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The introduction of the one-keyed transverse flute in France and its use in the French baroque cantata.

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The introduction of the one-keyed transverse flute in France and its use in the French baroque cantata

Miller, Michelle Renee, A.Mus.D. The University of Arizona, 1992

V·M·I 300 N. Zeeb Rd. Ann Arbor. MI 48106 -----,---- THE INTRODUCTION OFTHE ONE-KEYED TRANSVERSE FLUTE IN FRANCE AND ITS USE IN THE FRENCH BAROQUE CANTATA

Michel1e Renee Mi1ler

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE

In the Graduate College of

THE UNIVERSITY OF ARIZONA

1992 2

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have read the document prepared by ------MICHELLE RENEE MILLER

entitled----~~~~~~~~~~~~~~~~~~~~~"~~~~~--- THE INTRODUCTION OF THE ONE-KEYED TRANSVERSE FLUTE IN FRANCE AND ITS USE IN THE FRENCH BAROQUE CANTATA

and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts

Warren Sutherland l.J J-~~~p:j L William Dietz Date

Date

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.

7 I Jean Louis Kashy Date 3

STATEMENT BY THE AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Ubrary to be made available to borrowers under the rules of the Ubrary.

Brief quotations from this document are allowable without special pennission, provided that aca.trate acknowledgment of source is made. Requests for pennission for extended quotation from or reproduction of this manuscript in whole or in part must be granted by the copyright holder.

Signed J~' t>j.Q/:....-----...... , "'" 4

ACKNOWLEDGMENTS

I thank Professor James R Anthony for his inspiration and assistance. For an the love and support, I thank my family; Victor Miller, Lucienne Breland-Miller, Denise Y. Miller, T.e. Miller, Zoran Stilin and Abbie Small. 5

TABLE OF CONTENTS

List of Illustrations and Musical Examples ...... 6

Abstract...... 7

Introduction ...... 8

I. The Development of the One-Keyed Flute in France ...... 9 a. Technical Transformation: A Chronology ...... 10 b. Popularity of the Flute at Court and in Paris ...... 17

II. The Social Roots of the Cantata ...... 19 a. Center of the Arts; From Versailles to Paris Salon ...... 20 b. Italian Influence ...... 21 c. Cantata Texts ...... 22 d. Duc d'Orleans ...... 24

III. The Flute in the Cantata ...... 27 a. The "Air Tendre" ...... 28 b. Terminology ...... "...... 29

IV. A Survey of Flute Parts in Selected Cantatas by Morin, Campra, Jacquet de La Guerre, CIerambault and Montec1air ...... 31 a. Campra ...... 33 b. Morin ...... 50 c. Jacquet de la Guerre ...... 52 d. Clerambault ...... 64 e. Monteclair ...... 97

V. Conclusion ...... 117

Selected Bibliography ...... 119

------6

LIST OF ILLUSTRATIONS AND MUSICAL EXAMP~

I -1 Drawing from Mersenne's Harmonie UniverseJl~ 1636, p. 11

1-2 Drawing from title page of Marais' Pieces en Trio.. , 1692, p. 12

1-3 . Drawing from Hotteterre's Principes•• 1707, p. 13

1-4 Drawing from Michel Corrette's Flute Tutor, c1750, p. 15

II -1 Cantata Text from Mercure de Fran~ 1729, p. 23

IV-l Campra's Arion, First Air, p. 35.

IV-2 Campra's Arion, Final Recitative, p. 41

IV -3 Campra's La Dispute de l'amour et de l'Hymen, Introduction of First Air, p. 44.

IV -4 Campra's La Danse de Flore, Air Lentement, p. 46.

IV -5 Cover page to Morin's Cantatas, Book III, dedicated to Duc d'Orleans, p. 51,

IV-6A Jacquet de la Guerre, L'!slede Delos, Muzette, p. 54.

IV -6B Jacquet de la Guerre, L'lsle de Delos, Chaconne, p. 55

IV -6C Jacquet de la Guerre, L'Isle de Delos, Simphonie de Rossignol, p. 58.

IV-7 Oerambault's Orphee, p. 66.

IV -8 Oerambault's Mede~ "Air Tendre", p. 79.

IV-9 Oerambault's Alphee et Artebusefor "a voix seule", Title page and "Air Tendre", p. 82

IV-l0 Clerambault's Zephire et Flore, TiUe Page, p. 92.

IV-ll Oerambault's L'!sle de Delos, "Air Tendre", p. 94.

IV-12 Monteclair's Pan et Sirinx, Recitative and "Air Tendre", p. 99.

IV-13 Monteclair's La Bergere, Final "Sommeil", p. 109. 7

ABSTRACf

Ouring the second half of the seventeenth century, the transverse flute was

transfonned from a cylindrical, one-pieced, six-holed instrument into a conically-bored

instrument in three or four pieces with seven tone holes and one key. These changes enabled

flutists to adapt to a new repertoire that demanded improved intonation and increased tonal

control. A genre which exploited these improvements was the French cantata, in which, the

flute, along with the violin, was more and more favored as an obbligato instrument.

Political and internal upheavals during the last years of Louis XIV's reign changed the atmosphere at Versailles from one of gay spectacle, in the mid-century, to one of pious restraint by the late 1680s. Consequently, during the preramiste era (1687-1733), the center of musical activity shifted from Versailles to the Paris salon and concert hall where Philippe, Duc d'Orleans, was a key figure. He encouraged the perfonnance and study of Italian music.

FortUitously, the cantata and the one-keyed flute found favor at precisely the same time and in the same aristocratic circles in Paris. I believe it was this confluence of historical, social, and technical factors that encouraged the development, in France, of one ofthe earliest ensemble repertories for the flute. 8

INTRODUCTION

There are four parts to this study: firs~ the development in construction of the one

keyed flute in France is traced from the seventeenth to the early eighteenth centuries; second,

the French Baroque cantata's association with the Paris salon at the tum of century is outlined;

the third section explains why, between 1700 and 1710, cantata composers favored the re-built,

one-keyed flute; finally, selected cantatas are surveyed with regard to the use of the one-keyed

flute.

Most Baroque flutists are familiar with the cantata genre. In general, perfonners on the

modem instrument are not. An important goal in presenting this document is to point out that

the flute parts in the French Baroque cantata contain some of the earliest music written for the

flute in an ensemble. It is hoped that the infonnation offered in this paper will spark the

interest of the modem flutist and result in more performances of these works.

To clarify use of tenns; throughout the paper I refer to the recorder as "recorder" and the transverse flute as "f1ute." When writing about the "flute" before about 1680, the tenn refers to the one-piece, cylindrical flute. Mer 1680, and always in the cantata, the term indicates the re-built, one-keyed instrument. 9

THE DEVELOPMENT OF TIlE ONE-KEYED FLUfE IN FRANCE 10

By the early seventeenth century music was increasingly dominated by an expressive

and dynamic style. Woodwinds found it necessary to Ucatch-up" to their stringed countetparts,

in music which required more advanced technical capabilities and accurate tuning. The

cylindrical one-pieced flute, particularly, was not equipped to handle these demands. lhe

inflexible air column of the cylindrical tube produced a sound that was somewhat shrill to

seventeenth century ears. The limitations in its tone color prohibited the flute from

participating in solo or small ensemble settings.

Woodwind pI ayers/ makers in France experimented with the construction of the flute

throughout the second half of the seventeenth century. Two family names, Hotteterre and

Philidor, are associated with woodwind development during this period. Most of the

"physical remodeling [of the flute) at the hands of the Hotteterre family took place between

1660 and 1670.,,1 Because of the possibility of "inherited" positions within the Ecurie,

generations of these families enjoyed the reputation of master musicians and instrument makers.

James R Anthony states in his book French Baroque Music that (these family dynasties) "were

blessed with economic security and ample opportunities for extensive petformance on their

chosen instruments. This in tum not only led to the betterment of petforrnance technique, but

also, and most important, it stimulated needed reforms in the construction of the instruments

themselves to the point that soon after the tum of the century, French oboes and flutes were the

most admired in Europe.,,2

During the first half of the seventeenth century, the flute was carved from a single piece of wood with a cylindrical bore and six tone holes. Even with its limitations, "it seems obvious that the flute must have been sufficiently admired to have been subjected to the

1 Nancy Toff, The Rute Book (New York, 1974) 188.

2James Anthony, (New York, rev. ed., 1978) 14. 11

experiments which led to its transfonnation."3 A major innovation occurred when the flute was

divided into two, then three, and later, four sections. The jointed construction drasticatly

increased flute makers' control over measurements and facllitated drilling the inside bore of

the flute. By the 1680s, the flute was a three-pieced, conicatly bored, instrument with seven

tone hates and one key. The added seventh tone hole (d#) was intended to be covered by the

little finger of the right hand. Because of a difficult stretch, however, a key of brass or silver

was used to cover the hole. Hotteterre explains the -d-shatp is played_by pressing the little

finger on the key to open the seventh hote.-4 The flute was most commonly made from boxwood

with calVed ivOl}' or wood headcaps.

The following examples illustrate the technical transformation of the transverse flute

which took place in France during the 17th century.

1-1

des I nll:rumens avent.

PRO P 0 SIT I .0 NIX.

l::xpliqueJ'/d figure, rq1.rnJII~, & 14 tablature de fa Flufie • .41k",~nJ J & JII Fi/re. fiilii'ft!!'rlntrffkdt«l({dtMiffl"M.ff'tMfW:t,lffhtllLBmj ~

3 Jane Bowers, The French Rutelrom 1700-1760 (PhD. diss. University of California, 1971) 15.

4 Jacques Hotteterre-Le Romain, Prindpes de la Rate Traversif}re, au ROte d'Allemagnei de la ROte abee, ou Rate douce; et du haut-bois (Paris, 1707), trans., ed. Paul Marshatl Douglas (New York, 1 %8) 26 12

Example 1-1 is from the Traite des instrumentstrom Marin Mersenne's Harmonie

UniverseOe The flute is in one piece with some decoration at the top and bottom ci the

instnunent. Finger technique was limited because of the cylindrical body and large tone holes.

Intonation and tone were infIeXlble.5 During the 1670s the flute was divided into two sections

with a cylindrical bore and six tone holes like the Mersenne drawing, but with features of what

was to come; builders had perfected the technique of sweUing the wood to fit a.ter the ends of

the jOints. In the 1680s the flute was divided into three sections.

Example 1-2 shows the title page of Marin Marais' Pieces en Trio•. of 1692. It shows the

one-keyed flute in three sections. The jointed construction is very clear in this drawing as is the

decoration on the end pieces. Interestingly, the score does not specify the transverse flute, only

".. F1utes, Violon". Note, the one-keyed flute is prominantly featured at the top of the page and the recorders are pictured off to the side. The MaraisR'eces en Trio contains six suites in three part books.

1-2

5Marin Mersenne, Hannonie Universelle contenant la theorie et ]a pratique de la musique (Paris, 1636-37; reprint ed., Paris, 1963) 241-244. 13

Example 1-3 is taken from the Principes de la ROte Traversiere au Rote d'AJJemagne_

(1707) by Jacques-Martin Hotteterre (Le Romain). It is easy to see the arnical taper ofthe

instrumenl In the last decack-s of the seventeenth centuty, the flute's inner bore was changed from cylindrical to conical. The tone of the "rebuilt" flute became softer as a result of the conical bore (free from the fife-like shrillness of the cylindrically bored instrument). The tapered shape enabled makers to driB smaller, under-cut tone holes. Since the finger-holes were closer together, not only was there flattening effec:1: (octaves were more in tune) and purer tone, finger position and technique improved

1-3 14

Example 1-4 is the title page to Michel Corrette's Methode pour apprendre aisement a jouerde

Ja flute traversiere 6 To my eye, one flutist is holding a three-pieced instrument and the other

is holding a four-pieced flute. The airstream, formed by the lips on the transverse flute, was far

more flexible than the built in air-stream of the recorder? Consequently, the embouchure

became the important adjustor and controller of the sound and intonation Because of the required cross fingerings on the one-keyed flute, several notes were vel)' out of tune. Upping the notes /lin tune" constantly on the cross-fingerings had brought about the need for some other provisions for meeting variation In playing pitch. About 1720 the middle joint was divided into two pieces; an upper and lower joint The upper joint was supplied with from three to six different lengths. The variable lengths could tune the instrument to various pitches without disturbing the response of those critical cross-fingerings that concerned the left hand holes.8

Michel Corrette explains II All flutes have the pitch for opera, but it is often found that in harmony with the harpSichord, they are too high or too low. [This might explain why the early flutists, Philbert and Descoteaux preferred playing with the theorbo.] Ordinarily, there are several replacement parts of different lengths to match the pitch of the hatpsichord. This changing of parts is only for the first [joint]. Indeed, such variations in pitch are hardly corrected before some singer capriciously gives himself an air or the singers have colds."9

Corrette also writes (in 1741) that liThe most modem flutes are made in four parts and are easily carried in the pocket. Formerly, they were made in three parts which were inconvenient to cany... there are several replacement parts of different lengths to match the pitch of the

6rfranslated by Carol Reglin Farrar in Michel Corrette and Rute-P1aying in the Eighteenth Century (New York, 1970) 24.

7Toff,14.

8Anthony Baines, Woodwind Instruments and Their History (New York, 1991) 292.

9Corrette, translated by Farrar, 24. 15

hatpsichortLthe body replacements are vet)' useful.,,10 Quantz also mentions that dividing

the tube in four pieces seems to have been "for the sake c:i cxmvenience.-11 The three and four

jointed instrument co-existed throughout the remaining eighteenth centuJ}'.

1-4

. to' .., " f·-......

10Ibid, 24-25.

11 Johann Joachim Quantz. Ven.uch einer Anweisung die Rote Traveniiere zu Spielen (Berlin, 1752) translated by Edward R Reilly as On Playing the flute (New York, 1966) 31. 16

Other experiments to improve flute's intonation occurred during the early years of the

1700s. One attempt was to attach a short piece of wood that could lengthen or contract, like a

"tuning slide", to the tip of the foot joint. Pierre Buffardin was credited with this invention, as

well as, with being one of the first to use the adjustable cork in the head joint.

Shortly after the improvements had been made to the flute composers began to use it,

not only in large ensembles (Lully had specified the flute in his ballet Le Triomphe de l'Amour

in 1681), but in chamber music as well. In the mid-1680s Marc-Antoine Charpentier scored for

the "transverse flute" (by this time the one-keyed flute) in the first known extant cantata,

Otphee descendant aux en/em12 In 1685, Chatpentier was commissioned to write a pastorale en

musique, La Fete de Rueil He scored it for recorders and transverse flutes, oboes, bassoon,

violins, other strings and harpsichord.13

Louis XIV would often call upon Philbert Rebille (c1650-1712) and Rene-Pignon

Descoteaux (c1646-1728) to play duets during the "grand coucher" (the ritual of putting the King

to bed) and "often commanded [them) to come to his apartments or to the woods of Versailles to play for him.,,14 They were the first flutists to be hired by the court of Louis XIV. Philbert was in the Grand Ecurie by 1670 and Descoteaux was admitted in 1689. Quantz credits Philbert as

"... the first to distinguish himself and to make himself celebrated and popular upon the

12James R Anthony is his review of The Lyric Art ofPierre Perrin founder ofFrench Opera by Louis Auld (Henryville, 1986), Journal of the American Musicological Society, XLII, No.2, (1989) 415, writes that ''There are two 'cantatas' which, Perrin tells us, were based on Italian Originals. The first is Polipheme }aloux[text in Auld vol. 3) set to music by Moulinie; the second, La mort de 7ysbe [text in Auld vol 3) set to music by Sablieres ... they may have been the first French cantatas (antedating Charpentier's ... by almost 20 years)"

13H. Wiley Hitchcock, Marc-Antoine 07arpentier (Oxford, 1990) 100.

14 Bowers, 20. 17

improved transverse f1ute ... ,,15 Rebille and Descoteaux kept good company. They were known to

have played with Robert de Visee (theorbo player and guitarist), Antoine Forqueray and

Marin Marais (the famous viol players) and Fran90is Couperin.

Madame de Maintenon, last and most pious of louis XlV's wives, organized subdued

musicales for the King. She arranged almost daily performances of chamber music in her

apartments. The flute had became very popular at court and was heard in the cantatas, along

with purely instrumental pieces, that were performed for the royal couple in these evening

concerts.

In 1702, Michel de la Barre's Pieces pour la flute traversiere et basse continue were

published. Michel de la Barre was a student of Philbert and Descoteaux. These suites were the

first works for the solo (one-keyed) flute published in Europe. La Barre's Opus 4, Pieces pour la

flute traversiere (1703), included instructions to the flutist about embouchure, articulation and

ornamentation. These were the first "instructions" for the one-keyed flute to appear in France.

Along with La Barre, Hotteterre was an early composer for the flute, though he is remembered

primarily for his flute tutor, Principes de la Flute Traversiere, which was published in 1707.

The popularity of the flute is referred to in the Preface to Hotteterre's Principes.... He writes

"Since the transverse flute is one of the most pleasant and popular of instruments, I feel a certain duty in undertaking this brief work to further the inclinations of those who aspire to play it.,,16

Fran~ois Raguenet wrote in his A Comparison between the French and Italian Musick and Operas, "Moreover, besides all the Instruments that are common to us, as well as the

Italians, we have the Haut-bois; which by their Sounds, equally mellow and piercing, have

15Quantz, translated by Reilly, 30.

16Hotteterre, translated by Douglas,S. 18

infinitely the Advantage of the Violins, in all brisk, lively Airs; and the Flutes, which so

many of our great Artists have taught to groan after so moving a manner, in our moanful Airs,

and sigh so amorously in those that are tender.nl7 In the margin alongside this quote is added

the names of the one-keyed flutists, Philbert, Philidor, Descoteaux and les Hotteterres. It is

interesting to note that, by this early date, the flute was already praised for lyrical

capa bil iti e s.

Compositions for solo flute and flute duets (with or without accompaniment) are

borrowed directly from the dance suite. Instrumental suites were popular in the fil'st decade of

the 1700s. Vety soon, however, the performance of Italian sonatas and cantatas became quite

the rage in Paris. The suite was quickly overshadowed by the sonata, and later, the concerto.

These Italian genre were so popular that in 1713 is was said "... cantatas and sonatas spring up

under our vety feet, a musician no longer arrives (in Paris] without a sonata or cantata in his

pocket.,,18

In France, by the first decade of the eighteenth centuty, the flute was admired enough

to have its own music, its own tutor, and it was often portrayed in the paintings of the period.

The flute was also a noted addition to the instrumental ensembles which accompanied airs in

the cantata and in stage music. Much more so than the La Barre suites, or other early solo

works, cantata composers such as Campra, Oerambault and MontecIair exploited the lyrical

capabilities of the rebuilt one-keyed flute. With its sweet and airy tone the flute lent itself to the sentimental expression found in the "air tendre" of the cantata. The uair tendre" of the cantata was a showcase for the "flute allemande".

17Fran90is Raguenet, (London, 1709, Westmead, 1968) 10, Originally printed as Paralele des italiens et des franfois en ce qUi regarde la musique et les opera (Paris, 1702)

18From the Mercure de France (171 4), cited in Anthony, 359. 19

THE SOCIAL ROOTS OF THE CANTATA 20

The last years of Louis XIV's (d. 1715) reign were filled with unrest, politically and

economicaJIy. The King governed with pious resignation. He had suffered many personal losses.

The King's most important composer, Jean-Baptiste LuUy, died in 1687. Several members ofthe

King's immediate family were lost to smallpox in the early 1700s. As mentioned earlier,

Madame de Maintenon's effect on Versailles was severe. The spirited atmosphere that once

prevailed vanished. Consequently, musicians, writers and artists looked elsewhere for a

creative center. This "elsewhere" was Paris.

Through memoirs, letters and articles there can be no doubt that private salon concerts

were common during the reign of Louis XIV. By the tum of the century, however, these salons

"exerted a more potent influence,,19 As more and more artists, writers and musicians left

Versailles, artistic activity in the Paris salon increased dramatically. High society found that

presenting a concert series could be to its distinct social advantage. Men and women gathered on

a regular basis to spend their evenings discussing the most important literary and social events

of the day. And they listened to the most fashionable music. The intimate setting had produced

music of the same: "music ... suitable for performance in the intimate atmosphere of the concert

room.,,20

LuJIy's musical reign had been as absolute as that of his King. Through a series of events, governed by shrewdness, talent and luck, in the 1660s, LuJIy had became one of the most powerful musicians the musical world had known. His devotion to music that was distinctly

French seriously limited any Italian influence. Following his death, musicians enjoyed a newfound freedom Consequently,during the last years of the seventeenth century performances

19David Tunley, The Eighteenth Century French Cantata (London, 1974) 20.

20Ibid,19. 21

of Italian music swept the salon. The vocal music of Giacomo Carissimi (1605-1674) and

Alessandro Scarlatti (1660-1725) was well known in Paris by the end of the century. Corelli

Sonatas, Opus V, were printed in France (by Foucault) about 1701. At the turn of the century,

theses sonatas were considered the most modern and progressive music in Paris. The

invigorating salons of Paris were just the place composers needed to imitate and personalize

these new genres.

The flourishing of the Cantates Francaises in the early 1700s was result of both these

factors; the cantata itself followed the Italian model and the ensemble, which very often

consisted of a solo voice (usually soprano), obbligato and continuo, was the perfect size for a

Paris salon.

The cantata began as a literary genre. Jean-Baptiste Rousseau (1671-1741) is credited with creating the form of cantata poetry. The cantata poems themselves were not profound literature but were often delightful and sentimental. Rousseau explained that he gave "form to these little poems ... " to be used in musical settings.21

Several (cantata) poets were rather colorful characters and found themselves in serious trouble as a result of their satirical verse. The poet, Joseph de La Grange was imprisoned for satirizing the Duc d'Orlcans. Pierre Charles Roy (1683-1764) was literally beaten on the streets of Paris for his controversial verse.22 In his Le Parnasse Francois, EvrardTiton du Tillet (1677-

1762) "considered Mile Louvencourt [who wrote cantata texts for CII~rambault ... ] one of the most accomplished women of her day.,,23

21Ibid,21.

22Gene Vollen, The French Cantata, A Survey and Thematic Catalog Ph.D. diss. (Ann Arbor, 1982) 57-63.

23Julie Anne Sadie, "Parnassus revisited: the musical vantage point of Titon du TiIlet," lean Baptiste Lully and the Music of the French Baroque; Essays in Honor of lames R. Anthony, ed. John Hajdu Heyer (Cambridge,1989) 143. 22

Cantata texts were often based on dassical Greek mythology. The main theme in most

of the cantata poetry centered on "love," though a ff!N.J were written for special occasions and

contemporary events. Oerambault wrote a cantata to celebrate the King's recovery from an

illness. Elisabeth Jacquet de la Guerre was the only composer to cultivate the sacred cantata to

any extentj the possible reason being, since the age of fifteen, she had lived at Versailles under

the influence of Madame de Maintenon

Cantata poetry was very popular in Paris and was published regularly in the Mercure

de France Between 1711 and 1771, one hundred and sixty seven cantata texts were published in

the Mercure Over one hundred appeared before 1741.24 The poems were printed with the

distinct hope that composers might use them. Example 11-1 is a cantata text that was

published in the Mercure de France in November, 1729. This cantata was written to celebrate

the birth of l.Duis V's son, Monseigneur, Le Dauphin.

According to Tunley "the three main characteristics of cantata poetry are: 1) free and metrical rhyming scheme 2) division of poem into three recitatives and three airs and 3) a subject based on a mythological or allegOrical inddent from which is drawn an amorous moral in the final movemenL"25 In fact, the earliest known extant cantata, Charpentier's Orphee descendent aux enfers (1681), already had a "typical" cantata "finale" in which, in this instance, all the characters agreed that love is unpredictable.

The recitative established the time and setting and moved forward the dramatic action of thestory. Rousseau states (the) "recitative should fumish the body of the cantata, and the tuneful airs, the soul."26

24Tunley, 27.

25Ibid,24.

26 As cited in Anthony, 362. -;::

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N W 24

The airs were used primarily to express emotion Instruments were most commonly included in

the airs, though sometimes they were added to the recitative. Several composers used

instrumental preludes and "simphonies" for increased dramatic effect.

The cantata was performed in a variety of settings both private and public. As

mentioned earlier, private concerts were held in the salons of Paris as well as various chateaux

of the king and lesser nobility. Public performances of cantatas were held at the Academie

Royale de MUsique. The first public subscription concert series, the Concert Spirtue~ was

established in 1725 by Anne-Danican Philidor.27 By 1727, the Concert SpirtueJprograms

included cantatas. Another concert series, the Concert Franrais, established by Philidor in 1727,

conSistently featured the French cantata in its programs. Held in the Salle des Suisses in the

Tuileries Palace, the Concert Fran9ais presented two concerts per week in winter (on Saturday

and Sunday) and one concert per week in the summer. The concert series lasted for three years

and presented over one hundred concerts.28

Philippe, Duc d'Orleans (who was Regent of France from 1715-1723) maintained one of

the best known salons in Paris. Looking through the sources on this man, his personal character

has often been questioned but never his intellectual and artistic talents. He was an avid

supporter of the arts as well as a alchemist, painter and military strategist. Madame, his

mother, commented in her letters "He has courage and wit, he is musical and brave.,,29 His art

collection in the Gallery at the Palais Royal (principal residence of the House of Orleans) was

known as one of the finest in Europe. The collection included works by Rubens, Titian, Gillot and

Watteau.

27See Constant Pierre, Histoire du Concert spiritue~ 172S-1790(Paris, 1975).

28See Tunley, Appendix B, 'Works perfonned at Concert Franrais, 241-249,

29Lucienne Ercole, wy Court lif~ France in the Eighteenth CentUly(New York, 1932) 29. 25

Philippe studied flute with Hotteterre and composition with Charpentier, GelVais

and Campra. He studied viol with Antoine Forqueray. The most famous artistic figures of the

day were associated with the Duc d'OrIeans, from Marin Marc~is to Voltaire. Hotteterre, in

dedicating a book of trios to the Duke, praised him for the progress he had made in the arts,

particularly in music.30 Titan du Tillet credits the Duc with "importing Italian musicians."31

Michel Corrette wrote: "... The Duke of Orleans, who later became Regent of France, being an

avid music-lover wished to hear Carelli's sonatas, but unable to find a single violinist in Paris

capable of playing chords, he was obliged to have them performed by three singers.,,32 The

Duc's enthusiasm for Italian music encouraged musidans in his employ to compose and perfonn

Italian genre and style. It is probable that the earliest performances of French Baroque

cantatas were in his salon.

The first composers to publish books of cantatas, Jean-Baptiste Morin (1677-1745),

Nicolas Bernier (1665-1734), and Jean-Baptiste Stuck (16807-1755), were employed by the Duc

d'Orleans. For many years, another composer of cantatas, Andre Campra(1660-1744), was also

associated with the Duke.

Morin's first book of (six) cantatas were published in 1706. These were the first cantatas

to be published in France. He dedicated the collection to his employer, as were his two volumes that followed. A book of six cantatas by Bernier (also dedicated to the Duke) had earned a royal privilege three years earlier (1703). Titan du Tillet mentions this in Le Pamasse "The works of Bernier, which are the most well known in the world, consisting of five books of cantatas for one and two voices, some with symphonie, were engraved; the first appeared in

3OBowers, 45-46.

31Sadie,145.

32Translation by Tunley, 14. 26

1703." (translation, mine).33 Stuck (also known by the name Battistin) dedicated his first two

books of cantatas (1706 and 17(8) to the Duke.

It seemed common knowledge that the cantatas by Morin and Bernier had been

perfonned for a number of years prior to publication. In the Preface to his first volume of

cantatas, Morin writes that he had romposed the cantatas earlier and they had circulated in

manuscript for several years (and were probably used for perfonnances in the Duke's salon).

The oppo:iunities provided by the salons of Paris, especially by the Duc d'Orleans,

greatly influenced romposition in France during the preramiste period. The preramiste period

falls between the year of Lully's death (1687) and Rameau's opera Hippolyte et Aridein 1733.

"... with the production of Hippolyte et Aride .. French opera not only regained its old splendor,

but entered the most glorious phase of its history ... Beside this the cantata was small-fry

indeed.,,34 In the second half of the 18th century, composers attempted to conti~ue the tradition of the cantata with the shorter cantatiJIe which consisted of two or three short airs alternating with recitatives. This did not save the fonn from its eventual disappearance. "The fault lay not so much with the genre or the medium itself, nor even with the fact that the eddies and tides of fickle fashion had isolated it-rather the critical fact was simply that there were no composers of genius as the century progressed._who were sufficiently interested in the cantata to compose examples of enduring musical value.,,35

:D'Les Ouvrages de Bernier, qui sont les plus repandus dans Ie monde, ronsistent en cinq Uvres de Cantates a une et duex voix, sont quelques-unes avec symphonie, qui sont graves; Ie premier a paru en 1703 ... " (Reprint, Geneva, 1971) 679.

34Tunley, 16.

35Anthony,374. 27

THE FLUTE IN THE CANTATA 28

"One must, by all means, obselVe not to make grimaces or to have ridiculous posture. The flute, being a noble instrument, is to be played in a relaxed manner. One can play standing or seated, depending on the m:casion, but when one plays the first movement of a solo concerto or sonata, or accompanies a cantata by score, one plays better when standing. The instrument is heard better."36

It is worth noting that in this quote by Michel Corrette, he places the flutist's role in

the cantata alongside that of the sonata and concerto.

The poignant expreSSion of loss or a lament was found in the U air tendre" of the cantata.

The "flute allemande" is most often specified in these "tendre" or '~entement" airs. The transparent hio texture, combined with high tessitura, produces a remarkable sonority.

Historically, French composers had a love for trio-texture; and the voicing in an "air tendre" is a fine example of this. The most common scoring was for voice, flute (or violin), and continuo

(violin or viol (cello] solo/no harpsichord or theorbo). Orphee's pleading with Pluto to return his beloved Euridice (Oerambault's Orphee, 1712) and Pan's desolation after discovering

Syrinx turned into reeds (Montec1air's Pan et Sirinx" 1717) are two striking examples of the pOignancy found in these airs. This is the heart and soul of the cantata Significantly, these composers did not treat the flute as mere accompaniment, but as an integral part of the hio texture. The flute was at its best, its sweet tone lending itself to the "gracieusemenf' and "/ort iendrf!' indications by the composers.

Remember that Bernier received a royal privilege for his cantatas in 17m and Morin, in the Preface to his first book of cantatas, confirmed that performances of cantatas were heard before the publication dates. I would imagine, then, that the Raguenet quote, from 1702, is

36 Corrette, trans. by Farrar, 26. 29

referring to the "air tendre" of the cantata when the flute "sigh[s] so amorously in those [airs)

that are tender."

There is, today, some confusion with regard to tenninology. Does the tenn "flute(s)"

mean flute or recorder? The flute and recorder coexisted in the late 1600s and in the early

decades ofthe 18th century. Because of Its improved acoustical characteristics and increased

range and flexibility, the flute quickly achieved predominance over the recorder. By the tum of

the century, the flute had become one of the favorite instruments at the court of Versailles, in

the salons of Paris, and later, at the Concert Spirituel.

The "flute allemande" was specified in the "airs tendres" of the cantatas. In the

livelier airs and "simphonies", however, the score often specified "flute(s)." Reviewing clef

signs is of no help to determine the instrument. Both flute and recorder used the French violin

clef (g in first line). Since the same cantata used the terms, "flute allemande" (or Uflute

traversiere") and "f1ute(s)," it was possible that the composer was differentiating between the

two. Or did the composer assume it was known he or she meant that either flute or recorder

could play the part? Also, it is possible that publishers might have used both indications in

order to attract as many ''buyers'' as possible.

Gene Vollen in his dissertation on the French Baroque Cantata, assumes that when the term "flute(s)" is used, in the early cantatas (c170S-171 0), the recorder was the intended instrument; after 1710, the flute was used. David Tunley states that the "flute a bec" in

Boismortier's cantata Le Printemps (Book I of 1724) is a "rare appearance of the instrument in the pages of the French cantata."(emphasis mine)37In my opinion, the decision of when the flute was or was not used in the cantata, was ultimately decided by the performer. In the earliest years (1700-10) flutists customarily doubled on the recorder and oboe. Performers,

37Tunley,166 30

indeed, could have switched from flute to recorder in the airs marked "flute." By the 171 Os-

1730s, the virtouso flutist and the cantata were coming of age at precisely the same time. By

1710+, I cannot imagine a flutist changing. to the now obsolete recorder, in the middle of a

performance.

However, I think that even in earliest salon concerts, the flute might have played

throughout. Since the Duc d'Orleans was an amateur flutist and, at the same time, the

employer of the earliest composers of the cantata it seems logical that composers, in the House

of Orleans, had vel)' good reason to feature the instrument in their cantatas. The flutists,

Michel de La Barre, Philbert, Descoteaux and the young. Michel Blavet, were available to perform. My guess is that the flute was the instrument of choice.

Nancy Toff and Anthony Baines write that the eighteenth centul)' flutist functioned best in the sharp keys (G, D, A, e minor and b minor). The shatpness of the f" was a major problem for flutists. Hotteterre states, in 1707, that "high F can almost never be played on the f1ute .... I did not show it on Plate 1 [fingering chart) because it is not at all a dependable note .... F# is produced more easily.,,38Favored recorder keys were the flat keys of F, C, d minor and a minor. In reviewing selected cantatas by Morin, La Guerre, Oerambault, Mouret and

Campra, it seems that the keys in the airs for "f1ute(s)" are often sharp side keys, as well as b minor and a minor. Range generally tails between d' and dill. Within these parameters (sharp side keys and limited range) flutists, playing on a one-keyed instrument, would have been comfortable playing in airs which ask for "f1ute."

38Hotteterre, translated by Douglas, 19. 31

A SURVEY OF THE FLUTE PARTS IN SELECTED CANTATAS BY MORIN, CAMPRA, JACQUIIT DE IA GUERRE, CLERAMBAULT AND MONTECIAIR 32

Abbreviations:

P = Prelude (instrumental/no voice)

A=Air

R = Recitative

5 = Simphonie (instrumental introduction, interlude, or closing)

/ = Sections or Attacca

In those airs which do not use f1ute(s), the obbligato instrument indicated in the score

follows the abbreviation. If a treble instrument was required but not identified a '7" is used. If

the air or recitative is for voice and continuo only, the space following the abbreviation is left

blank The title (if indicated), specification (flute or flute allemande), key, tempo (if

indicated), range, time signature, and form follow those airs which use f1ute(s). The cantatas I

have reviewed date from between 1708 and 1727. Unless otherwise indicated all examples are

from David Tunley's Facsimie Edition, The Eighteenth-Century French Cantata. Examples are

extracted from cantatas which, in my opinion, might interest flutists today. In reviewing the list of cantatas, notice that on many occasions both the terms "f1ute allemande" and "f1ute" are used in the same cantata. In the foDowing examples, when "flute allemande" is specified, the title and / or tempo is most often "tendre," "gracieusement" or '1entement". "FJute(s)" indications are generally used in the lively airs. 33

Selected Cantatas by Andre Campra

Andre Campra (1660-1744), a church musician early in his career, left his post as

Maitre de Musique at Notre Dame in 1700, and soon became associated the House of Orleans. He

was obviously well regarded by the Duke. Duting the Regency, Campra, along with two other

cantata composers, Bernier and GelVais, were appointed to the Royal Chapel at Versailles.

Unlike the other early cantata composers, Campra's cantatas rarely fall into the

standard six-movement pattern. Airs tend to be short (Tunley calls them "miniatures") and

straightforward, as opposed to Jacquet de la Guerre's or Oerambault's more complicated, multi-

sectioned airs. An unusual characteristic of Campra's cantatas is the use of recitative to end the

work.

Campra, Didan, Book I. 1708 (Tunley, Vol. 2)

R A, "Suffit-i1 d'etre Amant", FLUTE ALLEMANDE, D Major, Lentement et pigue, Range e' to a", 4/4 time, Rounded Binary R A, Violons R A, Violons R/ Atiette R A ,Recitative ends the cantata 34

Campra, Arion, Book I, 1708 (Tunley Vol 2)

A, "Agreable enchanteresse", FLUTE ALLEMANDE, Lentement, e minor, Tripartite

ArieHe '1," e minor

R/Vivement

A, '1," E major

.&'1," e minor

All airs/recit , range is e' to b".

Example IV-1 is the opening air from Arion which clearly specifies "Flute

Allemande." In bars 1-15, the flute begins the air with a complete statement of the melody. In measures 18-27, th e voice and flute parallel each other in range and rhythm. The flute continues alone to complete the phrase (bars 27-30). The two lines alternate and then combine in the descending eighth note series in bars 35-37. Thus, the obbligato is used in different roles: as a soloist, and as a duet with the vocal line. Though it is not indicated, I assume, since the flute specified in the first air, it is used in the following airs and in the final recitative.

Example IV-2 is the recitative which ends the cantata. The young Greek poet, Arion, has been thrown into the sea. He laments his certain death. In this final recitative, Arion is rescued by a dolphin. The expression of text is all the more effective with the addition of the flute. Notice the expressive sighs, anticipating the approach of the dolphin, by the flute in the sixth and fifth measures before the end.

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~ I\) 43

Campra, La Disput~ de l'amour et de l'Hymen, Book II, 1714 (Tunley Vol. 2)

Introduction, •A 1'0mbre d'un Bois", Violon et FLUTE, d' to b-f)at", 2, Ternary

A, Violons

A, "?"

A, "Cette jeune Beaute", FLUTE, d minor, Gracieusement, f#' to b", 3, Binary

A, Viol on

Airette, "Hymen, Amour', Violon et FLUTE, d minor, g#' to dill, 2/4, Temary (Reprise)

The Introduction to La Dispute de l'amour, et de l'Hymen (example #3) provides careful, indications for what instruments should be playing, Though only marked with the term "flute," there is no doubt, by this time (1714) it certainly meant "flute allemande," Campra used instrumentation (either taus, or flute alone) to create a variation in dynamic contrast. D ~ M. CAM. \. A. ,. m~~~~~S~®~~®~®~~~®~SS~®~~~~~ LA DISPUTE DE L'AMOUR, ET DE LtHYMEN; QUA T R I E M E CAN TAT E. Ln PA,,1n r- J. 1If.'!P,., DAN C H • T. - ~~!~"t~~i~£I!~l!I~§li:frl=;=-lml;;tf1Ulfi~ltm ;: II v J 0 LON E r fLU T E. F L" T a.

~~R-~]--\~0..1lj-t·.l:lb;;~t~i~I~~-~-lt~~·t~X~IJ ~.:-:--=: :: ~~i: ~ .;:= t~~t. ~.). ~'~J~J:~t 1::. =:~: ::. tl~t= =_± ~ ~ .l.... -1-- t:-- ._-J=- -l ~.~ -- -,,- It -_._- I> I> -(, (. -6-- ~ -\\- 1r If B A' 5 iO-C 0 N T It' U II. o~rt-'-!~ bl1f'.-- r=+==l ~-~I~· """'1-:-:1·-1--1 ~l [~- -= OJ =- l~tl!=~!lt:f!it'ftt fU ::;:t~l ti=f1~ 1\ To U Ii. I~fJ:''''1-1 EE::.:=Ft::c\~=tt:bl.~.~;tr ~ilI$if=:f1!:~ l~~~ I~:n:=_l=+. !E::::..=E~=-iJ:t--±_£fEEll f\-+ t--v -x=:3:0\-:t::t 1::i:EE:- 6) _ 6"If r.• --6. -J BASS~.CONTINUE.· .

:t 45

Campra. La Danse de Rore, Book II. 1714 (Tunley Vol. 2)

A, '7"

A, "Rossignol, volez·, FLUTE OU VIOLE, g minor, Lentement, f' to c·, Ternary (Reprise)

Arlette (Movement (sic] de Menuet)

Example #4 shows, again, how the flute is used in dual roles, as a soloist and as a partner to the voice. The obbligato states the entire melody (m. 1-18) before the voice comes in.

The voice line is interrupted by the instrument, bars 25-27. Notice the Imitation between voice and flute in measures 28-32, and the cascading line on the melisma in m. 36. The obbligato part is in the middle score. This placement is used whenever "flute or viol" is indicated. loB CAN TAT E S F RAN COl S E S, s i!:~~I~tc=!Jg~~ml--- Nymphe qUi l.'engagc., Ec de Diane abandonnc fa com. a;tY--= ' 1 -. J~.-- ig(,!-~l --. ~~-k-if~ § ------::! ------6. -- --- ~ G n ASS E-C 0 NT I N U E.

------

.A 1 R. --l-~"~-~--.--~ -~ F=S"---~ -~~.. ===::!::= -::-.---T • -T-----= --.--,-- :- i ------. -_-2.~ 3 -~.~- t------~ ~g- .-. J fi~C~l1~:m-~i~~ =-tl~ FLUTE, oU VIOLE. Il, ~-~ -,.~-,~,--. ~t~f' I1~~-tJl! ~ t __ =V4--=t=?---¥l~1 t • Iffi~~ "--F -- -)C • *. -6 E:::::.:.:=E BASS E-CO- NTIN U E. -

~ 47 /

110 CAN TAT E S F RAN COl S E S,

.!1- ~--I ~fl1t;~5:=!S.~1!- --•• - --=t.t _. --r;'f!:t~:lH--.----il---=.t !-~-FI;f------:it=r:I~~ff- -1=: - I ".--i ~--,- ~t- '-----'~ -- .--- - .---- - I.: gnoTs , vol<:,z. (ur ces ri- vt"l:. Forrnn les A in 1(',

I --- ~--~-3- --.-...--~ t------.!til""'--"" ;t ~ - '"' --- .-. ~ -~---f=~-=:r=-:~=:-:-~~ - ... ------JJ!I - :i:.1-l."~t -j-;~~--- f::~l~l-:-~~ t~ ~·tl1~l-':J:=J-:::~~~lJ.: .t- __ , ------. -.!_ ------+ ..... ------1!- --_1----iJ;lo - 1 ~- :----=-rt- =- -1---j=------t -;--~=- - --to I,~:~ ~:::~:-~=:---=~ -I----:-==-: =.=~I~:~ .-:~ =t=l~tlf'~t~~:r~ff ~--1( ~ ---l=_------=t==f_d:.:a: ijJ=.-it ~ BAS 5 E-C u N I I N l K.

-.:=-=25= ~ I. 2., 21i' Rlet:,-.--I---~-==-:::=-=I==-======t=-=t~:tl~--~-l- ~=-'±=-d--a: i=I=--=~r===~=i ~ l:=~-=-:.:4:I=i== I rlu• [ouch.. "" E h - ~:~J~l~@~j~:11'ID~I~!~Y~Ui~rnlli!1[vj~r

§~ ~---~(.--E)(-l:--- --t :tJJ -~~====-J n-:-=~=-- ~~l~-=~-::::~tl:-==~:rlj+:t: • --+---r-=-E:*=-,-~,C: _ _ _ ::. - - E_-3~ BASSIi-CUNT;~ QI. -

~, .. '

.Doco D E M. C· AMP R A. J II

.2~ ~0.r- 3 I r"'\ 1'2.. 11 i .-.... ~i--b~~~]~tE-~-_ll-:§L--~=~-_i-3~~:t-'1~~!I~o.f upon- dez a kurs chants; Murmu- r~z. \ iEE-.~---·]~il=--t=-=:---~-lfJ_~ ff.~_ftl=~l=-~ f==--=t..·---=l~-~ ~ ~ ~iJ=~:~lt:':~rL~:-:l~=~l~l~!f~:l~~~~ii~ B A. S, E-C 0 N r IN U 5. 3' r:--.. '" Il -- ,,--..... ----. ~ •.!.. fitl~[l:\tl:l~~l~rlWfiiii~-~~~t==~ I OI1~ ~.~ - _ d('s fugi- ri_ • _ -v=-.,_~~~f-~t~I!:=--t=~ '?:I:~i:R=--t--l:i=-:t:: ~- - . - t-t- -~'-l-:::pt:-tt-i-s= -J -.~- ~=1I3 j .I' - --. ------0.=.-- --.:::...:;---.... --.•..::...:..-=-: -

.Jl_ -- ,= --I -";T- ~-,-~ - (.- - lJ--lij --t--. -- Il~Ltifl:I~-' ::':£ t~!i. --~ :: t'm~ .:.. - ~ _- =.: - ~~.~.~.~--_~ - td • -I. -. - '-6-"-~ ::t~_ -i ._1_ . po i '-- BASSICONT(WUI. -:r.

"'"\C) 50

Selected Cantata by Morin

Jean-Baptiste Morin (1677-1754) is given credit for standardising the French cantata.

As Ordinaire de Musiqueln the House of Orleans, he was directly associated with the new

wave of Italianism encouraged by the Duke. His layout of six cantatas to a volume became the

norm. Most of his early cantatas are in the six-movement scheme, though in the last book, his

cantatas are larger in scope.

Example IV-5 is the title page to Morin's Cantatas, Book 3, dedicated to the Duc d'Orleans.

Morin,La naufrage d'Ulisse, Book 3. 1713 (Tunley Vol. 13)

P (Lengthy)/ R (only 2 measures)/ P/ R (again, short)/ P

A, '?".

A, "Serez vous toujours", FLUTES au violons, e' to c"', 6/8, Ternary, Viste,Lentement,Viste

(P)A, "?"

------. -_ ... -.- •.._._------51

-' I (,ANTATES FRA~)OIS.EJ I a ll/~·era lIVM //oixJ avec t/linphonie. ) . PaI:.A£';/Jfonn -O,dillalil! a{.~ lat-4IltI7f;lle c:Je J'ol J ttp/lc/(oia Ie '- .llonrel911elll' L-

LE Due n()RLEANJ' I

(£UVRE VI.t'

I~iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiil,\ \ (fE VEND A PARI~. {'he::. l' Jleur Fouaull, IllardJan~Riir.PHonarl (11a ryle dar. Prix, J'ir IlVrt'J lJlve/uf. , A VEe PRIl7ILEaEDl7-ROI. :.:"t '., MDec.XII.

_o ______52

Selected Cantatas of Elisabeth Jacquet de la Guerre

Elisabeth Jacquet de la Guerre (1666/7-1729), from the age of fifteen, was taken under

the wing of Madame de Maintenon at VersanIes. By the age of eighteen she was a well known

and highly regarded composer. She was one of the very few to write cantatas based on sacred

text. Her one book of secular cantatas comes from c1715. The standard cantata-fonn is extended.

In the A vertissement at the end of the book she notes U A<:, the cantatas that I am offering to the

public are rather long I felt that I should limit myself to three of them. I have accompanied

them with instrumental parts suitable to the texts... convinced as I am that melodies that do not

express the words one sings, no matter how wen they are composed, can only displease true

connoisseurs... "37 Her musical style makes eXciting use of variations in texture and dynamics.

Jacquet de la Guerre, Semele From Cantates francoises after 1715 (Tunley Vol. 13) P, "?".

R, Viollon

P/ R(in three sections), Violons

S "?"

A, "Quel triomphe", Vionon/ FLUTTE, D major, g#' to b", Cut time, Ternary (da capo)

P "?"

R, Violon

37As cited by David Tunley, Facsimile Edition,The Eighteenth Century French Cantata Vol. 13 (New York, 1990) xi. 53

Jacquet de La Guerre, L'llse de Delos, Cantates fransoises after 1715 (Tunley Vol. 13)

P, "7"

5, Muzette, FLUTE, D major, a' to bO, 3, Binary

A, Hautbois

SIA, '7"

51 A, "Coulez dams une paix", FLUTE, D majorl A FLUTE Oater; et Hautbois), a' to b", 3,

Ternary

5, illes arbres rejouis", Viollon et FLUTE, A major, e' to b", 3, Chaconne

A, Symphonie de Rossignol, FLUTES, a minor, a' to b", cut time,IRitoumelle"

PI A, Violon

EXAMPLE #6-A. (p. 54) This cantata utilizes many instrumental colors and unusual formal aspects. The flute and the bass line, which imitate a muzette (small bagpipe), give the impression of a country dance. The use of the menuet form adds to the pastoral setting

EXAMPLE #6-B. (p. 55) This is a rare example of a Chaconne used as an instrumental prelude and air. In the prelude, bars 1-33, I assume the instruments play in unison. Dynamic markings (m. 37 and m. 38) possibly indicate alternations between the violin and flute.

EXAMPLE #6-C. (p. 58) Simphonie de Rossignol Dynamics alternate every bar! The two instrumental lines parallel each other throughout the air. There are extended interludes, full of birdlike motives, which open and close the air and alternate with the text. This air is one of the few examples which makes such an extended use of two flutes. 54

,{I 55 56

,.,. ..~

161

------_. -- .. 57 .

~\-- '--.' ~~. ,. -===kQ I

,------..... , 58 .

do,,,,, E!t, '- IJl--tlf.·@_!lrlbl 59

.---_._-----. ------... _-----_.-.. - -_.------60

------61

•. ... --.. iI•. ~ x .. ,. • .. •• ~ II! • " If ".

I~ ,

":tl dquA' jOrt X .fort , I I -& , {/ouo.' .;foN iJlIfU JI!rf'

6 62

.f 7 , • L '£C!.'.i!''v"lIe a ./eJ c.l.anu, et ~r "'.' : '¥-E~.'I r L'~~ 1~ t-fjftpf11~ j E~ .;J,j~ ,I-.r fin J,..,.. 13 f 1';1' · ·1": 1113"4 q' tiUrBiUlftf F/:.4 II ./0 rt . d0JlAr 63

~~.MI~_gIJ·IiF "_ H~ldi_~151 J : ~ : ' II

_.. ---:...... --- 64

Selected Cantatas by Oerambau1t

Louis-Nicolas Oerambau1t (1676-1749) was one of the most highly regarded musicians

of his day. He was an organist and composer. His cantatas are expressive and full of variety.

The hannonies are rich and texture often dense. The lyrical use of the flute contrasts with the

highly tense and rhythmically jagged "tempest" and "fort" airs for violin.

Oerambau1t, Orphee. Book 1(1710) (Tunley vol. 9)

A, "Fidelles Echos", FLUTE ALLEMANDE au Violon, b minor, Air Tendre, e' to a-flat", 4/4,

Tematy (da capo)

Air gai, Violon

A,"Monarque redoute", FLUTE ALLEMANDE, B major, Air fort lent et fort tendre, g to b", 3/2,

Binary

U R (Mineur)/ A, "Vous avez ressenty", FLUTE, D major, Air tendre", f#' to d ', no time Signature

(3/4), Binaty / da capo the R (Mineur)

Air gai, Violon 65

Example IV-7, Orpheewas arguably the most famous cantata of its time, It was performed

eight times at the Concert FranfClis, In the only painting of Oerambault, he is holding the

score to Orphee,40 In the first "Air tendre" (middle page 66) the "flute allemande" is clearly

indicated, The flute introduces and concludes the air and fills in the texture (m. 7-10),

Oerambault's placement of recitative is often for dramatic effect; in the middle of the first

"Air tendre" there is a short recitative (m,27), before the da capo in m. 39, The next air,

Monarque redoute, combines a high tessitura with overlapping and imitative melodic lines

(m.l0-18) and transparent trio-texture (m.29-48), The sonority is almost angelic, All three voices are of equal importance, In performance, it is possible that only the violon play bass line,

The dramatic recitative (Mineur), boHom p, 71, frames the next air, The flute adds a great deal of emotion to the recitative; the sighs in m, 3-4, 7-8 and 12 are carefully placed after the word

"pleurs", Notice here, the unusual designation (m,3) of "f1ute§.." The last air tendre (p, 73) uses the tem1 "flute", In this air, the flute and voice are together throughout with very similar rhythms and range, Very often in the final "air gay", bottom p, 75, the composer (or publisher) specified the violon(s), I assume, however, everyone, flutes and/or oboes, would join in,

Considering range and key, in this case, the flute could easily participate,

40Tunley, The Eighteenth Century French Cantata (London, 1974) 144-145, 66

Cwzmtt'/ll.

B. C. "

dmlltJ I Parlw jlllw {"lId,'w dUWlfll)'iJ1""Jii ,111","/ ,m di.!!Jra c,·. ,~ .Il ,. q 1-

...... ~

~ . ,y~. ,.,..... I .• eft. u..r d.t.. F/ut, 1,/1· II"UH (' Uti 1,111 "'.

oj}

F,tf,·(/w ('(th '.! fI 6'6" • .' * 6' ,.,' If" "of 'Ii

I ~ ~ I ... I It ,'. ., ..Y '\ 67

,,,,... l-,. . I .,.:.~ -/'1Il00 I . . "r-M """ It ~ ~ I( " '" ,Jf1I't, - "t1 '"-. • ...

• f

I 1-:;;

•• ••

I .. "

~ " ~ ~ ~ ~ rarue, Je ne rr1t'erTa.!J flu.r wbiol: (k ma tcrulrcuf' • Y4- ((. $ tJ

• 1 1 -I

~I :1' ~." l _1'L~.~r~·r Fut''''..JCl71uu.r (mum, f lW m~-:~Ja. y ({" .r

.' " 68

maw WI clt'JIlIll'''tJ bar"~ll'r.:' Itlll'u.roit tOu.r

. >( dcu,t·, La mOl't cTudl(' ,!cpa rc, /,a I1wrl' ~ru()l/t· IWUJ Jepa. (" ,., '¥ ,~. ft (j..... • J/(

~ r,· . .r' ~i,', Fcdcllc~' CCXJJ(l1·.

n.· ,1,111/

I ~ \1 tIl,' '/l/(' ,r,·rt tI 111011 dtIlN.""ir n,: ~"'lLircy ITU.' p/lHiLdr,' I!(k'on'.~PlulvrdieruL ?:' .J-

chamic.1 qll".iaJo n' ,JIIIIII,' i"'l'/tlll'r,!t'" (,'11/1'11'. \ ». t ( . .- ...... -.- 69

:ib II, ,'./nill.. 5 A' ":/,'''1 /. l' -,/1.'" "1 1I.il',', A 6 ......

(;f Flu!,' allcf1l(flldr ' I ~

de cef .rOmJJmt ,7t'oIUI~ Ie lil?Yaunu:.!' ..f__

111

I('

I'ilr du])~ du iour -tr - , .. .V

I~ - . i I - -'Z I , "_ o hre.r E t num TTUU 'leW" tJft UWJe par vanwur. U 7 of- J!:J.llI ~I "'" $- o.y

Q v ~'I/::"'. j I

. , " I .... A

T ~ . "L I· ...ob VOW v~e.r un amanlJideI.:e Pru:eautfCU 0 . a ~.,...,... 11" I

~ ~" .•. ".1,. , ,yv" -V- __ - .... 27 , 33 l(

Hc.lM.' u /xmheur dlvtre aJ.nu; RendmapeWetW:Jr ~ 9 8

---_._------_. __ ..... --.----- 71

38 , J,: I • ';L, ... ~I( I I - '- .-4. ~ .... :~ I I' I ~ , -'-- I

1 I I ... • I I 1 ,

\ 111 J ~•.

1'-" .el: . h·,' '* * ___ 6- .r 6 ....

~~\>,' ~I~ILJ

-.',.~ Ml.\'LF-71,l I

'- T,/rt /1'11((11/('111,

L tolar vOUt! toucher par mat/!.lcur.r Laif.rar VOtU' tvucheryarma: • ~ {, 72

12- 39

Dim.rort #~ reparblecapnce, w. 6" ., 6' .

., 111

..,1". chcro fundi. C8, .ve ..n:parM P'M IWtI' JeWr caW./'. *. 6 6"9f + ?3

f +

~, I .,

I ....

J .. I

------74

4 1 - >t v

ParolM DWiM ap. -+ .t ,./ If'

--- - pa.r, pWJerDWVLUlI'PMJ'CUl cmhrascr ., ----• ----• • 6 -

...

. . _ • __ .•.. JfUtenWrO¥rwtrt'fJ..-

1/ '1 - 0- '* J - Fit 1 IIlli 75

.I/U'. 6'" 9 8 7"., -. f ~3

J( Plutvn JUI?rW d1:n:n.dre der cu:cortkCapalJw dcmoul-'oir COu.t~':!f-inddr + .~ y • r-

marlJ" ~JC U matendrir.rue taplaintljiniuc.11:u/al!9C1f!UI" morra..taJJ~lOldt(U 4 f ~ ~

lieu.r. va.rCmlnew tvn. t'/lndia: , J,fai.ral~nt flue ck trivia IllmiernbCifutrpt/irhtckmflW ., If" 7 tf".--.(r 0.. t

44 76

+3 .... I I

~, I I I •

C'hantft fa Z'Zf!fin: eclat. .l- ... 0 0 • Ok _ .. te gue rempor. - __ ' -- llJ. .w.,h-.• .w. .... ~... ":"'l. /"l. (\ ....r (J" a:...."~

. "

lc~ndr"anwUl'. ck.Vudltalll'. ctoire«la~. te ~f't'fn. 1-* y .~ ~~.k.- __ -..

("" ...... ?' r ; ,... ~ .. .4':.-,"'" I I I •. ,~."""Ioo"" I

.... I II' .,., j..IJ I I" .,., ~ I. I.~ I

.fX!.r• .• - 0 • - _ • 0 ••• _ , • _ •• 0 0 •• 0 _ te letd",,"am()W, '1uercJ7I. 0- 7 ,,'-- t-- f + 3 .".: ...... ~

.,...... I • 0 77

..... ------~ k rendreamour. - --- ,.

.11M9tJer da",,'INOmJ;'Ue.Jour" Ji:t ~ J..-' .... --....--

• • ,'-oj------if!- - - - - meptJriomfban teo JaJ/!- --- , , , - -ff' ' , , , 6 , 6' () ~ I I- * ~' *' 6' (0 •

I I I-j- -- .- ~-- I I I I

--- '---'--- 78

Oerambault, PoJiphem~ Book 1, 1710 (Tunley Vol. 9)

A, "Ahl rendes may votre presence", FLUTE ALLEMANDl; g minorI dorian, Air fort tendre, g'

to b-flat", 3/2, Ternary (da capo)

PIA, Violon

A, "Amants jaloux", Violon et FLUTE, B-flat major, Menuet, c'to B-flat·, 3, Ternary (da capo)

Oerambault, Medee, Book 1, 1710 (Tunley Vol. 9)

R, Viol on

PIA, Violon

A, "L'Arnour dans ses fers", FLUTE ALLEMANDE au Violon, g minor, Air tendre en Basse, f#' to

d"', no time signature (slow 3), Binary (with repeats)

Invocation, Violonl R

P Violonl A, Violon

Example #8 is the Nair tendre" from Medee Like the example in Orphe~ only the violon would play the boHom line. In this air the violon is, at times, in unison with the voice

(m. 3-5 ... ) thus creating an even more transparent texture. Clerambault's lyrical use of dissonance is seen in m. 11 and m. 17.

------79

- Illy M fc-ut m '(I.m: flU!r flU; df.l1lJ 'll- fi~- 6 +

del. 1<, Que C<.' qr« TrU! lefil- al. mer, ~ Jot t- 4 ~

;:: Air ~n.dr~ onJJtU.te. ~ ...... , • r.,~ ......

[\:9' .J; ... ~-- '1'4 - I Fur,. iUJ..~, ,n, v."l.m. 3 LI S- . .. .(\ .. I I I

v Jt_ -

...... ·7 'j -pit if tn'".mphca .ron tour: four:En vaill UII t<'II.Jn' 'WIII'.I'tlball . ~1 b 6 ~ .. - -:; ~_ _ 6

~-.J -0- I - ~ I 80

~Ii 71 ..-t- .....- !r •

I~ , l .', I , , ... ," ,I!.- . 1 ' 1'-' '4 ~ ,"~' I' I , J dLJmwa la bame 1 l revU',... tOllJUUf'.r a tlnwttr.. En - vam Uti ten. a.re , • 6 6/, \....~ +r I .-; J..

ala mour. -

------.. --- 81

Oerambault, Alphee et Aretbuse(a volx seule), Book 2, 1713 (Tunley Vol. 9)

A, "Tenninez Ie cruel martire", VloUe Recitante au FLOTE TRAVERSIERE, d minor,

f to b-flat", 3/2, Ternary (da capo)

Air gai

Example IV-9 shows the title page and table of contents to the cantata Alphee et Aretbuse

which includes the description, a voix seule. However the "air fort tendre" (p. 84) indicates,

what else, "flute traversiere"l Note the obbligato is in middle score. The flute would transpose

up an oclave.

Oerambault, Leandre et Hem, Book 2, 1713 (Tunley vol. 9)

A, "Loin, de la jeune Hero", FL OTES ALLEMANDE, Violons, c minor, Lentement et tendrement,

d' to dOl', 4/4, Ritournelle

(P)A

A, "Dieu des Mers", FLuTES ALLEMANDE et Violons, g minor, Fort doucement, a' to dill, 3,

Temal)' (da capo)

P, Tempeste, Violons

lll A, "Amour, Tiran", FLOTES ALLEMANDE, c minor, Gracieusement et pique, r to c , 2/4,

Temal)' (da capo)

..• ------82

a vow.,..u.,.

...... _ J ,. /:, ' art'. t:nuhJ ~ I - I

... + ...... 6 ......

I I - I I +

... I -- -

.JUivn.au !JoUl' tk I' VTU'l/I:r,J'p " .. . . ". ,.' ......

------. --- 83

TABLE DES' (,AJVTATELf~ /1 I I l1'n9at A '1J1) /(', d A 7r to lI.Jr'., _ _ _ " ",,:, ,li",llr, -- .; ;.

Lt(!lI('h(~ (1 Hf'lr), _ . f7/'fJ1'.r.J't'II//f/f'fJii:'j'Jln 1Illf . . : lIq. . . .- iI I I Ltl .I,lf,l./rltt. - - (f 1'(11J ,1'r"/It,, ('r ,,1/(' 1IIuJ'f'ft('. - . 48., i I)/In/ll(~ tt Ttj/J« __ (/ l'ol:r.lf'llI/f',t"tJiilljl/JfJII/r .. ,.is. iq i/ 1Il tl Ii (J1/ -- , , _ _ n ,<>,:.-Jru Ilr, rf Ji "lI'b..,;..... 80'1

.If /1 io "1) /;:.' ,It !a A,1.1'. ,,:;. '''Lr,rt.J ii'rhOIl''', y+, i

-- .-...... ---_._- 84

...

I ...

d~." l--.oj - - - \ ~ v I _ I """I ' - - A A t!t~~

I" 7ln,J,UJZ. l;. crudmar.. -:;:'- ~ ~--:-... I I ~ A -

...... I ~ of ~ { s . ~ri\- 6 ;:.-;-- A t.l'. ! 6 ~-- ! ~ Q - -- t.. ""' -&-A :"""\ ,,- -- .,:,"

[fl". I • 'I _ II . r~ .D1IJIDim aJ1lJ'taMf'Ow' vat j loul'Tl'~ A.?r ___ --...... - ....

I T '-' - ~ G:;I .--::-. § j ! ., rtf' ~.... /' . r I""" 85

~ 6 ,,~ • I • F, ~ I.} n·. J 33 . Temu. TUf{.luTud nzartz·.r~.nJUn.znNrOl1J. ",---+","'-' ... "6-.. r-:I I ~ I ~ 0/

~ 6 .I'l.~",,,, ( !~ J..~3 6- §- ; ~ ~! .. I""" - - '. - ,,- , A .-.. --- ,- r'! .... '4 . . talllpoUT l'(}J apPflJ,l a6.'Jallt- . "... J\. - -. ~ I 6' - - .1_ ., x6 ~6 ~- ~ 6- I . V V

'i.. o"':6+6~ , . .. . IF• I '/ k ~~t; . \ fX!." mt!JnUZU4'a !" mp'. r~ aIJT~nrlrl' tk.Jlour. ,..-.oJ A , ...-- 1\ I \II - f- 6_ ;;:- ~ I ~ ~~ ! .. '---- ... .~~~ 86

\:~ + l _

.1 I J. I I • I lII,u. /11(1/1.1' rlll~tjt'r. lIill 1111. pI • r(' f71Jrt"I. (Irt' r&J tour. - ... . '" """- \I ...... - + I - ~ 6 6 • ~ . ---. -+-:'+ V'v .... v ::fr' y ----

. \I _~.':> .. i~nt('lLJ 1u 'tl lit' COli. nOlJ • JOltPfl..l· t -!lJurnn. ~ ~ --... ,-:, ",.A ....u:::. ~- ...... (\+

~ ...... ~ § 6 ., ~~ 6 - ..::-t 3 .6' -- ,• .6- ... ~Q " " I'" -,/In. .~ ~ .Rt!Ilc/t' %... '0'1 '" ~""'" ... - .: ... ~~ -< .~ -..-:; Jiil. 6 t-_ ~ .5 .~ 3 x6 _.'- ':"- .5 I . y }.J ~ T ~-o- :;r" -- -- =*= .fill . I- . I II. ... Irr. Itt'" L • L'OllJ Illll'l).~. 'Jt'lIu.r'v.l'a itf'1 auJ't'z' call1lt'r • . . - - ...... ---- -..;; ~ I . ~ .t..:::= 'lIIiio. - 6 , , V '-0- "Y~

...... ~ + ~ (\ ~~ ...... (\,

' .... 'oj. I I r'I votrf' C'OIlI'OU.r/ .L 't'{!/i'rpour IltOli)h~vomb~ll{' m'n/-.XlJ A A A-..... A .•. +... _...... -A~, '" , ~ ...... 6 __ 6 x~ I 1ilI~ ~- ... "'_ ~6 - . ., -~ V '-0- ~ - 88

f J"t'/Xl. ,'t'o ( (' l1tJll.J ' (\ 6~ " ,,--.. +---: ,,"i' . ---..... ,...... I - ...... -a l' 6 . 6 '4- III , ~ 16 (1\ ~~.~ x§_ -1 . . 'Ai ... ~ '" v"'''' - A ...., ~

L~ II ~" ~ .Rm~/c!:!. 1'011.1 I/l"nf~ ,i" aro - r ....-:;-:-(\.+~ TA ~.G l\ ... . :. - ...... 16 j 6 ~ 6 .~ A.l& ~- ~ I · . I I I ...... I~ '" .-V9 I II. ~ ... " + .... ~

, I~ rnb"',.lal.J..I'('~c(1ll1U'r _ -- -- vo!7'(' rOIlI'Oll..r; L't'" _ ... "

I --... . - .,.- -- 6 6 .' . .. -;:- 6 t · IV I v' ... v~'" • -0- i-"""" -

------.- 89

. I MH H 3 : 3 f bi.: ·: t I 'Bl·tl' ~ ~J;/:pollrmOlf'tIJJaV{)- nrt!t; lIt' m'a pfl.l .rIjJa _ l-e_ de ...... - ~ \~ -- ~ I ...... x6 - 6 x.£ ! A --- 64 x6' ... .. I . ~ ... . - --...: ~

A I .If''IlJOll.J • ,,---... +..--...... A ~ I ' . -

...... ~ ~ I ~ .6----;- 6_ ~ ! ..o.x.6- £..- I~- 6_ I . ~- . I - ..... -.r ...... ,.... v .~ v·

~~ 'I J ,'{, Trf71U;le'z... - ,Vnatr' - .- ....--.. -..- T , ...... "r:- 6 " I ~ +- + ., . y ...... =* ~ '.~"

------90

O€lrambault, Pyrime et Tisbe. Book 2. 1713 (Tunley Vol. 9)

P, FLUTES et Violons, g minor, f#' to go', 2,

R/A/R

Lentement, Violons

A"?'

A "Quoi? Tisb€l tu n'€ls plus?", FLOTES ALLEMANDE ou un violon, Plainte, Lentement, d'to CUI,

cut time, Binary

P/ R, "Aimable et cher objet", FLOTES, Violons, c minor, e' to b-f1at", common time

A '7"

O€lrambault, PigmaJion, Book 2. 1713 (Tunley Vol. 9)

A"?"

A, "Reine de I"amoureaux'~ (2) FLOTE ALLEMANDE au un Violon, a minor, Lentement et Fort

Tendre, e' to b", Ternary (a la Reprise)

A, Violons

._------_... - ...... 91

Oerambault,.Apollon.Book 3 1716 (Tunley Vol. 10)

S, Violons (no voice)

Mo A,"Doux rep os", FLUSTES ALLEMANDES, E major, a" to b , 2/31, Ternary (da capo)

R/ A, Violons

A '7," e minor

Oerambaul~ Zephire et Rore (Cantate a Voix Seule avec un accompagnement de Viole au de

FLUTE ALLEMANDE), Book 3, 1713 (Tunley Vol. 10)

A/R(R)/ A/R/ A

All airs in this cantata, Zephire et Rore, example IV-l0, have an unspecified treble part (on the middle line) for the obbligato. If the flute played the part, it would have to transpose up an octave. This is a rare example of the designation "Flute Allemande" in the title of a cantata. 92

Z::;' III i 't l'I ~_910 Fe

'l. t {'ttIllalt' rz I/Ollr .rrulr tZl'c.·vn a (C(!T11f"l.JlfUmCn.t dc1''i'alc (.'u fJ.: Jlu!.: .~IIt:m

q lUtltd OIl.I'GI.: ~

6 4 J

..len! 'lin teIlJrcamOlu;L1f,,rmawllmnUlIJu'/ir CJ.·,,.;mt', '11U' me J,:r:- 1/.-/.21- ~ -

(, (. 93

Oerambault, L']sle de Delos, Book 3,1716 (Tunley Vol. 10)

P, "Agreable sejour", Violons et FLOTES ALLEMANDE, G major, d' to e'·, 3, Binary

A"?"

Air de Musette "?" / R

Air gai, Violons

A, "Coulez dans une paVe", Top line - FLOTE ALLEMANDE SEULLE, Middle line - Violon seul,

au FLOTE ALLEMANDE, e minor, Air tendre, d#' to e"', 3, Ternary (a la Reprise)

R/ A, "Tout s'emprese", FLOTE5 ALLEMANDE, D major, Gracieusement et coule, g' to d'", 3,

Ternary (a la Reprise)

A, Violon (G major)

In example IV -11 both treble lines specify "f1ute allemande." Notice the imitative

entrances at the beginning of the air and the trio-texture between the two flutes and voice in

bars 23-30. There are instrumental interludes between phrases of text (m31-38).

Oerambault, L'Amour; Gueri par L'Amour; Book 4. 1720 (Tunley Vol. 10)

A, "50uffrez plaintive", FLOTE ALLEMANDE, Violon seul, d minor, Tres lent, fort tendrement,

H g#' to c ', 3, Ternary (a la Reprise)

A, Violons

R/ Air Gay, Via Ions

------. ------94

IV-11

...-. ,., ....._... -....a..'! ~ ......

.,.,... • J I • ~+ - 1., -: ,.'--.,. 1: .;.~

. ...:.. -"-

".. "'iI _ - " '...... - 95

_..-"I .. - ' 6 ' ~.

11\;/' + r::::::: .. i " ,..... -"" L .--

.""' ...... ~ .....Y . ~ oJ

6 ~ -~ .--:'

... + \J" ~ c::l ·n/,·nt.· .!l'it'.-((.{(.J...... 1mt'-. t:'::.. 1(' (O~,,~,rI(((,IlJI.' (Ut' !'lellt (('/'(l- :...-;:.... --;;=::;. • -;;=- .i..:;- "---;:;"'A 6"__ '" 5' rt ~ ~

, ~ ..... -- ...... --- -:-- .~I 5~ .-=-- -:41 ..~ ...6 & - ~ .

...- ..-. "':" .--... - --- ".- ...... - • J ~ ...... , ...... I r -- .. .' .uf· t •• ,... , ...... : ... -- ..

. ~.

' ... ". f ~ - ....

. .

- - ; -.- 96

Oerambault. Les Forges de Vulcain, Book V, 1726 (Tunley Vol. 10)

P, Violons

A, ML'air s'embellit", FLUTES/Violons, g minor, tres gracieusement, e' to d"' cut time, Tematy

(a la reprise)

A"?'

A "tous" "?"

A '7"

-----_.------,--- 97

Selected Cantatas by Montec1air

Michel-Pignolet de Montec1air (1667-1737), after studying in Italy, returned to Paris in

1700. Among his first compositions upon his return are the three books ci cantatas, published

between 1709 and 1728.

MontecJair; Pan et Siri1V( Book 1, 1717 (Edited by Erich Schwandt)

RIA

RI A, Viole Seule

S, Violon et Viole Seule

RI Air Gay, Hautboit ou Violon

R, '7"/ A, "Restes plaintifs", FLUTE ou Violon, c minor, Lentement et Tendrement, g' to ClIO, 3/2,

Tematy (comme cy-devant a la reprise)

Air Gai, Violon

Example IV-12, from Pan et Sirin~ is the recitative and air from the middle of the cantata.

There are several sections to the recitative. The instrumental writing helps to portray the dramatic action of the text. (Translation: Eric Schwandt) m. 1-3

Deja Sirinx parcouroit l'Erimanthe Now Sirinx runs on Mt. Erimanthus

Pan, la voil, 1'aime et la poursuit. Pan sees her, loves, and gives chase. m. 4-10 Mesure (descending melodic tine)

D'un fleuve impetueux bientost I'onde The rapid waters of a rushing stream

ecumante

Aresta la Nymphe qui fuit. halt her flight. 98

Ses cris percent les airs Her aies ring out;

Secourezz moy, dit elle "Save me,

Chaste divinites des eaux. o chaste water-gods!"

m. 10-15, "Silence"!

o Gel! quel prodige nouveaux Great Heavens! How amazing!

Le Dieu crait vainement embrasser la cruelle, The God Pan rushes to embrace the

nn'embrasse que des roseaux cruel Nymph, but finds only reeds!

m. 15-end, Melodic 'sighs'

n gemit, il se plaint; He groans, he cries;

ces roseaux luy repondentj the reeds respond.

nles enfle de ses soupirs He fills them with his sighs. God!

Dieuxl avec ses soupirs quels regrets se What regrets mingle with his sighs!

confondentl

On droit que Sirinx veut flater ses desirs. 'Tis as if Sirinx would grant him his desires.

A stunning effect in this recitative is found on the word "enfle", m. 20. The voice is given instructions to, in effect, produce a microtonal "slide" from b-flat to b-natural. The flute, in m.

22, is then asked to "imite la voix, s'il se peut." The "Air Lentement et Tendrement" which follows (page 103) uti1izes sparse trio texture (obbligato, voice, viole seule) until the word

"taus" is used, thus bringing in the harpsichord. At the top of page 106, Monteclair uses another vocal slide on the word "conservez". This is one of the few examples, I have found, which uses the term "flute" and not "flute allemande" for the "air tendre". Notice, again, the use of the white notes until (facsimile) pCjge 23, middle score. 99

~e J '114 M-t-~ .. Deja S1- ROO parcoutoit l'ER1- . .... I~u - t

.. -"'~ H'"I-; ~~:=d II v r , /-iAN- THE, PAN 1a '1oit , l'aime, et la pour-

~. " , ... 5 • 1. f : - - • flo. .. .. ~

I' ' , " , suit. D'un 1'leuve , impetu- ,eux bientot l' ollde ecUl:laJ1- te A- -- -,

I 11 L~ T I I rIll r I It ... + • 'f'. t ~ • 4- _",_, * ~~ -"- ..... - - -

,...~

J V f' r ... t' I V , , r I' reB~e la Nymphe qui 1'uit. Sea crill ... percent lea a~_ Secourez

~ J . LJ LJ • ,

.. '-J I V

,------~,------100

moy. dit e1- le, Chas- tea dhi- ni-tea des 'f ~ Fl

o Ciel! quel pro-di- - ge nou-

:t (II

,./ J

;u, Diou croi t vainement ecbraaser 1a cru-

...... 1 ......

~ I e1- 1 • • fl n' em-brasso que deD roseawc. Io-J

, i- Ll ~.J> ~ .. ? 7 ( fI+ .. ~ fl I • I - LJ

------101

\b :t. r-~ j 1·::-:/- -=:::=:AL..P. J IJ r 1~ [ '-LeI .1 - .. Il ~adt, 11 Be plaint;

_ 1.. ·:t· OJ ? 'i-~ . I f -4 ·.1

H' I I I "".: WE -; r .Aft' tJJ 1$ " r I 2 I ces roseaux 1U1 re- POIl- dent; IG? I

).0

I' r 4'_+ r I ~' L....J ! l ~) ~ ( I , I

102

;i r

Dieux! avec Bea BOU- !~ I {~-~ fII' ~i-' ~ ~. r I If. C

-A- ~-~ i j Ir tJ iJ J~-j ~~- t-·t r tffJ t $ 4 j. t r ~'Eij pirs quelB re-grets se coo- £00- dentl Ondiroit que 51- Wi}. ~j i .."" j' iif T r -~ c

.... 1 '"' b..,. ...- -",. -, Vf- , - -jj IJ - - -

rA- Il! I ~ -~' I J RINX 'nut tlilter ses desirs.

• 'v ~I I L--I I -A J~ ~ ~ ~l

~ "-T

-_ ... _-.-- 103 20 air. [CJtUm.~ tt ~ lttHu E1 ( tit

~ !. AI ~Q q;g

[r l!~ IIi • itJl' ~ ]

(' f 7 '1 N 1 J if f J /a.... is

f'j. .... tJ fj • .~ " 'Ii

J -...:I

J' I I J Res. • toe pla1nt1!s- de 1'':' jet qutj'a- do- re, ~3 ...... 104

J '1" t t1it' v-=tJ¥ t= !i' f r 5"a J~=tj 0 P J 1-8 r=e E- cos in!or-tu- nes de mee cr1e 1mpuissante, C'est par --th?j I .. J .. !i n ' ~ mii :T t ,~~' T, r r ~ 9 ......

, '

vous que SI-RINX peut me encore i Conservez a ja- ca1s de s1 parler ~'" as ¥.f- ;r I.~ r C,

.,~ ~ " ''''--:---fj tJ P+~tJ

J ~lAftL

J tendres accents.

l~ 1/, , I ~ , . Cc...pc.\. I - - " L.J I I 105

1.1.

o I

1';1· ~ '~ Rea- tea plBintita de;I~-

,:. 1 I (' ......

El'!-- : 1 =r !tltttJ 1 if' t tlfbn ~ E- C08 iA-tor-tu-n6s do I:le 6

,,- h';" - tJ· t'I " ....., J - - , ..

~ .. 0 rJ cria impuiasanta, C'eat par "oua que SI-RIlIX peut me en-co- fo; Conser- parler

., {I J .. r r 7 f ~ r., - ~, ~f ( r.....J .. 106

2.3 ~~~f~ ~m~·~nF=~o--~~~~p "E§~6~~·t==~~r~@§fJ .JoJAa ~ "",.t.t:...... ""'~ ~""'r...t LII...... ~ ... ~,...., .. , M1tb~·J:=3f:-~--'-·~·-c ~~~~m~~· ~~t~~~g· ~o ~~~ YOZ _____ II ja-Q.3iB de ai ten- - droa ae- eentB, __ !~4 II i- fTI I~ \ ~/£ U~ l ~" I r_~- ~ r=u 1" g

Que loe ai-ma- blee sona que VOUB fere: en- ten- - dre

~:~t~xr~l,~~~ll ~ i ~~~~~~d 1, J 1. 14

f "4' +.' L

.+ 11,

IItf- 01 , Y I r f'1 Fa86ent usi- - tre lea plus __ beaux t

I "I . . .' ..,. v' l 1 f I I

• II

_.--_._--- 107

fczux: Ren- dez la ber- go- re plus

19- , T i ~:. :tk./~ _. r.4~r f r+9 J ; ;1 ~ ~co- dre. Reo- doz 1, ber- gcr Wir.H- , if r 1

0 I iJ ..ie· ·il

10 J" r ire II \,; 1;31 Rea- tea plailltita de 1lob- jet.

-+-' , 4 ; . i C.omm.e cy. ctc.vclJ\C -- ~y-t I b. lAw "1'n:'se [,.111 (' .. 108

Montec1air, Mane et Bachus, Book 3, e1728 (A-R Editions, Vol 29-30)

A, "Plus cruel", FLUTE TRA VERSIERE, b minor, a#' to e#"', 3, Rounded binary

R, "Mais, quel Dieu", FLUTE, Violon avec la voix, e minor, e' to d'", 2 and 3, Binary

A, "Regnez, adorable mortene", FLUTE SEULE, g major, Tendrement, g to don, Ternary

Air Gay, Violons

MontecJair, La Bergere (Cantatae a voix seule avec une flute et un violon), 1728 (A-R Editions,

Vol. 29-30)

A, "Prenons une route", FLUTE et Violon, g minor, g'to d"', 2, Through oomposed

A, Violon

SommeiJ, "Mais, sur cette paisable", FLUTE et Violon, f to d"', 2, Through composed

MontecJair ends the cantata with a sommeiJ (sleep scene), example IV-13. Notice the

two pauses in bars 16 and 20 before the flute and violon begin the undulating melodic motion in m. 21. Phrases imitate and overlap from the beginning m. 20. Framing the text "oiseaux, dont les doux chants reveillent les Echos ... ," (m. 46-50), the instruments begin bird-like motives Oike the Jacquet de la Guerre, Simphonie de Rossignol). The qUiet returns, m. 60-end, with the instrumental line, imitating the word "flots," or waves.

~-----.--- 109 ~I

SO~I~EIL [ •• 801 FI~I. 5 a a t±i : Ir I J E

\'Iolon I c: :::. ;fY, I 1 I ! J Ii r I I

\'oh ,V (~!

10 ~ a I C r I J E I

0 I I r- Pi rl F' r I r r J I

I r F r IJ J JI Mals, sur eel' Ie pal· si· ble

I: fH I: H ~I 9 a 6 5,3 •7 6 5 4 110

IS ..... ,,--..,., )'F I'L "', - ...... ~

.. f':\

.. .-- f':\

~ ...... - ri . ,'e Quel char· me~as • sou ·pls • sanl re' Ilenl mes (ol·bles pas?

.. ':" ..,. ; ,) ~ ~ U r I r r ~ :f6..r... - ;:i ~ f .. J f':\ \ ' ...... ,...... ",.... • "'!" V 1, __ ~6 7 6

20 jf':\ ! ,;, 9- :;.. ~. ------.... 11- ~ /L /l' .-

~ • ~ - ... /':' ~

,. /':'

~ Ah: que Ie sam' meil a d'ap· pas,

.. ':" ~ 'it v .. f .. 1>1' { '/':' , 5 : ~9 y 7 • .3 .3 111

~ .e. ~.. -. 0 --- -- L

,. IJ r ---

..L

0 ... j~ ~ f I-V t ~ -- ...,.,.. r

. , -.

L' I I

r~ r - --

IJ ~ Quels sons haromoonl o

.~--. --. '""....---. Y:...--' :i.,:..-Y '""__ ~ it- f 16o- -- ,,~, ~ 112

- 35 , ,v .. '" .. 'v I I r ~ -

~ ... ·eux! L'on· de sem·ble_BI· len'

v ... T:...--:J. To:.-'" .:.- l' r ~ -" ~ - ~

. f orl .---- douz .- 40 f orl - !-:--- .. d our _ ::---.. ~ - --- fori dour forI dour '" - .- +- ·v ;;;I .... -;iIo" ~ ... ~ , ---

'" + ... -It - ve.

... ~:: I~ it ~ fOri dour fOri dour l

• -d' 6 113

fort dour fori 4S fOri..!:, A F.F• ..- __ ·~~..,e~• .r'A ..~ ~..,,!?ur.. +

CJ ..

fort dour fOri dour /orl A -:---. -:---. - ~ • ....-. .Jf/...... --~ ~ +- . CJ - .~

tJ 01-

CJ ~ I~ ':i ~ " ~ fOri dour fori dour fori - \ ,;- 7:f

so ....+- . tJ . +.- CJ '""" --

...... +

tJ . seaux. dont les doux chants re . veil· lent les E- chos,

...... :;t. ~. y.~: .. T-=1' 1~v == ~ ~ ~ r~ --~ { .-:-- - ~ :.. ...--~ ,4.61 -. .~ 114

.,.. ' 55 " .. ..

t) .--. " - . ,t) .,.. "

ILl Tal· sez - ,·ous. tlll- sez· vous. I·ml·

~. t) - " " -q·r p ~ . .--..... ~ - ~~.,.:

. (/ , •.';, I 60 ,'" " ~ + :...

t. r

,t)

. + a • :--1

t) r . lez la na· !Ja de plain· II· \'e Qui sans bruil fail cou·ler

" -

t) I .. .~ { r r t :# r r ! r f - r;; .. 115

. +

v r r r "!...... ses nets. Que rien ne treu . ble men re' pes.

/' : t,; .. f r r ~.:.-'" ....:...... ,.... [ .....-. -.. .--.. -- . , ~ . 6 -

forI dour ~o ~. - .....-r-- - ~ ~ '" . fort dour plus dour , '" -- -- r dour plus dour /' - ~, t,; ...... ' r r - Que rien ne trou . ble men re pes.

o • L I

t,; ...:..-.~ .. ~ :=: ...:....,/ '"-' ·~I· forI dour Ir~S dour V' Ff - 6 T r n = - J -' louch. sr"l. 116

The above examples demonstrate how the flute, as well as the violin, was used as the obbligato in the cantata, The flute was featured as a soloist in the instrumental preludes and simphonies and served as the duet partner to the voice, most effectively, in the transparent trio-texture of the "air tendre", The flute most probably played in unison with the violin in the airs marked "gaj" or "vite," 117

CONCLUSION

"Both the vocal and instrumental parts in [the) cantata draw upon the performer's

gifts for poetic expression rather than upon any powers of display.. ,,39 In this quote, David

Tunley is refening to Chatpentier's Orphe~ however, I would go a step further and suggest the

statement is applicable to, what might be, a modem-day approach to the performance of

cantatas. With a faster, but smaller, airstream, loday's flutist can imitate the softer and

rounder sound of a wooden instrument. Vibrato must be used with restraint. The cantata

. ensemble is not too large and musicians, at least in my experience, are willing to participate (if

from anything, out of curiosity).

A thorough study of French Baroque performance practice is, of course, necessary for a satisfying performance. The performer must have a background in rhythmic alteration (notes inegales, double dotted notes), ornamentation (expressed only by a small cross in the facsimile), articulation and tempo.40 One of the main roles of the obbligato in the cantata is to parallel the voice, therefore, I suggest to the flutist that studying French Baroque vocal style is the place to begin. listen to Judith Nelson, Julianne Baird and Emma Kirkby. Hearing them sing is worth a thousand words. Two ensembles, William Christie's Les Arts Horissants, and the

39Ibid,47.

4DTo begin compiling a source list on Baroque ornamentation consult infonnation and bibliographies in: J.R. Anthony and D. Akmajian, Appendix to Vol. 29/30, xiii-xviii, Recent Researches in the Music of the Baroque Era (Madison, 1978); J.R. Anthony, French Baroque Music from Beaujoyeulx for Rameau(Rev.ed. New York, 1978}, R. Donington, nOmaments" vol. 13, 827-866, The New Gro\ie Dictionary of Music (London, 1980); B.B. Mather,Interpretation of French Music from 1675-1715: for Woodwind and Other Perionners (New York, 1973); J.J. Quantz, Versuch..? ed. by E.Reilly as On PJaying the Rute (New York, 1978). 118

American Baroque have released CD's of several cantatas mentioned in the sUlvey,

particularly those by Montec1air and Oerambault.

An important secondary source of infonnation is Jane Bowers' excellent dissertation on

the French Flute School along with her articles in Recherches sur la musique franfClise

cJassique. David Tunley's The Eighteenth Century French Cantata is the place to begin reading

about the cantata. Several articles by James R Anthony and his book, French Baroque Music

from Beaujoyuelx to Rameau, provide an excellent overview of the French Baroque.

A collection of cantatas by Monteclair has been edited by James R Anthony and Diran

Akmajian in Recent Researches in the Music of the Baroque Era, Volumes XXIX and XXX In

Volume XXVII of the same set, are two Oerambault cantatas edited by Donald H. Foster, L'fle de Delos and La Muse de J'opera. These A-R Editions are an excellent source for study and performance. Oerambault's Orpheehas been edited by David Tunley and is available from

Faber Music Ltd. A facsimile of Monteclair's Pan et Sirinx is available and has been edited

(with the continuo realized) by Erich Schwandt. New from Garland Publishing, in seventeen volumes, is the facsimile edition, The Eighteenth Century French Cantata, edited by David

Tunley.

The modem flutist can catch a glimpse of the past, when, before its rise into "technical stardom" in the hands of Buffardin and Blavet, the flute was revered for its lyric melodies in the "air tendres" of the French Baroque Cantata. The pages of the French Baroque Cantata hold some of the earliest music published for the one-keyed "flute allemande" in an ensemble.

In our repertoire lists, along with La Barre, Hotteterre and B1avet, I would like to see the names of Campra, Monteclair and Oerambault. 119

SELECfED BmUOGRAPHY

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