The Doubles in Jacques Hotteterre's

Airs et brunettes (ca. I72I)

David Lasocki

Introduction The name of Jacques Hotteterre "le Romain" (1674-1763) is well known to woodwind players today.1 A flautist at the court of Louis XIV, he published the first method for the Baroque type of transverse flute (and included instructions for the recorder and oboe), wrote another method for the musette and a treatise on the art of preluding, and composed some attractive chamber music that blended elements of the French and Italian styles.2 It is less well known that around 1721, after he had finished writing this fairly progressive music, he published a collection of songs arranged for the flute under the title Airs et brunettes a deux et trois dessus pour les flutes traversieres tirez des meilleurs autheurs, anciens et modernes, ensembles les airs de Mrs. Lambert, Lully, De Bousset, &c les plus convenables a la flute traversiere seule, ornez d'agremens par Mr. Hotteterre Ie Romain et recueillis par M. ++++.3 This means: airs and brunettes for two and three melody lines for flutes, taken from the best composers, old and new; together with airs by Lambert, Lully, De Bousset, etc. best suited to the flute alone, embellished with ornaments by Hotteterre Ie Romain and collected by Monsieur X.

One of the songs in this purely French-style collection, /lSi c'est un crime que l'aymer," was originally published as early as 1621, but most appeared in the period 1690-1710. Still, even the most recent song, Jean-Baptiste de Bousset's "Vous qui faites votre modelle," was ten years old in 1721, and the collection has a more retrospective cast than Hotteterre's other music. One would be tempted to think that its late appearance had something to do with its having been collected by the anonymous Monsieur ++++ - presumably an aristocrat, whose name could therefore not be mentioned.4 But Hotteterre himself was partly responsible for its publication (along with the well-known Parisian publisher Boivin). Moreover, some of the same brunettes, also with ornamental variations, appear in two other French flute collections of

about the same date - Michel Pignolet de Monteclair, Brunettes ancienes et modernes appropriees ala flute traversiere avec une basse d'accompagnement ... Premier recueil contenant douze suites qui peuvent aussy se jouer sur la flute a bec, sur Ie violon, haubois, et autres instruments (Paris: Boivin, ca. 1720) and Mr. R**, Brunettes ou petits airs adeux dessus, al'usage de ceux qui veulent apprendre ajouer de la flute traversiere (Paris: Boivin, Le Clerc, 1725) - and even in a collection of thirty years later: Michel Blavet, Premier recueil de pieces, petits airs, brunettes, menuets, etc.: avec des doubles et variations, accomode pour les flutes traversreres, violons, pardessus de viole, &c (Paris: composer, Boivin, Le Clerc, ca. 1750).5

As the title suggests, the majority of pieces in Hotteterre's collection (all notated in the French violin clef) are for two melody lines, with a few for three lines, grouped into five suites by key: D major/minor, G major/minor, Bb minor, E minor/major, and C minor.6 The texts of many of the songs are underlaid. At the beginning of the first suite, a note states that the treble clef may be used to transpose it into B=, "pour s'accorder avec les voix de dessus" (to accord with soprano voices), indicating that one or more lines could in fact be sung rather than, or as well as, played on the flute. The third suite has an indication that it could be similarly transposed into G.

At the end of the collection comes a series of twenty-one pieces "Pour la Flute Seule" (for flute alone), grouped into three sets by key: G major/minor, D major/minor, and C minoralthough this time they are not actually labeled IIsuites."7 Again many of the words are underlaid. Four times a transposition into the soprano clef is given at the beginning of a piece, but here this seems to indicate only the notation and key of the original song, since the transposed versions would be below the range of the flute. As the title says, these songs were ornamented by Hotteterre. Sometimes Hotteterre transcribes the vocal ornamentation

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of the song; at other times he invents ornamentation more idiomatic for the flute. In fourteen cases he also supplies doubles, or ornamental variations of the entire song.s Three of the doubles - for IJDans ces deserts," IJDe mes soupirs," and "Nicolas va voir Jeanne" - are similar to the doubles supplied by the songs' composers. All Hotteterre's arrangements are valuable examples of the French style of woodwind ornamentation of the early 18th

century. The songs that Hotteterre arranged for solo

flute are of two types: airs de cour and brunettes. James R. Anthony has written that

For almost 200 years the air de cour served French composers as a primary model for their vocal music. Lully consulted it rather than Italian aria and recitative for the airs and dialogues of his court and comedy ballets and his tragedies lyriques; the recits of many seventeenth-century motets were nourished by it; and, in combination with dance measures, its influence was felt in instrumental music.... Its restricted range and generally conservative harmony acted as a deterrent to the adoption of Italian vocal techniques throughout much of the grand siecle.... The formal structure of most airs de cour is simple. Short stanzas made up of four or six lines are arranged musically in a variety of binary forms; AB, AAB, or AABB are the most common.... Where meter signs appear, they have no metric significance and may be viewed merely as a convenient way of grouping time units; they must never be interpreted as depicting strong or weak accents.9

A mid-17th century composer wrote that lithe air proceeds in a free though serious measure and movement and thus is more proper for the expression of love and the tender emotions of pain or of joy that it wakens in the heart. ... "lo Toward the end of the 17th century, collections of airs tended to be intermixed with songs in lighter vein, including the brunette. The latter generally has a more popular style of melody; the words tend to be pastoral and amorous, often indeed celebrating the eponymous brunette.

Hotteterre on Ornaments Before we discuss the ornamentation in the doubles of the Airs et brunettes, it is worth summarizing what Hotteterre wrote about ornaments, or agrements as he called them. In the Principes de la flute traversiere, ou flute

d'allemagne, de la flute a bec, ou flute douce, et du haut-bois: divisez par traitez (paris, 1707), he discussed seven different ornaments: tremblement (trill), double cadence (trill with twonote termination, tongued or slurred),flattement (finger vibrato), battement (lower mordent), portde-voix (appoggiatura from below), coulement (appoggiatura in a descending third), and accent (a short note a pitch higher than the written note). He remarked that a port-de-voix is often followed by a battement. In the table of ornaments included with the preface to the second edition of his Pieces pour la flute traversiere et autres instruments, avec la basse continue (Paris, 1715), he added the port-de-voix double (double appoggiatura from below), demie cadence apuiee (a trill with a very long port-devoix), tour de gosier (turn), and tour de chant (another kind of turn, apparently made at the approach to a cadence).

In the 1715 preface he remarked that the flattement, tremblement, and battement should all be made faster or slower according to the tempo and character of the piece. He also gave advice on where some of his ornaments should be added when they are not marked by the composer. The flattement should be made on almost all long notes. The tremblement must be made on almost all accident sharps (except on very short notes such as eighths and sixteenths). The double cadence is often made when you ascend one note after a tremblement. The coulement must be made in all descending thirds. Finally, the accent is normally made at the end of a dotted quarter note followed by an eighth note at the same pitch; also rarely on certain long notes.

In the Principes, Hotteterre said nothing about the length, accentuation, and placement of the port-de-voix and coulement, leaving their performance up to the elusive goUt (good taste) that was all-important in the French music of the era. Of course, contemporaries had the benefit of having their taste shaped by hearing these ornaments performed, whereas we have only vague instructions, by Hotteterre and others. From all these instructions one gets the impression that for woodwind instruments such ornaments were usually performed short, unstressed, and before the beat. The Airs et brunettes, however, suggest that this is not always the case.

Ornaments in the Airs et brunettes In order to help readers understand both

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ornaments and freer ornamentation in Hotteterre's Airs et brunettes, the examples at the end of this article reproduce all of the pieces that have doubles. I have transposed these examples in order to make them more suitable for playing on the alto recorder. Hotteterre himself recommended playing flute pieces a minor third higher on the recorder.u But this sometimes results in difficult keys (such as Bb minor), so in those cases I have transposed by a major second or major third. Hotteterre's key - and, where known, the original key of the song - are stated in each case. For "Dans ces deserts," "De mes soupirs," and "Nicholas va voir Jeanne," I have included the doubles from the original songs, so you can readily see that Hotteterre retained most of them, generally only altering the rhythm here and there.

Hotteterre intended that these songs should be played unaccompanied. In my edition I added the bass lines from the original songs, with bass figures when they were available, so that the pieces could be played with an accompaniment if desired. (I have also given the bass lines here, except for the two pieces I did not include in my edition, "Je suis aime de celle que j'adore" and "Ruisseau qui dans la pleine.") In studying the doubles, however, it is worth bearing in mind that the ornamentation might be affected by the intended absence of this bass line.

I have also added symbols to indicate the various ornaments and ornamental devices that Hotteterre uses in his doubles (see the list of abbreviations below). These indications are meant to be helpful rather than definitive: each time I go through the pieces I spot another ornament, or one that can be conceived in another way. If they stimulate your own thinking about ornaments, they will have served their purpose.

Port-de-vaix As in his writings, Hotteterre generally notates the port-de-voix with the sign V. In both duple and triple meters, the favored position is on the first beat (25 and 28 times, respectively). In duple meters the ornament also occurs about half that number of times on the third beat (14 times) and occasionally on the fourth beat (3 times); in triple meters the ornament also occurs about one-third that number of times on the third beat (10 times) and occasionally on the second beat (4 times).

"Dans ces deserts" C beat 3 (2 times) "L'autre jour" 2 beat 1 (8 times)

beat 3 (5 times) beat 4 (2 times)

"Si c' est un crime" 2 beat 4 (1 time) "Rochers, vous etes sourds" ¢ beat 1 (4 times)

beat 3 (2 times) "Nicolas va voir Jeanne" ¢ beat 1 (1 time)

beat 3 (1 time) "Le beau berger" ¢ beat 1 (5 times)

beat 3 (2 times)

"Berger prend soin" ¢ beat 1 (7 times)

beat 3 (2 times)

"Rochers, je ne veux point" 3/2beat 1 (6 times)

beat 3 (2 times) "Si c' est un crime" 3/2 beat 3 (1 time) /lSi c' est un crime" 3/2 beat 3 (1 time) "Ah! vous ne voulez pas" 3/2 beat 1 (5 times)

beat 2 (2 times) beat 3 (1 time)

"De mes soupirs" 3/2 beat 1 (5 times) beat 3 (1 time)

"Dans ces deserts" 3 beat 1 (5 times) "Si c'est un crime" 3 beat 3 (1 time) "L'amour" 3 beat 1 (6 times)

beat 3 (4 times) Air 3 beat 1 (1 time)

beat 2 (2 times) beat 3 (1 time)

As well as notating the ornament with a V, Hotteterre writes it out as a small quarter note in three situations, always on the first beat: (1) leading to a dotted half note, half note, or dotted quarter note with a notated battement (,Rochers, je ne veux point," 2; ilL' amour," 25; "Si c' est un crime," 25; "Le beau berger Tircis," 1,6); (2) leading to a dotted quarter note or quarter note ("Rochers, je ne veux point," 13; "Dans ces deserts," 10; ilL'autre jour," 9; "Le beau berger Tircis," 9); and (3) leading to a sixteenth note ("Rochers, je ne veux point," 7). Less frequently, he writes it out in regular notation as an eighth note before the beat, leading to a half note or quarter note ("Rochers, vous etes sourds," 10-11; "Dans ces deserts," 8-9; "Si c' est un crime," 16-17; "Berger prend soin," 8-9).

Port-de-voix double This ornament is found a few times, leading to tremblements (ilL'autre jour," 20, 28; "Si c' est un crime," 20) and also to plain notes (ilL' autre jour," 2, 6; II Ah! vous ne voulez pas," 3).

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Coulement Hotteterre only once notates the coulement with the inverted V, and it occurs in a descending second, not a third ("L'autre jour," 3). There it may be intended to be performed short and strong. That also seems to be the case with the instance of a coulement notated as a quarter note leading to a quarter note on a fourth beat, but where the double has a notated dotted sixteenth note ("Berger prend soin," 9).

Otherwise, the short and weak interpretation seems frequent, when the ornament is notated as a small quarter note leading to a half note on the third beat (" Ah! vous ne voulez pas," 4); to a quarter note on the first beat ("Si c' est un crime," 13; "Le beau berger Tircis," 7); to a quarter note on the second beat or pulse ("Rochers, je ne veux point," 7; "Dans ces deserts," 13); to a quarter note on the third beat (Air, 8); and to a quarter note on the fourth beat (" Berger prend soin," 4). The same interpretation seems almost certain when the coulement is notated as a small sixteenth note leading to a quarter note or dotted eighth note (ilL'amour," 4; "Nicolas va voir Jeanne," 9), and especially when it leads to the eighth-plus-twosixteenths figure which Quantz says should be played short, soft, and before the beat in the French style of playing ("Le beau berger Tircis," 6).12

Sometimes, however, the positioning of the ornament suggests a long and strong interpretation: a quarter note leading to a dotted half note on the first beat (ilL'autre jour," 4, 8; the double has a notated eighth note in same position); a quarter note leading to a quarter note on the third beat in duple meter ("Berger prend soin," 9); a quarter note leading to a dotted eighth note on a trill ("Dans ces deserts," 18); and an eighth note leading to a half note on the first beat ("Rochers, vous etes sourds," 7). Another instance might also qualify: a coulement notated as a quarter leading to a dotted half note on the first beat ("Rochers, je ne veux point," 4), except that the double has a tremblement at this point in a rhythm that suggests the shortest of appoggiaturas.

The coulement also occurs once leaping a third (" Berger prend soin," 9).

"Coulement double"

Like the port-de-voix double, this ornament

consists of two little notes rather than one.

Hotteterre does not mention it in his writings,

but he uses it twice in the doubles of these Airs et

brunettes: on its own ("Si c' est un crime," 18)

and leading to a tremblement ("De mes

soupirs," 13).

Accent Recall that the accent is a little note that Hotteterre says is found in dotted figures and

at the end of certain long notes. Here it is

found twice at the end of a long note (ilL'autre

jour," 2, 6) and once anticipating a tremblement

("Si c' est un crime," 13). It is also found

descending rather than ascending in four

places ("Dans ces deserts," 16; IIAh! vous ne

voulez pas," 5; "De mes soupirs," 10; "Le beau

berger Tircis," 5,8). The ascending type is

written out in regular notation in the double to

"Rochers, je ne veux point, 5.

"Accent double"

A kind of double accent is found in ilL'autre

jour," 2; also, followed by a regular coulement, in

"De mes soupirs," 5, and "Berger prend soin/'

10.

Turns In his doubles Hotteterre writes out two different types of turn: four notes (" Ah! vous ne voulez pas," 18) and five notes (" Rochers, je ne veux point," 7; "Le beau berger Tircis," 13).

Freer Ornamentation in the Airs et brunettes The doubles in the Airs et brunettes are generally so free that they have almost the impression of improvisations. The oldest song, "Si c' est un crime" (Boesset, 1621 ?), which has more long notes than the others, gives rise to the freest ornamentation. Hotteterre was not alone in this approach to ornamentation. After studying all the surviving 17th-century doubles for keyboard and lute, Stuart Cheney wrote: "It is unlikely that we shall ever know whether doubles are primarily the result of careful composition or are improvisations recorded in notation. What evidence there is leans toward a third possibility - some combination of these two, a kind of ideal improvisation .... We can safely assume that composers ... took care with those doubles they presented in printed editions to the public, applying the science of composition in order to polish what may have originated spontaneously in performance."13 In any case, this freedom of expression means that Hotteterre's ornamentation procedures cannot be generalized into any method a la Telemann. Yet a number of useful points can be made.

Appoggiaturas We have seen above that it is possible to make a tentative classification of Hotteterre's portsde-voix into short and weak, short and strong, and long and strong. Fortunately, no such indecision exists with his notation of long appoggiaturas in his doubles.14 He makes effective use of such ornaments a number of times, generally an eighth note in length: "Rochers, je ne veux point," 9, 14, 15, 16 (eighth, eighth, eighth, passing dotted eighth); "Dans ces deserts," 7 (eighth); "Si c' est un crime/' 16

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http:doubles.14

(dotted eighth); "L'amour," 15, 17 (sixteenth, eighth); " Ah! vous ne voulez pas," 2, 7 (eighth, eighth); "De mes soupirs," 4, 6 (eighth, quarter); and II Berger prend soin," 13 (quarter). Four times he uses what I can only describe as a kind of double appoggiatura, both below and above the following note (JiRochers, je ne veux point," 7, 11; "L'autre jour," 27; "Nicolas va voir Jeanne," 1, 8).

Neighbor Tones and Passing Tones As one would expect, neighbor tones and passing tones are common ornamental devices in the doubles. The neighbor tones are particularly striking when repeated, as in ilL'autre jour," 7, 10, or in "Dans ces deserts," 17 (when they could be considered a repeated accent).

Chord Tones Chord tones, too, are common. They make a telling effect when unexpected (as in "Dans ces deserts," 2, 17; ilL' autre jour," 12, 14, 20, 22, 26; "Si c' est un crime," 19; "L' amour," 17; II Ah! vous ne voulez pas," 8) or a seventh is added to the chord ("Si c'est un crime," 18; "L'amour," 22).

Thirds Hotteterre rarely creates a pure leap of a third involving a non-chord tone, the one in II Berger prend soin," 6b, being an anticipation of a similar figure in the song a measure later. But filled-in thirds are common in Hotteterre's vocabulary, generally with short-short-Iong rhythm ("Rochers, je ne veux point," 8; JlRochers, vous etes sourds," 10,25; "Dans ces deserts," 6; "Si c' est un crime," 15; ilL' amour," 19; "Berger prend soin," 9), sometimes a variant of long-short-short ("Si c' est un crime," 4; " Ah! vous ne voulez pas," 8; Air, 7; "Berger prend soin," 4), sometimes in even rhythm (" De mes soupirs," 9). An attractive figure, filling in a third down then a third up, is found in "Rochers, je ne veux point," 9.

Larger Intervals Hotteterre is adept at filling in larger intervals, whether they already exist in the melody or he creates them as part of the ornamentation. Even when the melodic material is strictly scalar, he is often inventive with rhythms and articulations ("Rochers, je ne veux point," 13; JlRochers, vous etes sourds, 15, 22; "Dans ces deserts," 2, 8, 9, 16-17; "L'amour," 3-4, 10, 1112, 16; "Ah, vous ne voulez pas," 3, 10-11, 1415; "Le beau berger Tircis," 5, 13; "Berger prend soin," 10). Often, he adds a twist or two to the melodic material ("Rochers, je ne veux point," 10, 18; "Dans ces deserts," 14; ilL'autre jour," 3, 7, 12, 14, 20, 22; "Si c'est un crime," 9, 13; JI De mes soupirs," 5).

Escape Tones A prominent feature of Hotteterre's ornamentation language is the use of echappes, or escape tones: non-chord tones which are resolved in the opposite direction from that in which they were approached. The escape tone is generally, but not always, higher than the previous note. Sometimes the resolution is made directly to a chord tone (" Rochers, vous etes sourds," 12; "Dans ces deserts," 7; ilL'autre jour," 26; "Si c'est un crime," 1; "L'amour," 19; "Ah! vous ne voulez pas," 17; "De mes soupirs," 3,5; "Nicolas va voir Jeanne," 7; Air, 8, 13; "Le beau berger Tircis," 7; "Berger prend soin," 2,5, 13). But sometimes an appoggiatura intervenes ("Rochers, je ne veux point," 15; "Rochers, vous etes sourds," 19-20; JlSi c' est un crime," 13; JI Ah! vous ne voulez pas," 4; "Le beau berger Tircis," 3) or there is a more complex resolution (JiRochers, je ne veux point," 13, 18; JlRochers, vous etes sourds," 19; II Nicolas va voir Jeanne," 11). Hotteterre is also fond of a kind of 1/ escapetone turn" ("Rochers, je ne veux point," 19; "Dans ces deserts," 11; "Si c'est un crime," 16; "L'amour," 5,17; II Ah! vous ne voulez pas," 11).

Other Non-chord Tones In two cases, Hotteterre's non-chord tones are so striking that they may well be engraving mistakes (ilL'autre jour," 4, 9; "L' amour," 23). The d" in "Dans ces deserts," 13, is an anticipation of the same note two beats later and certainly works well without a bass line, when the pieces are played solo as Hotteterre primarily intended. The a" and f#" in the second double of "Le beau berger Tircis," 9, seem to be conceived as a displacement of the same notes a beat earlier in the first double. The a' at the beginning of "Si c'est un crime," 7, also works well without a bass line, and the whole measure can be seen as an ornamentation of the AC interval, preceded and followed by A's in the melody. The two non-chord tones in "Ah! vous ne voulez pas," 17, are perhaps best seen as the beginning of an extended messanza followed by a continuation of the melodic arc - again, fine without a bass line. The dissonant g" in "De mes soupirs," 9, also makes sense as part of a melodic arc.

Compound Ornaments There are a number of instances of the four-note figures that William Pepper found in Telemann's Methodical Sonatas15: the gruppetto ("L' amour," 7; "Nicolas va voir Jeanne," I, 5, 7), the half-circle ("Rochers, je ne veux point," 4; "Dans ces deserts," 10, 18; JlL'autre jour," 20; JlSi c'est un crime," 12; II Ah! vous ne voulez pas," 8; "De mes soupirs," 13; "Le beau berger Tircis," 3; "Berger prend soin," 2, II), the messanza ("Rochers, je ne veux point," II, 17; "Dans ces deserts," 4; J'L'autre jour," 26, 28; "Si c'est un

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crime," 2, 28; /lL'amour," 12, 23; /I Ah! vous ne voulez pas," 5, 17), and the open circle (/lDans ces deserts," 2).

Playing with Rhythms For Hotteterre, the rhythms of small figures are fair game for transformation. For example, in "L'autre jour," 11/19,15/23, short-long figures are changed to long-short, and dotted to undotted or vice versa.

Pauses Hotteterre's doubles for "L'autre jour" (4-7,1112, 14-16, 19-20, 22-24) are noteworthy for his continual use of expressive pauses. Some of them (nun. 6, 16) are similar to Franc;ois Couperin's aspiration - literally, IIbreath" - a cutting short of a long note.16 The rest do behave like the snatching of breath within a phrase (see also II Ah! vous ne voulez pas," 11).

Rhythmic Displacement Perhaps the most interesting feature of Hotteterre's ornamentation style is his rhythmic displacement of song notes in his doubles. (I have marked all such occurrences with diagonal lines in the musical examples.) For example, in "Rochers, je ne veux point," the f" and eb" in m. 4 are both delayed by a beat; and in m. 9 the f#" is delayed by a beat and the g" by half a beat. There are two particularly fine examples: In the second double of "Le beau berger Tircis," the opening five notes are all displaced by half a beat or a beat. In 1/ Ah! vous ne voulez pas," 10-11, the opening of the phrase "to express to you my desires"17 is delayed by a beat, then Hotteterre further stretches out the phrase with a filled-in third, a pause, and an escape-tone turn. Less frequently, notes are displaced before their position in the song ("Si c'est un crime, 12, 8-9), or even both before and after in a kind of prolongation ("Rochers, je ne veux point," 15).

Divisions Several times Hotteterre literally makes divisions by dividing a note (or part of it) into two or three parts on the same pitch ("Rochers, je ne veux point," 4; "Rochers, vous etes sourds," 6, 7, 18, 23; 1/ Ah! vous ne voulez pas," 5; "De mes soupirs," 2, 8; "Le beau berger Tircis," 4; "Berger prend soin," 8).

Conclusions The doubles in Jacques Hotteterre's Airs et brunettes are fascinating examples of ornamental variations in a free, almost improvisatory manner. They provide some insight into where agrements can be added. Even more helpfully, they show how an ornamented melody can be built up from a combination of agrements and a vocabulary of appoggiaturas, neighbor tones

and passing tones, thirds, chord tones, escape tones and other non-chord tones, filled-in intervals, and compound ornaments. For me, the most interesting feature of Hotteterre's ornamentation style is his use of rhythmic displacement, in which the original notes are moved earlier or later in the bar, often to great expressive effect.

I hope that the transposed versions of Hotteterre's pieces I have provided will encourage recorder players to perform and program them - and of course, teachers to use them in lessons. A selection of ornamented airs and brunettes, perhaps in conjunction with a singer, should provide a welcome change from the usual diet of sonatas and suites.

As an exercise in analysis, I leave you the two extra songs without a bass line, "Je suis aime de celIe que j'adore" and "Ruisseau qui dans la pleine." You and your students could supply a bass line and try to identify the ornamental devices in the doubles.

As further exercises, you can make up your own doubles to any of the songs. It might be helpful to first use Betty Bang Mather's method of taking one type of ornamental device at a time - e.g., neighbor tones and passing tones; chord tones - and seeing how it can be applied to a whole song. When you have these devices at your fingertips, you can then use a judicious selection of them along with agrements to produce a pleasing and tasteful double.

Texts and Translations Rochers, je ne veux point que votre Eco fidelle Redise les malheurs don't je me plains a vous Iris est si charmante et ma flame est si belle Qu'en decouvrant ce que je sens pour elle Vous me feriez mille jaloux.

Rocks, I don't want to be only your faithful echo Tell me again the woes about which I complain

to you Iris is so charming and my passion is so

beautiful That in discovering what I feel for her You would make me jealous a thousand times.

Rochers, vous etes sourds, vous n'avez rien de tendre

Et sans vous ebranIer vous m'ecoutez icy. L'ingrat don't je me plains est un rocher aussy Mais helas il s'en fuit pour ne me pas entendre.

Rocks, you are deaf, you have nothing of the tender

And without shaking you, you listen to me here. The ingrate of whom I complain is also a rock But alas he runs away so as not to hear me.

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Das ces deserts paisibles,

Rochers, que votre sort est doux.

Vous etes insensible;

Trop heureux qui l'est comme vous.

In these peaceful deserts,

Rocks, how sweet your fate is.

You are without feeling;

Too happy, whoever is like you.

L'autre jour rna Cloris,

Pour que mon coeur soupire,

Avec un doux souris,

S'en vint tout bas me dire:

Mon berger, mes amours,

M'aimerez-vous toujours?

The other day my Cloris,

For whom my heart sighs,

With a sweet smile,

Bent very low to ask me:

My shepherd, my love,

Will you love me always?

Si c'est un crime que I'aymer,

l'on en doit justement blamer

Que les beautes que sont en ene.

La faute en est aux Dieux

Qui la firent si belle,

Mais non pas ames yeux.

If it's a crime that 1 love,

One must rightly blame

How beautiful she is.

The fault is with the Gods

Who made her so beautiful,

Not with my eyes.

L'amour, Ie seul amour est cause

Que je neglige mon troupeau;

Mais comme il est Ie moindre du hameau,

On dira que c'est peu de chose:

Ah! quand j'aurois tous Ie moutons

Des bergers de nos cantons

Je les negligerois encore

Pour Ie bergere que j'adore.

Love, only love is the cause

That I neglect my flock;

But as it is the meagerest hamlet

People will say that it's nothing:

Ah! if I had all the sheep

Of the shepherds of our cantons

I would neglect them still

For the shepherdess whom I adore.

Ah! vous ne voulez pas entendre

Le langage de mes soupirs:

l'amour n'en a point de plus tendre

Pour vous exprimer mes desirs.

Ah! you don't want to hear

The language of my sighs:

Love has nothing more tender

To express to you my desires.

De mes softpirs, de rna langueur,

Ecoutez Ie tendre langage:

Rien ne sc;auroit exprimer davantage

Tout l'amour que vos yeux font sentir a mon

coeur. De mes soft pirs, &c

Of my sighs, of my languor,

Listen to the language of tenderness:

Nothing more could express

All the love that your eyes make felt by my

heart. Of my sighs, etc.

Nicolas va voir Jeanne,

Et Jeanne dormez-vous?

Je ne dors, ny ne veille,

Et ne pense point a vous;

Vous y perdez pas, Nicolas;

Sont tous pas perdus pour vous.

Nicholas is going to see Jeanne,

And Jeanne, are you sleeping?

I'm neither sleeping nor waking,

And I'm not thinking of you;

You're not losing anything, Nicholas,

By not having what you want.

Le beau berger Tircis,

Pres de sa chere Annette:

Sur les bords du Loir assis,

Chantoit dessus sa muzette;

Ah! petite brunette,

Ah! tu me fais mourir!

The handsome shepherd Tirds,

Near to his dear Annette:

Sitting on the banks of the Loir,

Playing on his musette;

Ah! little brunette,

Ah! you make me die!

Berger, prend soin de mon troupeau,

Amour me donne trop d'affaires:

Je vais attendre sous l'ormeau

La plus ingratte des bergeres:

Ah! quand on est bien amoureux,

Tout autre soin paroit facheux.

Shepherd, take care of my flock,

Love is giving me too much trouble:

I'm going to wait under the young elm

For the most ungrateful of shepherdesses:

Ah! when you are really in love,

Every other care appears unfortunate.

27

Je suis aime de celle que j'adore C'est un secret charmant qui n'est sceu que de

nous Nos plaisirs sont dautant plus doux Que tous Ie monde les ignore E t que nous trompons les jaloux.

I am loved by the one I adore It's a charming secret that's only ours Our pleasures are all the sweeter Because everyone is ignoring them And we are deceiving the jealous.

Ruisseau qui dans la pleine Precipite ton cours De la part des amours Va dire a Celimeine Les maux que ses beaux yeux ant cause dans ces lieux.

Stream who into the plain Rushes onwards On behalf of love Go to tell Celimeine The harm that her beautiful eyes Have caused in these parts.

Key to Abbreviations for Musical Examples A appoggiatura Ac accent asp aspiration C chord tone D double appoggiatura (not Hotteterre's

port-de vaix double) div divided note E echappe (escape tone) G gruppetto H half-circle M messanza N neighbor tone a open circle P passing tone S suspension T turn X non-chord tone

Notes 1. The most recent studies of Hotteterre's life and work are Jane M. Bowers' article on the Hotteterre family in The New Grove Dictionary of Music and Musicians (London: Macmillan; Washington, DC: Grove's Dictionaries of Music,1980); her article "The Hotteterre Family of Woodwind Instrument Makers," in Concerning the Flute, ed. Rien de Reede

(Amsterdam: Broekmans en Van Poppe!, 1984), 33-54; and Delpha LeAnn House, "Jacques Hotteterre 'Ie Romain': A Study of his Life and Compositional Style" (Ph.D. dissertation, The University of North Carolina at Chapel Hill, 1991).

2. His writings are: Principes de la flute traversiere, ou flute

d'allemagne, de la flute a bec, ou flute douce, et du haut-bois: divisez par traitez (Paris, 1707). Facsimile of Amsterdam ed. (ca. 1710), Kassel: Barenreiter, 1982 (first published 1942). Facsimile of 1720 Paris ed., Geneva: Minkoff Reprint, 1973. English translation by Paul Marshall Douglas as Principles of the Flute, Recorder & Oboe (Principes de la flute) (New York: Dover, 1983; first published 1968). English translation by David Lasocki as Principles of the Flute, Recorder & Oboe (London: Barrie & Rockliff; New York: Praeger, 1968).

The preface to his Premier livre de pieces pour la flute-traversiere, et autres instruments avec la basse ... Oeuvre second. Nouvelle edition.... (Paris, 1715).

L'art de preluder sur la flute traversiere, sur la flute-a-bec, sur Ie haubois, et autres instruments de deflus (Paris, 1719). Facsimile, Geneva: Minkoff Reprint, 1978.

Methode pour la musette (Paris, 1738). Facsimile, Geneva: Minkoff Reprint, 1977.

On Hotteterre's synthesis of the French and Italian styles, see House's dissertation and Brian Alexander Berryman, "Jacques-Martin Hotteterre, Les gouts reunis und die Entwicklung der franzosischen Barockmelodik," Tibia 20, no. 3 (1995): 517-31.

3. One surviving copy of the original print gives no address for Hotteterre; but another copy has "rue de Seine a l'Hotel d'Arras," which is also found on his arrangement of duets by Robert Valentine, dated 1721. Yet other publications of Hotteterre's, including one from 1719 and one from 1722, use the address "rue dauphine au coin de la rue contrescarpe." Thus around 1721 he seems to have been using a temporary address, which in this case gives us our best information on the dating of the Airs et brunettes. For diplomatic transcriptions of the appropriate title pages, see Gregory Paul Dikmans, "The Performance Practice of Early 18th-Century French Flute Music: A Critical Translation of Jacques Hotteterre's Principes de la flute traversiere, Commentary and Recording of Selected Works," M.A. thesis, La Trobe

28

University, Australia, 1991, vol. 3, pp. 128-48. A facsimile of the Airs et brunettes has been

published by Minkoff Reprint (Geneva, 1991). I published an edition of the solo pieces only under the title: Ornamented Airs and Brunettes for Solo Flute (Oboe/Violin/Recorder in C) (Basso continuo ad lib.) (London: Nova Music, 1980).

4. lowe this idea to Donald Fader.

5. Hotteterre's collection is full of engraving errors, large and small, so he clearly did not supervise the publication carefully. For doubles of "Le beau berger Tircis" by Mr.

R** and Monreclair, and of "L'autre jour" by Mr. R** and Blavet, see Betty Bang Mather and David Lasocki, Free Ornamentation in Woodwind Music, 1700-1775: An Anthology with Introduction (New York: McGinnis & Marx, 1976), 120-28.

6. This paragraph and the two following are based on the preface to my edition.

7. When I published my edition, I did not realize that the photocopy I was working from was lacking pp. 75-76. As a result, my edition is missing three pieces, two of which have doubles: "Je suis aime de celle que j'adore," "Ruisseau qui dans la pleine," and "On a beau feindre." Transposed versions of the two of these with doubles will be found in the musical examples in this present article.

8. On the double, see especially Stuart Cheney, "Observations on French Instrumental Variation Practices in the Seventeenth Century," The Consort no. 54 (Summer 1998): 18-32.

9. French Baroque Music from Beaujoyeulx to Rameau, rev. and expanded ed. (Portland, OR: Amadeus Press, 1997),407,410.

10. Pierre Perrin in a manuscript Recueil de paroles de musique (Paris, Bibliotheque Nationale, fro 2208, ca. 1667), quoted in Anthony, French Baroque Music, 445. 11. In the preface to his Premier livre de pieces pour la flute-traversiere, et autres instruments avec la basse ... Oeuvre second. Nouvelle edition.... (Paris: author, Foucault/author, Boivin, 1715).

12. See Johann Joachim Quantz, Versuch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752), 197; English translation by Edward R. Reilly as On Playing the Flute, 2nd ed. (New York: Schirmer Books, 1985), 228.

13. Cheney, "Observations," 26-27.

14. Hotteterre never uses the Italian term appoggiatura, only the French port-de-voix. But I find appoggiatura convenient for distinguishing between the long ornament in regular notation and the indeterminate ornament in small notation.

15. William Bloomfield Pepper, II, "The Alternate Embellishment in the Slow Movements of Telemann's Methodical Sonatas," Ph.D. dissertation, The University of Iowa, 1973.

16. L'art de toucher Ie clavecin =The Art of Playing the Harpsichord, ed. and trans. Margery Halford ([Sherman Oaks, CA]: Alfred Publishing, 1974), 13, 34. 17. The text of the double at this point is actually "vous l'apprendre par mon trepas" (you will learn it by my demise), an even more expressive phrase.

Dr. David Lasocki is Head of Reference Services in the William and Gayle Cook Music Library at Indiana University. As a musicologist, he has specialized in the history of woodwind instruments, their social history, repertoire, and performance practice. His most recent books are (with Andrew Ashbee, assisted by Peter Holman and Fiona Kisby) A Biographical Dictionary of English Court Musicians, 1485-1714 (Aldershot, Hants. & Brookfield VT: Ashgate, 1998) and (ed.) A Time of Questioning: Proceedings of the International Double-Reed Symposium Utrecht 1994 (Utrecht: STIMU, 1999). He has written "Recorder" and twenty other articles for the second edition of The New Grove Dictionary ofMusic and Musicians, due out in late 2000.

29

I: Rochers, je ne veux point Benigne de Bacilly (?) Original key: G major Hotteterre's key: G major

+ V

ne veux point fi- del - Ie Re

Double I~.b ~ l E 1£ {J~ + , I r r ,VI: t r ~ I! IT" r CJUf U U p C CF XXA

•4 ~ I J n. - + v • + tJ

- di dont je me plains dont

I'i I +.. • + ~~~.. "_. ~

tJ div C H C Ac Ac C

1.._ n n

N N sec. dom.

T

+

a vous I

+

F

ris est

A NA F C

si char

C

v

F A SM C AcD A N

30

18

v ~ +

je sens____ pour el Ie

+

+

F E S F ACE C Ac E A Th

16

~~I' .~ r ro p+

It 1m I +

g ~ -fez mil Ie ja - loux /vous me rer -

4~" ~ ~. f*+ ~. .,. ~:: E ~..r ~ #1 ¥

'~~.~. ffffrfftfffr(

Ac N A C M F SEC

I

.,.... ~ ..0..

~ - lez ~ k ja - loux. ,.-..

+ .fill.. +_" ~~ ~+ ."." ,. ...:. ,. .". .".. f!:. t- f!:.,. ,. ."..".. f'- f'-."..,...,.."..".. ~ ..0..

~' I.I S

C P F C E C P ET

I I CI

31

---

2: Rochers, vaus etes saurds

Michel Lambert Lambert's key: C minor Hotteterre's key: G minor

~ r· /\

,.-+ -----l ¥ PII. Il

-&

n '1~ !\ Ro - chers YOllS e - tes sourds,

/\ ..,.. -&f!:- + 1ft- ------

Double ~ ~ T tJ

"",. ,. -f!9 fl- f!:- ~ f!:- ~ [ --,

I

6 -- 1ft- J~~!. ofih

-r YOllS nla vez rien

*'/~..,.,. _.' - :-+ ~

¥

de ten dre

/C'g IfVtr7t Et

bY'~ ~-&-

~

diy ----

P diy -f'

j'

F C N P _~_ _____ d _

l ;;J P

LI.

TI

II. 10 . vI'J + ~+ ,-..+ .... -.-----rJI tJ

sans VOllS e bran ler

h + ~_ ia' ----, YOllS

I

m'e-COll- t~_ + /i -/cy. _. ,. ----±J / _ +

iJ -FCC div

L ~"""--f'.. - ..... -/3 12- ....-.... ,--- ----..,

~.p. fl- ~ ,. + 19

~ L'in - gr.. at dont

~~- ~ ~.p. -f' fl-..,.,. it~

--.J.

je ~lains/ ~

~_. • /

st

1ft ..,.~..

~ J f!:

~

#fL F

ft _. ,. --.:J. l.L

p C fr o

diy P C

I

32

25

17 -- + c--+ r.; • " .". .....- . :-. ,.--- --- .".-....., v -------- + v

tJ _ un ro

~ " ......". tJ A C

cher_ aus-sy

~. _. •

~s he-~as ,~~ ~ ~ ~~E'-- 'er-I ::tFF3 div N A E A E

~ .(lI !1!r .(ll b.".

il

+

A r.;

s'en fuit

-~ +

C .".. -M

~+ V

pour ne me pas en - ten - dre he - las il s'en .~

j', l r r r I[US ura IF ~lrb F div N

.". I .". !1!r .p.' .".•

11. 112.

-e-

me pas en ten - dre.

-e-

F CAe F C -e

33

3: Dans ces deserts paisibles Jean-Baptiste Lully Lully's key: C minor Double probably by Michel Lambert Hotteterre's key: G minor

Tendrement 1\ I V

(t)

Hottete.rre'sI4~bDouble

Lully's Double

1'1 I

iT

e

Dans ces de - serts pai - si bIes, - - ~ ~+ +r-JII· r-~ bf i EN C?t~I.'1 ~ .::L IC r iit r '1

~ IFOe .....-. F

r-JII:F [far rtf r @blqr i

Ro-chers,

P Jr

uTI #-.f1Lf!:. h. # , #-.

vo tre

C? E A

6 6

4 11. 112.+

sort_ est doux. Vous +

p +

4 3 6

6 A V

F

.~~~, ~

si

6

34

V A• t.

~ - eux qui l'est com- me vous; vous ~ -. ~in - sen

~S'i ~+ •.• ±I~~ ,~~ ~r EJrrrrlrrrg tJ A H CPCA T Div X E

1'1 t ~

•• !:""\ ~.--------+ ~... ~. '"' rfi tJ

; ~ I; Ii: - · • I~r~ J .d. ~ h f..

14 + ""'-""'1 +

$~.f]: I

L- si - bIe; Trop heur- eux, trop heur - eux qui A ,.-- +~ -I = I ---P C NF N ~

~ CU~W~rl~ii

7 6

" /8 v II~

ft t • V

tJ

ft I l'est~,.

....

---.... com - me 1+

vous. .--. v-

f'j I

c ~ -

A .,....

A C ~+ ,. -

t.

----b..

35

4: L'autre jour Original key: Bb mjaor Hotteterre's key: D major

+

L'au - tre jour rna Clo - ris, Pour qui

.~... +-- ~ -~+C· .,.,.

Double !4P2~ i ~ C· UfL E" UL L; If J P A F C

V ,. .P+ 11 _. A.f1 19- ~o + fIAutre double

IiJ

~ft. !'- .... • ..".. .fL' •

VV ...". j~ ..i~•

coeur sou- pi

'~eli I ~ ~

~·E ~:d XX asp Ac

-y

re; Vau - tre jour rna Clo

V

V

./~~.- ,-,. .. ... .... P A

~ --..~. ~. .,.~ !'-;",. ;!;

.,. ,~ r· p r~

asp F ~ f!:. .f/L P P .,. . N asp A . ...

V",...-..7 V~

ris, Pour qui sou-pi re,

,~~+~ ~V ~ r c :FE E:1J W 7 ~ tic brl r F C XX asp Ac

~.,, g~ ~J-q P tiC' i'm'~ r tZFfpfrf[Jr· asp H N N Ac

!'-. - • ...

sou - ris___

,..~+' + V~

Y ff± ftlr' N .. :.. V~~ . • ....f/L.,..f/L.f/L. ~

N N

r.' ~ .p. .... •

36

aspC

c aspF ~+

H

v

re: ~on ber-

N

)t

aspF

14 +

mours, M'ai - me re,L.,Z___

+ -~

asp

+

).+

vous tou -

asp

17 v

N

sou - V~

asp

S'en vinL touL

continued page 38 ~

37

4: L'autre jour (continued)

20 V v fj .... +~ ~ n 1fJ- fit. .;

fj

bas

, i~:(!!:.fIL 1": fIL fIL

me di

+ ~ ... .-.-j~~-.f"~ l •

,~fit. fIL','f!:. fIL 1fII' • 1fII' fIt..",.

re:

;t

Mon ber

~ ~. • • 1fII" fit.

.;

fj v .".

H c - asp F .",.~~+~r- .,.. 1fII' fit. .. ti...",. 1fII" .. Q

N

~ ~ 11!-' .."... fit.

f.) o c .".

N

22

F

+

mes___ a mours, M'ai - me - reL.Z___

/~~~,- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

.; jours?

fj

.;

fj [Petite reprise] r"'.

~.1fJ-~""" fit. .~ ...~;eFt€:#flt.t ...",. + v •. .---- Fi+~#_.~..",.. ter " j=I!+j':!@~ ~

.; F N M extended C E C o M 17\ _. -$

38

4

5: Si c'est un crime Antoine Boesset Hotteterre's key: D major

,~, +.. "flit ~ . L'~ ~~~~~~.... /c'est un eri p:Si me __ l'ay mer, On n'en

a_a~,...~. --.,~~ ± \ + Double ~. ~

N A E ,M A C ~ 19- I'- .,.. a -e- ~

~.

V++ +

doit

~

just - te - ment

+

F ..a.

bla +

mer

7 ~I+ It.,~

beau tez

V + ~ + /"',+ +~Id FUI diU SEC" atO

C ornamentation of interval A-C F

Ie.

In :11

12 V 15.,.. I ,+lIi _____~1:L ~,+ ~-,. -

4H Ie.

F

La route hn ~,~

Ell: f frfr~ fmm§l ~, C

til -(!/i1

est aUK

~~ -' ."'fI!I-!!-"'fI!I- •."'fI!I--'!Il

F

-E E

Dieux Qui la

V + -

-"">

i

fir

-F

- ent

continued page 40 -+

39

5: Si c' est un crime ( continued)

16 fj ~ n ,==I• ~

fl 1\ .... "I

~

bel Ie,

.:~,,..-~ ~, __ •• / -:! -~

A ~

c ET C

;:--....

-asp Mais non

~,, bit c:Cr; I C M 7th

6: L'amour Michel Lambert Hotteterre's key: D major

fl _0 '1

t)

L'a-mour, Ie seu} a - mour est cau se 9/e je7neg ~~fl • + ~ -.

Double rr~ ¥ Ir· ~ Eli Ir' [~( "~~ F iooooo.iiiiiI I'- _f:- f:-' ~I'- 11'-' ~ ~ .p.

'1

~

5 6 3 5 54 5 t\ t\... v+ +.

trou- peau; Mais est ~

IT C P

+ ..... ...-, .i\ + ~·I~

NET

3 6 5 6 6 6 7 6 5

+

AC

LiiF ~ moin - dre du_ ha

3 4

40

quand j'au

+

10 11. 11 + V Vr:J ~........... V

F ·1 ~.)~~.:t; meau, di ra

~+ + V2~a=r tglr'

",F

- r Ir

~ ~ I;G ~ ~ Ir;: ~ rr' que c'est peu de cho se: L'a se:

~ I)~V V ~ rWD=HPtlr 0/ ~ ·II!

f C?P M ~

~ tiErtin Ef U :1' * # 5 3 4 6 #

15 +

- rois tousles mou tons Des ber gers de nos can ,-.... ~ ~ + t.... V ......---r-.... -.

itl Efltt ..,

t' .JIt..P C Ac A A PT N A C NC

6 6 6 4

tons Je les ne - gli - fle - rois en - co

V + /~ +

5 5 6 #

2

Pour Ie ber - ge - re que j'a - do reo reo

~,.,~V

M ACN

____C

#6

X

6 4 #

41

10

7: Ah! vous ne voulez pas

Michel Lambert (?) Hotteterre's key: D major

Double hoU

4U ...a. -... U

, ho.~

4

~

6

J

I r-I

CF .p..

I

~6

+

I I .,. ...

E A N F Iiiiiiiiiiii...

-e n -I I

3 4 6

II. +

sou- pirs:

~

div

r-. I

fl ........ , hoU• " ... ~ '-.I.' --.>

Ah!

() ........... Q ........,

I

vous

-I

ne

-

-" I

you -,,/"I _. _ r

• + - h r

I

lez pas en - ten - dre ~ ~~ .............. - ---+ - -- r- r- J r _ r- I r-. _. r _ , -

6 ~3 4 3q

6 12. V+ + +

pirs: Lla - mour nlen a point plus ten dre

~ Y~'. +

A Th H C

76 6 5 6 5#

y +

mes de - sirs. L'a

+

5 6 5

42

13

mour n'en a

F

6 6 4 #3

17 12. + Y...

Pour VOllS exzmer mes de-sirs. L'a sirs. + ~ ~ -erE! IF FrErE:! ~

EC x M X N T

6 5 ~6 4 3

43

8: De mes soupirs

Jean-Baptiste de Bousset Bousset's key: G major Hotteterre's key: D major

~ n ~" 11/1

De mes sou - pirs, de rna Ian

I fl ..:.~,~• ... 11/1- • .,.. _ + .:. *.,..~_Hotteterre's Double IiJ

N P C div AC E

V~ ,-, ttl - .,-.....,• .,... 1fJ-_" + o .,.. ,. 1fJ- .fL .fL~"" .fL .fL Composer's

Double P 110I'if Alit

-e

7 6lt 6 6 7 4 5

Graces D. C. only 4 + Ii. I.,..~~ -m_ ... .,.. 19-~ (';). Finefl -e- ft." 11/1- n Sj

gueur,

fl~

E cou - tez Ie ~ ;"""".

... ... .... ........--....... ~ -n 11/1 -n 1 t-1- ...1I/I-. _ _

ten

~ ••• 11/1 _...

dre Ian -..--,.......

.It. T" I 11/1 ...

ga

.~19 n

ge:

(';).

tJ

~~

A C

....... F

~... .,.. ~. +-f!:. 1'-... .... _ .. x ,,-... • .... 1fJ-_,

A

....--+ ,.,.. ... ~ "(9 n ....... ;;;;;;::; ~ ill

tJ

~ b-e .p. qf!:. f:. 19F*¥ .n

6 6 5 4

V8 12. .a.. 19

ge:

C div N Th C

b-e-'

da-van

6 5 6 6

44

11 V-e-~ -e- V '1!ii- -1='+.

ge Tout 1'a - mour

V -e- ,l~t.

N A C P H

..0..' -e-'

7 ~ 6

D.C. al Fine +C1I.

45

9: Nicolas va voir Jeanne Original key: A minor Hotteterre's key: D minor

Gay ....

Ni co - las va voir Jean ne, Et

Hotteterre's Ii ~Ilh~ ¢ * Double - ¥ c N p G D

Original

Double

bt t:F I

" 3 .",." ~lil' Ii iI> I if

~

t:" rl.",. E i ~ I! r ~ ,...---...,.. E::~ .",. • t+

*Jean ne dor me~ VOllS? Je ne dors n~ ne_ vei - He, "

~1i221i {fJ:(1 r fr IE A C C *

~ .",.

II r ~.fII.~~ r~i! rrcttlF CG A C

g+

1'1 I • ~:f!: ~:M :f!: M~" .",. "f? ~ ~ .,... ~ ....~~ .",. • .",.] .",.. _ L ".... i3'

~.rr.~

7 .,... + .....",.~ ~ r .fL~', - . • •

Et ne pen - se point_ a VOllS; Vous y /per

.~ ~ ~ .",. • .",..fL."..f!:. • .",. + ~ f!: f!:..".. ~.",. ~ ~ _ L • •

C G S C E A N D

.0 ~. ~ + .fL t!!:. ~ E ! nErf;;t= ~~~~~=~~I~ i:E • 46

Double

.--. ~ . .+

Ni - co - las; SonL tous_ pas___ per

+ ~

N N N

dus pour vous.

E?

10: Air On joue cet air par Echo Hotteterre's key: D major

Mod:r: v

II + V+ ;j::: ~~&U ~~ :T Ir' ~ r I r· V r

"-..,, fj ~~ .fL~ .~ + ..:...~ ~E

~

;j::· • ] ! , I

A N E .~

continued page 48 ~

47

I0: Air ( continued)

14 , 11. 12..,.. + ~ ~~ n -. . - .. . fI ~

.,..~ +n -"-...,, ~~- .. . "" ~ p

T _.

I I: Le beau berger Tircis Hotteterre's key: C minor

v ~ Le beau

~

ber - ger Tir cis, Pres

Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 v.> A ,-... + + +

des - sus_ sa muz - et - te; Ah! pe-ti-te bru

+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II. ~"

fj ,w. d±.=:. ~-~~.~ ._ - ._ ::t.

-.J net - te,

1!JJ.+

Ah! _______ tu

~---~~. . me fais

..",..~. +

mou - rir!

-.>

~ JJ. +

C A c ~ • ..,. _ -fL

c ~. .- .~

-.>

• C? c A C? A

-II

I

-.> A

+ +

--.---II! • --- ---- ...,..".. --- • .:..

~ -- ~ IV II -.>

F A N

• II

I

49

12: Berger, prend soin de mon troupeau Hotteterre's key: C minor

v

ger, prend soin trou peau,

~

Double

N H C E

A

6 6

4 V 11. 6[2.fl J,j. •• ..,.. + I V .~ • .,. .fL

17 =w mour me don - ne trop d'af - fai

~ ~~ c--... ~ it ". -r f~· ~ • . + .,.~ .- .~ res:

I

Ber ger prend

~

res: Jevais at -V :""\

.~ -f'I- ••

-u PC ~

--.-o7K

~

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13: Je suis anne Michel Lambert Lambert's key: G minor Hotteterre's key: D minor

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continued page 52 -+

51

13: Je suis aime (continued)

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que nous trom pons les ja - loux

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52