •

83

Minuet (ENGRAMELLE) 1775 J , = 76

V• MiNIN/WW I .n/ 7••••••-7 ,MW _ MI 11n11/ NW n M.III•••/ I7 I I.`1

Mill MN LAMM' -- =11•••10.,/ Ar^M 1.1••••11•11Wl^-•_r^—_\_===.I 1•^T^1 1• .^_ •• 1•11•1•1•1•1•1.411r /011••r•./ •/ •1•* lJ•••• J••• 11•I1•77•./INP111=1L ../••__^..^7, 1VP 1111•11___11•11311•1 ^••rl^••IJ•••Irln•••rw•I .J•I^•J•••r^ ^^ nn^I i.1 -.opppI - MOM, 11.101.111

Minuet (John LŒILLET) c1725

•MIS/•V r•r••rJN •11Jr•JI•n \=111 • ••1111•r••MMIMNAIIr./ 1J MAINE.^_^\rr>I r•11•11rr11111111•1111\_ ---\_ • •411•1\W•111•1••11•••N1M=MI MIn 011vvr•.a •=1=1•1111•n1\1111•• IMO n/n//\ --.••^^^^^r•r^^V/^^•IL '^^n n^ ^^ •^i1•^1 1•r^l l 1

Minuet (M. L'AFFILARD) 1694-1717 = 76

r• + + -I- ^-^ =MIR4C81YP7 •nV =11•MZEIIII /7 /• t •••••/••nn••••••.•rI:!a/,_=1MIN•11,7911, •aMIMr.4111 /MN •11.1••11r! aar.MION/M•a /V >.‘••••••1•10.r•r n^^^I^IS•!^^•rJ•Jl^rra^•^•^^^^•r^_^^•^•t,•J •r-v WM, ♦Vi—\•L< AIM=^Irr\ra-•^•a =^ ^^^ ^•^^•^••_^^.^/

Minuet (CHOQUEL) 1759

Minuet (G. P. TELEMANN, 1681-1767)IL

e

O

J•1•111,• •/ AENEENE JMINI•MMIJ•/ 1* 1111•M•I1nr.ra•• ..= J•/ 11I••n •.."•111•1•111•11_•1•^J^J AIM^n^•^^ _^ ^_M^^=^•r•r•r• • ^ ^•^ _^^^ ^` ^^..-^ ^•^^^^^ ^-^^ ^ n•nn^

1.•

NIMMIIIIM•1•71 Jr♦♦• Bi•Nr• •J►7 •JEEI •.—•rrJ.r•JIII•M7•r__^7_ ^•^ 1.I^•r^^•^_ •^^^^

r ., `—n.n-nJ••==pr1••^^ ^^•^^^^

te

N.B. It is clear that the elaborate writing of this last Minuet (no longer for dancing, but for playing only) necessi-tates a slower tempo than, for instance, the first Minuet by L'Affilard quoted on p. 82.

as MUSETTE J(orJ) = 80 (in 3/4, Quantz) J(or J, ) = 80 (in 3/8, Quantz)

Kind of tune (... ), naive and gentle in character, whose metre is of duple ortriple time with a somewhat slow tempo, and normally featuring a held bass or pedalpoint such as a musette can play, and for this reason known as a musette bass. (Rousseau)

A Musette is to be played with great charm (... ) Sometimes it is the whim ofcertain dancers to require it played so fast that there is only one pulse beat (80 to theminute, in triple time) to each bar. (Quantz)

tte

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84

N.B. See also on p. 92 the interpretation of the Alla siciliana according to Quanti which, he claims, applies equallyto the Musette.

Musette en Rondeau (M. BLAVET) c1737

Gracefully, without being slow

+ +=le:-

, ..mm=1r__u_eJ._ am ---- .^------_—__—._y — - ^ . •^I^V .__••-- 11^•^•^= n^^.-- ---=1.11= .

Musette `la Favorite' (E. P. CHÉDEVILLE, 1696-1762)

With nonchalance

__ -do ^- -}- + + ^ + . +

^^tÁ ^ ^r-J1/^1—r: r^ Á t♦11^^J^ ^ ^/ 1^.\/=^•^^^1 1^.1•S•1•J1I^11^1/ LJIM1S 1/J11I11•1•MM1J•ar L11JWI11111/.11n111 L411110t.t •'1111I1!•1J J•rR=]/ 1V.S • =RIM I ARNI • Ll1111•n 411•11//111 •11•1•.J••n1 INMI

Musette 'la Sincère' (E. P. CHÉDEVILLE, 1696-1762)

Gracefully, without being slow

;t'^ ^^1111 MIMI 1^1111^^1^1I:^ 11•1•^11111.11 Mr 1.11•111111L1 1110,••• 1^1^1J1•^^./^ ^I►\1^A ^7♦/`•w=^r/ 'J••C^^tJJrl^/ A^R/ /7♦ I11111IILtI 1

• ..1t11JMM II =I •M1111•1111•J11MJ 1LA III If LIIIIIIIMIItlllllll/11/11/11•11011111•1111111\J.I/I/I al 1•2•1•31 I

1111111111M• 1.m••N11ENNIIIIM==IMIIIM1Ill I n '''1.••••••.i11111111111111•111C n111111 I^.^ No •M11n

Musette (J. B. de BOISMORTIER) 1731

Gracefully

^L'1•t1 .1•1`18•1111a11^JII/ W 1 J^11 ^^.t ^1111•^^^ 76^.•111 .1<:D^^/^11•^1^1I^^^I^ME•1J111111/ ••••••1 111111 n11 1 d1111•11114111. 1~111111111•IMl..^1 ^1•^1^'^1rn11^I^/^^^^^^^1 I^1^ I1jV/^^ 11^^^1^ 1^11^^1- ^. :I1^n\

^-

JIII111M •1•a••'9•1•1111 /111•11111./ WW/M MINIM IM••41111,I•IMINI NM J14/1n1111M1/1r1111^ •n•••••'n— FINN= MIL - -.mu.^1^' ^^1•M•

OVERTURE

The Overture has its origins in Opera: it is an orchestral prelude designed to open(French `ouvrir') an opera. By extension, an Overture may serve as an introduction toan instrumental suite (and sometimes the term Overture may even be stretched tocover the whole of a Suite as, for example, the four Overtures by Bach, Telemann'sOvertures, etc.). Lully established the French Overture form: slow — fast (— slow)which was to be notably successful. The slow section of the French Overture calls for

double-dotting (j. Jbecoming J.. JEI ) as a necessary requirement of its majestic,solemn character. The French Overture was to be adopted throughout all Europe.

An Overture (... ) should have a majestic and solemn introduction (... ) Itowes its origin to the French. Lulli provided good models for it; but a few Germancomposers, especially Handel and Telemann, have far surpassed him. (QuaiAz)

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.ntlF.. , •I

85

A Sinfonia which one strives to make brilliant, imposing and harmonious ( . . . )Overtures ( . . . ) consist of a lingering section labelled `slow' which is normally playedtwice, and a skipping repeated section styled `spirited' ( . . . ): a number of these re-peated sections finish by returning to the slow tempo ( . . . ).

The Italians ( . . . ) nowadays organize their Overtures in a different way. Theystart with a leaping, lively piece in duple or quadruple time; then they slacken the paceby a half and provide an Andante in which they endeavour to deploy all the charms ofbel canto, before ending with a brilliant Allegro, normally in triple time. (Rousseau)

Here is a typical example of the French Overture:

Overture (C. DIEUPART) c1710

(Slow)

•L.MMMMM Q MM ^11•11M M. MMr=M••n••••n /M-s'.1•IAMrAMAIM/ IL vimM•MMMmemo mI•dLammo IM••..wma.►ummMM-7MIAMM/'M A•AM MIMEO r•

/•M.MI osM.a.MMMM LM AU Is7/71:711••1♦ MMMMMAMM• I=

.MIIN• •! 0 M/MM•.U./Ar7 MOM nMM .A.r.I=MI– !•III .= MM/•lnINIWVIIIIIIIIIIEWIllMMM.WI• ..111=111M•1=1.M^'MMMMMt^r I^MM^IMM^ ►MIM/M•MAMMM .M^MMMIA^.^WM_M M .I ~eV MI

It. •

^ i. I 12.(Spirited)

.MIIMIMMMA10•M/M LarMIMMMoI•T 1r= ..MI LM >•7=M•<Z.. M SWIM= .111, 8 ILI ^7•M^1r ..MMrMM..n.M/M1•••• WOWMM•A•• ! MNIOIMMMI.IAI I/MM•IL^..A.l.•MM.Wl1 MCI 110.-4111•11•1•1111111'uMMl/MIM rain. -MM •/7•M•–i MM.rI

!L.I n!f 1►MM11MIMIA W MI 1In7M M•711 •11n1 M 1•T nAMIMIMn1111M•111MI II111.1 W.1111Ammo /oir.I.M•wumlMAMA AIA.1•MW AM In n.aMlt .JmiMMJMMMMMM•••J .10

..•10111•1 AEU Ell IV_ _HI 11J11•MIA.1 nAMMAIMMMMM ===== =OM,..•//•• I M. WIN 1A MMMr MN= n MMMMM 11=m– J^

/

IM^.

•<^II^umsaMM/1/ AMmmMtMWmer7nTimr1 •nmA••IuTs7sw' s•1.M1111MI II11110MMM.VIAMMA>•M7MlMM• UMW • •AM7/.1./ .AMi . T 1MMII[. LAO AMM/MM.•.• V7.^M/ ^!!M•:MM^^./M•MM r• ►nr^•r /AIIMItMMINtMIMMM WM•^MMIaA•t0M•J

MINIIII=M/MLMWMM^MW^.^M_ 1^•MM M• MI ^MIMIMIMMMI M M.MIMr MI MI... 1.M new

;M:M►7Mr7 •M•111111=1•11• 111,11M, M.'711 MA =I /MIM M IMI /1•1•11M►7MI.M11MIaM/AM••111111MI MM M•t>I7A71•1Mr.AO.• lAIA.• I.1.•••••.'IJ OM 11•11/71nM•MMIAWMWMAOM•• 1MMEMf MIMM/•A►M1M.•M•AM.I.A• aM..• AIMS .1MM•II MIME MI WMI1nrMiAM MIAMI MMIMM. an, r •M.An t•1111•1•11•MM FAOMMM.... /M•MIM•MIIIa1•MISaM111M M M

(Slow)%S'SIIIMI–M-r7 AM .nAM •IMM• 1:711n11•9•MMAMMRAM1.1l MMMMI IMO M•MrMMHNNI •T MM. =III ILA A7 MIN MMM EMI •.1.•MMMAA. 1I7M•Jni0M /611W7111.V70•••MMM•MMII111.1•01•1M•M

.'^l•MIAMIMMtMMMIAIMMMMtMM^IM1\ IV= 1♦. O MM MAMMMMMM7M^MJMM•M^M 0 ..... M`MIM•-iiM7ArMWMMAM•rMJINN=A IMAMA•MMM .^ M^ M •^'^^^^ M

^ 1. 112. I

a _^ AMIN.•<:aMMI/A•nZA7W71MMM0MMM n1An111•IAM.77/1n4,>•M f= Ar M^^^^1 t•' 1.MMWM•M/•MMIM M PMIM.-.^MA•T 17 In 1•MMI•MM..^MiMMMI.M•.MIAJ^MIMrMMLri •

• ..n-M•AMMMMMat M MMI/1MAMM.MMIIM.M••111 AM.MIA1•111111MMM INN= /AIA7 IIIMrMIM-1 1 ^ IV.^^M.MMMMMMMMIAMM.MMMMAMAMMMM.MM^ MI MM.MMlMMM1^MMMM^MMMMMM I ^1

we

PASSACAGLIA j= 106 (L'Affilard) a little faster than j= 160 (Quantz)

The Passacaglia differs from the Chaconne (see the definition from the same

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Passacaglia (VILLENEUVE) 1733Slow and tender

M., ,11..•., ar'Ir11...11•. 1... BRIM .111111.IN.•....11111•1....^.111111:•111111nr1111111••lIMIIi1•111.n111_.rl r• arlr_._•__ ^•_ s^lr.^r•^^^^^^!•wrVii^^l^ sl^1^t^•^^^ ML ...11111Mi •11111111•1111•11111•11AINIIMI ^1^^^•^i•.^i•ftrf•

•1•N! J./ WIN AA= ale i: aNIS.1i11111111s.•IM11 711111.111111111•f 1fi - Aw/i/MA111 111•101/r1111111•1.111M1•11•1..1M.7AR11•1•,II/a111110.11 ir•lOWr1111111M11111rr•111111111rMINIIMIIM NM r111.4111 ilk /IMn NMI MINI WARM WWII 41•1=11•11....111111114111•11•/.•r0r.•A 1111•• •-• BMW r11111111MI 411111111.111•i•M!– •r0•41111111 n IIIMM11111wMI =I••11111111111• s•111011NI OISE

writers on p. 74) only in that it is slower and more tender, and normally begins on thedownbeat. (Rameau-D'Alembe rt)

A Passacaglia is the same (as the Chaconne); but it is played a little faster. (Quantz)

Most writers of the period agree in giving the Passacaglia a slower tempo than thatof the Chaconne (in instrumental suites). Quantz's contrary view seems to refer to thePassacaglia for dancing.

Passacaglia (L'AFFILARD) 1694-1717 j= 106

•Arosom sows, a11.WsrMMAN•71 /1•1•71•117 tT7f!.111•711111.1 MOM r A1ffr.400/ •// lIIMMw11111.^7► 1:f1i•i .0'1rf D-4/01111>•.IS •• 1;^^ ^^^•^•^ t1^^.^^a:•:I[Ar^f^.l^rt^^^^i.a ss.1 ^^^^r//1^%^•s^•^•^r•^••^r•• ^..rrw^•^r^.^r^•u•^nr ^•^iiTr^^a •••11111111,41111

• •^.^ -

PASSEPIED J. = 88 (in 3/8, L'Affilard) J. = 96 (in 3/8, Choquel)

J = 160 (in 3/4, Quantz)

The Passepied is in reality a very fast Minuet which does not, as the ordinaryMinuet, begin on the down-beat; but whose two repeated sections begin on the thirdbeat. (Rameau-D'Alembert)

The metre is triple, is shown by a 318, and is taken in one beat. The tempo isfaster than that of the Minuet, the character of the melody almost similar. (Rousseau)

The Passepied is played both slightly more lightly and more quickly than theMinuet. Often it is found that two bars are written as one (1), and there are twovertical strokes over the central note:

aura - -rte

(1) It is in this (double) bar that dancing-masters impose the step they call the 'contretemps' (syncopation). (Choquel)

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Some leave these two bars separate and instead of the crotchet and the strokes write intwo quavers with an arch (tie) over them, between which they insert the bar-line. Inperformance these notes are played in the same way—namely, with a short, detachedbow-stroke for each of the two crotchets—and in the same tempo as for a triple crotchetmetre (3/4). (Quantz)

Passepied (MONTECLAIR) 1736

:/v'^11111••••. l.n11/!^1_^„!.t Mt•.^7 MANE. -1f—^^1^•= '..S>1•J•^•J•—.^7• MI= ./•1M••—.—/•••MII•111/1 ►.11 •111=1.i./ /AMM. 1

I..11t •>•I•1111111• ••—.• 1JY• AI.•d--•—•—.—•••1111•11•W /1JW ..•111n •1111111. 1V.n . ISM nIII•I•^•1•—.NMINIIMI—.^—•• ^—.= =••I•M—•—.^—^f— /

nn=- n---

fast; equal quavers

•—•101..••11•111../ NW= •111.1•11.11= ..11•••••n••••11U•ANIMIIYAM•1•11•11n•..../ INII.—••—KI •IMIII • 111111n11[1• nI•1111•n•M..M •I1=11•I— •— /. —•—IMIL--I•11111•11•1•t••^i

-111111111111 ••n '...11.1n1.^^- Iwo .a .IIII =II— _INIII ••••I_ n .•^•^----Ngequal

• !•.—J•—.—•.• ,c71111•1_411__•_

•_-__.01 11.^^.^— ^.^V.I 1•^.^

/'— AM •./ I.11M•1/7,1111•1••r. ••J /11•/1^.^—••--..4•11•—••—MININI•••nM.1... _ -• ^ ^ ^ —. ^ •1111111111•1111•••••111111•1•111••••••••1111••• I — ^ IN=

111

^ 1n11•./ I♦•—W7'[•1MIU>♦•n•1/•1Ell•n.••—IC1 •J•.1 1•.4111.41.• .17•..1n1111I11•INIIIIII••••••n.. =IMO MIAMI.nI

! 1.

[TT • I 1-271• /MU 1•1711111111111r•••111111•_ .^--_.• 1.1111•11ft_^ ^^ _^.^ ..—__^^•.•^..^• ••— _..• Wa••••IIMI•.r MN" •1. r•••.I•sl•a. "4•1r•••rn .as/1111n./ i-•••

^•^^ a. a ^1•_••1.•.•__ t11 minim

—M••.MIII'.•••••nn11 n01 1=01111•1•11111111•••r• uMil••• =MI.1. 1n•n•I

Passepied (J. S. BACH) c1720

^ >.,_-111•1•,_n•,_1•••/•,n ----1 —••••••—S WIEN_ /I 1•IIIIM1..1•1•••••nn/ —711n1111=1— —IM MINN —S • •1 —^1•1•---••-- • MII —S •.4n1n ]111n.--- —MMIIMMJ11 r

^^ ^ ^^^^^^^^ I a-

PASTORALE (PASTOURELLE)

Italian melody of the pastoral type. French Airs called Pastorales are normallyin duple time and have the character of a Musette. Italian Pastorales are more pointed,more charming, equally sweet and less dull. Their metre is always 618. (Rousseau)

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87 E

Passepied (CHOQUEL) 1759 = 96

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88

Pastourelle from Jephté (MONTÉCLAIR) 1736

+ + + lma .INENEr,:. . INNIMME IMIN.r^^ ^w^ ,^^..^ ¡♦..7♦• nrJ^ ^'fT•^. BLIMP-11 rJ^^^^^^^^^^',.M1111=NI. .r11•11MININII.41111n.111 I.111n1116.11111. r.=Mr.^

!

^

Pastorale ad libitum (attrib. VIVALDI) 1737

,'I•'A.1~. =•11•0..,=J Ain11/ t•EMMINO NMI A1•1111n11IMIM l'n•11•1111 'S^..r.Mll.=OW 11n1/11M•111..1U+WV IPr.MIIMMw..411s r..IIIIIII 1•MIIIUw MI 11111,711MIN..^.^r•rW^^^f a •^^.r^^.J ^SI^/IMs^^M.^^^ .^lr. ^^^J. a:a^.r•^.^.rr.^a^ '"•••=11111•MMI- _...nn••_ ....1•WIIIMIBMINIBOI •n••. IrIIIMr_r•

MOM- ^..4

•nn.11•11MIM : MIIM7/11111MMW INW/ =7111•111J{..1•.I

..1.0•1111n711111•/1M111111•111n.t MOM L»..1•1111•1111NJ111=►4111•1r/WW11111 /.11111> !•/J111111n11111111 NIMIIIMrMINI=1111111MINIIIIIIMlMES MILAN^J^•^^411MUNMINI /MOM ..AMMI/1/11111•01•11111•1111111•111n! ^ 1n11111•11011M1111•r.-m_ now.

PAVANE = 92 (L'Affilard)

A grave and serious piece which is generally taken in duple time. (Brossard)

Pavane (MONTÉCLAIR) 1736

Moderate

'411111111•1.rr7111111111 +^.rNINIa.0 IWW nal.IMMEINIIa.1111WII.AIM )'.1//M.^^1111•n• • 7 011111MIIMMIIMEJ..I aï.^^.^^^^^.^^ /.f.. VII-7111M NMI MIU=MI.A /rM11111111IM MON 111•111MMINIII•I^1♦_^^^t

1111•1•1..1U^....^^^^ !• NM MINIM

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• t•INMI =MY" Mir-- •111111r1=/111M/YMINNIMIIIIIIMMIMMIIIIMaOINIMIN 1+1

POLONAISE

Court Dance, generally in triple rather than duple time, introduced in 1574 at thecoronation in Cracow of Henry III of Anjou, subsequently fashionatlle in 18th-centuryGermany, where it adopted the gait of a rather moderate movement, often followed bya Double.

Polonaise (TELEMANN) c1 716

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89

H2.

(Double)

Here is how Freillon-Poncein defines the `impromptu' Prelude:

It is quite simply an inclination to take the key of the mode (i.e. major or minor)wherever one wishes to play. (1) This is normally done as a consequence of the powerof the performers' imagination at the very moment when they wish to play withouthaving written anything down beforehand.

There is no special rule about the tempo or the length of Preludes; they are donein various ways as the player fancies–perhaps tender, abrupt, long or short–and in dis-continuous metre; one can even pass through all sorts of modes provided one arrivesand departs to some purpose, in other words in such a way as not to discomfort theear; however, each Prelude must begin on one of the three principal degrees of themode one wishes to begin in and finish on any one of these three, though it is alwaysbest to stop on the tonic. (Freillon-Poncein)

In his `Art of playing Preludes' (L'Art de préluder), Hotteterre's intention was toshow how an `impromptu' Prelude could be improvised. In the following written-outPrelude, then, it is worth while aiming for a very free interpretation that will as muchas possible give an impression of improvisation:

(1) and positioning the hand well on an instrument before beginning a piece of music. (Rousseau)

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PRELUDE

Two different sorts of Prelude may be considered: one is the composed Preludewhich is normally the first piece of what is called a Suite or a Sonata, and which is agenuinely formal piece; this sort includes Preludes put into Operas and Cantatas toprecede and sometimes to herald what is to be sung. The other sort is the impromptuPrelude (Prelude de caprice'), and this is really the true Prelude (...) (This) Preludeshould be produced on the spot without any preparation. (Hotteterre)

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41,--NA -40-

•Er

• ••

90

'Impromptu' Prelude (HOTTETERRE) 1719

With gravity

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wail, 1111111110a:istmsw. ex' .e...Nor 0701101111n01001101I-7

,....

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IIIIIIIIIC

In contrast, the following Prelude corresponds to what Hotteterre calls a 'com-posed Prelude':

'Composed' PreludePreludio (G. B. BONONCINI) c1700

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re-

RIGAUDON j= 120 (L'Affilard) ej= 132 (Choquel) 160 (Quantz),

A kind of dance, the tune of which is taken in duple time, in a spirited tempo;normally made up of repeated sections of four-bar phrases, and beginning with the lastnote of the second beat. (Rousseau)

Bourrée and Rigaudon are played with spirit and with a short, light bow-stroke.(Quantz)

Rigaudon (L'AFFILARD) 1694-1717 = 120

003.4100.0101•0110111n7111=110101J010000181114/ .111/9•40n110 /111/7111=111111010001/7 •lirrY 1•ILOMPOSNIEle .I I.1•17a., 16...71.11111111.n A.11•90101 20111101000•14 n111000,VW •allEIMIEZ4111./111n 9111VILI 0.4101100•400111101 00010101101011•110 I• .1•14•111K.W1111111.4•11 • MOM M.A. l• 1110M10011000 11101140•000150011111•01•0•100.4010/111000101010011/110 I

NIMMII VW 111141111•111•111.•• • MN 1,1 OM MI!~ NIMINI•A MI MINIM= AM 1001 I

Rigaudon (QUANTZ) 1752 j = 160,

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MM.

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^L.PWIIII/ i 111••n11,71 _.411IIII 1111111♦ = l'7 AN rVA^/^t^ M^_^^^1 1.^.7•^^/ If IJ^n=^.f /^\.M^^ J^._I^^•^^ ^^ ^s11 I

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91

(END) (1st couplet)f

; 1 (Rondeau)

0

(2nd couplet) (Rondeau)b^9

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RONDEAU J = almost 160 (in or 3/4, Quantz)

The Rondeau is a musical form which enjoyed a great vogue in the 17th and 18thcenturies. This form could apply to all types of movement (`Gavotte en Rondeau',`Gigue en Rondeau', `Air en Rondeau' etc.). Marpurg defines it thus:

One begins by playing twice the first section, which is actually called the Rondeau,before going on to the first couplet. When the first couplet has been played once, thefirst section is also repeated once, after which the second couplet is played, finallyending with the Rondeau. (Marpurg)

A Rondeau is played with a certain tranquillity. (Quantz)

Nor is it any less ridiculous to change the tempi of two Rondeaux that are in-tended to go together, playing the major one more quickly than the minor one: cer-tainly it is a good idea to brighten up the major one by one's manner of playing it, butthis can be done without increasing the tempo. (J. M. Leclair, 4th Book of Sonatasfor the Violin, 1738)

Marche en Rondeau (MONTÉCLAIR) 1736

Spirited(Rondeau)^ -1-

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SALTARELLO

This is a sort of movement that continually leaps along, doing so almost invariablyby groups of three notes with the first note of each bar dotted. (Brossard) -

Saltarelle en Rondeau (DENIS) 1747

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92

SARABANDE j= 72 (in 3/2, L'Affilard)

J = 134 (in 6/4, L'Affilard)

J = 80 (in 3/4, Quantz)

J = 88 (in 3/4, L'Affilard)

From being a quick dance in the 16th century, the Sarabande became in the 17thand 18th centuries one of the (moderate or slow) movements of the instrumentalSuite.

The Sarabande, properly understood, being only a Minuet with a grave, slow,serious, etc. tempo. (Brossard)

The metre ( . . . ) is taken in 3 slow beats. (Freillon-Poncein)

A sarabande has the same tempo (as the Entrée, the Loure and the Courante),but is played with slightly more agreeable expression. (Quantz)

Tender Sarabande (L'AFFILARD) 1694-1717 ej= 72

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Sarabande en Rondeau (L'AFFILARD) 1694-1717 J = 88

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When this metre is made to sing solemnly, as for instance in the Sarabande andthe Passacaglia, it is taken slowly in three equal beats ( ... ); the Chaconne is taken inthe same manner, but more lightly. (L'Affilard)

Sarabande in six slow beats (L'AFFILARD) 1694-1717 J= 134

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Nimble Sarabande (MONTÉCLAIR) 1736

In the tempo of a Chaconne

+.

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SICILIANA (SICILIENNE)

A kind of tune for dancing ( ) having a tempo much slower, but even morepronounced that that of the Gigue. (Rousseau)

An Alla Siciliana, in 1218 metre with dotted notes interspersed, should be playedvery simply, with hardly any shakes, and not too slowly. Grace notes can scarcely beused, except for a few semiquaver passing appoggiaturas and some ports-de-voix:

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93

because this is an imitation of a Sicilian shepherds' dance. This rule applies equally toFrench Musettes and Bergeries. (Quantz)

Sicilienne (John LŒILLET) c1725

Affettuoso

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ELM Ln

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Siciliana (G. F. HANDEL) c1722

'MN= 1) 1_17 1•Uwt AlIJ•r.r 5•=1.1l71^f71.t =t ...I )11111S.11=:7I.1•J1=J11111111tJ.• />L7=•/ial.•n/I/'//i.1 n_JIt !<=,..A/f•1•=====• _/^^►^t-^^^^•^.^^.^^^1^,^^.1••AL^^^^^.

TAMBOUR IN a little faster (than 80 bars to the minute, Quantz)

A kind of dance much in fashion nowadays in French theatres. Its tune is veryspirited and is taken in two quick beats. It should skip along very rhythmically, imi-tating the [`galoubet', or] pipe (`flûtet') of the people of Provence; and the bass shouldstrike the same note over and over again to imitate the tabor (... ) with which thepiper normally accompanies himself (Rousseau)

The Tambourin is in two repeated sections (... ) It is taken in two very fastbeats and each section normally begins on the second beat. (Rameau-D'Alembert)

A Tambourin is played like a Bourrée or a Rigaudon; except a little faster. (Quantz)

Tambourin (J.-P. RAMEAU) 1735

Nimbly

Tambourin (DENIS) 1747

!LU /Sllt-^ / J/7^7=/I//^n/=//..^'^ :I.7^\^/r.J ^^._=...^7^^^^== =.^.^^^/^^^^^=.==s•^^^^^^ ==^.^ii 1=1••.\1111= . •A/J./.MINIM -n1115I1=1 /L^/111=J.J_^^=./^^•.^^ =Iw^•J^/•//1^...^. ^ •/ ^ /LI =.=^_ =NI .^ ^. A =I_ .......^ .i

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VILLANELLE

The Villanelle is a somewhat spirited Chaconne (see the definition by the sameauthor), a little more lively in tempo than the ordinary Chaconne. (Rameau-D'Alembert)

A kind of rustic dance whose tune should be sprightly and articulated in a veryclear metre. The basis of the tune is normally a fairly simple couplet on which onethen makes Doubles or Vari'tions. (Rousseau)

Villanelle (CAMPRA) i 710(END)

/1• L.

_ ^•+- --j• ^^^^• WW1 III ^^j - 1^r^J

^t)^J'__` M__^____ _1J_._1_+_1_+_=-^/ ^ /-^__ri _=^^^r^^^^^^w^^^^^^^^^rar^r^ ^ ^.u^^^^.^^^ ^a1.111sa.._ MAIM as-

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BIBLIOGRAPHY OF WORKS CITED

BACH Carl Philipp Emanuel: Versuch über die wahre Art das Klavier zu spielen(Essay on the true art of playing the keyboard), 1753-1762

BACQUOY-GUÉDON Alexis: Méthode pour exercer l'oreille à la mesure dans l'art de la danse, 1778 (Fétis)

BÉDOS de CELLES Dom François: L'Art du facteur d'orgues, 1766-1778

BROSSARD Sébastien de: Dictionnaire de musique, 1703

CAJON: Eléments de musique, 1772

CHOQUEL Henri-Louis: La musique rendue sensible par la mécanique, ou nouveau système pour apprendrefacilement la musique soi-mime, 1759

COUPERIN François: L'Art de toucher le clavecin, 1717

DAVID François: Méthode nouvelle ou principes généraux pour apprendre facilement la musique et l'art dechanter, 1737

DENIS Claude: Nouveau système de musique pratique, 1747

ENGRAMELLE Father Joseph: La tonotechnie ou l'art de noter les cylindres et tout ce qui est susceptiblede notage dans les instruments de concerts mécaniques, 1775

FREILLON-PONCEIN Jean-Pierre: La véritable manière d'apprendre à jouer en perfection du hautbois, dela flû te et du flageolet, 1700

HOTTETERRE Jacques called Le Romain: L'Art de préluder sur la flûte traversière, sur la flûte à bec, surle hautbois et autres instruments de dessus, 1719

L'AFFILARD Michel: Principes très faciles pour bien apprendre la musique, 1694-1717

LOULIÉ Etienne: Eléments ou principes de musique, 1696

MAHAUT Antoine: Nouvelle méthode pour apprendre en peu de temps à jouer de la flûte traversière, 1759

MARPURG Friedrich Wilhelm: Anleitung zum Clavierspielen (Introduction to keyboard playing), 1755

MONTÉCLAIR Michel Pinolet de: Principes de musique, 1736

MUFFAT Georg: Suavioris harmoniae instrumentalis hyporchematicae florilegium, 1695-1698.

QUANTZ Johann Joachim: Essai d'une méthode pour apprendre à jouer de la flûte traversière, avec plusieursremarques pour servir au bon goût dans la musique, 1752

RAMEAU-D'ALEMBERT: Eléments de musique théorique et pratique suivant les principes de M. RAMEAU,éclaircis, développés et simplifiés par Jean le Rond D'ALEMBERT, 1752

ROUSSEAU Jean-Jacques: Dictionnaire de musique, 1767

SAINT-LAMBERT Michel de: Les principes de clavecin avec des remarques nécessaires pour l'intelligencede plusieurs difficultés de la musique, 1702

TARTINI Giuseppe: Traité des agréments de la musique, 1771

VAN DER HAGEN Armand: Méthode nouvelle et raisonnée pour le hautbois, 1792

VILLENEUVE Josse de: Nouvelle Méthode (..) pour apprendre la musique et les agréments du chant,1733

N. B. This bibliography lists the principal treatises from which are drawn the quotations in the present work. Isolatedreferences to other publications not listed above are given in full at the end of the quotations in question.

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INDEX OF TERMS, SUBJECTS AND AUTHORITIES CITED

96

Accent 34,36Adagio 1, 20, 29, 40, 50, 55-57 59, 60-66, 67, 68Adagio affettuoso 2Adagio assai 60, 61, 66Adagio cantabile 61Adagio di molto 60, 64Adagio pesante 61Adagio spiritoso 61, 65, 66Affettuoso (Affetto) 61,-6-2/63, 64, 66, 71After-stroke 46Agitato 60AGRICOLA M. 47Air de ballet 1, 5, 7Air en Rondeau 91D'ALEMBERT: see RAMEAU-D'ALEMBERTAlla breve: see Metres inAlla cappella: see Metres inAlla siciliana 61. 84, 92/93Allemande 1, 70/71Allegretto 60, 61, b2/63, 67, 69Allegro 1, 29, 60-63, 7-69, 85Allegro assai 60, 61, 67, 69Allegro di molto 60, 61, 69Allegro ma non presto 60, 61, 67, 69Allegro ma non tanto 60, 61, 67, 69Allegro ma non troppo 60,61,69Allegro moderato 67, 69Anacrusis 30Andante 60, 62/63, 64, 66, 85Andantino 60, 62/63, 64Appoggiatura: see Port-de-voix, CouléAria 71, 72Aria larga 71Arietta 72Arioso 61, 62/63, 64, 66, 85Arpeggio 3rArticulatory silence 11-13, 15, 27Aspiration 34Assai 61BACH C. P. E. 27, 29, 31BACH J. S. 53/54, 84BACQUOY-GUEDON A. 75, 82Ballet 76 (see also: Air de ballet)Balls 75,82BEDOS Dom 70Bergerie 93BOISMORTIER J. B. de 48BORDET 13, 19BOURGEOIS L. 20Bourrée 4, 29, 72, 78, 90, 93Bowing, bow-stroke 13, 14, 18, 19, 36, 42, 47, 65, 66,

69,72,75,76,79,80,82,87,90Branle 4, 72/73BROSSARD S. de 2,6-9,61,62,71,72,76,77,78,

80,81,82,88,91,92CACCINI G. 32Cadence: see TrillCadenza (improvised on a pedal-point) 58/59CAJON 2, 3, 4, 8, 24, 25Canaries 8, 73/74, 79Cantabile 64, 3 66Cantata .4, 6, 7, 8:8-9Chaconne 7,29,74,85/86,92,94CHOQUEL H. L.7., 4, 6, 7, 34, 35, 37, 45, 58, 78,

82,86Chronometer 70Chute 23,34/35,46Circolo mezzo: see TurnClavichord 42, 47CLERA.MBAULT L. N. 7Con brio 60Con furia 77Conjoined tastes: see Goats réunisConsonance 40,65Contredanse 75

Contre-temps 86CORELLI A. VIII, IXCORRETTE M. 40Cotillon 4, 75Coulade 18.35Coulé, Coulement 33, 34,35/36, 38, 65, 68, 92COUPERIN F. VIII, IX, 3, 32, 37, 42, 44 .46, 52Couplet 74, 91, 94Courante 7, 29, 74, 75/76, 80, 92DAVID F. 34, 35, 38/39, 43, 79, 81DENIS C. 6, 8, 25, 34, 74DESPLANES J. A. 42/43Detached notes 13-15,18, 25, 62, 75, 76, 80Diminution 49Disjunct intervals: see Intervallic leapsDissonance 39, 40, 59Dolce 61, 62/63, 66Dots (over notes) 13. 14, 25Dotted notes: see Double-dotted notes, Un equ..l notesDouble 32, 49, 50, 86, 88/89, 94Doublé: see TurnDouble cadence: see TurnDouble-dotted notes 27-31, 68, 84ENGRAMELLE J. 11, 22, 23, 61Entrée 4, 18, 29, 74, 75, 76, 80, 84, 92Equal notes 13, 14.22-24, 2527, 62, 87Fall: see ChuteFermata 43, 59Finger vibrato: see Flatté, FlattementFlatté, Flattement 33, 36/37, 44, 48,50Flute, flautists 18, 47, 68 (see also: Transverse flute,

Recorder)Flatet: see Pipe and TaborForlane 5, 76/77Forte: see Piano and ForteFREILLON-PONCEIN J. P. 38, 74, 78, 79, 89, 92Fugue IFurie 18, 29, 77Furioso 60Gaillard 77Gavotte 4, 29, 78, 91Gigue 5, 6, 9, 4-0, 73, 76, . /$0, 91, 92Goats réunis 52Grace notes 21, 33-48, 49-52, 55, 65, 66, 68, 92Gruppetto: see TurnGustoso 60HANDEL G. F. 84Harpsichord 3, 42, 53, 82Harpsichord, bowed 42HOTTETERRE J. 1-9, 19, 23/24, 26, 34, 35, 36, 89, 90Improvisation 89Inequality: see Unequal notesInflated sound: see Son enfléIntervallic leaps 26, 68Keyboard instruments 42L'AFFILARD M. 1, 2, 5, 6, 27, 81, 83, 92Larghetto 60-63, 64, 66Largo 60-64Largo assai 60, 61, 66Largo di molto 60, I, 66LEBEGUE N. 46LECLAIR J. M. 50, 91Lento 60,61,66Lento assai 60;74Lento di molto 60, 64LOULIE E. 23,35,45,49,82Loure 5, 29, 74, 75, 76, 79, 80, 92LULLY J. B. VIII, IX, 3, 50, 84LUSSE C. de 47Lute, lutenists 47Maestoso, majestic 61, 62, 66, 68, 74, 75, 76, 80, 84MAHAUT A. 36Major 74, 91MARAIS M. 36MARCELLO A. 53/54

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^ . ^^.

_^^---_-- .

97

INDEX OF TERMS, SUBJECTS AND AUTHORITIES CITED (continued)

March 4, 81MARPURG F.W. 1,4,13,33,37,44,47,60,91Martellement 37MERSENNE M. 32,47Messa di voce: see Son enfléMesto 61,66Metres in 4/2 1, 79

"171 3,4,10,24,29,60,61,854/44/8 5,24,6112/4 2,10,2412/8 2,10,24,30,60,61,79,9212/16 2/3

3/j, 10,24,29,61,78,81,83,85,90

2or2/2 3,4,10,24,29,75-78,82,85,87,88,90

2/4 3,4,5,10,24,60,61,78-80,93

2/8 3,5,24,932/16 36/4 3,5/6,10,24,40,79,80,81,

82,926/8 3,6 10, 24, 30, 40, 60, 61, 73,

79,81,83,873 or 3/4 6 7, 10, 24, 29, 60, 61, 65, 66,

74,76,77,81,82,83,85,87,88,92

3/2 6/7,10,24,923/8 6-8,10,24,60,61,65,73,79,

- 81,83,869/4 6,8 10, 24186,8/9,10,24,79

966

6/16 99/16 9

Metronome 70Minor 70Minuet 7,50,75,81-83,86,92Mixed style: see Style mêléMONTECLAIR M. P. de 8,9,10,18,22,33-38,42,

43, 46, 49, 50, 56, 73Motet 4Mordent: see PincéMUFFAT G. 33,73,79Musette (instrument) 11,80,83Musette (movement) 80,83/84,87,93Oboe 53Opera 4, 76, 84, 89Opéra-Ballet 76Organ (tremulant stop) 47Ornaments, ornamentation 27,33,49-59,68/69Overture 4,5,18,84/85Pardessus de viole 19Passacaglia 7,85/86,92Passages, passage-work 18, 19, 32, 49, 50, 55, 56,

60,67,68,69Passepied -K71786/87Pastorale, Pastourelle 87/88Pause (trill): see Point d'arrêtPavane 88Pedal-point 58/59, 83Pendulum 7a, 8.2Pesante 66Phrasing 11-32Piano and Forte 42/.43,65,68Pincé, mordent 36,37/38,50,65,69Pipe (and tabor) 93Piqué: see Detached notesPoco Adagio 60Poco Allegro 60,61Poco Andante 61,66Poco Largo 60Poco Lento 60Poco Presto 60

Poco Veloce 60Poco Vivace 60Point d'arrêt (trill) 37, 44, 46Polonaise 88/89Pomposo 61,0Port-de-voix 37,38-41,4346,49,50,65,68,69,93Prelude 1, 76, 84, $2/9QPreparation note (trill) 37,44/15Prestissimo 2,9,60,62/53,67Presto 60, 61, OM, 67,22Presto assai 63Quadrille 75QUANTZ J. J. 3,11,13,14,16,18,19,20,25,27-30,

3846,50,51,52,55,58-61,64-69,72,74-84,86,87, 90-93

RAMEAU J. P. VIII, IXRAMEAU-D'ALEMBERT 72, 74, 75, 76, 78, 79, 80,

82, 85, 86, 93, 94Recorder 42Repeated notes 25Rigaudon 4,29,72,78,90/21,93Rocking (in vibrato, etc.) 47Romanesque 77Rondeau 29,72,21ROUSSEAU J. J. 27,32,49,60,63,70,72-78,80-87,89,

90,92,93,94Rubato 32Run: see CouladeSAINT-LAMBERT M. de 6, 8, 20, 22, 30, 33, 82Saltarello 91Sarabande 7, 26, 29, 74, 75,92Schneller 37Semitones, chromatic ascending 65Sentiments, expression of different 68Shake: see TrillSiciliana 92/93 (see also: Alla siciliana)Sinfonia 76, 84Slurs and ties 13,15-19,25,26,35,44,64,65,68,69,87Soave 61,.62,f1óSonata 1/2,4,6,7,9,70,89Son diminué: see Son enfléSon enflé 13, 36, 39,42/41, 45, 47, 48, 59, 64, 65Son filé 38,39,42,48,63Sostenuto 65Staccato 14/15,65Stringed instruments 18, 36, 47, 58Stroke (in trill): see TrillStroke (over a note) _,L, 25Style mêlé 52Suite 70, 84, 86, 89, 92Swelled sound: see Son enfléSyncopation: see Contre-tempsTabor: see PipeTambourin 5,93TARTINI G. 47,56/57TELEMANN G. P. 17,52,84Tempo 60, 61,70-94Tempo c': cappella 3,4Tempo d. gavotta 3,23Termination (trill) 43,44,46Theatre 82,93Threaded sound: see Son filéTies: see Slurs and tiesTime signatures: see MetresTirata 18Tonguing, tongue-stroke 18,43,64,66-69Tour de gosier: see TurnTransverse flute 19,41,42,47,48Tremolo 47Tremulant stop: see OrganTrill 11,33,36,37, 40,41,43,4446,49,50,58,68,69,92Turn 43/44,46,50Unequal notes 20-27,34,62,65,67,68,80VAN DER HAGEN A. 45Variation 33,49, .51/52,55,16W, 94

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INDEX OF TERMS, SUBJECTS AND AUTHORITIES CITED (continued)

Veloce 60Velocissimo 60Vene cassd 36, 4TVibrato 36, 42, 48 (see also: Flatte, Flattement)Villanelle 74,Q4VILLENEUVE J. de 63,72

Viol 36, 47Violin 19, 43, 50, 66, 69, 91Vivace 60, 61,y.2/ó}, 67,.Vivacissimo 60Wind instruments 18, 36, 58, 65, 66, 69

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IN DEX OF MUSIC EXAMPLES

by subject and composer

Accent 34, 36, 37Adagio 8,51,53/54,55/56,57,63Adagio (of the manner in which the ... should be

played) 64/65Affettuoso 71,93After-stroke 46Air, aria 71Air of the zephyrs 5Allegro 1,2. 21, 25, 30, 31, 76, 78Allegro non molto 17Allegro non troppo 50Allemande 2, 12, 25, 30, 70, 71Anacrusis 30Andante 16,17,31,63Andante (un poco) 63Appoggiatura: see Port-de-voixAria 71Ariette 72Arpeggio 19Ascending chromatic semitones 65Aspiration: see AccentBACH J. S. 14/15,16,30,31,53/54,72,77,87BARSANTI F. 1BEDOS Dom 13BERNIER N. 7,9BITTI M. 76BLAVET M. 51,81,84BOISMORTIER J. B. de 48,71,84BONONCINI G. B. 90Bourrée 4,72Branle 73Cadenza (improvised on a pedal-point) 58/59CAMPRA A. 4,5,72, 93Canaries 8, 73, 74Cantabile 16/17Chaconne 7,74Chaconne (in the tempo of a) 92CHEDEVILLE L. P. 75,84CHOQUEL H. L. 37, 45, 83, 87Chûte 34,35,36,48Circolo mezzo: see TurnCLÉRAMBAULT L. N. 4,72Consonance 40Contredanse 75CORELLI A. 2, 3, 7, 8, 26CORRETTE M. 40,74,80Cotillon 75Coulade 18,35Coulé, Coulement 35,36COUPERIN F. 32Couplet 91Courante 7,26,48,75,76DALL'ABACO E. F. 25DAVID F. 34,35,38,39DEMOIVRE D. 12Demons' Air, 7DENIS C. 5,74, 77, 80, 91, 93DESPLANES J. A. 43DESTOUCHES A. C. 7Detached notes 13DIEUPART C. 47, 48, 85Diminutiein 49Dissonance 40, 59Dotted notes 64/65Double 32,49,50,89Doublé: see TurnDouble cadence: see TurnDouble-dotted notes 27-30Double-dotted notes, exceptions 31ENGRAMELLE J. 22, 23, 83Entrée 4,76Equal notes 22,25,26,87Equal notes and detach 14FASCH J. F. 15,31

Fast 87Flatté, Flattement 35-37Forlane 5,77Furie, Con furia 77Furies Tune 77Gaillarde (Gaillard) 77Gavotte 4,78Gigue 5,9,25,79,80Grace notes 41, 47, 48Gracefully 71,84Grave 15,63Grave e affettuoso 43Gravely, with gravity 2, 70, 78Gruppetto: see TurnHalf shakes 41HANDEL G. F. 93HOTTETERRE J. 3,9,19,25-28,31,34,35,46,70,71,

77,78,90L'AFFILARD M. 1,2,5,6,71-74,76,77,79,81,82,

83, 86, 90, 92Largo 2LECLAIR J. M. 50,71LCEILLET J. 93LŒILLET J. B. 78,80LOULIÉ E. 23Loure 5,80Lullaby 7LULLY J. B. 3,4,5,7,8,26MARAIS M. 5MARCELLO A. 53/54March 4,22/23,81MARPURG F. W. 37, 44Martellement: see PincéMASCITI M. 4,9Minuet 7,50,82,83MONTÉCLAIR M. P. de 8,9,10,18,34-38,42,43,46,49,

73,75,76,77,87,88,91,92Mordent: see PincéMusette 26, 84NAUDOT J. C. 21Nimbly 92,93Ornamentation (French) 50/51Ornamentation (German) 52-54Ornamentation (Italian) 55-57Ornaments 27Overture 4,5,47,85PAISIBLE J. 79Passacaglia 7, 26, 86Passages (Doubles) 49Passage-work 9, 19, 25, 27, 31Passepied 8, 86, 87Pastorale, Pastourelle 88Pavane 88Pearled notes 13PHILIDOR A. D. 14, 26Pincé 36, 37, 38, 41, 48Point d'arrdt: see TrillPolonaise 88/89Port-de-voix 34,38/39,40,41,46,48Prelude 2,19,43,46,90Presto 63,78QUANTZ J. J. 20,28,29,30,39,40,41,45,52,55/56,

58,59,64,65,86,90/91Quickly 73RAMEAU J. P. 3,93Rhythm (reversed dotted) 29Rhythms (superimposition and succession of different) 30Rigaudon 4,90Rondeau (form) 73, 81, 84, 91, 92ROUSSEAU J. J. 46Rubato 32Saltarello 91Sarabande 7,12,26,92SCHICKHARDT J. C. 25

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INDEX OF MUSIC EXAMPLES (continued)

Schneller: see PincéShake: see TrillShake with mordent 48Siciliana 52, 93S ilences (Articulatory) 12/13Slow (grave) 75, 76, 85, 90,92Slow (lent) 3, 7, 8Slow and tender 86Slurs (complete indication of) 16

(absence of) 16/17(filling in) 17, 18, 19(alternation) 19

Solemnly 27, 28Son coupé (interrupted sound): see AccentSon enfl t, (Messa di voce) 39,A2a3'Spiccato' notes 25Spirited (Gay) 10, 25, 26, 31, 85,91Staccato 13, 14, 15

STUK J. B. 3Table of grace notes 48Tambourin 5, 93TARTINI G. 57TELEMANN G. F. 18, 52, 53, 83, 88, 89Tempo di cappella 3, 10Tempo di gavotta 3, 78Tender Air, 71Tenderly 81, 86Tirata 18Trill 36, 37, 40, 41, 43, 44-46, 48Turn (Tourde gosier) 41, 43, 44, 46, 48Unequal notes 20-23VAN HEERDE A. 12Villanelle 94VILLENEUVE J. de 63, 86Vivace 8,63VIVALDI A. 16/17, 78, 88

i*

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