Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Rigaudon Acis et Galatée, 1686
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 8, fol. 9v LWV 73/6 (a) (a) M M M M mœ œ œ œ œ œ œ œ œ œ œ Mœ œ œ œ œ œ œ œ œ œ œ mœ œ m m C œ œ œ œ œ & J j œ j œ ‰ ˙ ‰ œ ‰ œ ˙ ‰ œ œ ˙œ œ œ œ ? C Œ œ ˙ œ œ ˙ ‰ œ œ ˙ œ œ © David Chung, 2014 J œ
5 M M m m M M m m m œ. ‰ . . œ œ œ œ. œ œ œ œ œ œ œ œ œ & . . J J œ œ j ‰‰ j j œ œ œ ‰ œ œ œ œ œ ˙œ œ œ œ œ ? . . ‰ ‰ œ œ. œ œ œ œ œ. J ‰ ‰ J œ ‰ œ J J œ J
9 M M m m M M Mœ m M m œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ. . & œ. J J œ. . fine j ‰‰ j j j Œ œ ‰ œ œ œ œ œ œ ˙. œ ? Œ œ ‰ œ œ. œ œ œ œ œ œ œ . œ J ‰ œ ‰ ‰ J œ œ J œ œ. . J J J Œ œ J
(a) dots after a” (mm. 2 and 3) removed WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.131 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.131 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.131 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Critical Notes
No. 8 (fol. 9v), Rigaudon (C) [Rigaudon, from Acis et Galatée (1686) LWV 73/6 (C)] M. 5 rh5 dot after a” removed M. 6 rh5 dot after a” removed lhU2, 4 rests missing lhL3, 5 rests missing M. 7 lhL1 rest missing lhL4 note missing M. 9 lhU4, 6 rests missing lhL4, 6 rests missing M. 10 lhL1 rests missing lhL4 note missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.131 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Second Rigaudon Acis et Galatée, 1686
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 9, fol. 10r LWV 73/7
m M œ m M m M œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ & C ‰ J œ. . . J œ œ j œ œ œ œ œ œ œ œ œ ‰ ? C ‰ J œ œ œ . . œ œ œ œ œ œ œ œ. . . J © David Chung, 2014
5 M œ œ #m œ œ #m œ. œ mœ m œ M m œ œ œ œ œ œ œ. J œ œ œ œ œ œ j J œ œ œ. œ œ. & œ œ œ œ. j ‰ œ œ œ œ œ œ j œ ? œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ. Œ œ J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.132 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.132 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 1–3, 5–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 9 (fol. 10r), Second Rigaudon (C) [Rigaudon from Acis et Galatée (1686) LWV 73/7 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.132 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______Suivons l’amour (Menuet D amadis) Amadis, 1684
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 14, fol. 14r LWV 63/12 M m # Mœ œ ˙ œ M Mœ œ & 3 œ œ œ œ ˙ œ œ
˙. œ œ œ œ [] ? # 3 ˙ œ œ ˙. œ ˙ . œ ˙ ˙ œ © David Chung, 2014
6 M # M˙ M m m M Mœ œ œ & œ œ œ œ ˙. . . œ œ œ ˙ œ
? # ˙. ˙ œ . . ˙ #œ ˙. œ ˙. ˙ œ ˙ ˙. œ . . œ œ œ œ œ œ œ œ Œ œ œ
12 m M m # œ. œ œ œ œ M j M j & œ œ œ. œ œ œ œ œ. œ ˙. . ˙˙.. fine # Œ ˙ Œ œ œ œ œ œ Œ œ ? ˙ œ ˙. œ œ ˙ œ . ˙. Œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.133 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.133 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Critical Notes
No. 14 (fol. 14r), Menuet D amdis En G re Sol # (G) [Suivons l’amour (menuet) from Amadis (1684) LWV 63/12 (G)] M. 1 time signatures missing M. 5 lhU1 dots missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.133 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______Chaconne (Chaconne de phaëton) Phaéton, 1683
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 15, fols. 14v–18v LWV 61/40 M # Mœ œ mœ. œ m j Mœ œ mœ. œ 3 Œ œ J œ œ. œ œ. œ œ œ mœ œ J & ˙ #˙ œ œ ? # Œ ˙ ˙ ˙. ˙ ˙ 3 Œ ˙. ˙ œ ˙ œ ˙. Œ œ © David Chung, 2014 ˙
7 m M M # mœ j M M Mœ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ & ˙ œ #˙. œ œ. Œ œ œ œ ˙ ˙ œ œ œ# Œ œ ? # ˙. œ œ Œ œ ˙. ˙. ˙. Œ ˙ œ
13 M M œ M # m M Mœ. œ Mœ œ œ. œ œ œ œ œ œ œ m œ Mœ & œ. œ œ œ œ œ œ Œ œ
Œ œ œ œ# Œ œ ? # ˙ œ ˙. œ ˙. œ ˙. œ ˙ œ œ n˙ Œ ˙ Œ ˙
19 m # m Mœ M Œ œ œ œ œ œ Œ œ œ Œ œ œ œ œ & œ œ œ. œ œ œ g œ œ. œ
˙ œ ˙ œ ˙ ˙ œ ? # ˙. œ ˙ œ n˙ ˙. œ ˙ Œ œ œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
25 M œ m m M œ # m œ œ mœ. œ œ. œ œ. œ œ m œ œ œ. œ œ. œ & œ œ œ J J J Œ œ œ J J Œ Œ œ œ œ œ# œ œ œ œ# ? # ˙ ˙. ˙. œ ˙ œ ˙ ˙. ˙. œ œ Œ ˙ œ
32 M m. j m j m j m j # œ œ œ . . œ. œ œ œ j . & J Œ ˙œ œ ˙œ œ œ ˙. œ ˙œ. œ œ ˙œ œ ˙œ œ. œ g˙ g˙ g˙ œ g˙ g˙ ˙ m Œ œ œ œ ˙ m ? # ˙ œ œ n˙ ˙. œ ˙ œ n˙ Œ ˙ œ Œ œ œ
39 M # m œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ j œ œ œ œ œ#œ œ œ œ œ œ œ & g˙. ˙œ. œ œ œ Œ œ œ Œ Œ Œ ˙ ? # œ ˙ ˙ ˙ ˙ ˙. œ ˙ Œ Œ ˙ Œ ˙ Œ œ œ Œ
45 œ œ œ œ œ m # œ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ œ œ œ. œ œ œ ˙
Œ ˙ Œ œ ? # ˙ ˙. œ ˙. œ Œ œ œ ˙ œ œ œ Œ (a) Œ œ œ #œ œ
(a) a third lower: d
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
50 Œ Œ j m # ˙ ˙ Œ œ. Œ ˙ & Œ ˙ Œ ˙ Œ ˙ œ œ œ ˙ ˙ Œ Œ Œ Œ (b) œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
55 M # œ œ œ œ œ mœ. œ œ œ M m M j Œ J œ œ œ œ. œ œ œ œ œ ˙œ. œ & J Œ ˙ Œ Œ Œ ˙ œ ˙ ? # œ œ œ œ œ œ œ œ œ œ œ œ n˙ ˙ œ ˙ œ œ œ Œ ˙
61 m M M m M # œ œ œ mœ. œ œ Mœ œ œ œ œ œ œ & œ œ J œ œ. œ œ œ œ œ œ œ Œ Œ Œ Œ œ ˙ œ œ ? # ˙ œ n˙ ˙ œ ˙ œ ˙ ˙. œ Œ ˙ œ
67 j j M M œ Mœ j # œ œ œ œ œ œ œ œ œ ˙œ. œ œ ˙œn . œ œ œ. œ & ˙ œ ˙ œ ˙
œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # ˙. œ ˙ œ œ œ Œ ˙ œ
(b) a second higher: b”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
72 j M j M m # œ. œ j œ. œ ˙ œ ˙ œ œ œ. œ œœ œ. œœ ˙ & Œ ˙ ˙ ˙ ˙ ˙ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
77 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ? # ˙ œ˙. ˙ œ ˙ n˙ ˙. œ œ ˙ œ Œ œ œ
82 m M # œ œ œ œ œ œ. œ œ Œ œ œ œ œ œ œ J œ œ œ œ Œ œ œ & œ œ œ Œ œ Œ œ œ Œ œ œ ? # œ˙. n˙ œ ˙. œ ˙ & œ n œ Œ œ œ œ œ œ œ œ œ
88 m M œ # œ œ Œ œ Œ m œ œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ & Œ Œ Œ # ˙ Œ œ Œ œ ? ˙ & ˙ #œ œ #œ œ œ œ nœ œ œ œ œ ˙ #œ œ œ œ . œ œ . œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
94 m m m m M œ m m m # œ œ œ œ œ œ œ m œ œ œ œ œ œ mœ & ˙œ œ œ œ ˙ œ œ ˙œ œ œ œ ˙œ. œ œ g˙ g˙ ˙. ˙ Œ œ ˙ ˙ ? # ˙. ˙. œ ˙ œ ˙ ˙. ˙. œ ˙ œ Œ ˙ ˙. Œ ˙
101 # œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ & œ ‰ œ ‰ J œ ‰ ˙ œ œ œ œ œ œ œ ‰ œ ‰ J J ˙ J J J J J J ‰ J J J ˙ œ n˙ œ œ ˙ œ n˙ ? # ˙ œ œ ˙
107 Mœ œ m œ m œ œ œ mœ. œ œ # œ. œ œ œ . œ œ. œ. œ & œ ˙ œ œ œ œ œ œ œ œ œ œ J J J J J J J ‰ J œ œ Œ œ j œ Œ œ œ ‰ œ ˙ ? # ˙ ˙ ˙ ˙. œ. œ œ œ ˙ J Œ œ
113 œ j M m. œ œ # œ. œ œ mœ. œ mœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ˙ J J
Œ œ ‰ j ˙ ? # œ œ œ œ œ œ œ ˙. . œ œ œ ˙ & œ œ œ œ œ œ ˙ J Œ œ œ œ œ
119 œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & Œ
# & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______
124 m # œ œ œ. œ œ œ œ œ œ œ œ & œ œ œ œ œ œ# ˙.
œ œ œ œ œ œ œ œ œ # ? œ œ œ œ œ œ œ œ & œ œ œ œ ˙ œ œ œ
129 # œ œ œ œ œ œ m & Œ œ œ œ œ œ# ˙. Œ œ œ
? # œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
134 œ œ m. œ M # M. œ œ œ œ œ œ œ œ œ œ œ M mœ œ œ nœ œ œ mœ Mœ & œ ‰ J œ œ
Œ œ œ #˙ Œ ? # #˙. œ ˙ ˙ ˙. ˙. œ ˙ ˙. ˙. Œ œ œ
140 M # M mœ œ nœ œ mœ œ M m m m & œ ˙ Œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ. œ œ œ
Œ Œ Œ Œ ? # ˙ ˙ ˙. ˙ œ œ ˙ ˙. ˙. ˙. ˙. n˙ ˙. Œ Œ œ œ Œ Œ œ œ
148 m M M m # m m œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ . & ˙ ‰˙ œ J ˙ fin ? # Œ ˙ Œ Œ Œ Œ ˙. œ ˙ . œ ˙ œ œ Œ ‰ œ Œ œ ˙ #œ n˙ ˙ œ œ ˙ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 8 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 9–12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 15 (fols. 14v–18v), Chaconne de phaëton (G) [Chaconne from Phaéton (1683) LWV 61/40 (G)] M. 46 lhL1 a third lower: d M. 54 rhL2 a second higher: b” M. 153 “mon pauvre pere” after last measure
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______Menuet en Trio (menuet En trio) Roland, 1685
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 20, fol. 22v LWV 65/63 m m m œ m œ m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. & 3 œ œ œ œ œ œ œ œ ˙. .
œ œ œ œ œ ? 3 œ œ œ œ ˙ œ Œ . œ œ œ œ œ © David Chung, 2014 Œ œ ˙.
7 m m m m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ? . ˙ œ œ œ œ œ œ . œ œ œ
11 m m m m œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ ˙œ. œ ˙. . & œ ˙. . fine ˙ ˙ œ œ œ [] œ œ ˙ . œ ? Œ œ .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.135 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.135 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1, 3–4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 20 (fol. 22v), Menuet En Trio (C) [Menuet from Roland (1685) LWV 65/63 (C)] M. 1 time signatures missing M. 14 lhU1 dot missing
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.135 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______Trompettes (Descente de Mars) Thésée, 1675
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 23, fols. 24v–25r LWV 51/5 M M M M Mœ œœœ mœ œœ œ mœ M M m & 3 œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ ˙. .
Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ ? 3 ˙. ˙. ˙. ˙. ˙. ˙. &. (a) © David Chung, 2014
7 m œ m m m m œ m m m œ. œ œ. œ œ œ œ. œ œ œ ˙ œ œ. œ œ. œ œ œ œ. œ œ M & J J J J J J ˙.
? œ Œ œ ˙. Œ œ œ œ œ & & œ œ œ œ œ ˙ #œ ˙. œ ˙. ˙. œ œ ˙. œ ˙. ˙. œ œ œ Œ œ Œ œ
15 M M m m m M m m œ œœœ œ œ œ œ œ œœœ œ ˙. œ. œ œ œ. œ œ œ. œ œ œ œ œ ˙. œ & J J J . J
? Œ œ Œ œ Œ œ & ˙ ˙. Œ œ ˙. œ œ œ & #œ œ #˙. œ œ (b) ˙. ˙. ˙. œ œ œ œ œ œ ˙. Œ œ
(a) incorrect rhythm (see critical notes)
(b) incorrect rhythm (see critical notes)
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
23 m œ m m m m œ m m m œ. œ œ. œ œ œ œ. œ œ œ ˙ œ œ. œ œ. œ œ œ œ. œ œ M & J J J J J J ˙.
? œ Œ œ ˙ Œ Œ ˙. œ œ . œ œ. ˙. & œ. œ œ œ œ ˙ #œ œ œ ˙ œ œ œ ˙ ˙. œ œ œ ˙. Œ œ
31 M M M M M Mœ œ œ œ mœ Mœ œ œ M M m & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. . fin
Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ ? ˙. ˙. ˙. ˙. ˙. ˙. . (c)
(c) incorrect rhythm (see critical notes)
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 8–9, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 23 (fols. 24v–25r), Descente de Mars (C) [Trompettes from Thésée (1675) LWV 51/5 (C)] M. 1 time signatures missing
M. 1–6 incorrect rhythm: M. 20–2 incorrect rhythm (same as mm. 1–6) M. 30 lhL1 rest missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______M. 31–4 incorrect rhythm (same as mm. 1–6) M. 35–6 supplied from mm. 5–6 (measures missing)
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Marche (Marche des trompettes de L’opera de thesée) Thésée, 1675
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 24, fols. 25v–26r LWV 51/30 % m œ M œ œ œ œ œ œ. œ œ M œ œ œ œ œ œ m˙ œ & c œ œ J œ œ œ Œ ˙ Œ ˙ Œ ˙ ? c œ œ œ Œ œ ˙ w w w w © David Chung, 2014
6 m M œ œ m M m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ˙. . & J ˙. . Œ ˙ Œ ˙ œ œ % ? œ Œ œ ˙ œ œ ˙ . w w w œ Œ ˙. œ . œ Œ œ
11 M œ m n m Mœ œ œ œ# . #œ œ œ m M m œ œ J œ œ œ œ œ œ. œ œ & J ˙ Œ ˙ ˙ œ œ #œ ˙œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ ˙
16 Mœ m œ m M m œ œ. œ m˙. œ œ# œ œ. #œ ˙. & J J ˙. ˙ œ˙ œ œ œ œ œ œ œ ˙ % ? ˙ œ ˙ Œ œ ˙. œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.137 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 m M M M œ œ œ mœ œ œ œ œ œ œ mœ. œ ˙. œ œ & œ œ œ œ J #˙. ˙ ˙ ˙ œ œ ? œ œ˙ œ œ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ ˙ Œ ˙
25 M m M˙. œ M M j mœ# . #œ œ œ œ œ œ œ œ mœ. & J œ œ œ ˙ œ œ #œ ˙œ œ ˙ œ œ œ œ ? œ œ œ ˙ œ œ œ œ ˙. œ Œ Œ ˙
29 M œ œ œ œ mœ œ œ M œ œ œ œ œ m œ œ & œ œ œ œ œ œ ˙ œ
? Œ œ ˙ Œ œ ˙ Œ œ ˙ Œ ˙ w w w w œ
(a)
33 m M œ œ m M m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ˙. & J ˙. [fin] œ ? Œ œ ˙ Œ ˙ Œ œ ˙ œ ˙ w œ w œ Œ ˙. w œ Œ œ œ
(a) mm. 33–7 supplied from mm. 6–10 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.137 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.137 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 24 (fols. 25v–26r), Marche des trompettes de L’opera de thesée [Marche from Thésée (1675) LWV 51/30 (C)] M. 33–7 supplied from mm. 6–10
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.137 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Marche des Sacrificateurs (Le Sacrifice de Mars) Cadmus et Hermione, 1673
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 25, fols. 26v–27r LWV 49/42 M œ œ œ œ œ œ mœ œ. œ œ œ œ œ œ œ œ œ œ œ & C œ J œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ Œ œ ? C œ œ œ œ œ œ œ ˙ œ œ © David Chung, 2014
4 m m œ œ œ mœ. œ m Mœ œ œ œ œ œ. œ œ œ œ#œ œ. œ œ. #œ & #œ œ œ#œ œ #œ œ œ œ œ ≈ Œ ˙ bœ œ ˙ ? œ œ #œœ ˙ ˙ œ œ œ œ Œ ˙ Œ œ
7 œ œ œ M j M œ mœ œ œ œ. m œ & œ œ œ œ ˙ . . œ œ œ œ œ œ . œ. œ œ œ œ œ œ œ RepriseJ J
? œ œ œ œ œ œ . . Œ . œ œ œ œ ˙œ ˙ œ . . œ œ œ œ œ . œ œ œ œ œ œ ˙
10 M œ m œ. œmœ. œmœ. œ œ œ œ œ m œ #œ œ œ m œ œ mœ œ œ œ œ & œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙œ œ œ œ œ œ œ œ ? œ ˙ #œ #œ œ #œ ˙œ œ œ œ œ œ œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.138 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung 2014 p. 2 ______
1. 2. 14 œ œ œ œ œ œmœ. m œ mœ œ œ œ œ œ œ œ œ œ œ. œmœ. œ œ œ œ œ œ œ œ œ . w & œ . ‰ œ ˙. J fin j j œ œ œ œ œ œ œ œ ‰ œ ‰ ? œ œ œ œ œ œ Œ . ‰Œ j œ œ œ œ œ œ . œ ˙ œ œ œ ˙ w
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.138 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.138 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 25 (fols 26v–27r), Le sacrifice de Mars (C) [Marche des Sacrificateurs from Cadmus et Hermione (1673) LWV 49/42 (C)] M. 4 lhU2 rest missing M. 15 lhU4 rest missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.138 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Rigaudon Acis et Galatée, 1686
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 36, fol. 40v LWV 73/6 M M M M mœ œ œ. œ œ œ œ œ œ Mœ œ œ œ œ œ œ œ œ œ œ œ œ m m C œ œ œ J œ œ & J j œ j œ œ ˙ ‰ œ ‰ œ ˙ ‰ œ ˙œ œ œ œ ? C œ œ œ ˙ œ ˙ œ œ Œ ˙ ‰ J œ œ © David Chung, 2014
5 M M m m M M m m m œ. . . œ œ œ œ. œ œ œ œ œ œ œ œ œ m & . . J J œ œ ‰‰ j j œ œ œ œ œ œ œ ˙œ œ œ œ œ ? . . ‰ œ œ. œ œ œ œ œ. œ ‰ œ ‰ J œ ‰ J œ J œ J
9 M M M mœ m M œ Mœ œ œ mœ M m œ œ œ. œ œ œ œ œ œ œ. œ œ. . & œ. J J œ. j j ‰ j j j œ œ œ œ œ œ œ œ ˙ œ ? ‰ œ œ œ œ. œ œ œ œ œ œ œ . œ œ ‰ œ ‰ J œ œ œ œ. œ J ‰ J œ J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.139 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.139 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 36 (fol. 40v), Rigaudon (C) [Rigaudon, from Acis et Galatée (1686) LWV 73/6 (C)] [No comments]
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.139 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Second Rigaudon Acis et Galatée, 1686
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 37, fol. 41r LWV 73/7 m M œ m M m m M œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ & C J . . J œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? C J œ œ ‰. œ . . œ œ œ J œ J © David Chung, 2014 J
5 m m m œ œ œ œ œ #œ œ œ #œ œ. œ œ œ m œ M m œ œ. J œ œ œ œ œ œ œ œ œ. œ œ. & œ œ. j ‰ œ œ œ œ œ œ j œ ? œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ. œ ‰ J œ J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.140 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.140 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 1–3, 5–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 37 (fol. 41r), Second Rigaudon (C) [Rigaudon from Acis et Galatée (1686) LWV 73/7 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.140 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trompettes (Descente de Mars) Thésée, 1675
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 48, fols. 10v–11r LWV 51/5 % M M M M Mœ œ œ œ mœ œ œ œ mœ & 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ œ œ Œ œ œ Œ œ œ Œ œ œ ? 3 ˙. ˙. ˙. ˙. La basse du bruit de guerre doit-estre Continüe © David Chung, 2014
5 m M M m mœ. œ œ œ. œ œ œ mœ. œ œ & œ œ œ œ œ œ œ ˙. . J J œ [fin] J Œ œ Œ œ ? œ œ . ˙. ˙. &. œ œ Œ œ ˙ #œ ˙. œ ˙. œ œ œ œ
10 m m m˙ œ œ. œ œ œ. œ œ œ mœ. œ mœ M & J J J ˙. % ? œ Œ œ ˙. œ œ œ œ & & ˙. œ ˙. ˙. œ œ ˙. œ Œ œ Œ œ
15 m m œ. œ œ mœ. œ mœ œ œ œ. œ œ œ œ m˙. & J J J œ. J
Œ ? & ˙ #œ ˙. œ œ #˙. œ ˙. œ œ œ œ œ œ œ ˙. Œ œ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.141 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 M M M m œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. &
? Œ œ œ Œ œ œ Œ œ œ ˙. ˙. ˙. &
23 m œ m m m œ. œ œ. œ œ œ œ. œ œ œ ˙ œ & J J J
Œ ? & œ œ œ œ œ ˙ #œ ˙. œ ˙. ˙. œ œ œ Œ œ
27 m mœ. œ œ œ. œ œ œ mœ. œ mœ M & J J J ˙. % Œ ? œ œ œ œ œ ˙. ˙. ˙. œ œ ˙. œ œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.141 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.141 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 8–9, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 48 (fols. 10v–11r), Descente de Mars (C) [Trompettes from Thésée (1675) LWV 51/5 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.141 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ritournelle (Menüet) Thésée, 1675
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 49, fol. 11v LWV 51/7 œ m œ M m œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ œ M m & 3 œ ˙
Œ œ œ Œ œ œ œ ˙ ˙. œ œ ˙ ? 3 ˙. ˙ œ ˙. ˙. œ Œ ˙ Œ œ © David Chung, 2014
7 œ M M œ œ œ œ œ m˙ œ œ œ Mœ m˙ œ œ œ & ˙. . . œ œ œ œ ˙. Œ œ Œ ˙ ? . . œ œ ˙. œ ˙. œ ˙. œ . . Œ œ ˙ Œ œ ˙ œ Œ œ Œ œ
13 œ œ œ œ œ Mœ m˙ œ Mœ m˙ m œ Mœ m M & œ œ œ œ ˙ ˙ ˙. .
Œ œ œ Œ œ ˙. Œ ˙ ˙ œ œ ˙ ? ˙. œ ˙ œ ˙ œ œ œ ˙. . Œ œ Œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.142 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.142 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1, 3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 49 (fol. 11v), Menüet [Ritournelle from Thésée (1675) LWV 51/7 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.142 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Marche (Marche) Thésée, 1675
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 50, fols. 12r–v LWV 51/30 % M œ œ œ œ mœ œ œ M œ œ œ œ œ m˙ œ œ & C œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ? C œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ (a) ◊ © David Chung, 2014 6 m M œ œ m M m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ˙. . & J ˙. . [fin] œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙. œ . œ Œ œ ◊
11 M œ m n m M m œ Mœ œ œ œ# . #œ œ œ m M œ œ œ œ. œ J œ œ œ œ œ œ. œ J & J œ ˙ [] ˙ ˙ œ œ ˙œ. œ œ ˙ œ˙ ? œ œ œ œ œ œ œ œ œ œ #œ œ œ ˙ œ
17 œ m M m m M M m˙. œ œ# œ œ. œ ˙. œ œ œ m œ œ œ œ & J ˙. œ œ œ œ œ œ œ œ œ œ œ ˙ % ˙ ˙ ˙ ? œ ˙ ˙. œ œ œ œ˙ œ œ ˙ Œ œ Œ œ œ ˙
(a) “Il est a Remarquer dans cette marche que tous les qrands accords d’ut se touche a Loctaue en bas”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.143 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
23 m M M m M. M M œ œ mœ. œ ˙. œ œ mœ# . #œ œ œ ˙ œ œ œ œ œ œ m. j & J #˙. J œ œ œ [] œ œ ˙ œ # ˙œ. œ œ œ % ? œ ˙ œ œ œ œ œ œ œ ˙. œ œ ˙ ˙. œ œ œ ˙ œ œ œ Œ ˙ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.143 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Editorial Remarks
This piece is in rondeau form and editorial reprise symbols, indicated by , have been supplied to clarify the repetition scheme. The editorial suggestion to play the bass part of mm. 1–8 an octave lower derives from the marginal notes: “Il est a Remarquer dans cette marche que tous les grands accords d’ut se touche a Loctaue en bas”.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.143 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 2–8, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.143 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Critical Notes
No. 50 (fols. 12r–v), Marche (C) [Marche from Thésée (1675) LWV 51/30 (C)] M. 1 “ ” missing M. 15 lhU1 dot missing M. 26 lhU1 dot mssing M. 28 “” missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.143 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Rigaudon Acis et Galatée, 1686
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 51, fol. 13r LWV 73/6 M M M M mœ œ œ. œ œ œ œ œ œ Mœ œ œ œ œ œ œ œ œ œ œ œ œ m m C œ œ œ J œ œ & J j œ j œ œ ˙ ‰ œ ‰ œ ˙ ‰ œ ˙œ œ œ œ ? C œ œ œ ˙ œ ˙ œ œ Œ ˙ ‰ J œ œ © David Chung, 2014
5 M M m m M M m m œ. . . œ œ œ œ. œ œ œ œ œ œ œ œ œ m & . . J J œ œ ‰ ‰ j j œ œ œ œ œ œ œ œ œ ˙œ œ œ œ œ ? œ . . ‰ œ . œ œ œ œ . œ ‰ ‰ J œ ‰ J œ J œ J
9 M M M mœ m M œ Mœ œ œ mœ M m œ œ œ. œ œ œ œ œ. œ œ. œ œ. . & œ. J J œ. ‰ j j œ j œ œ œ œ œ œ œ œ œ œ ˙ œ œ ? ‰ œ . œ œ œ œ . œ ‰ œ ‰ J œ œ œ œ. œ J (a) ‰ J œ J
(a) first two bass notes (e and c) notated as eighth notes
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.144 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.144 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 51 (fol. 13r), Rigaudon (C) [Rigaudon, from Acis et Galatée (1686) LWV 73/6 (C)] M. 6 lhU1 rest missing M. 11 lhL1–2 eighth notes
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.144 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Rigaudon (2e. Rigaudon) Acis et Galatée, 1686
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 52, fol. 13v LWV 73/7
m M œ m M m m M œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ & C J . . J œ œ
œ œ œ œ œ œ œ œ œ œ œ œ ? C J œ œ œ. œ . . œ œ œ œ ‰ J œ J © David Chung, 2014 J
5 m m m œ œ œ œ œ #œ œ œ #œ œ. œ œ œ m œ M m œ œ. J œ œ œ œ œ œ œ œ œ. œ œ. & œ œ. œ œ œ œ œ œ j œ ? œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ. œ ‰ J œ J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.145 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.145 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 1–2, and 4–7) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 52 (fol. 13v), 2e. Rigaudon (C) [Rigaudon from Acis et Galatée (1686) LWV 73/7 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.145 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Marche (Marche des Mousquetaires) Première Marche des Mousquetaires, 1658
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 59, fols. 20v–21r LWV 10 M mœ. œ œ œ mœ ˙ œ œ œ mœ. œ & C œ œ œ ˙ œ œ g˙ ‰ ˙ œ g˙ g˙ ˙ œ œ œ ? C ˙ œ œ œ œ w ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ © David Chung, 2014
6 M M m œ œ mœ m œ j j & œ œ œ œ œ œ. œ œ. œ ˙ . ˙ œ œ ? œ œ œ œ w ˙ œ œ œ œ œ ˙ ˙ . Œ œ ˙ Œ Œ œ
10 Reprise œ m mœ. œ œ œ œ œ œ œ œ œ m˙ œ m & . ‰ œ œ œ ˙ ‰ œ œ ˙ œ. œ œ j ‰ œ ˙ ˙ w ? . ˙ œ ˙ ˙ #˙ ˙ . Œ œ ˙ ˙ ˙
15 M m mœ œ œ M œ œ œ œ œ œ œ œ œ œ œ. œ mœ. œ ˙ & œ J ˙ . j ? œ œ #˙ ˙. œ œ œ ˙ ˙ œ œ œ Œ ˙ Œ œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.146 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.146 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 1, 4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 59 (fols. 20v–21r), Marche des Mousquetaires (C) [Marche from Première Marche des Mousquetaires (1658) LWV 10 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.146 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chaconne (Chaconne de Phaëton) Phaéton, 1683
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 63, fols. 23v–28r LWV 61/40 M M m j M m # œ œ œ œ. œ mœ œ m œ œ œ œ. œ & 3 Œ J ˙œ. œ #˙œ. œ œ œ J g˙ g Œ ˙ œ ˙ ˙ ˙ œ ˙ ? # 3 ˙ ˙ ˙œ ˙ ˙ ˙ œ Œ œ œ œ œ © David Chung, 2014 Œ ˙
7 j m M M œ # mœ M Mœ. œ Mœ œ œ. œ œ œ œ œ œ œ & ˙œ. œ œ œ. œ œ œ. œ œ œ œ g˙ œ Œ œ Œ œ œ ˙ œ œ œ œ# Œ œ ? # ˙ œ ˙ œ Œ œ ˙. ˙. ˙. Œ ˙ ˙.
13 M M œ M # m M M. œ Mœ œ œ. œ œ œ œ œ œ œ m œ M & œ. œ œ œ œ œ œ œ Œ œ œ Œ Œ œ œ œ# Œ œ œ œ ˙ ? # ˙ œ ˙. ˙. œ ˙. ˙ œ œ n˙ Œ ˙ Œ ˙
19 m # m Mœ M Œ œ œ œ œ. œ œ Œ œ œ Œ œ œ œ œ. œ & œ (a) œ œ œ œ œ œ
˙ œ ˙ œ ˙ ˙ œ ? # ˙. œ ˙ œ n˙ ˙. œ ˙ Œ œ œ Œ œ
(a) half notes for g’ and e’
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
25 M m m M # m œ œ mœ. œ œ. œ œ œ. œ œ m œ œ œ. œ œ. œ œ & œ œ œ J J J Œ œ œ J J Œ Œ Œ Œ œ œ œ# œ œ œ# ? # ˙ ˙. ˙. œ ˙ œ ˙ ˙. ˙. œ œ Œ ˙ œ
32 m m M m m # œ. œ œ j j œ œ j j j & J Œ ˙œ. œ œ œ. œ ˙œ. œ œ œ. œ œ ˙œ. œ œ œ. œ ˙ œ g˙ g˙ gœ œ m Œ œ œ œ œ m ? # ˙ œ œ n˙ ˙. œ ˙ œ n˙ Œ ˙ œ œ Œ œ œ œ
39 M # m œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ j œ œ œ œ œ#œ œ œ œ œ œ œ & ˙ œ. œ œ œ Œ œ œ Œ Œ Œ ˙ ? # œ Œ œ ˙ ˙ ˙ ˙. œ ˙ œ Œ Œ ˙ Œ ˙ Œ œ ˙. Œ
45 œ œ œ œ œ m # œ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ œ œ œ. œ œ œ ˙
Œ ˙ Œ œ ? # ˙ ˙. œ ˙. œ Œ œ œ ˙ œ œ œ Œ Œ œ œ #œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
50 m # Œ ˙ Œ ˙ Œ j Œ Œ ˙ Œ ˙ Œ ˙œ. œ œ œ ˙ & Œ Œ ˙ Œ ˙ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
55 œ œ œ m œ Mœ M m j # œ œ œ. œ œ œ œ. œ œ M œ œ. œ & Œ J œ J œ œ ˙ Œ Œ Œ ˙ œ ˙ ? # œ œ œ œ œ œ œ œ œ œ œ œ n˙ ˙ œ ˙ œ œ œ Œ ˙
61 m M M m M # œ œ œ mœ. œ œ Mœ œ œ œ œ œ œ & œ œ J œ œ. œ œ œ œ œ œ œ Œ Œ Œ Œ œ ˙ œ œ ? # ˙ œ n˙ ˙ œ ˙ œ ˙ ˙. œ Œ ˙ œ
67 M j M œ œ Mœ œ œ œ œ m M œ m j M j # œ œ œ œ œ ˙œ. œ œn . œ œ. œ œ. œ & ˙ J ˙ œ ˙ Œ ˙ œ œ# Œ ˙ œ œ ˙ ? # ˙. ˙ œ ˙ œ ˙ œ ˙ œ Œ ˙ ˙ œ Œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
73 j m M # M m m ˙ m œ œ œ. œ œ. œ œ ˙ œ œ œ œ œ œ œ œ œ œ & J œ ˙ ˙ œ œ. œ œ œ ˙ Œ ˙ Œ œ ˙ ˙ ˙ œ ? # ˙ œ ˙ œ œ ˙ œ n˙ ˙ œ Œ œ œ
79 œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ œ ? # œ ˙ œ˙ œ œ ˙. œ œ ˙ n˙ ˙. Œ œ œ
84 œ m. M m # œ œ œ œ œ œ Œ Œ œ œ J œ œ œ œ œ œ Œ œ œ œ œ œ œ œ & Œ Œ Œ œ ? # ˙ Œ œ œ & œ œ nœ œ œ œ œ ˙ œ œ œ œ œ œ œ Œ œ œ . œ
90 m # Mœ œ œ mœ Mœ œ œ m Œ œ œ Œ œ œ Œ œ œ mœ œ œ œ œ & Œ œ Œ œ œ œ œ ˙
# ˙ œ ˙ Œ ? ˙ ˙ ˙œ & nœ œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
96 m m Mœ œ œ mœ Mœ œ œ m m M m M # œ œ œ mœ œ œ œ œ œ œ œ œ œ œ & œ ˙ ˙ œ œ. œ œ œ ˙ ˙ ? # Œ ˙ œ ˙œ ˙ œ ˙ œ œ ˙ œ & ˙ œ˙. n Œ ˙ ˙ œ Œ ˙ œ ˙
103 M # œ m M m m œ Mœ œ mœ Mœ œ m M m m œ. œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J Œ œ # ? ˙ ˙ ˙ & ˙. œ œ œ œ ˙ œ. n˙ ˙. œ œ œ œ œ œ œ œ œ œ
110 m. œ j # mœ Mœ. œ mœ. œ œ œ œ œ œ œ œ. œ mœ Mœ. œ mœ. œ œ & J J ˙ J J ˙ j ˙ j œ ‰ œ ˙ ˙ œ ‰ œ ˙ ? # ˙ œ œ. œ œ œ ˙ Œ ˙ œ œ. œ œ J Œ œ ˙ œ J
116 m. œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & Œ
˙ Œ œ œ Œ œ# Œ œ œ Œ ˙ ? # œ ˙ ˙ ˙. ˙. œ ˙. Œ ˙ Œ œ œ Œ
122 œ œ œ œ œ m # œ œ œ œ œ œ œ œ œ œ. œ œ œ Mœ œ œ Mœ m Mœ œ & œ œ œ œ œ# Œ Œ Œ œ œ œ# œ œ Œ ? # ˙. ˙. œ ˙ œ Œ œ œ ˙. ˙ ˙ œ Œ ˙ ˙. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______
128 # M œ M m Mœ œ m & ˙. Œ œ œ œ œ œ œ œ œ# ˙. Œ œ œ
m Œ œ Œ m ? # Œ œ ˙. œ ˙ ˙ Œ ˙ œ. œ œ œ œ œ œ. œ œ œ Œ ˙ ˙. Œ ˙ ˙ œ
134 M M œ œ œ œ mœ. œ # Mœ. œ Mœ œ œ œ œ œ œ œ œ mœ œ œ & Œ œ œ Œ œ œ œ ˙ ? # ˙. ˙. œ ˙ Œ œ œ
138 M M # nœ œ œ mœ Mœ M M mœ œ œ nœ œ œ mœ Mœ & œ œ ˙ Œ œ œ m ? # ˙ ˙. Œ ˙ ˙ ˙. ˙œ œ ˙. œ. œ œ œ ˙œ œ ˙. Œ ˙ ˙ œ
144 m m m # M˙ m m œ & œ Œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ M M Œ Œ œ œ ? # Œ ˙ œ n˙ ˙ œ œ. œ œ œ . œ ˙ Œ ˙ ˙ œ Œ œ
149 m m M m # m m m œ j œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ . & ‰˙ œ J ˙ Œ Œ œ œ j ? # Œ ˙ œ n˙ ˙. œ Œ‰œ œ ˙ . œ ˙ œ Œ œ ˙ fin de La chaconne WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 8 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 9–16, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 63 (fols. 23v–28r), Chaconne de Phaëton [Chaconne from Phaéton (1683) LWV 61/40 (G)] M. 19 rhL1 half notes for g’ and e’
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.147 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Suivons l’amour (Menüet) Amadis, 1684
F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 66, fol. 29v LWV 63/12 M m M # Mœ œ ˙ œ M Mœ œ ˙ œ & 3 œ œ œ œ ˙ œ œ ˙. ˙ œ Œ ? # ˙. œ œ œ œ ˙ œ ˙. ˙ 3 Œ ˙ ˙ ˙ œ ˙ œ © David Chung, 2014
7 M # M m m M Mœ œ œ & œ œ œ ˙. . . œ œ œ ˙ œ
? # Œ œ œ ˙ #œ Œ œ œ ˙. ˙ ˙. œ . . œ œ œ ˙ œ œ œ Œ œ œ œ
12 M M m œ œ M m # œ œ œ œ J œ œ j j & J œ œ. œ œ œ œ. œ ˙. . ˙˙.. Œ ˙ Œ ? # ˙ œ œ œ ˙ Œ œ Œ œ œ . œ ˙. œ œ ˙. . #œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.148 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.
Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.
This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:
First Second Third Title LWV key
8 36 51 Rigaudon 73/6 C
9 37 52 Second Rigaudon 73/7 C
14 66 Menuet 63/12 G 15 63 Chaconne 61/40 G 23 48 Descente de Mars 51/5 C
24 50 Marche 51/30 C
Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.
Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.148 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (m. 12) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 66 (fol. 29v), Menüet (G) [Suivons l’amour (menuet) from Amadis (1684) LWV 63/12 (G)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.148 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet (Lamour malade) Ballet de L’Amour malade, 1657
US-BEm MS 778 (Parville), no. 24, p. 41 LWV 8/35
j m 3 œ œ ˙. & ˙. œ. œ œ œ œ. œ œ œ ˙. ˙. M [] ˙ œ ? œ œ ˙ œ ˙ œ 3 Œ Œ œ œ˙ . œ #˙ ˙. ˙. ˙. © David Chung, 2014
6 j œ. œ Tœ #œ œ œ ˙ œ b œ & ˙. ˙ J œ œœ‰ œ œ œ œ œ œ œ œ œ œ ˙ n b ? ˙ œ œ œ œ œ ˙ œ œ j œ œ. œ b˙ ‰˙ œ #œ ˙œ œ œ œ œ
11 j . . œ œ œ . œ œ œ œ œ œ œ œ & ˙. . . œ ˙˙ T ˙. ˙. #˙. Reprise ? Œ œ j œ œ œ œ œ . . œ ‰ œ Œ [] œ œ ˙ œ ˙. #˙ œ ˙. Œ ˙ ˙ .
16 œ bœ œ #œ œ & œ œ œ œ ˙. œ #˙. œ #œ œ ˙
[] ? Œ œ œ œ [] ˙ b˙œ. ˙ œ œ #˙. ˙ . #œ œ œ w. œ œ œ œ˙ . œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.149 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
21 œ & ˙ œ œ . œ #œ œ ˙ œ # w œ œ w#w M ? ˙ œ# œ Œ ˙ . Œ ˙ œ œ œ œ œ œ œ ˙. ˙ ˙ œ w
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.149 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.149 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 9–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 24 (p. 41, Hand A), Lamour malade (d) [Menuet from Ballet de L’Amour malade (1657) LWV 8/35 (d)] M. 2 lhL1 dot missing M. 14 lhL1 dot missing M. 20 lhU1 dots missing M. 23 lhU2-3 tie, note missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.149 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chaconne (Chaconne de galatée) Acis et Galatée, 1686 US-BEm MS 778 (Parville), no. 29, pp. 52–3 LWV 73/32
m m # œ. œ œ œ. œ œ œ. œ m œ. œ & # 3 Œ J J J œ. œ œ Œ J (a) J Œ Œ ‰ œ ˙ ˙ ˙ œ ˙ ˙ œ œ. ‰ œ ˙ ? # 3 ˙ œ œ œ œ ˙ œ œ # œ Œ ˙ © David Chung, 2014
6 (b) M # œ m œ M œ œ m M œ m j # œ. J œ œ. œ œ. œ œ œ. J œ œ œ. œ & J J œ œ. œ J Œ Œ ‰ j Œ œ ‰ ˙ ˙ ˙ œ ˙ ˙ œ ? # œ ˙ œ œ œ ˙œ œ œ œ # ˙ œ ˙. œ ˙ ˙ œ
12 M m # œ œ œ . œ mœ j M m j & # œ. J œ J œ. œ ˙ œ œ œ. œ œ œ œ. œ
œ ‰ ˙ ‰ j Œ œ ‰ ˙ ? # œ ˙ œ œ œ ˙ œ œ œ ˙œ œ œ œ # ˙ ˙ œ ˙ œ ˙. œ ˙ ˙ œ
18 m œ œ M ## œ œ œ. œ œ œ œ œ œ j œ & œ. œ œ J œ. œ œ. œ œ Œ Œ ˙ ˙ œ ˙ ˙ œ œ ˙ Œ ? # œ ˙ ‰ œ œ œ œ # ˙ ˙ œ ˙. (a) a third lower: d (b) a third higher: g” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.150 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
23 m œ mœ m œ œ ˙. ## œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. & J ˙. j ‰ œ ˙ Œ Œ œ ‰ ˙ œ nœ ˙ ˙ œ œ ? # œ œ œ ˙œ œ œ œ œ œ œ œ œ œ # ˙. œ ˙ ˙ œ
29 œ mœ m œ œ œ m ## œ œ œ œ œ œ œ œ œ œ œ œ. œ & Œ J ‰ ˙ ‰ j ? # œ œ œ ˙ Œ ˙ œ œ ˙œ œ # ˙ œ œ nœ œ ˙ œ œ ˙
33 œ œ œ mœ. œ œ œ œ m m œ m œ œ ## œ œ œ J œ œ œ œ œ œ œ œ œ & œ ‰ j Œ ˙ n˙ œ ˙ œ ˙ ˙ œ œ ‰ ˙ ? # ‰ œ œ œ ˙œ œ œ œ # ˙ œ ˙ ˙ œ
38 œ mœ. œ œ œ œ m m ## J œ œ œ œ œ. œ ˙. & J ˙. Œ Œ ˙ œ ? # ‰ œ œ Œ ˙ œ œ œ ˙ œ ˙. # n˙ œ ˙ œ œ ˙ Œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.150 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.150 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 4, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 29 (pp. 52–3, Hand A), Chaconne de galatée (D) [Chaconne from Acis et Galatée (1686) (D) LWV 73/32] M. 1 lhU2 a third lower: d M. 8 rh2 a third higher: g”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.150 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Courante de Lulli (Courante de Mr Lully)
US-BEm MS 778 (Parville), no. 41, p. 72 LWV 75/24
œ mœ. œ œ m œw œ. J œ œ œ. œ ˙ œ œbœ mœ œ & b 3 ‰ J . w œ. J ˙. ‰ œ
Œ [] [] œ ˙ . j œ œ ˙. œ n ˙ œ. œ mœ œ œ œ˙ ? 3 . œ. #œ œ œ ˙ #˙ œ œ œ œ b . w © David Chung, 2014
5 m j m m n Mœb . œ m œ j j Mœ. œ œ. œ œ# œ œ. œ œ & b œ ˙œ. œ œ. œ œ. œ J J J #˙ M M œ œ œ œ œ Œ œ ? ˙ œ# ˙ ˙. œ ˙œ ˙ b Œ ˙ œ œ ˙ ˙ œ œ œ ˙ œ Œ œ
8 1. m m m ˙. j j œ œ œ œ b ˙. ‰ œ œ œ nœ œ œn . œ œ# œ #˙. œ œ ˙ ˙ ‰ J . & . #˙ ˙ Œ œ œ œ œ œ . ˙ ˙ ˙ ˙ ? b œ œ œ œ œ # ˙ ˙ œ œ œ . w Œ œ ‰ œ ˙ œ œ J
11 2. œ mœ. œ mœ œ m [] œ ˙ ˙ J . J . œ œ. œ œ. i œ œ œb mœ & b #˙ ˙ ‰ . J J . œ ˙ ˙ Reprise M J Œ œ œ œ œ œ œ ˙ ˙œ ? . # ˙ œ œ œ œ œ œ œ ˙œ œ b ˙ œ ˙. . ˙ ‰ œ ˙ ˙. J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.151 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
14 m m j m. m j j . ˙. œ# . œ œ. œ œ œ œ b œ. œ œ. œ œ. œ []˙ ˙. œ J J & M I ˙ œ M
˙œ ˙œ. œ œ ? b #˙ œ œ b˙ œ bœ œ œ nœ œ œ œ ˙œ œ œ˙ ˙ n b œ œ œ #˙
17 œ [] m œ œ. œ œ I œ œ# . œ#œ œ ˙œ œ ˙ & b œ. nœ œ ˙ ‰ J .
? b ˙. œ œ œ ˙ . œ. Œ œ ˙. ˙. J ‰ œ ˙ ˙. J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.151 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.151 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 41 (p. 72, Hand A), Courante de Mr Lully (g) [Courante de Lully, after d’Anglebert/Lully (1689) LWV 75/24 (g)] M. 3 lhU3 rest missing M. 4 lhU1 dot missing M. 8 lhU6 rest missing M. 13 rh2 flat missing M. 15 rhL1 sharp missing rhU2 flat missing M. 17 rhL5 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.151 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture disis) Isis, 1677
US-BEm MS 778 (Parville), no. 42, pp. 74–6 LWV 54/1 j œ m˙. œ œ m œ M œ˙. œ œ. J œ. œ œ œ œ. œ œ bœ œ œb . œ œb mœ. & b c ˙ J J J œ #˙ ˙˙ ˙ ˙ ˙ #˙ ˙ œ n˙ w œ ˙ ? c ˙˙ ˙ #˙˙ Œ Œ b ˙ © David Chung, 2014
6 m m m M Mœ. œ M Mœb œ m Mœb œ b œ. œ œ. œ œ. œ œ. œ mœ œ J œ. œ . œ. œ . J & J J J J . J J J J j ‰ œ Œ ˙ œ œ œ ˙ œ œ ˙ œ ˙ ˙ ? #˙ œ œ ˙œ ˙ ˙ b˙ œ ˙ ˙ b Œ œ Œ œ
11 Mœ. œ m. œ m œ œ m m m. œ J œ J œ. œ œ œ# . œ œ œ. œ œ w & b ˙ ‰ J J . Œ œ. œ Œ ˙ ˙ ? œ J ˙ œ b˙. œ w . b œ. J ˙ œ w ˙ œ . Œ‰J ˙ (a) 16 b œ m œ œ Mœ œ . œ œ œ œ #œ œ# œ #œ mœ. œ œb œ. œ mœ. œ & b 3 . Œ J J J Reprise
? 3 . ∑ & Œ œ œ bœ œ œ œ nœ œ ˙ œ b˙ œb b œ œ Œ œ œ
(a) The flat sign (above the tremblement) is original, not editorial.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.152 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
22 M m œ. œ œ mœ. œ m m ˙. œ œ. œ œ J J #˙ #œ œ œ œ. #œ œ œ & b J ‰ œ œ œ œ ˙. ˙. ? ˙. œ˙. #œ #œ & b œ œ˙ œ bœ œ œ ˙. Œ œ œ œ œ œ Œ œ œ
28 M m M m œ. œ œ œ. œ œ œ œ bœ œ b˙ bœ œ œ œ. bœ œ œ. œ bœ œ & b œ J J
œ œ œ œ ˙ œ n˙ ˙. ˙ ˙ ? œ œ œ œ œ œ œ œn . b . b b b Œ œ œ œ œ œ œ œ œ
34 Mœ m m œ Mœ. œ œ m b mœ. œ œ. œ bœ œ œ. œ œ. œ œ bœ mœ. œ œ J œ. œ & J J J J J œ Œ œ˙. œ œ nœ˙ œ ˙. ˙ ˙. ˙. ? b œ ˙ œ œ nœ œ œ˙. œ œ Œ œ œ œ œ œ
41 m Mœ. œ œ œ mœ. œ œ œ œ. œ œ œ mœ. œ ˙ œ œ œ mœ. œ œ ˙ œ œ & b J J
˙ ˙. Œ ? œ œ˙. œ œ ˙. [] ˙ b œ œ œ Œ œ ˙ . Œ ˙ Œ ˙ œ Œ œ œ ˙ œ ˙ œ ˙ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.152 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
48 œ œ m M œ œ œ œ œ m œ œ œ mœ. œ œ œ œ mœ. œ œ œ. œ mœ. œ & b œ# . J J J J
œ œ œ ˙ œ œ ? Œ œ œ œ œ œ œ œ œ œ ˙ b œ Œ #œ œ œ nœ œ œ #œ œ
54 m n m. œ. œ œ. œ œ m œ œ# œ œ œ mœ. œ œ œ œ œ J bœ œ. œ & b J J œ œ J œ œ ˙ ˙. œ ˙ œ œ œ œ œ œ œ œ˙ œ œ nœ œ ? b œ œ œ bœ nœ œ œ #œ œ#
60 m m M œ œ m mœ œ. œ œ mœ# . œ œ œ. #œ œ œ œ. œ œ. œ œ. œ œ & b J J J J [] Œ ˙ []n ˙ ˙ ˙ I œ œ bœ œ œ œ. #œ œ ˙. bœ˙. œ œ #œ œ œ Œ ˙ œ ? b
66 œ mœ# . œ œ M œ m b J mœ. œ œ œ œ œ œ œb . œ œb bœ œ œ & J m œ J [] ˙ . œ ˙ ? b˙. n œ #œ œ#œ œ ˙ . b Œ œ œ œ œ œ œ œ œ˙ œ œ
71 m Mœ. œb œ œ œb m œ j & b J œ. œ œ. œ œ œ œ œ. œ ˙. . J ˙˙..
Œ [] ? ˙ œ ˙ Iœ œ œ œ #˙ Œ ‰ j œ b œ œ œ ˙ b˙ œ œ œ œ œ œ œ . œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.152 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.152 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Eighth notes in conjunct motion (mm. 2–3, 17–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 42 (pp. 74–6, Hand A), Ouuerture disis (g) [Ouverture from Isis (1677) LWV 54/1 (g)] M. 44 lhU1 dot missing M. 60 lhU1 sharp missing M. 61 lhL2 natural missing M. 66 lhU1 dot missing M. 73 lhU1 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.152 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée d’Apollon (Entree dapollon) Le Triomphe de l’Amour, 1681
US-BEm MS 778 (Parville), no. 43, pp. 76–7 LWV 59/58 M œ j M m j M m œ œ œ. œ ˙. œ œb . œ œ . œ. œ œ. œ œ# . œ J & b 2 ˙ œ œ œ g˙ J J
˙ ˙ œ˙ Œ œ ˙ ˙ ˙ œ ? 2 ˙ ˙ ˙ œ ˙ œ œ #˙ œ b ˙ © David Chung, 2014
5 m 1. j j jm m œ. m œ m œ j b ˙ œ œ. #œ. œ ˙œ. œ œ. ˙ œ #œ œ œ #˙œ. œ ˙ ˙ . & J œ ˙ ˙ ˙ ˙ #˙ ˙ . ˙ ˙ ˙ ˙ ? . œ ˙. œ ˙ œ œ œ œ ˙. œ b ˙ ˙ œ œ œ œ . ˙
2. 10 m j j m bœ m Mœb œ m bœ b ˙ œ œ . œ. œ œn . œ œ œ œ. œ . œ. & #˙ . ˙ J J J J Œ œ ? Œ Œ œ œ œ œ œ œ œ b b ˙ œ . œb . œ œn˙ œ œ œ œ Œ œ ˙ ˙
14 m M m œ Mœ. œ Mœ. m j œ œ œ mœ. œ Mœ. œ b œ. J J bœ œ œb . bœ œb œ ˙œ. œ ˙ œ J & J ˙ Œ œ ˙ ˙ œ ˙ ˙. ? œ œ œ˙ n˙. œ œ œœ ˙ ‰ œ œ œ ˙ n˙ œ b œ bœ ˙ Œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.153 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
19 Mœ. œ Mœ. M œ m œ mœ. œ œ M mœ. œ œ#œ œ. œ# . œ œ ˙ œ œ ˙ & b J J J J ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙. œ ˙ ˙ ˙ œ #˙. œ ˙. œ n˙. œ ? b Œ #˙
24 M œ m j m j m b œ œ b˙ œ œ ˙ Œ ˙ œ œ . œ . j & ˙ œ œ ˙ œ b˙ œ ˙œ ˙œ œ #˙œ. œ ˙ ˙˙ Œ œ ˙. ˙ ? œ ˙. œ b . œ #˙. œ b˙ b Œ œ œ ˙. œ ˙. œ œ ˙ œ Œ œ
(a)
29 1. 2. m M j œ ˙ œ œ ˙ œ œ œ b˙ & b ˙ œ. œ . œ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙˙ Œ œ ? ˙. œ n˙. œ œ b Œ œ . Œ œ ˙ ˙ Œ œ
33 m M m m œ ˙ j j j & b œ œ Œ œ ˙ œ œ œ ˙œ. œ ˙œ. œ œ. œ ˙ œ ˙ b˙ #˙ n˙ ˙. ? ˙. œ ˙. œ #˙. œ ˙ b œ b˙. ˙. bœ œ ˙ œ œ Œ ˙ œ Œ œ (a) The petite reprise in mm. 30–6 is copied from mm. 22–8. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.153 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.153 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “2” time, eighth notes in conjunct motion (mm. 7–9, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 43 (pp. 76–7, Hand A), Entree dappollon (g) [Entrée d’Apollon from Le Triomphe de l’Amour (1681) LWV 59/58 (g)] M. 30–6 The petite reprise is supplied from mm. 22–8.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.153 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée. Gavotte (Gauotte le Dieu qui nous engage) Psyché, 1671
US-BEm MS 778 (Parville), no. 51, p. 97 LWV 45/25 j m m . œ j m C œ œ œ œ ˙œ. œ œ œ œ. œ œ œ œ ˙. & œ œ J œ œ Œ ˙ œ ? œ œ ˙. œ #˙ œ ˙ œ œ œ œ œ œ œ C œ œ © David Chung, 2014
Reprise 6 m j j m M m œ œ. œ j . . œ œ. œ œ# . œ#œ ˙. œ & ˙œ. ˙ ˙œ# . #œ œ . . J m #œ ˙œ œ œ œ ? œ œ ˙. ˙œ ˙ . . œ #œ œ œ œ ˙ ˙. œ
11 œ m Mœ. m % m œ œ. œ œ œ œ œ œ œ œ œ œ. œ ˙. œ œ. œ œ. œ & œ J ˙. J J j œ œ. œ #˙ w œ œ ‰ œ œ ˙ w ? œ œ œ #˙ ˙ ˙ œ œ œ ˙. œ #œ ˙ ˙. œ (a)
16 1, 3. 2. m j m M m j œ% œ. œ œ œ œ œ œ. œ ˙. . ˙. & #œ #œ œ #˙. [fin] #˙. j Œ œ Œ œ ? ˙œ# . #œ ˙œ œ œ œ w œ . œ œ œ œ œ ˙ ˙. ˙. œ n (a) Editorial petite reprise supplied from Lully’s prototype (F-Pn Rés. F. 1706)
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.154 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.154 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “ ” time, eighth notes in conjunct motion (mm. 5–6, 10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 51 (p. 97, Hand A), Gauotte le Dieu qui nous engage [Entrée, (gavotte) from Psyché (1671) LWV 45/25 (d)] M. 19 Editorial petite reprise supplied from Lully’s prototype (F-Pn Rés. F. 1706)
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.154 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chaconne (Chaconne damadis) Amadis, 1684
US-BEm MS 778 (Parville), no. 66, pp. 126–37 LWV 63/67
œ m m j M œ m œ œ. œ. œ œ œ œ. œ œ œ œ. mœ. œ & 3 Œ œ J œ œ œ J J (a) J ‰ j ˙ Œ œ ˙ ˙ œ ˙ œ ˙. œ œ œ ≈ ˙ j ? 3 ‰ œ œ œ œ œ œ œ œ ˙ ‰ œ ˙ ˙ œ ˙ ˙ œ ˙ œ © David Chung, 2014
7 M m m œ œ m m œ œ mœ. œ œ œ œ. œ M œ m œ œ œ œ œ. œ œ œ œ œ œ J J œ œ œ œ œ œ œ œ œ & J œ J œ œ Œ œ œ Œ #œ œ ˙ ˙ ‰ œ ˙ ˙ œ ˙ œ œ œ œ ˙ ‰ j ˙ ? Œ œ ˙ ˙ œ ˙ ‰ J ‰ J ˙ ˙ œ ˙ œ ˙ ˙ ˙ œ ˙
13 œ m œ mœ. œ m m m J œ œ. œ œ œ œ œ œ mœ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ. & J œ œ. œ œ. œ Œ œ œ Œ ? Œ œ Œ œ# ˙ j œ œ œ b˙ œ ˙ ˙ œ ˙ œ œ œ œ ‰ œ œ˙ œ œ ‰ J ˙. ˙
19 m œ. œ œ œmœ. m m œ œ œ m œ. œ œ. œ œ. œ œ. œ œ. œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ. œ œ & J Œ ? œ œ œ Œ Œ Œ [] œ œ. œ œ. œ ˙ ˙ b ˙ ˙ . ‰ œ œ œ œ & œ œ œ œ ˙ œ ˙ œ œ ˙
(a) a second lower: c’ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.155 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
24 m m œ mœ. m œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ &
œ. œ œ. œ œ. œ œ œ. œ. œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ & b˙ ˙œ. œ œ. œ œ. œ œ œ œ. œ œ b˙ œ œ œ ˙ œ
29 m M M M m œ œ œ m œ M œ œ œm j m m œ œ. œ œ. œ œ œ J œ J œ œ œ œ œ œ œ œ. œ œ œ & J J œ œ J œ ? ‰ œ []œ Œ Œ œ œ œ œ œ ‰ œ ˙ ˙ œ œ œ œ œ ˙ ˙ œ œ ˙ œ ˙ œ ˙ œ & œ œ œ œ ˙ ‰ J œ œ œ
35 m j M œ m M œ œ œ œ J œ jm M œ œ m œ. œ. œ œœ œ. œœ. œ œ. œ œ œ œ œ. œ œ J œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œœ œ. œ & œ J J J J J m Œ œ Œ œ œ ? œ œ œ œ œ œ œ Œ Œ ˙ ‰ œ ˙. œ & Œ œ ˙ ˙ œ ˙ J œ œ. œ ˙ ‰ œ œ. œ œ œ J J Œ ˙
41 m œ[]. œ œ. œ œ. œ œ. œ . œ œ œ j m M j œ œ . œ œœ œ. œ œœ œ œ œœ œ. œ œ j œ œ œ œ. & J J J œ. œ œ. œ œ œ ˙ ˙ Œ Œ ? ˙ Œ œ Œ #œ & ‰ œ ˙ ˙ ˙ œ œ ˙ œ. œ œ œ. œ œ œ œ œ ˙ œ ˙ ‰ œ œ œ. œ œ. œ œ œ J J œ œ. J J ˙ J
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48 M j m M m jm ˙ œ œ œ œ j j œ œ œ M œ œ & J œ œ œ œ. œ œ. œ œ œ œ œ œ. œ J œ œ œ œ œ
j Œ [] œ j ‰ ˙ ˙ . œ ? ˙ œ œ ‰ œ ˙ Œ œ œ Œ #œ ˙Œ œ œ ˙ ˙Œ œ œ œ œ. œ ˙ œ ˙ œ œ œ ˙ œ œ ˙ œ ‰ J J ‰ J ‰ J ‰ J
55 m n m M m n œ œ# . œ #œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ# . œ#œ œ œ œ œ œ œ œ & œ œ ‰ j ˙ ˙ œ œ œ j j ˙ ? œ œ œ ‰ œ ˙ Œ˙ œ œ ‰ ‰ œ ˙ ˙ ˙ œ ˙. ˙. œ ˙ ˙ œ ˙ œ
61 j m j j M m j m . œ m m œ. œ œ œ. œ œ . œ œ œ œ. œ Mœ. œ œ ˙ & J œb œ œ ˙ ˙ J œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
67 M j M œ . . œ m M m M j M m ˙ œ œ ˙œ œ œ œ œ. œ œ j œ œ œ œ œ œ. œ & J œ. œ œ J
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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73 M œ M œ œ œ m œ œ œ œ œ œ œ m œ œ œ œ œ œ œ œ m œ œ œ œ & œ œ œ œ œ œ œ ˙ œ œ œ œ œœ œ œ œ œ˙ ˙ œ ‰ ˙ ? œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ œ œ œ œ
79 œ œ œ m M m œ m œ œ œ œ œ œ. œ b œ œ. œ œ œ. J œ ˙ œ œ . n œ œb . œ & J b J J œn œ œ J Œ ˙ Œ œ ˙ ˙ ˙ Œ ˙ ˙ œ b˙ ˙ œ œ ‰ ˙ ? ˙ ˙ ˙ b ˙ œ œ ˙ œ ˙ œ œ ˙ œ ˙ ˙ g˙ b ‰ J ˙
85 œ m m M œ œ œ. bœ m b mœ œ J œ œ J œ œ & b ˙ œ œ œn . œnœ œ œ œ J (b) ˙ œ Œ ˙ œ œ ≈ œ ˙ nœ b˙ b˙ ˙ œ ? b Œ ˙ ˙ ‰ œ ˙ œ œ œ ˙ b ˙ œ b˙ œ ˙.nœ ˙
91 m ˙ œ M œ œ œ. bœ mœ ˙[] œ M œ œ bb œn˙. œ œ Œ œ J œ œ J œn˙ . œ œ Œ œ & J œ J n œ œ œnœ œ ˙œ œ Œ Œ Œ ˙ ? b œ ˙ ˙ ˙ ˙ œ b n˙ œb b˙ œb œ œ œ œn nœ œ
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97 M M m b m œ œ m œ œ œ œ œ œ œ Mœ œ m œ œ & b œ œ œ œ. œn œ œ œ œ œ œ. j j œ ‰ j Œ n‰ œ b˙ ‰ œ ˙ œ nœ ‰ j ˙ n œ b˙ Œ œ ? b œ œ œ œ bœ œ œ œ œ œ ˙ œ œ œ œ b˙ b œ ˙ œ
103 œ m m b bœ mm œ œ œ œ œ œ œ. œ œ œ œ œ m œ œ œ œ œ & b œn œ œ J œ n˙ œ œnœ œ œ Œ Œ œ nœ Œ œ ˙ ˙ œ b ˙ b Œ œ ? b œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ b œ ˙. ˙
109 m œ œ. œ œ M m j M m b œ œ œ m œ œ œ œ j & b J œ œn . œ œ œ œ œ œ œ. œ œ œ. œ œ
Œ ˙ Œ ˙ ˙ ? ˙ œ b˙ œ œbœ œ œ ‰ œ ˙ Œ Œ bb œ œ ˙ œ ˙ œ ˙ ˙ œ b˙ ˙ œ
115 M m m m M m m œ œ œb bb œ œ. œ œ œ œ j œ œ. œ œ œ œ. œ œ & œ œ œ œ œ. œ J j [] ˙ ‰ ˙ ‰ j ˙ ˙ ˙ b œ œ œ ? b ‰ n œ œ ˙ œ ˙ Œ œ ‰ œ b œ œ b ˙ œ ˙ œ ˙ œ ˙ œ b˙ ˙ œ œ ˙nœ ˙ œ œ & œ
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121 œ œ œ œ M œ œbœ œ œ œ œ m bb Œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ. œ & J
Œ œ b œ œ œ œ œ œ nœ œ œn œ œ œ œ œ œ œ œ œ œ œ n œn & b œ œ œb œ œ œ ˙. œ œ œ bœ œ œ œ œ˙ œ œ
128 M M b œ. œ œ œ œ M œ œ. œ œ œ œ & b œ J œ œ bœ œ ˙ œ nœ œ nœ œ J œ œbœ
b ? ˙ Œ œ ˙ ˙. ‰ œ ˙ Œ œ & b œ˙. œ ˙ œ œ œ. œ œ œ œ œ œ˙. œ œ œ. œ œ œ J ‰ J Œ ˙ J J
134 m M m œ œ œ œbœ M œ b ˙ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ J ˙ nœ œ ? b œ˙. œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ b œ n˙ œ & œ œ œ œ œ œ œ œb œ œ œ œ n˙œ. œ nœ nœ
140 M œ œ œ œbœ œ m œ bœ m œ bb œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ & J
œ œ œ œ nœ œ œ nœ œbœ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ n œ ? & b œ œ œ œ œ œb œ œ œ œ ˙œ. ŒŒ œ ˙ œ
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146 M œ bœ m m b m œ œ œ œ œ. œ œ ˙ mœ œ œ œ œ œ œ œ. œ & b ˙ J ˙ J
œ œbœ œbœ œ œ œbœ œ ? b œ œ œ œ œ œ œ œ b œ nœ nœ œbœ bœ œ œbœ œbœ œ œ#œ œ œn nœ œ
152 œ j œ. œ œ J œ m M m œ bœ œb œ. œ bb œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ. œ & J J
[] b [] œ œbœ œ œ bœ œbœ œbœ œ œbœ œ n ? b n œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ b œ œ œ œ œ & œ
158 j m j j j m j b œ œ. œ œ œ. œ œ œ . œ œ œ˙. œ œ œ. œ œ œ œ. & b J nœ ˙ œ˙. œ œ ˙ œ œ nœ œ n˙ œ J b & b œ œbœ œbœ œ œ œbœ œ [] œ œ bœ œbœ œbœ œ œbœ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ
164 M œ Mœ M M M œ œ b œ œ bœ . bœ œ œb . œ œ œ m œ œ œ œ œ bœ œ . bœ œ & b œ œ œ œ
˙ ‰ Œ ˙ Œ œ b ? ˙ œ œ Œ j ˙ ˙ œ œ & b œ˙. œ Œ ˙ Œ œ œ œ n˙ œ ˙ œn œ. œ œ J n˙ ˙. ˙ œ J
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170 œ M œb J œ œ œ m M œ œ œ. M j M bb J œ J œ œ. œ œ nn œ œ œ œ œ œ. œ & J œ ˙ Œ Œ [] œ œ j œ Œ œ# b œ œ nœ ‰ œ ˙. œ ˙. œ ? b ˙ œ œ œ œ n œ œ. œ œ œ b ‰ J œ œ n ˙ Œ ˙
176 M œ œ œ. m M Œ œ œ œ œ œ Mœ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ & J j Œ œ œ ‰ œ ˙ Œ œ Œ œ œ ˙ ‰ œ ˙ ˙ œ ? ˙ œ ˙ œ œ œ œ ˙ ‰ J ˙. ˙. œ œ œ œ œ œ
182 m œ œ œ œ œ œ œ œ m œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ Œ #œ ˙ œ œ. œ ˙ œ ‰ j ˙ Œ œ Œ œ œ ˙ ? J œ œ œ˙ œ œ œ œ œ ˙ œ & œ œ . œ œ. œ œ œ. œ œ ˙ œ œ œ J J J œ œ
189 m M M M œ œ. œ œ. œ m œ. œ œ œ œ œ œ œ. œ Mœ. œ & J œ J œ J œ J œ J
j œ œ ˙ œ & œb . œ œ œ œ˙ œ œ œ œ œ˙ œ œ œ œ œ b˙ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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195 m M m œ m œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. J œ œ œ œ & J ˙ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ? œ œ œ œ œ œ ˙ œ ˙ œ & œ œ œ œ œ Œ ˙ œ œ œ œ
201 m œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ. œ œ. œ œ. œ œ. & ˙ œ J Œ ˙ Œ ‰ ˙ Œ œ œ œ œ. œ œ œ˙. œ ? œ ˙ J J œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙ ˙.
207 M œ. œ œ. œ œ œ. œ œ. œ œ œ. m œ œ. œ œ. œ œ. œ œ. œ. œ œ. œ œ. œ œ. œ œ. œ œ œ & J
œ œ œ Œ œ Œ Œ œ œ ˙ ? œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ . œ œ. œ œ œ. œ œ ˙ œ J J J
213 M œ œ œ œ œ & Œ œ Œ œ Œ œ œ œ œ œ œ Œ œ Œ œ Œ œ œ œ œ
j j ? œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ Œ ˙ œ œ œ œ œ œ Œ ˙
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220 M M Mœ œ M Mœ œ œ œ œ œ. œ mœ. œ mœ. œ œ œ œ œ œ œ. œ mœ. œ & œ J J œ J J
? œ˙ œ ˙œ œ œ ˙ œ œ œ‰j ‰ ˙ ˙œ œ œ ˙ œ œ & œ ˙ œ œ œ œ œ œ ˙ œ ˙ œ œ ˙.
227 M. œ Mœ. œ œ œ œ œ M. m mœ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ & J Œ œ œ Œ Œ Œ œ œ. œ ˙ ˙ ˙ ˙ œ œ Œ œ œ ? J œ œ œ œ œ œ œ & œ ˙ œ œ œ. œ œ J
233 M Mœ. M œ œ œ œ œ œ j M œ œ . œ œ œ mœ œ. œ œ œ œ œ œ œ J œ œ & œ œ œ œ œ œ œ œ œ J œ. J Œ ˙ Œ Œ ˙ Œ œ œ ˙ œ ˙ ˙ œ œ ˙ ? ˙ Œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ œ ˙ ˙
240 œb Mœb œ œ œ œ Mœ œ œ m œ œ œ œ . œ œ œ œ œ œ œ. œ œ œ. œ œ œ J & œ J R J Œ ˙ Œ ? Œ œ œ ˙ œ ˙ ˙ œ œ œ œ œ œ œ. œ œ œ & œ œ ˙ œ J œ œ œ œ œ œ
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246 œ bœ œ œ m œ œ œb œ. œ œ bœ œ œ m œ œ œ œ œ. œ œ œ œ œ J œ œ œ œ œ. œ & J J
œ œ œ œ ˙ œ œ ? & œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ ˙
252 M m œ M M m œ. œ ˙ œ œ œ œ. œ œ œ. œ mœ œ. œ ˙ œ œ œ œ. œ & œ J J J J ˙ Œ œ Œ œ œ ˙ œ œ œ #œ œ j ? ˙ ˙. ˙. œ œ ˙ ‰ ˙ Œ œ Œ ˙ ˙ œ ˙ œ . œ œ œ œ# ˙ ‰ J ˙ ˙.
259 œ œ Mœ. œ m œ œ m œ œ œ ˙. œ. œ œ. œ œ œ œ œ œ . œ œ & œ J ‰ j Œ Œ œ œ œ b˙ ˙ œ ? ‰ ˙ œ ˙ œ œ œ œ œ œ ˙. œ œ ˙ ˙.
264 m ˙œ. œ. œ œ. œ ˙. œ œ œ. œ œ œ œ œ œ. œ mœ. œ œ œ m. œ œ œ & œ œ œ œ ˙. J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ Œ œ j ? œ œ œ ˙ œ œ ‰ œ ˙ Œ œ ˙. œ b˙
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270 œ ˙. œ œ. œ œ. œ ˙. œ. œ œ. œ œ m œ œ œ œ œ œ. œ œ œ ˙. œ œ œ œ œ œ ˙ œ œ œ. œ & J J M Œ œ ? œ œ œ œ œ. œ œ œ ˙ ˙. œ œ œ œ œ œ œ . œ . œ œ œ œ œ œ œbœ œ œ œ œ ˙
276 M M M œ œ œ œ œ œ œ œ œ œ œ œ & œ Œ Œ œ Œ œ œ. Œ Œ œ œ m œ œ œ œ bœ œbœ œ œ œ œ œ œ ˙ ? œ œ œ œ œ œ ˙ œ œ œœb œbœ œ œ œ œ œ
283 œ œ œ m Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ & œ œ J œ Œ Œ œ Œ ˙ œ ? ‰ ˙ Œ œ œ œ b˙ ˙ œ œ œ˙ ˙ œ œ ˙ œ ˙. œ
1. 2. 288 œ œ œ m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ . ˙. & œ J œ . ˙. fin de la Chaconne Œ œ ? œ œ œ ˙ œ œ œ œ œ ˙ . Œ ˙. œ b˙ ˙. ˙ . ˙ œ ˙ œ ˙.
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Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.155 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 14 ______
In “3” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 66 (pp. 126–37, Hand A), Chaconne damadis (C) [Chaconne from Amadis (1684) LWV 63/67 (C)] M. 2 lhU2 a second lower: c’ M. 22 lhU2 dot missing M. 30 lh e missing from last chord M. 39–40 2 measures crossed out between measures 39 and 40 M. 41 rhL2 dot missing rhL3 note missing M. 50 r5 slur to c” missing M. 54 lhL1 dot missing M. 87 lhU3 a second higher: e-flat M. 95 rhL1 dot missing rhL2 note missing M. 104 lhU2 tie missing M. 115 lhU2 natural missing M. 116 lhU2 tie missing M. 119 lhU3 tie missing M. 132 lhU2–3 ties missing
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WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.155 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Rigaudons (Riguaudon. Suitte du Riguaudon) Acis et Galatée, 1686
US-BEm MS 778 (Parville), no. 67, pp. 138–9 LWV 73/6–7 M M mœ œ œ. œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ m C œ œ œ J œ œ œ. . & J œ. . j j œ w w œ. œ œ‰ ? C œ ‰ œ ˙ ˙ œ œ œ . ‰ œ J œ ˙ œ œ œ œ . J œ œ ‰ œ © David Chung, 2014 J
6 m m M M œ . œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ mœ. œ œ œ œ œ œ œ œ œ œmœ œ . & . œ œ œ. . œ. . RepriseJ œ. J J œ Œ j j œ œ œ j j œ œ ? . ˙ œ ˙ œ œ œ œ j œ œ œ˙ . . Œ œ œ. œ ‰ œ œ œ ‰ œ œ. œ œ. œ œ. œ œ œ œ œ œ œ.œ . J J ‰ œ œ œ ‰ œ J ‰ J œ ‰ J J J J
13 œ mœ œ œ mœ œ œ œ œ œ œ. œ m œ & J œ œ . . J œ œ œ j Reprise œ œ œ œ œ œ œ œ œ œ œ œ ? . . œ . . ‰ œ œ œ ‰ œ ‰ œ ‰ J œ J J J
17 œ œ #mœ œ œ #œ œ. œ œ œ m œ œ œ œ œ. J œ œ œ œ œ œ œ œ œ. œ œ. . & œ œ œ œ. . j œ œ œ œ œ ‰ j ‰ œ ? j œ œ œ œ œ œ œ œ œ œ œ œ . œ J J œ œ œ œ ‰ J œ œ. œ . ‰ ‰ œ J J J WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.156 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.156 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 67 (pp. 138–9, Hand A), Riguaudon | Suitte du Riguaudon (C) [Rigaudons from Acis et Galatée (1686) LWV 73/6–7 (C)] M. 16 lh1 rest missing
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Passepied de Lully
US-BEm MS 778 (Parville), no. 108, p. 210
j j j # j j M j & 3 œ œœ. œ œ œ œ œ œ œ œ œ œ œ œ M m J J J j j j œ œ œ œ. œ ‰ œ ? # œ œ œ œ œ J œ. mœ œ œ œ 3 œ J © David Chung, 2014
6 # M j j j r r & œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ . J m j œ œ œ r r j œ œ. œ œ œ œ œ ? # œ œ œ œœ. œ œ. . J J J
10 # j j j j j j j j j j . œ œ œ œ ) œ œ œ œ j œ œ œ & M J œ J J œ œ œ m m M j j j r j ‰ œ œ œ œ œœ . œ œ œ. œ œ ? # . œ œ œ œ œ. œ œ œ œ J J J J
16 1. 2. 3. j j j # M [] œ œ œ œ œ œ œ . . . & J œ œ œœ œ œ . . œ. . œ. . J J J M Mp[ou]r recommencer M fin M j j j j j ? # œ [] œ œ œ J œ œ œ œ œ œ . œœ . œœ. . œ. J œ œ . œ. œ. J R J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.157 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Editorial Remarks
This piece has the repetition scheme AABBAB.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.157 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In this piece, sixteenth notes in conjunct motion (mm. 2, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 108 (p. 210, Hand B), Passepied de Lully (G) [not in LWV] M. 8 rhU3–4 notes missing M. 18 lhL1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.157 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Dans nos bois (Menuet dans nos bois. Mr. de Lully) Trios de la Chambre du Roi
US-BEm MS 778 (Parville), no. 109, p. 211 LWV 35/4 m M M œ m m M 3 ˙ ˙ (œ (œ œ œ. œ œ. œ ˙ & œ ˙ R #œ. œ œ œ ‰ j ‰ j œ ˙ Œ ‰ œ ˙ ? ˙ œ#œ œ ‰ j œ ˙ #œ 3 œ ˙ œ œ ˙ œ œ œ ˙œ j œ m œ œ © David Chung, 2014 œ
6 m m œ m M ˙ (œ (œ œ œ. œ ˙. . . œ. œ œ & ˙ R #˙. J Œ ‰ j ? œ ‰ j œ œ œ œ œ œ ˙ œ œ ˙ œ œ œœ ˙œ œ . . ˙ œ m œ M
10 m M œ m M m j œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ œ. œ (œ & ˙ œ #˙ œ ˙œ. œ j œ œ œ j ? #œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ ˙ ˙ œ #œ œ œ œ œ J
15 m M m j j m M œ m M œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ˙ œ. œ œ# . œ #œ œ œ. J j Œ œ. Œ ‰ j [] ? œ œ œ œ œ œ œ I œ œ œ #œ œ. œ œ œ œ ˙ œ ˙ œ ˙ œ J ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.158 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 m m m ( ( j ( œ mœ j & ˙ œ #˙ #œ œ. œ œ . œ œ#œ. œ ˙. ˙ œ œ ˙. fin j œ j j œ œ œ ? œ œ œ œ œ œ œ œ œ #œ œ ˙œ œ #œ œ œ œ œ J ˙œ œ J œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.158 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Editorial Remarks
This piece is essentially a copy of D’Anglebert-1689.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.158 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 2–3, 6–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 109 (p, 211, Hand B), Menuet dans nos bois. Mr. de Lully (C) [Dans nos bois (menuet) from Trios de la Chambre du Roi (n.d.) LWV 35/4 (C)] M. 18 lhU3 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.158 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Vous ne devez plus attendre (Trio d’Amadis) Amadis, 1684 US-BEm MS 778 (Parville), no. 110, pp. 212–3 LWV 63/36
1. j M j M b 3 œ. bœ œ œ œ ˙ œ œ. bœ œ œ œ ˙. . & J œ œ #œ ( ˙ J œ œ #œ (˙. .
j j & b 3 œ. œ œ œ. œ œ . M œ œ œ œ M œ œ œ © David Chung, 2014 ˙ œ ˙.
2. 7 M j M m m m b (œ œ ˙. b ˙ œ . œ. œ )nœ b(˙ ˙ œ (œœb ˙ œ œ œ œ œ & ( ˙ J œ œ. J m j j b . œ & œ œ. œ œ œ ˙ œ œ œ œ. œ ˙ ˙ œ œ ˙
14 M œ˙. bœ œ ˙ M m œ œb œ œ œ bœ œ m œ œ œ bœ & b œ œ œ )œ œ œ. J œ œ œ œ M M j bœ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ ˙. ˙. ˙ œ œ œ bœ
20 M m j m M j m j j œ j œ œ. œ (œ mœb . œ œ Mœ œ & b œ. œ œ œ œ. œ ˙ J œ. œ œ. œ )œ J J J J J j j j & b j œ. œ œ œ œ. œ œ œb ˙ ˙ œ œn œ œ œ. œ œœ# œb œn . œ œ# . œ m . J J m WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.159 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
27 m M m M œ ˙. ˙. œ ˙ œ œ bœ œ œ & b #œ œ œ œ œ œ œ œ œ œ œ œ# œ œ. œ œ #. J ) J M m M # M j b j œ œ œ œ œ œ & ˙ œ œ. œ œ# œ œ #œ œ #œ œ #œ ˙œ. œ ˙. œ
1. 2. 33 m m m œ (œœb j j œ . & b œ œ œ )œ œ œ#œ. œ œ ( œ œ#œ. œ ˙ œ . ˙. J J ˙. fin
b j œ . & #˙œ œ bœ œ œ œ. œ œ œ ˙ œ m ˙ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.159 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.159 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 14, 17, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 110 (pp. 212–3, Hand C), Trio d’Amadis | vous ne devez plus attendre (g) [Vous ne devez plus attendre from Amadis (1684) LWV 63/36 (g)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.159 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trio “Aimons, aimons” (Trio de Theseé | aimons nous) Thésée, 1675
US-BEm MS 778 (Parville), no. 111, p. 214 LWV 51/65 j r m M œ œ œ œ . 3 ŒŒ‰j ˙ œ (˙ œ œ œ œ. œ ˙ œ & œ J R ˙ mœ ˙ mœ m ˙ œ ? 3 œ ˙ œ œ œ œ œ
© David Chung, 2014
6 m j m M œ œ œ. œ j )œ œ œ œ )œ ˙ œ ˙ )œ œ. œ ) & œ. œ œ# . œ œ J J m˙ œ œ m ˙ œ œ ) ˙ œ ? œ œ œ œ mœ œ œ
11 m m m m œ Œ‰j & #˙ œ ˙ œ ˙œ. œ #œ œ ˙ )œ . œ œ ˙ J œ Œ ‰ J œ œ œ m M M ? œ #˙ œ œ œ . ˙ œ œ ˙.
16 M m m m j) ˙ œ ˙ œ œ ˙ ˙. Œ‰œ #œ ˙ ) œ & J (a) m M ? œ œ M œ Mœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ m M œ. (a) a second lower: F WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.160 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung 2014 p. 2 ______
21 M m m M m m œ ˙ j œ ˙ œ ˙ œ œ. œ œ œ ˙ œ ˙ ˙. & œ. J ˙. m ? œ. œ œ œ ˙ mœ J ˙ œ ˙ ˙. ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.160 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.160 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 2, 4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 111 (p. 214, Hand C), Trio de Thesée | aimons nous (C) [Trio “Aimons, aimons” from Thésée (1675) LWV 51/65 (C)] M. 10 lhL1 ornament between c” and f-sharp’ M. 16 lh1 a second lower: F
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.160 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet Proserpine, 1680
US-BEm MS 778 (Parville), no. 112, p. 215 LWV 58/13 M M M œ. œ œ œ œ m M˙ œ. œ œ & 3 J œ# œ J œ˙ œ œ œ œ ˙ œ . #œ bœ œ œ œ ˙. œ ˙ ? 3 J œ. œ œ œ. #œ œ J © David Chung, 2014
5 M Mœ. m œ œ m ˙. œ œ œ œ œ & œ# œ . . J ‰ J ˙ Œ œ bœ œ œ bœ ? œ œ . . . œ œ œ œ œ œ bœ œ œ ˙ œ . . Œ‰J œ
9 m M m mœ. œ œ œ ˙ œ œ. œ œ & #˙ œ J J ‰ œ j œ œ œ œ œ œ œ Œ œ œ œ #œ #œ ? œ œ œ #˙. œ ˙ ˙
13 M œ œ œ mœ m M œ mœ m œ œ# œ. . œ œ# ˙. œ . & J J ‰ J ˙ œ œ œ bœ œ ˙ ? ˙ œ œ œ œ Œ œ œ œ . . œ œ ˙ œ ˙ œ . Œ‰J œ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.161 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.161 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (mm. 2–3, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 112 (p. 215, Hand D), Menuet (d) [Menuet from Proserpine (1680) LWV 58/13 (d)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.161 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Sourdines (Air D’Armide) Armide, 1686
US-BEm MS 778 (Parville), no. 115, pp. 218–9 LWV 71/39 Mœ. œ m œ œ. œ œ #m˙. . j m . j b 6 œ œ J J œ. œ œ œ œ. œ œ. œ œ & 4 J œ œ# #œ. œ J œ b 6 ŒŒ Œ œb . œ œ œœ œ ? œ œ œ & 4 œ œ J #œ #œ œ œ œ © David Chung, 2014 œ œ
5 m m 1. M œ œ. œ œ œ œ œ œ j œ. œ œ œ œ. bœ œ œ œ œ. œ ˙. . & b œ J œ. J J œ œ. œ œ . œœb m J ‰ J ˙. Œ‰j œ œ œ ˙ bœ ? œ ˙ œ œ ˙ œ œ œ ˙œ b bœ n˙ œ ˙ bœ œ œ œ œ bœ œ. œ œ . œ m œ œ
9 2. M % bœ bœ œ œb . œ bœ m œ œ bœ œ m œ bœ œ œ bœ œ & b ˙ J . ˙ œ œ œn œ j œ. œ œ œ œ œ b˙ bœ œ œ bœ bœ œ œ œ œ nœ œ ? ˙ œ . œb . œb œ ˙ œ œ bœ œ bœ Œ b ˙ . J œ œ œ œ bœ
12 m m j œ œ œ œ Mœ œ j bœ œ. œbœ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ m œ œ œ mœ œ œ œ. œ & b œ œn . œ œ œ J œ œ œ œ œ# œ# . J n J Œ œ œ œ œ œ œ œ œ ? ˙ œbœ œbœ œ œ œ œ. œ œ œ œ œ œ œbœ œ b ˙. œ œ J œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.162 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
16 m m m œ. œ œ. œ œ ˙. m ˙œ œ œ bœ œ b˙. œ œ bœ œ ˙. & b œ ŒŒŒ‰ œ nœ œ Œ ‰ œ mœ œ ˙ œ œ mœ œ œ# J Œ J œ. J# œ œ mœ œ m ? œ ˙. œ ˙ œ œ œ œ œ b œ œb bœ œ œ n˙. œ œ ˙
19 1. 2. m + œ œ œ œ œ bœ œ œ j œ œb . œ œb & b ˙ œ œ œ. œ œ œ œ œ œ œ œ. œ ˙˙. J . ˙ Œ œ. J m œ# . J % n œ œ b ? #m˙ œ œ. œ m ‰ œ œ œ œ nœ ˙ b bœ œ ˙ œ œ . Œ ˙ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.162 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.162 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “6/4” time, eighth notes in conjunct motion (mm. 6, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 115 (pp. 218–9, Hand D), Air D’Armide (g) [Les Sourdines from Armide (1686) LWV 71/39 (g)] M. 17 rhL3 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.162 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chaconne (Air des Sorciers) Ballet des Muses, 1666
US-BEm MS 778 (Parville), no. 116, pp. 220–1 LWV 32/–
. œ œ œ. œ mœ œ mœ. œ M. œ œ œ. œ mœ œ b 3 œ bœ œ mœ œ œ J J J œ œ bœ œ mœ œ œ J & M œ ˙. ˙.. ˙ ˙. œ ? ˙. ˙. ˙. m œ. œ œ œ b˙ ˙. œ ˙ b 3 J ˙ ˙. . m © David Chung, 2014 ˙
8 m˙. œ m Mœ m j m œ. œ . œbœ œ m œ œbœ mœ œ. bœ m œ œ œ & b J œ œ J œ œ. J œ. œ œ œ ˙œ. œ J ˙ œ ? œ œ ˙. œ œ œ ˙ ˙ œ œ ˙ b œb ˙. b˙. . #˙ œ ˙ ˙ ˙. m ˙ œ œ bm˙
16 M m j % ˙ œ œ m. j ˙ œ j j œ œbœ œ. ˙ & b #˙ œn œ nœ œ œ. œ œ œ œ. œ œ. œ œ œ. œ œœ ˙˙ m m M M J œ . ? #œ ˙ œ œ ˙˙ œœ ˙ œ ˙˙.. ˙. œ œ œ b Œ Œ œ ˙ œœ bœ ˙. b˙ œ œ œ œ œ œ œbœ ˙ œ
24 1. 2. œ m m m ˙ b˙ ˙ ˙˙ œ œbœ œ œ ˙ & b Œ ˙˙ Œ ˙˙ Œ ˙˙ Œ ˙ ˙ œ œ œ. œœ œ ˙˙ . ˙. % m m ? œ. œbœ œ []n œbœ œ œ. œ œbœ œ. bœ œ œ b˙. œ œbœ . b œ œœ ˙ œ œ œ œ . ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.163 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.163 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (mm. 1, 3–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 116 (pp. 220–1, Hand D), Air des Sorciers (B) [Chaconne from Ballet des Muses (1666) LWV 32/- (B)] M. 16 lhU1–2 rests missing M. 25 lh2 natural missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.163 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Songes agréables (Les Songes agreables d’Atys) Atys, 1676
US-BEm MS 778 (Parville), no. 117, pp. 222–3 LWV 53/58 m œ œ mœ œ œ bœ mœ œ m˙ œbœ œ œ mœ & b 3 Œ œ œ #˙. œ œ #œ œ #œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ nœ ? 3 Œ œ œ œ œ#œ œ œ bœ œ œ ˙ b œ ˙ © David Chung, 2014
8 bœ œ œ œ m œ ˙. m œ bœ mœ. œb œ œ œb m œ mœ œ bœ b œ. œ . . œ œn . œ œ J œ. J œ œ & J ‰ J#˙ J œ œ œ ˙. œ n œ Œ Œ ? œ œ œ œ œ . . œ œ œ b œ ˙ œ ˙ b œ œ œ b b œ b˙ ˙. œ . . œ œ œ n˙. œ œ œ œ Œ‰J œ
16 j m œ m œ. œ œ œ j . œ œ œ œb mœn œ œ mœ# . œ œ. œ œ b œ ˙ œ œ. œ œ J œ . J J & Œ . J œ J ˙ œ ˙ ˙ []I œ Œ Œ œ œ œ œ œ ˙ œ ? ˙ œ bœ œ ˙. Œ ˙ œ œ b œ ˙ œ n ˙. œ
23 œ œ. m œ mœ# . œ œ œ œ œ œb mœn . œ œ mœ# . œ œ. œ œ mœ# . œ ˙. & b J œ J œ J J J J ˙. . œ ˙ œ ˙ ˙ œ œ œ œ Œ Œ œ œ œ œ œ ˙ œ œ œ ? œ œ œ ˙. œ œ œ œ ˙.œ . b œ œ œ n˙ ‰ J ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.164 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.164 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (mm. 3, 6, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 117 (pp. 222–3, Hand D), Les Songes agreables d’Atys (g) [Les Songes agréables from Atys (1676) LWV 53/58 (g)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.164 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet d’Atys Atys, 1676
US-BEm MS 778 (Parville), no. 118, p. 224 LWV 53/– m ˙ œ œ œ œ œ m˙ œ œ œ & 3 œ œ Œ œ ˙ œ œ œ ˙. ˙. œ œ ? 3 ˙ œ œ œ œ œ ˙ © David Chung, 2014
5 m m ˙ œ œ œ œ œ ˙ m˙. & .
˙ œ Œ ? œ œ ˙ œ ˙ œ œ . ˙ œ œ ˙ ˙. .
9 œ œ œ mœ m œ œ œ mœ œ œ & . œ œ œ œ œ œ
œ ˙. ? . ˙. ˙ œ œ œ ˙. . ˙. œ œ œ œ ˙
13 œ m m œ œ œ œ œ œ œ œ œ œ. œ ˙. . & J ˙. . ˙. ? ˙ œ œ Œ . (a) ˙. œ œ œ ˙ œ œ . œ ˙ ˙. (a) a second higher: d WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.165 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.165 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (mm. 4, 9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 118 (p. 224, Hand D), Menuet d’Atys (C) [“Menuet d’Atys” (1676) LWV 53/– (C)] M. 13 lhL1 a second higher: d
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.165 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Sacrificateurs Persée, 1682
US-BEm MS 778 (Parville), no. 119, p. 225 LWV 60/77 j M m m œ. 3 œ. œ œ œ mœ. œ œ. œ œ œ. œ œ & œ œ. J J œ œ. J Œ œ ˙ . ˙ œ ˙ Œ ? œ œ œ œœ #˙ œ œ œ ˙ œ 3 ˙ œ ˙ © David Chung, 2014
6 j m m j œ. œ œ j œ œ œ m M œ. œ œ œœ œ. œ œ. œ œ œ œ. œ œ œ. œ œ & J J œ. J J ˙ Œ Œ ˙ ? ˙ œ œ œ ˙ ˙ œ œ ˙ œ œ
11 m j m m M m m œ œ œ œ. œ . . œ œ# . œ #œ œ œ œ. œ ˙ & . #˙ . . J J œ Œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ ? ˙ ˙ . . #œ œ# . œ #œ œ ˙ œ œ . . J
17 m œ M m œ œ mœ# m M œ# m ˙ œ. œ mœ œ œ. œ# œ. J #œ #œ#œ œ œ J & J ‰ J œ# Œ œ Œ Œ #œ œ œ œ #œ ˙ % ˙ œ #˙ œ œ œ œ #œ ‰ j ˙ ? ˙ œ œ #˙. œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.166 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
22 1. 2. M M m M m œ. œ mœ m œ j & œ œ œ# œ. œ # #œ ˙ . ˙. œ #œ ˙ ˙. % ‰ œ œ œ œ œ œ œ œ œ . ? . œ #˙ œ œ œ ˙ . ˙ ˙ œ ˙ . ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.166 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.166 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 2, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 119 (p. 225, Hand D), Les Sacrificateurs (a) [Les Sacrificateurs from Persée (1682) LWV 60/77 (a)] M. 26 notes missing except top a’
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.166 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Air pour les hautbois, Passepied (Passepied de Persée) Persée, 1682
US-BEm MS 778 (Parville), no. 120, pp. 226–7 LWV 60/5 j j m j j j j j j œ j j j j j œ œ œ j j œ œ œ œ# œ œ œ j j œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 J J J J J J J J J J J J J J J J J œ œ œ œ œ ? 6 J œ œ œ œ œ J œ œ œ J œ œ œ œ œ 8 J J J J J J J J J J J J J J © David Chung, 2014
8 m j j j m j j j j œ œ œ# j mj j j r œ œ j œ œ œ œ œ œ œ œ r œ . . œ . œ œ œ œ œ & J œ œ œ œ#œ.. œ œ . . . J J J J J J J J œ J J R J œ œ œ œ. ? J œ œ œ J œ œ œ j J . . J œ œ œ œ J J J J J J œ œ R J J
14 j mj j j j j j j j j j j j j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & J J J J J J J J J J J J J J J j j j j œ ? œ œ œ j œ j œ j œ œ œ J J œ œ œ œ J œ œ œ œ J J J
21 j m œ j j j j r j j j j mj j j j j j j œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ & J J œ œ. œ œ œ œ œ#œ œ œ œ œ œ #œ#œ œ#œ œ œ J J J ≈ œ J J J J J J J J œ J J J œ j j ? œ œ œ œ œ œ œ j j j œ j j J œ J J œ œ# œ œ J œ œ#
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.167 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
28 1. 2. j j j j j j m j œ j j œ œ œ œ j j r œ & œ œ œ#œ œ œ#œ œ œ œ œ œ #œ œ œ#œ.. œ œ œ . œ. J #œ J J J J J J J J J R œ J œ. j j œ ? j j œ œ œ œ œ œ j J . œ œ œ J J œ œ œ œ.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.167 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.167 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3/8” time, sixteenth notes in conjunct motion (mm. 9–10, 16, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 120 (pp. 226–7, Hand D), Passepied de Persée (a) [Air pour les hautbois (passepied) from Persée (1682) LWV 60/5 (d)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.167 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture de la grotte de Versailles) La Grotte de Versailles, 1668
US-BEm MS 778 (Parville), no. 121, pp. 228–9 LWV 39/1
œ. m j j j œ. j b C œ. œ œ. œ ˙˙. œ œ œ œ œ. œ. œ œ. œ & œ œ ˙. w#œ. œ œ J œ œ. œ ? C w ˙ œ. œ œ œ# . œ œ œ. œ œ b ˙ Œ‰œ œ œ. œ œ © David Chung, 2014
5 m j m m j œ. œ. œ j œ œ œ. œ œ. œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ. œ & b œ œ œ. œ œ. œ œ œ œ# . J J œ œ# J J J Œ (a) Œ œ œ œŒ œ ˙ œ. ? œ œ ˙ ˙ œ b ˙ œ nœ œ# . œ œ œ œ œ œ
10 1. 2. œ œ # œ œ ˙. ˙ ˙ . 3 ˙. . Œ œ œ œ & b #˙ #˙ . #˙. . Œ œ œ
? j œ #œ . . b œ œ œ . 3 . ∑ ∑ ∑ œ. ˙.
15 m j j œ. œ œ œ œ œ œ œ œ œ #˙ œ #œ œ œ. œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ. bœ bœ œ & b œ œ œ œ J œ. J
? ∑ ∑ ∑ ∑ Œ œ œ bœ b œ œ œ œ (a) a second higher: b-flat”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.168 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
21 j j œ. œ ˙. œ œ #œ œ ˙. œ. œ œ ˙ & b œ œ œ œ œ œ #œ Œ J ˙ œ œ œ œ œ œ œ œ œ œ ? b bœ œ bœ œ œ œŒŒ Œ œ œ œ
27 j m m œ. œ b˙. œ œ œ œ œ œ bœ œ œ œ œœb œ œ bœ œ & b Œ ˙ ˙. œ ˙. œ œ œ œ œ œ œ nœ Œ ? œ œ œ œ œ œ b œ œ œ œ œb œ bœ œ & Œ œ œ œ œ œ œ bœ œ ˙ #œ
33 m œ m œ. œb m ˙. œ œ œ œ. œ mœ. œ œ# ˙ b J œ œ œ ‰ œ Œ J J & J #˙ Œ Œ ˙ ˙. œ œ œ œ #˙œ œ œ ? œ œ œ œ œ œ œ œ n˙ ˙ œ# œ b œ œ #œ #œ #œ & œ œ œbœ #œ
39 m m j m œ œ œ œ. œ œ œ œ œ œ œ œ. #œ œ œ œ# . œ & b œ œ #œ œ œ #œ œ œ œ J J bœ ˙œ Œ œ Œ œ œ ˙ ? ˙. œ ˙. œ Œ Œ œ œ œ œ# œ b œ b˙. œ œ œ œ ˙ œ Œ œ c 45 1. 2. j j m j m œ. œ œ. bœ œ bœ. j j b C ˙ ˙ œ. œ œ. œ œ. œ œ ˙ œ. œ œ. œ 3 . . 2 & ˙ œ œ ˙ œ b˙ œœ# . œ ˙. w J J n˙. wn j ? C ˙ œ. œ #œ œ ˙ ˙ 3 . 2 b ˙ n˙ . œ œ. œ # ˙ ˙. w J J ˙ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.168 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.168 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In both “ ” and “3” time, eighth notes in conjunct motion (mm. 2, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 121 (pp. 228–9, Hand D), Ouuerture de la grotte de Versailles (g) [Ouverture from La Grotte de Versailles (1668) LWV 39/1 (g)] M. 9 rhL1 a second higher: b-flat” M. 39 lhU2 d’ covered by the same note of the lower voice and thus appears to be a quarter note M. 44 lhU2 quarter note
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.168 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Le Marié et la mariée (La Mariée) Ballet des plaisirs, 1655
US-BEm MS 778 (Parville), no. 122, pp. 230–1 LWV 2/4
œ œ œ œ œ # œ Mœ mœ œ œ œ œ œ œ œ œ œ & C œ œ œ œ œ œ œ œ
œ œ ˙ ? # C w œ œ œ œ ˙ ˙ w ˙ œ œ œ œ ˙ Œ œ © David Chung, 2014
5 ˙. œ œ m # ˙. œ œ# . œ#œ œ œ œ œ œ m œ m œ & œ œ œ œ #œ #˙.
˙ œ œ# œ œ œ ˙ œ ? # œ œ œ œ œ œ œ ˙œ œ œ œ œ ˙œ œ œ œ œ œ œ œ œ œ
10 1. # œ œ œ œ mœ œ m œ œ m œ œ œ œ w & ˙ œ# œ# #œ œ w . #œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ [] œ . œ #œ œ œ ˙ œ#œ œ œ # œ œ œ nœ œ œ . ˙
15 2. M œ œ m œ œ m m # w œ œ œ œ œ & w . œ œ œ œ œ œ œ œ œ œ Œ ˙. #œ œ ? # œ []# œ˙ œ ˙ œ œ œ œ œ ˙ ˙ ˙ . œ œ ˙ œ #œ œ ˙ œ œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.169 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 m m m M m # m M˙ œ. œ œ œ œ œ œ œ œ. œœ œ œ œ œ œ œ & œ. œœ˙ œ œ . œ ˙ ˙ ˙ œ Œ œ œ ? # œ œ ˙œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ ˙ œ ˙ ˙ œ œ ˙
25 1. 2. œ m œ # œ œ œ. œ œ œ œ œ œ œ w w & w . w .
˙œ œ ˙ ˙ œ œ œ ˙ ˙ ? # œ œ œ œ œ . . œ ˙ œ œ œ œ œ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.169 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.169 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “ ” time, eighth notes in conjunct motion (mm. 1–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 122 (pp. 230–1, Hand D), La Mariée (G) [Le Marié et la mariée (entrée) from Ballet des plaisirs (1655) LWV 2/4 (G)] M. 16 lhL2 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.169 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trompettes (Les fanfares de Psiché) Psyché, 1671
US-BEm MS 778 (Parville), no. 123, p. 232 LWV 45/36 % m œ œ œ œ œ mœ. œ œ. œ œ œ œ œ ˙ œ œ œ œ œ & C ˙ œ œ ˙ ˙ ˙ ˙ Œ œ œ ? œ ˙ œ œ œ œ œ C ˙ œ œ ˙ ˙ ˙ ˙ œ œ œ ˙ œ œ ˙ Œ œ ˙ © David Chung, 2014
6 m œ m œ œ œ. œ œ œ œ ˙ œ. œ œ œ œ œ ˙ w . . œ. œ J œ & w . . J fin œ Œ œ ˙ ? œ #œ ˙ œ œ ˙ . . œ œ ˙ œ ˙ ˙ œ ˙ ˙ œ œ w . . œ. œ ‰ J #œ Œ Œ ˙. J
11 œ m m œ# œ. œ œ. œ œ ˙ . œ œ œ. œ œ œ œ œ œ . œ & J #˙ œ J œ J œ œ J Œ ˙ œ ˙ ? œ œ b˙ œ œ ˙ œ. œ œ œ Œ œ ˙œ œ# ˙ œ ‰ J Œ œ ˙ J Œ œ Œ œ Œ œ ˙
16 m % m m m œ. œ œ. œ m. œ œ œ. œ . œ & ˙ ˙ J J ˙ œ. J J œ œ ˙ j j j Œ‰œ œ. œ œ œ œ œ. œ ˙ ? #˙ ˙ ˙ #˙. ˙ ˙ #˙ Œ œ ˙ œ Œ œ
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21 . m % œ œ œ. œ ˙. œ œ œ œ œ œ œ & J J œ œ œ œ. œ œ Œ ˙ œ. œ œ ˙ œ œ ˙ ? J ˙. œ œ ˙ #˙ œ ˙ ˙ Œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.170 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.170 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 123 (p. 232, Hand D), Les fanfares de Psiché (C) [Trompettes from Psyché (1671) LWV 45/36 (C)] [No comments]
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Menuet Ballet de Flore, 1669
US-BEm MS 778 (Parville), no. 124, p. 233 LWV 40/39
œ œ œ œ œ ˙ œ œ œ & 3 œ ˙ œ œ œ œ œ ˙ œ j œ œ œ ? œ ˙ œ œ œ œ. œ œ 3 ˙. ˙ œ © David Chung, 2014
6 œ œ œ ˙. œ œ œ œ. œ œ & ˙ œ ˙. . . J Œ Œ ˙ ˙ œ ˙. j œ œ ˙ œ ? œ Œ ‰ œ œ . . ˙. Œ œ œ ˙. . .
11 œ œ ˙ œ œ œ œ. œ œ œ œ. œ & œ œ J J Œ ˙ œ #˙ œ ˙ ? œ œ œ˙. œ œ ˙ ˙ œ Œ J œ œ Œ œ
16 m m ˙ œ ˙. œ. œ œ œ œ. œ ˙. . & ˙. J J ˙. . ˙ œ œ b˙ ? ˙ œ œ œ œ ˙ . œ Œ œ ˙. . Œ ˙
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Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.171 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 124 (p. 233, Hand D), Menuet [Menuet from Ballet de Flore (1669) LWV 40/39 (C)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.171 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet Thésée, 1675
US-BEm MS 778 (Parville), no. 125, p. 234 LWV 51/67
œ œ ˙ m˙ œ & 3 œ ˙ ˙ œ ˙ M
˙. ˙ œ ˙. ˙ ˙. ? 3 ˙. ˙ œ ˙ œ ˙. © David Chung, 2014 Œ œ
6 œ œ ˙ m˙. œ m˙ ˙ œ m˙ & ˙ . . œ Œ ˙ œ ˙. ˙ œ# Œ ˙ ˙. ˙ ? ˙ œ ˙ ˙. œ . . œ œ ˙ ˙ œ # ˙ œ œ Œ œ . .
12 m ˙. œ ˙ œ œ ˙ ˙. . & ˙ œ ˙. ˙. .
Œ Œ ? ˙. ˙ ˙ œ œ . Œ œ œ ˙ œ ˙ œ œ ˙. œ . Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.172 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.172 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (m. 9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 125 (p. 234, Hand D), Menuet (C) [Menuet from Thésée (1675) LWV 51/67 (C)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.172 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet Isis, 1677 US-BEm MS 778 (Parville), no. 127, pp. 236–7 LWV 54/11
. œ œ. œ œ . œ œ œ œ œ #œ œ ˙. œ œ œ & b 3 J œ œ œ ˙ œ ˙œ œ œ ? œ œ #œ ˙ œ œ œ œ# œ œ œ b 3 ˙ Œœ. œ œ œ œ œ œ J © David Chung, 2014
6 1. 2. œ. œ . œ œ œ œ #˙. #˙. œ ˙ œ. bœ œ & b J J . . J œ ˙ bœ œ œ œ Œ œ œ œ œb œ œ œ ? œœ. œ bœ œ ˙ œ. œ œ œ b J œ œ ˙ ˙ . œ . J œ
12 j b bœ ˙ œ. œ œ œ. œ. œ œ œ. & J œ œ œ J œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ #œ œ œ ˙ ? b bœ . œ œ bœ œ œb ˙ œ œ œ Œ œ œ œ J œ ˙
17 ˙ œ. œ œ b œ b œ bœ œ bœ ˙ œ. œ œ J œ & ˙. J J œ œ œ bœ œ œ œ œ œ œ œ. œ œ œ œ œ œ Œ Œ œ ˙ œ œ ? #œ J œ bœ œ œ b œ ˙
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1. 2. 23 œ œ œ œ œ œ. J œ# . ˙. œ ˙. œ & b J ‰ J ˙ . ‰ J ˙ œ œ œ œ œ œ Œ œ ? b b˙ œ bœ œ . œ œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.173 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.173 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 2–3, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 127 (pp. 236–7, Hand D), Menuet (g) [Second Air (menuet) from Isis (1677) LWV 54/11 (g)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.173 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Premier Air pour la Jeunesse (Air pour la Jeunesse) Le Triomphe de l’Amour, 1681
US-BEm MS 778 (Parville), no. 128, pp. 238–9 LWV 59/69 m œ œ œ œ œ œ #œ œ œ œ. œ #œ œ œ œ œ œ & b 3 Œ J ˙. ˙ œ œ ˙ œ ˙ bœ œ œb ˙. œ œ #œ œ ˙ ? œ œ œ œ œ œ œ b 3 Œ œ# Œ #œ © David Chung, 2014
7 m. œ œ œ . œ #œ œ œ œ œ #œ œ œ mœ œ #œ œ œ œ œ œ œ & b J J ˙. ˙ œ œ œ #œ œ ˙ œ ˙ œ œ ˙ œn ˙ #œ œ œ œ ˙ ? bœ œ œb ˙ œ œ ˙ b ˙. Œ Œ Œ œ
14 m j œ œ œ œ. œ œ œ #œ œ #œ œ œ# . œ œ œ œ œ œ œ œ œ mœ. œ œ & b ˙ #œ J ˙ œ Œ Œ #œ % œ œ #œ œ œ# Œ ? ˙ œ œ œ œ œ œ œ b ˙ œ œ œ œ œ œ œ œ œ œ œ
21 œ œ œ œ œ œ œ bœ œ œ œ m œ œ œ œ & b œ œ œ œ. œ œ œ œ œ #œ Œ œ nœ ˙ ˙. œ ˙ œ˙. n˙ œ œ ? ˙ œ œ ˙ œ bœ ˙ œ œ œ b Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.174 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
28 M 1. 2. œ m œ œ m œ# . œ#œ œ œ œ bœ œ bœ & b œ œ œ œ. œ œ œ . ˙. % œ ˙ ? œ ˙ ˙. œ œ #œ œ œ# Œ œ b Œ œ œ n˙ ˙ œ œ Œ . œ Œ œ œ œ œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.174 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.174 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 18, 30, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 128 (pp. 238–9, Hand D), Air pour la Jeunesse (g) [Premier Air pour la Jeunesse from Le Triomphe de l’Amour (1681) LWV 59/69) (g)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.174 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Air des Espagnols, Sarabande (Les Espagnols) Le Bourgeois Gentilhomme, 1670
US-BEm MS 778 (Parville), no. 130, p. 241 LWV 43/27
(a) m œ m b 3 Œ œ œ œ œ œ œ œ œb œ. œ œ œ œ œ mœ œ & J œ œ œ œ Œ œ œœb œ œ œ œ œ œ ˙ œ bœ œ œ ? 3 œ œ bœ œ œ œ œ b Œ Œ œ œ © David Chung, 2014
7 œ m œ b b œ œ œb œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ & J œ J œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ ? œ bœ œ œ œ œ b˙ œ. œb œ œ œ œ b œ Œ œ œ œ J œ œ
13 œ m œ œ #œ œ œ b œ œ œ bœ œ œ œ œ œ œ œ. œ œ & œ œ J œ œ Œ œ œ œ œ œ œ ˙ œ œ œ Œ Œ œ œ œ ? œ œ b˙ œ. œb œ œ œ œ #œ b œ œ J œ œ œ ˙
19 œ œ mœ. œ bœ œ œ œ œ œ œ œ œ œ bœ œ bœ œ & b J
˙ œ œ Œ œ œ œ œ œ œ ? œ. œ bœ œ #œ œ œ b˙ œ ˙ œ b œ ˙ œ n œ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.175 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
24 m œ M œ œ #œ œ œ œ œ œ œ œ. œ b œ. œ œ œ J & J Œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ# œ. œ #œ ? b bœ œ œ œ œ ˙ bœ œ œ œ œ œ œ
29 œ œ œ œ bœ œ œ œ œ M b bœ œ bœ œ. œ œ & J (b)fin œ Œ œ œ ˙ œ ˙œ œ œ ˙ œ œ ? œ b˙ œ œ bœ œ œ œ œ b ˙ œ œ
(a) see editorial remarks
(b) “fin” copied from m. 25 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.175 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Editorial Remarks
The following repeats, designated by the pair of reprise symbols , have been written out in full in this edition: mm. 5–8 copied from mm. 1–4; mm. 13–16 copied from mm. 9–12; mm. 25–33 copied from mm.17–25.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.175 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 10–1, 14–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 130 (p. 241, Hand D), Les Espagnols (B) [Air des Espagnols (sarabande) from Le Bourgeois Gentilhomme (1670) LWV 43/27 (B)] M. 13 lhU1 rest missing M. 17 lhU1 rest missing M. 33 “fin” copied from m. 25
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.175 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trompettes (la descente de Mars) Thésée, 1671
US-BEm MS 778 (Parville), no. 131, p. 242 (a) LWV 51/5 [Trompettes, Violons et Timballes] % œ œ œ œ œ œ œ & 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ © David Chung, 2014 [Hautbois] 5 m j j j œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙. . œ. œ œ œ œ. œ œ ˙ œ & œ ˙. . J œ. J œ fin J Œ Œ Œ Œ œ œ œ œ œ œ œ ˙. œ œ œ Œ Œ œ M ? œ œ œ œ œ œ œ ˙. . œ œ œ œ œ œ œ œ œ œ œ œ ˙. . œ œ œ œ œ œ
[Hautbois] 11 m M j j j j m m j œ. œ œ œ. œ œ œ. œ œ œ. œ j œ. & œ. œ. œ œ œ. œ ˙. œ. œ œ œ. œ œ œ. œ œ J J J ˙. J J J j % Œ Œ œ œ. œ Œ œ. œ ? œ œ œ. œ œ œ. ‰ œ œ. ‰ œ ˙ œ œ œ ˙ ˙. œ. œ œ œ. œ œ ˙ œ J J J
[Hautbois] [Trompettes, Violons et Timballes] 18 m j j œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ. œ & œ œ# . œ ˙. œ J J Œ ‰ J œ Œ Œ j œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ? œ œ Œ ‰ œ œ œ œ œ œ œ œ œ. œ œ œ ˙. œ œ œ ˙. œ œ œ œ œ œ œ œ. œ œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.176 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
24 j j j j j œ. œ œ œ. œ ˙ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ ˙ œ œ. œ. œ œ œ. œ ˙. & J J J J J ˙. Œ Œ j % œ Œ Œ Œ Œ œ œ. œ Œ ? œ œ œ œ œ œ œ œ ˙ œ œ. œ œ œ œ œ œ œ J ˙.
(a) Instrumentation supplied from Lully’s first edition (Paris, 1688; Facs. ed. Broude International Editions, 2001)
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.176 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Editorial Remarks
Instrumentation of Lully’s prototype, indicated within brackets, are supplied from the first edition (Paris, 1688; Facs. ed. Broude International Editions, 2001)
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.176 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 7, 23, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 131 (p. 242, Hand D), la descente de Mars (C) [Trompettes from Thésée (1675) LWV 51/5 (C)] M. 7 lhU1–2 rests missing M. 8 lhU1–2 rests missing M. 9 lhU1–2 rests missing M. 11 lhU1–2 rests missing M. 13 lhU3 rest missing M. 15 lhU2 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.176 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ritournelle (Menuet) Thésée, 1675 US-BEm MS 778 (Parville), no. 132, p. 243 LWV 51/7
œ ˙ œ m œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ & 3 œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ œ œ ˙ œ ˙ ? 3 œ ˙ ˙ œ œ ˙ œ © David Chung, 2014
7 œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ & ˙. . . œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ
œ œ œ œ ˙ ? . . ˙ œ œ ˙. . . œ ˙ ˙
13 m m œ œ œ œ œ œ j œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ. œ œ œ œ œ. œ ˙. . & œ œ œ œ J .
œ ˙ ? œ œ œ . œ œ ˙ ˙ ˙ œ œ ˙ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.177 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.177 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (mm. 1, 3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 132 (p. 243, Hand D), Menuet (C) [Ritournelle from Thésée (1675) LWV 51/7 (C)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.177 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Marche (La Marche de Theseé) Thésée, 1675
US-BEm MS 778 (Parville), no. 133, pp. 244–5 LWV 51/30
% M M m M M m œ M œ œ œ œ œ œ. œ œ M œ œ œ œ œ œ ˙ œ œ & C œ œ J œ œ M ? C Œ œ ˙ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ œ ˙ œ œ ˙ œ œ ˙ œ œ © David Chung, 2014
6 m m m m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mœ œ œ mœ œ mœ. & œ œ J œ ˙. œ . J ‰ J ˙ fin Œ ? œ ˙ Œ œ ˙ . ˙ œ œ ˙. œ ˙ œ ˙ ˙ œ œ ˙. œ . ˙ œ œ Œ ˙ Œ Œ ‰ J œ
11 M œ œ m M M œ œ# œ J œ. œ# . #œ nœ m m œ œ J J œ œ œ œ œ mœ. œ œ. œ & J J J œ œ œ ˙. ˙. œ #œ œ Œ œ ˙ ? œ œ œ œ œ ˙. œ œ ˙ œ œ Œ œ ˙ ˙
16 Mœ m m œ m m % œ œ. œ ˙. œ œ# œ œ. #œ ˙. œ & J J ‰ J ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ ˙ ? œ Œ œ ˙. ‰ œ Œ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.178 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 m M M M œ œ œ m œ œ œ mœ œ œ ˙ œ œ œ œ œ œ œ. ‰. œ œ & œ J J #˙ œ œ Œ Œ œ œ Œ œ œ ˙ ? œ œ œ œ˙ œ œ œ œ ˙ œ œ œ ˙ ˙ ˙ ˙ œ ˙ m Œ ‰ J ˙
25 m . M M % mœ# . œ œ œ ˙. œ œ mœ œ mœ œ m. j & J œ œ œ Œ œ œ ? Œ œ œ œ œ œ œ˙ ˙ œ ˙ œ ˙. œ œ œ Œ œ Œ ˙ œ Au Commencement
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.178 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.178 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “ ” time, eighth notes in conjunct motion (mm. 2, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 133 (pp. 244–5, Hand D), La Marche de Theseé (C) [Marche from Thésée (1675) LWV 51/30 (C)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.178 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée (Entree) Hercule amoureux, 1662
US-BEm MS 778 (Parville), no. 135, pp. 248–9 LWV 17/1
œ m m n œ w œ. œ œ. #œ œ#œ œ. œ œ. œ. œ œ œ œ. œ & b C ‰ J œ. œ œ. œ œ œ. œ œ œ
œ ? C ‰ j ‰ œ ˙ œ œ œ. #˙ œ œbœ œ b œ ˙. J œ. œ œ. œ œ œ œ œ © David Chung, 2014
6 œ œ œ œ œ œ m œ. œbœ œ mœ œ œbœ. œ œ. œ . . œœ. œœ. œ # œ œ. œ & b J . œ ˙ œ. œ œ J œ œ ? œb œ œ œ œ œ œ œ b J œ œ œ œ œ œ œ œ œ œ œbœ œ bœ œn œ. ˙ ˙ œ
11 . œ œ bœ. œ mœ. œ. œ œ œ. œbœ œ & b ˙ . . ‰ œ œ œ œ œ œ œ œ œ. œ œ J m J
? . . œ œ #œ œ œ j b . . ‰ œ œ nœ œ œ œ. œ ˙. J œ œ œ œ
16 m m m œ bœ œ. œ œ bœ œ œ œ j œ. œ œ. #œ & b œ œ œ. œ œ œ œ# . œ œ œ œ. #œ œ. œ œ œ
? j œ b˙ œ b œ œ œ œ œ œ œ œ œ w œ. œ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.179 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 1. 2. œ m ˙ œ. j . & b œ œ. #œ œ. œ œ. œ ˙. . w
? œ #œ œ b œ œ œ œ œ œ œ œ . œ œ œ ˙. w
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.179 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.179 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 135 (pp. 248–9, Hand D), Entree (g) [Entrée from Hercule amoureux (1662) LWV 17/1 (g)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.179 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte (Gauotte) Ballet des Muses, 1666
US-BEm MS 778 (Parville), no. 136, p. 250 LWV 32/7
b œ bœ m j m b 2 œ. œ œ œ. œ œ œ. œ œ œ œ. œ ˙ . & J J J .
œ. œ ˙ œ ˙ œ œ ? bb 2 J œ ˙ œ ˙ . © David Chung, 2014 œ
6 œ mœ. œ m b . œ. œ nœ œ œ# . œ œ J #œ œ œ. œ ˙ œn . œ & b . J J J J
? œ j bb . ˙ ˙ ˙ ˙ ˙ œ œ œ. œ œ ˙
11 œ œ œ œ m œ m j bb œ. œ bœ œ œ. œ œ œ . ˙ . & J J œ œ .
? b ˙ n˙ œ . b ˙ ˙ œ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.180 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.180 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “2” time, eighth notes in conjunct motion (m. 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 136 (p. 250, Hand D), Gauotte (B) [Gavotte from Ballet des Muses (1666) LWV 32/7 (B)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.180 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet en rondeau Ballet des Muses, 1666
US-BEm MS 778 (Parville), no. 137, p. 251 LWV 32/9
b œ œ. œ œ ˙ œ œ & b 3 J œ ˙ œ œ % œ œ. œ œ œ ˙ œ ? bb 3 J ˙ œ œ œ © David Chung, 2014
6 m œ bb œ. œ œ œ œ. œ ˙ œ. œ œ œ œ & J œ J ˙ œ J fin ? œ. œ œ œ œ #˙ œ œ. œ bb J œ ˙ œ œ J œ œ œ
13 b . œ œ œ œn . œ nœ ˙ œ . œ ˙ & b œ J œ J œ œ œ ˙ œ œ ˙ œ œ. œ œ œ ? bb œ J ˙
18 M bb ˙ œ œ œ œ œ. œ œ œ œ. œ ˙ œ & J J œ œ ? b ˙ œ œ œ œ. œ œ b œ J œ ˙ œ
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23 œ. œ œ mœ œ M m m b J œ œ# œ. J œ œ. œ œ j & b J œ œ. œ ˙ % j j ? b . œ œ œ œ œ œ. b œ œ œ œ œn œb œ œ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.181 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.181 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (m. 25, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 137 (p. 251, Hand D), Menuet en Rondeau (B) [Menuet en rondeau from Ballet des Muses (1666) LWV 32/9 (B)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.181 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Dieu des enfers (Dieu des Enfers) Ballet de la Naissance de Venus, 1665
US-BEm MS 778 (Parville), no. 141, pp. 256–7 LWV 27/41
j . . bœ m j œ b 3 œ. œ œ œ œ œ œ.. œ œ. œœœ œ. œ ˙ ‰ J & œ. œ J R œ. œ ˙ m ˙ œ œ ? 3 œ œ œbœ #œ˙ œ Œ˙ œ# ˙œ œ œ#œ œ˙. b œ œ ˙. ˙ œ œ œ œ œ © David Chung, 2014 m
1. 2. 7 œ mœ. œ mœ. œ m œ m œ# œ. œ œ œ œ ~~ œ œ œ œ. bœ m b œ J . . ˙. œ mœ. œ œ. œ œ œ & 1 fois 2 fois J J œ œ j œ œ ˙ œ ˙ œ ˙œ ˙ œ œ. ? b œ bœ œ œ ˙. . ˙ . Œ ˙ œ b˙ œb œ œ Œ œ œ Œ œ Œ œ
14 j . (œ m œ ~~ œ œ œ œ# œ m b b ˙. ˙. œ œ. œ œ œ œ œn . œ œ œ & œ J œ. œ œ J Œ œ œ Œ œ œ j ? œ œ œ Œ b˙ œ #˙ bœ ‰ œ ˙œ œ œ œ bœ œ b ˙. ˙ œ œ œ œ ˙ n˙ œ œ
20 m œ m j œbœ œ bœ . œ œ j . & b bœ œ œ#œ. œ ˙. œn œ bœ œ#œ. œ ˙. . J n˙ œ J m n˙. ˙œ œ œ œ œ ˙ œ œ œ ? b œ ˙ bœ œ œb n ˙ œ bœ œ œ ˙ . Œ ˙ œ Œ ˙ œ œ œ Œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.182 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty -six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Editorial Remarks
The piece is essentially a copy of D’Anglebert-1689.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.182 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
In “3” time, eighth notes in conjunct motion (mm. 6–7, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 141 (pp. 256–7, Hand E), Dieu des Enfers (g) [Dieu des enfers (sarabande) from Ballet de la Naissance de Venus (1665) LWV 27/41 (g)]
M. 22 rhU Source:
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.182 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Sourdines (Sourdinnes de’Amide) Armide, 1686
US-BEm MS 778 (Parville), no. 149, pp. 282–3 LWV 71/39 M m œ. œ œ mœ. œ œ #˙. j m M j b 3 Œ œ œ . J J ˙ œ œ. œ œ œ œ. œ & J œ ˙. œ ? b 3 . Œ œb . œ ˙ Œ œ œ & œ œ J Œ œ œ ˙ © David Chung, 2014 Œ œ œ
7 M M m m M M m œ œ. œ œ œ œ œ œ j . œ œ œ. œ œ œ bœ œ œ œ œ. œ & b œ J œ J œ. J J M ˙ ˙ ˙ œ œ ˙ ˙ œ œ œ ? ˙. bœ n˙ ˙ œ œ˙ bœ œ œ œ œ œ œb ˙ b Œ œ œ ˙ œ Œ œ
14 1. 2. M bœ œ œ œ œ œb . œ œ m œ bœ œ œ & b ˙. œ Œ . ˙ J . ˙ œ ‰ J ˙ ˙ Œ Œ ˙. Œ bœ ? . œ œ ˙ ˙ œ . œb . œ œb ˙. b˙ b œ. œ œ œ ˙. . ˙ . J
20 m j M bœ m j œ Mœ m œ bœ œ œ bœ œ œb . œ bœ œ œ M œ œ œ ˙œ. œ & b œn œ œ n˙œ œ œ œ œ M œ Œ ‰ j ˙ ˙ œ ˙ œ œ Œ ˙ œ ˙ œ œ œ œ ? bœ œ œ bœ œ œ œ œ bœ œ Œ œ œ b œ bœ ˙ œ . J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.183 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
26 M m œ œ œ œ œ œ j œ œ œ œ m œ œ œ mœ# œ œ œ œ œ #˙œ. œ œ ˙. & b #œ œ œ œ œ œ ˙ œ œ Œ ˙ ? œ œ œ œ œ œ œ œ œ œ ˙ #˙ œb œ bœ b œ œ œ œ ˙ œ œ ˙ œ œ
32 œ œ m œ bœ œ b˙. œ œ bœ œ œ ˙. œ œ œ & b ˙. œ ˙. œ œ œ œ mœ Œ œ œ Œ œ Œ œ œ œ ˙. ˙ œ œ œ œ #˙. ˙ ? b n˙. ˙ œ m m
37 1. 2. m M œ œ bœ œ œ j œ œb . œ bœ . & b ˙œ. œ œ œ œ œ #˙œ. œ ˙ J . ˙. ˙ ˙. Œ œ œ œ œ ‰ œ œ œ œ œ ‰ j ˙ ˙ ˙ œ ‰ j ˙ ? b bœ œ ˙. ˙ œ . œ Œ œ ˙. ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.183 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).
Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.
The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.
Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.183 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
In “3” time, eighth notes in conjunct motion (mm. 11, 14, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 149 (pp. 282–3, Hand I), Sourdinnes de’Amide (g) [Les Sourdines from Armide (1686) LWV 71/39 (g)] M. 42 lhU1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.183 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte en rondeau (Gauotte) Phaéton, 1683
US-BEm MS 777 (Menetou), no. 2, fols. 2v–3r LWV 61/27 m œ Mœ M œ m œ œ œ j 2 œ œ œ œ œ œ œ œ ˙œ. œ ˙ & ˙ ˙ ˙œ œ ˙ œ œ ˙ ˙ ? 2 Œ œ œ. œ œ œ œ œ œ ˙ J œ Œ œ ˙ Œ œ © David Chung, 2014
6 M œ m œ ˙ œ M M œ œ œ Mœ œ m œ œ.#œ œ.#œ œ# . ˙ œ œ œ œ œ & Reprise œ œ œ J ˙ ˙ ˙ œ ˙ ˙ œ ˙ ˙ ˙œ œ ˙ œ ? Œ Œ œ œ# ˙ œ ˙ ˙ Œ Œ Œ œ œ œ œ œ œ Œ œ
13 m œ j mœ œ œ mœ œ œ œ œ. œ œ mœ. & ˙ œ ˙ œ œ œ œ œ œ# œ œ ˙ 2e Reprise m J m M ˙ œ œ ˙ ˙ œ ˙ œ œ œ œ ˙ ? œ. œ œ œ œ œ ˙ œ œ œ œ œ œ# #œ œ œ œ J œ Œ œ œ œ œ
19 j j j m m m M m j œ. œ œ. œ œ j œ œ œ œ. ˙ ˙ œ. œ œ œ œ œ œ œ. œ ˙ & œ ˙ g ˙ g˙. œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ? œ #˙ Œ œ. œ ˙ ˙ œ ˙ Œ Œ œ œ J Œ œ ˙ Œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.184 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
25 m œ œ œ œ œ œ j œ œ œ œ œ œ œ œ ˙œ. œ ˙ & ˙ ˙ ˙ ˙œ œ ˙ œ œ ˙ ˙ œ ? Œ œ œ. œ œ œ œ œ ˙ J œ Œ œ ˙ Œ œ
Double 30 m œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ ˙œ. œ ˙ & 2 ˙ ˙ ˙œ ˙ œ œ ˙ ˙ ? œ œ œ. œ œ œ œ œ œ ˙ 2 Œ J œ Œ ˙ œ Œ œ
35 Premiere Reprise m œ œ œ œ œ œ œ œ œ œ. #œ œ. #œ œ# . œ ˙ & œ œ œ œ œ œ œ œ œ œ œ J ˙
˙ œ ˙œ ˙ œ ˙ ? Œ ˙ œ# w œ ˙ ˙ Œ œ œ œ œ œ Œ œ
40 m œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ ˙œ. œ ˙ & ˙ ˙ ˙ ˙œ œ ˙ œ ˙ ˙ ˙ œ ? Œ œ œ œ œ œ œ ˙ œ œ Œ œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.184 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Seconde Reprise 45 m œ œ œ œ œ œ œ œ j & œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #˙œ. œ (a) ˙ œ œ ˙ ˙ ? œ œ œ #œ œ ˙ œ œ œ œ# œ œ Œ œ ˙ Œ œ
49 œ œ œ œ œ œ œ œ m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ˙ & œ. œ œ œ J ˙ Œ Œ œ œ ˙ ˙ ˙ ? ˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Œ œ Œ ˙ œ Œ œ
(b) 54 m œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ ˙œ. œ ˙ & ˙ fin ˙ ˙œ ˙ œ ˙ ˙ ? œ œ œ. œ œ œ œ œ œ œ ˙ Œ J œ ˙ Œ œ Œ œ
(a) erroneous a note a third above f removed. See commentary.
(b) mm. 55–8 copied from mm. 41–4.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.184 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–95; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.184 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 4, 14, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 2 (fols. 2v–3r, Hand A), Gauotte (C) [Gavotte en rondeau from Phaéton (1683) LWV 61/27 (C)]
M. 47 lhL3 erroneous note a third above f removed. Menetou:
M. 55–8 copied from mm. 41–4. Ending in Menetou:
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.184 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte (Gauotte) Phaéton, 1683
US-BEm MS 777 (Menetou), no. 3, fol. 3v LWV 61/28 œ M m m M M œ 2 œ œ œ œ œ œ œ œ. œ œ œ œ œ & Le plai --sir est ne ces -saire ... J
˙ œ ? 2 ˙. œ# œ œ œ œ˙ œ ˙. ˙ œ Œ œ Œ œ œ œ œ œ œ © David Chung, 2014
5 M #œ ˙ M œ Mœ m œ œ œ œ œ J ˙ . . œ. œ œ œ & J J J Reprise J Œ œ œ ˙ œ œ œ ˙ œ ? œ J J Œ ˙ . . ˙ œ œ œ œ Œ œ
9 m œ M j œ œ mœ œ œ œ œ œ œ œ. œ ˙ . & Œ J J œ œ ˙ ˙ . 2 # n ˙ œ ? . #œ œ œ œ œ œ Œ œ . 2 ˙ œ œ œ œ œ ˙ . Œ œ ˙
13 Double[for harpsichord solo] œ œ œ œ œ œ œ œ & 2 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ? ˙. œ# w œ ˙. œ 2 . Œ œ œ œ ˙ œ œ ˙ Œ œ Œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.185 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 œ œ œ #œ ˙ œ œ œ œ m œ œ œ œ ˙ . . œ œ œ œ œ œ œ & Reprise Œ œ œ ˙ œ œ ˙ œ ? œ Œ œ ˙ . . ˙ œ œ œ œ œ Œ œ . .
21 m m œ œ œ j œ œ œ œ œ œ œ mœ œ œ œ œ œ œ œ. œ ˙ . & Œ œ ˙ ˙ . # n ˙ œ ? . #œ œ œ œ œ œ Œ œ . ˙ œ œ œ œ œ ˙ Œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.185 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–95; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“Le plaisir est necessaire…”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.185 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 3–5, 10–1, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 3 (fol. 3v, Hand A), Gauotte (C) [Gavotte from Phaéton (1683) LWV 61/28 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.185 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet Phaéton, 1683
US-BEm MS 777 (Menetou), no. 6, fol. 5r LWV 61/2
œ œ ˙. œ œ œ œ m œ œ ˙. & 3 œ ˙ œ œ ˙ œ Œ œ ˙. œ ˙œ. œ ˙. œ ? œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ © David Chung, 2014
7 m m œ œ œ M[] ˙œ ˙. œ . . œ mœ ˙ . œ œ œ œ & ‰ J ˙ . . œ ˙ œ
Œ œ [] [] ? Œ j œ ˙. œ ˙œ. ˙. œ ‰ œ . . I œ œ œ œ œ œ œ I œ œ œ œ œ œ ˙.
13 m m œ œ œ œ m œ œ œ œ œ œ j œ œ ˙. & œ œ #˙œ. œ ˙. œ ‰ J ˙ Œ œ ? œ ˙œ #œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ . œ Œ œ œ
19 m m j œ œ œ œ œ m j œ œ œ œ œ œ œ œ œ. & œ œ. œ œ œ œ œ œ œ œ ˙ œ ˙. œ . ‰ J ˙ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. . œ œ ˙ ˙. œ . Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.186 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.186 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3–5, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 6 (fol. 5r, Hand A’), [untitled] (C) [Menuet from Phaéton (1683) LWV 61/2 (C)] M. 1 lhL1 tie missing M. 10 rh1 dot missing lhL2 sharp missing M. 11 lh3 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.186 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Dans ces lieux Phaéton, 1683
US-BEm MS 777 (Menetou), no. 8, fol. 6r LWV 61/7 m m m œ ˙ ˙ œ œ. œ ˙ œ & 3 œ œ œ ˙ œ œ œ œ œ ‰ œ #˙ Dans ces Lieux tout rit ... J Qu’il est doux d’aymer ... œ ? œ œ ˙ j 3 œ œ œ œ œ. œ © David Chung, 2014 œ
5 m m œ ˙ œ œ œ ˙ œ œ œ˙ œ ˙. œ . & ‰ J #˙ . œ ? œ œ j œ œ ˙ œ. œ . œ œ œ
9 m m ˙ œ œ & . #œ ˙œ. œ œ ˙ œ #œ ˙ ˙ #œ œ ‰ J ˙
? œ œ œ œ œ œ œ œ œ œ . ˙ œ . œ
13 m m m œ œ œ œ œ œ œ œ . j . & œ œ #œ #œ œ #œ œ ˙. œ . ‰ J ˙ œ ? œ œ œ œ œ . œ ˙ œ œ œ œ. J WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.187 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“Dans ces Lieux tout rit …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.187 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 10, 12–3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 8 (fol. 6r, Hand A’), [untitled] (a) [Dans ces lieux from Phaéton (1683) LWV 61/7 (a)] M. 8 lh barline missing
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.187 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chaconne (chaconne) Phaéton, 1683
US-BEm MS 777 (Menetou), no. 9, fols. 6v–9r LWV 61/40 m j # Œ œ œ œ. œ œ j œ œ œ œ 3 œ œ œ ˙ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ & Œ ˙ œ ˙ œ ‰ J ‰ J ‰ J œ. J œ ? # 3 Œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ œ © David Chung, 2014
7 j m j [] œ œ œ œ # ‰ œ œ œ j œ œ # œ œ œ œ œ œ œ & œ ˙. œ œ ˙œ. œ œ œ œ œ œ
˙ ? # œ. œ mœ œ ˙. ˙. ˙. Œ ˙ œ
12
œ [] œ œ # œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ
? # . ˙ ˙. ˙. ˙. ˙ œ
17 # m œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ & œ Œ œ Œ œ œ œ ˙œ. œ œ œ m m ? # ˙ œ œ n˙ œ œ ˙ œ œ ˙ œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
22 m m m j # œ œ m œ j . œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ ˙œ œ œ œ œ œ œ œ œ & œ ˙ ‰ J ‰ J œ m ? # œ œ n˙ œ œ ˙ œ œ ˙ ˙. œ œ
27 m j j m m j # œ œ œ. Œ j œ œ œ. œ œ #œ œ. œ œ œ œ œ œ œ. œ œ. œ œ œ #œ & ‰ J œ œ J Œ ‰ œ œ ‰ œ ‰ œ œ ‰ J n J J J ? # œ œ ˙ ˙. ˙ ˙. œ œ œ œ œ . ˙ œ
32 m m . j j m j m # œ œ œ œ [] œ œ j œ œ œ œ œ œ œ œ. œ œ œ.n œ œ. œ œ œ œ œ œ œ œ & ‰ J œ œ œ œ œ œ œ ‰ œ œ. #œ œ ˙. œ œ œ n Œ J J ˙ ˙ ? # œ n˙. œ œ. œ œ œ ˙ œ J œ œ
38 # j j œ œ œ œ œ œ œ. œ œ œ œ j œ œ œ œ œ #œ œ œ œ & œ˙ œ œ œ œ œ œ J œ ˙œ. œ œ œ
? # n˙. œ œ. œ œ œ ˙ œ œ J œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
43 œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ
œ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ
48 m m j # œ j ˙ ˙. ˙. œ œ. œ & œ œ ˙œ. œ œ ˙ ˙. ˙. ˙ œ œ œ œ œ œ œ mœ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
53 m m j # Œ œ œ œ œ œ œ. œ œ œ œ œ ˙ ˙ œ œ œ œ œ ˙ œ œ œ œ & œ ˙ ˙ ‰ J ‰ J œ œ œ œ œ œ œ ˙ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
58 j j # œ œ œ. œ œ œ œ œ ‰ œ œ œ œ œ œ œ. œ & œ. œ œ œ œ ˙ œœ œ ˙ œ œ ‰ œ ‰ œ œ. œ œ œ ‰ J J J
? # œ n˙ ˙ œ œ ˙ œ nœ œ ˙ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
63 m œ œ m œ œ # œ œ œ œ j œ. œ œ œ œ. œ œ œ œ & œ œ. œ œœ œ ˙œ. œ œ œ œ œ œ ‰ J J J J j j[]# ‰ œ ˙ ‰ œ ˙ ? # œ. œ œ œ ˙ ˙. ˙. œ J ˙ œ ˙
69 œ j j j j # œ ˙œ. œ ˙œ. œn . œ œ œ. œ œ. œ œ j & ˙. œ ˙ œ ˙œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
74 j m m # œ. œ œ œ œ œ j r œ œ œ œ œ & œ ˙ œ œ œ œ œ œ ˙œ œ œ . œ œ œ œ œ œ œ œ
# œ œ œ œ œ n œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
79 œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ n˙ œ œ œ œ œ œ œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
84 m j œ œ œ. œ m # ˙ œ œ œ œ œ œ œ œ œ & œ œ ‰ Œ œ ‰ œ Œ œ œ œ œ Œ œ œ œ œ œ œ ‰ J J ‰ J J ‰ J ‰ J œ œ nœ œ œ œ œ œ œ œ œ œ ˙. œ ? # œ œ œ œ œ
90 m # Œ m œ œ œ œ œ œ œ Œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ & Œ œ Œ œ œ ‰ œ œ œ œ œ œ œ œ nœ nœ œ œ nœ œ nœ œ œ œ œ ˙ ? # œ œ ˙ ˙.
95 m j m œ œ œ œ j # œ œ œ œ œ œ œ œ œ œ. œ œ œ œ j & œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ J œ œ œœ.œ ˙ œ œ ˙œ. œ ‰ J J m œ ? # œ. œ œ ˙. ˙. œ. œ œ œ J ˙ J ˙
101 # œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ & œ‰œ œ ‰ J ˙ œ ˙ œ œ œ. œ œ œ œ œ œ ‰ œ ‰ J ˙ œ J J J ˙ œ n˙ mœ œ ˙ ˙. ˙ mœ œ œn nœ ? # œ nœ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______
107 m j m j j # œ. œ œ œ. œ œ œ œ œ ˙œ. œ œ œ. œ œ œ œ œ œ ‰ œ œ ‰ œ œ. œ ‰ œ œ & ˙ œ œ œ. œ œ œ œ œ J Œ J œ ‰ J œ J J œ œ œ œ œ œ œ œ ˙ ? # œ ˙. œ. œ œ œ ˙ J
113 j j j jm # œ œ. œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ & ‰ J Œ ‰ J œ ‰ J œ ‰ J œ. J œ œ œ. œ œ œ œ œ œ œ ? # ˙ œ œ œ. œ œ ˙ J œ J œ œ
119 œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ≈ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ ˙
124 œ m # œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ & J œ œ ‰ œ ‰ œ ‰ œ ˙. œœ.œ ˙œ œ œ œ œ œ J J J Œ ˙. ? # œ ˙ ˙. ˙. œ ˙ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______
130 # œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ. œ œ & ‰ œ ‰ œ ‰ œ ˙. œœ.œ ˙œ J œ œ J J J ‰ j ˙ # œ. œ ˙. œ ? J ˙. ˙. ˙. œ (a) 135 m œ œ œ œ œ. j j j # œ œ œ œ ˙ œ œ œ œ œ œn . œ œ œ œ œ. œ œ œ ‰ œ œ & œ œ ‰ ‰ J œ. J ‰ œ. œ œœ œ ˙ œ ‰ J J J J œ ˙ # ˙ ? ˙ œ œ œ œ ˙. ˙. œ œ œ ˙
141 n œ j # œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ & œ ‰ œ ‰ J œ œ œ œ œ œ J Œ‰J ‰ J ‰ J œ # ˙ œ œ œ œ ˙ ? œ œ œ œ œ œ œ œ œ œ ˙ œ
146 # œ œ M j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ‰ J œ ‰ J ˙ ? # œ n˙ ˙. œ œ œ œ
150 # m œ œ œ œ. œ œ œ j & ‰ œ ˙œ œ ‰ œ œ œ œ œ œ œ ˙œ. œ ˙. œ J J ‰ J ˙ Œ‰j œ ? # œ n˙ œ œ. œ œ œ œ J œ ˙.
(a) a second lower: c” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 8 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 9 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 7–25, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 9 (fols. 6v–9r, Hand A’), chaconne (G) [Chaconne from Phaéton (1683) LWV 61/40 (G)] M. 10 rh2 sharp missing M. 14 rh2 sharp missing M. 34 rhL2 natural missing M. 67 lhU3 sharp missing M. 114 rhL1 rest missing M. 138 rhU2 a second lower: c”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Bourrée Phaéton, 1683
US-BEm MS 777 (Menetou), no. 10, fol. 9v LWV 61/16
œ m . m œ œ 2 œ œ œ œ œ ˙ œ œ œ & Plai - sir vener sans J crainte ... Il faut que tout fleu --ris se ...
˙ œ ˙ ˙ ? 2 Œ œ. œ w œ œ œ © David Chung, 2014 J œ Œ œ
5 œ œ m ˙. œ œ. œ #œ #œ œ . œ œ j & J J œ #˙œ. œ
Œ ˙ ˙ œ j ? œ œ œ œ ˙ œ. œ#œ ˙ w Œ‰J ˙ œ. J Œ œ ˙ Œ œ
9 œ œ m œ œ m m & ˙. . . œ œ ˙ œ œ œ œ. œ ˙. J
œ œ ˙ ˙ ? ˙ ˙ . . œ œ œ œ w œ œ #˙ w . . œ œ
14 m œ j œ œ œ. œ œ œ œ. œ œ œ œ œ œ ˙œ. œ ˙. . & J J ˙. .
œ ˙. ˙ œ œ ˙ ? ˙ ˙ ˙œ œ œ ˙. œ œ œ ˙ . ˙ J Œ œ ˙ ˙ . ‰ J ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.189 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“Plaisir venez sans crainte …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.189 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 10 (fol. 9v, Hand A’), Bourrée (C) [Bourrée from Phaéton (1683) LWV 61/16 (C)] M. 9 rhL1 note missing
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.189 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Trompettes (Les trompette) Amadis, 1684
US-BEm MS 777 (Menetou), no. 16, fols. 13v–14r LWV 63/24
m m œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ & 3 œ J œ J œ Œ œ œ ˙œ œ ˙. œ œ ˙œ œ œ ? 3 ˙. Œ
© David Chung, 2014
5 m Mœ m œ œ œ œ œ œ œ œ œ. œ œ œ ˙. œ . & J ‰ J ˙ . Œ œ Œ œ ˙. [] œ ˙ œ œ œ ˙ ? . Œ . œ . ˙ . Œ ‰ J œ
9 œ œ œ œ œ œ œ œ œ œ œ mœ. œ mœ. œ œ œ & J Œ œ œ ˙. œ ˙ ˙ œ ? ˙. Œ‰‰ œ œ ˙ Œ œ
13 m M œ œ œ œ œ. œ œ œ œ mœ œ œ. œ œ œ & J . J œ. œ ? ˙ ˙. œ œ œ ˙ œ ˙ œ œ œ œ œ Œ Œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.190 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m m m j ˙. œ. œ œ œ œ œ. œ & ˙. J œ ˙ œ ˙ œ ‰ J ‰ J œ Œ ˙ œ ˙ œ ? œ œ œ œ œ œ ˙ Œ œ ˙. œ Œ ‰ J œ
21 m œ œ œ œ œ œ œ œ œ œ œ œ m˙ œ œ œ . j & ‰ J ˙œ œ Œ œ Œ œ œ ˙. œ œ œ œ œ œ ˙ ? ˙. œ œ œ Œ œ
25 œ œ œ œ œ œ œ œ œ œ œ œ œ & ˙ œ ‰ J ‰ J œ ˙. ? Œ œ œ œ œ ˙. œ ˙. Œ Œ ‰ J œ
28 m m j m˙ œ œ œ œ. & ‰ J ˙ œ ˙. œ ‰ J ˙ m œ œ ? œ œ œ œ œ œ ˙ [] œ ˙ . œ Œ Œ ‰ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.190 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.190 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1–2, 4–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 16 (fols. 13v–14r, Hand A’), Les trompette (C) [Les Trompettes from Amadis (1684) LWV 63/24 (C)] M. 5 lhL1 dot missing M. 30 lhU1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.190 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet Amadis, 1684
US-BEm MS 777 (Menetou), no. 17, fol. 14r LWV 63/57
m œ œ j m œ & 3 œ. œ œ œ œ. œ œ œ. œ J M J Œ ˙ ˙ œ œ ˙œ. ˙ œ œ. œ œ ? 3 . #˙ œ œ œ
© David Chung, 2014
5 m œ #œ œ #œ œ œ. œ œ ˙. #œ j & ‰ J ˙ . . œ. œ œ
˙ œ ˙. œ œ ? œ œ œ ˙ . . . Œ œ Œ ˙ œ . . Œ œ Œ‰J œ
9 n M œ œ. œ œ œ œ œ. œ m #œ œ œ #œ & J J ˙ œ #œ ? ˙. œ œ œ #œ œ œ ˙ Œ œ œ œ ˙ ˙. #œ œ
13 m m ˙. œ# j œ# . œ œ ˙. œ J #˙œ. œ œ. œ œ œ & J J J ˙ œ ˙ Œ ? œ #œ œ #œ œ œ #œ œ #œ œ #œ Œ œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.191 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 M œ Mœn . œ œ m œ œ. œ œ mœ. J œ œ œ. œ & J J J Œ ? ˙. ˙. œ œ ˙. ˙ œ œ œ œ œ œ œ # œ œ œ
21 m m œ# . œ #œ œ ˙. j j j & œ œ œ. œ ˙. . #˙ ‰ œ J ˙ ˙ j ? œ ˙. [] œ . ˙ œ œ œ œ œ œ ˙ œ. œ . œ Œ œ ˙ .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.191 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.191 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 6, 10–1, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
No. 17 (fol. 14r, Hand A’), Menuet (G) [Menuet from Amadis (1684) LWV 63/57 (G)] M. 15 lhL2 rest missing M. 23 lhL1 rest missing M. 24 lhL1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.191 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Prelude, Arcabonne (amour que veutu demoy) Amadis, 1684
US-BEm MS 777 (Menetou), no. 18, fol. 14v LWV 63/26 % M M Mœ. M œ œ œ œ œ m b C œ œ. œ œ œ œ. œ œ œ œ œ & J J J œ œ. œ œ ˙œ œ œ ˙ ? C œ œ œ ˙ ˙ ˙ œ ˙. b œ ˙ n˙ œ œ œ ˙ ˙ © David Chung, 2014 Œ œ
6 M M m ˙ œ œ œ œ m œ œ œ œ & b ˙ œ œ œ œ œ œ œ œ œ œ [fin] œ œ œ (a) ˙ Œ œ ˙ ˙ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ ˙ œ œ œ b ˙. œ œ œ
10 Mœ. œ œ œ œ œ œ œ œ m œ. b œ œ œ œn œ œ œ. œ œ. œ œ œ & J J J [] ˙ . n ˙ Œ œ ˙ n ? œ œ œ ˙ œ œ œ œ œœ œœ œ œ b œ œ ˙ ˙ ˙ ˙ œ œ
14 % Mœ. œ m j m j j œ M œ m M & b œ œ œ œ. œ œ œ œ œ. œ œ œ ˙ œ œ œ œ œ œ. J m œ# œ œ J Œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ ˙œ ? ˙ ˙ ˙ œ œ œ œ œ œ œ œ ˙ œ ˙ ˙ œ b ˙ J J
(a) a third above: e WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.192 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
This piece ends on m. 6, as indicated by “fin”, and the player should provide a suitable ending.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.192 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 3, 5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
No. 18 (fol. 14v, Hand A’), amour que veutu demoy (F) [Prelude, Arcabonne from Amadis (1684) LWV 63/26 (F)] M. 6 rhU2 a third above: e M. 10 lhU1 dot missing M. 15 lhL1–2 tie and note missing M. 19 barline missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.192 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Vous ne devez plus attendre (vous ne deuez pas attendre) Amadis, 1684
US-BEm MS 777 (Menetou), no. 20, fols. 15v–16r LWV 63/36
œ œ œ m œ œ œ 3 . J œ œ œ ˙ œ . J œ œ mœ & Vous ne deuez pas at-- ten dre ...
œ œ œ œ ˙ ? ˙. œ ˙. ˙. ˙ ˙ #œ 3 Œ œ. œ œ œ œ œ © David Chung, 2014 Œ J
6 1. 2. œ mœ. œ œ œ m˙ m œ & ˙ . ˙ J ˙
˙ ˙ œ ˙. ˙. ˙ œ ? . œ ˙ œ Œ œ Œ œ œ Œ
11 œ m˙ œ ˙. ˙. ˙ & œ œ œ œ œ œ Œ ? ˙ œ ˙. œ #œ œ œ œ œ œ œ ˙. œ œ œ ˙
16 œ œ œ. œ œ œ œ œ œ mœ œ œ mœ œ mœ. œ œ & J J ‰ œ œ œ œ ˙. œ ? ˙. œ œ ˙. ˙ œ ˙ œ ˙. ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.193 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
21 M m œ œ. œ œ m. œ m œ œ œ. œ ˙ J œ œ œ œ œ. œ & J J J œ ˙. œ ? œ ˙ ˙. œ œ œ˙. #˙ Œ ˙ #˙. ˙ œ
26 œ. œ m œ ˙. ˙. & J œ œ œ
˙ œ œ œ ? #œ œ œ #˙. œ œ œ #œ #œ œ œ #œ #œ 4 5
30 œ ˙ œ mœ. œ œ œ œ œ œ œ œ œ & J [] œ ? #˙. ˙ ˙œ #œ I œ œ #˙ œ #˙ œ Œ . œ
34 œ m m m j œ œ œ. œ œ œ œ œ. œ ˙ & J
? ˙. œ #˙ œ #˙ ˙ œ ˙. œ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.193 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“Vous ne deuez pas attendre …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.193 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 13–4, 16–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
No. 20 (fols. 15v–16r, Hand A’), vous ne deuez pas attendre (a) [Vous ne devez plus attendre from Amadis (1684) LWV 63/36 (a)] M. 31 lhU3 sharp missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.193 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Bois épais (bois éspais) Amadis, 1684
US-BEm MS 777 (Menetou), no. 21, fol. 16r LWV 63/30
m m œ œ & b 2 œ. œ ˙. œ ˙ œ œ œ ˙ bois esJ --pais re dou- ble ... ˙ œ ˙ ˙ ˙ œ œ ˙ œw œ ? 2 ˙ œ œ ˙ œ œ ˙ œ œ b Œ œ nœ œ © David Chung, 2014
6 m j M m b œ œ œ œ œ 3 œ nœ œ œn . œ & ˙ œ œ ˙ œ œ. J Œ œ œ œ ˙ œ œ œ œ ˙ ? b˙ œ ˙ #˙ ˙ œ œ œ ˙ b ˙ Œ ˙ 3
11 m b 2 ˙ . . Œ œ œ# . œ œ œ ˙ œ œ & ˙ J ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ #˙œ œ ˙ œ #œ ? . . ˙ ˙ #œ œ ˙ ˙ w œ b 2 Œ œ . . ˙ ˙.
17 m ˙ œ œ œ œ œ j & b ˙ œ œ ˙ ˙ Œ œ œ œ. œ ˙ . ˙ œ ˙ ˙ œ œ ˙ œ œ ˙ œ˙ œ œ ˙. œ ˙. œ ˙ ? ˙. œ œ œ œ ˙ . b Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.194 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“bois espais redouble …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.194 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
No. 21 (fol. 16r, Hand A’), bois éspais (F) [Bois épais from Amadis (1684) LWV 63/30 (F)] M. 9 lh time signature missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.194 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
“Que l’incertitude” Phaéton, 1683
US-BEm MS 777 (Menetou), no. 22, fol. 16v LWV 61/33
œ œ œ 3 Œ Œ œ œ œ œ œ œ œ ˙ œ & que len--- cer ti tude est un ri-- gou reux tour- ment
˙ œ œ œ œ ˙ ? 3 ˙. œ œ œ ˙ ˙. œ Œ Œ œ œ œ © David Chung, 2014
6 M œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ mœ œ & ... œ ˙ œ ˙. ˙ œ ˙ œ ˙ œ ˙ ˙ ? œ œ œ œ œ œ #œ . œ Œ ˙ Œ œ
12 œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ ˙ œ œ & J J ˙ Œ œ ˙œ. bœ ˙ œ ˙ œ ? ˙ œ ˙. ˙. œ œ œ œ œ œ œ œ œ œ œ ˙.
18 mœ œ œ œ œ œ œ œ m˙ & œ œ œ œ œ ˙.
˙. ˙ ˙ œ œ œ œ ˙ ˙. ? ˙ œ œ œ ˙ ˙ Œ ˙ œ œ œ œ Œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.195 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“que lencertitude est un rigoureux tourment …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.195 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (m. 15, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
No. 22 (fol. 16v, Hand A’), [untitled] (C) [Que l’incertitude from Phaéton (1683) LWV 61/33 (C)] [No comments]
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.195 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gigue (Gigue damadis 1684) Amadis, 1684
US-BEm MS 777 (Menetou), no. 24, fols. 17v–18r LWV 63/5 m j j œ œ œ. œ œ #˙. œ. œ œ œ. œ œ ˙. œb b 6 J J œ œ œ. œ m ˙. œ œ. œ & 4 Œ‰J J œ #˙. J œ m œ œb . œ œ 6 J J ? b 4 ‰Œ Œ‰ © David Chung, 2014
5 j j m j j œ œ œ œ œ j m j j j œ ˙œ. bœ œ œb . œ œ œ. œw . œœ# . œ œ œ œ œ. œ & b ˙ œ œ. J œ ˙. œ œ œ. œ ‰ œ œ J œ J ˙ J œ. nm˙. œ. nœ œ œ. œ ˙ œ ? J œ œ œ #˙. œ. j j b J J œ œ œ. œ œ
9 j j j œ j œ œ j m j j m œ œ œ œ. œ œ. œ œ . œ œ. œ œ bœ œ. bœ j b ˙. œ ˙. ˙. œ. œ œ œ œ œ œ. œ œ ˙ œ ˙œ. œ œ & J . J Œ j j j ? œ œ œ œb . œ œ œ. bœ œ ˙. b˙. œ. œ œb œ. œ ˙ b . J J œ œ
13 j 1. 2. œ œ. œ j j j M ˙ œ œb . œ œ œ. bœ œ ˙[]. œ . ˙[]. œ. œ œ & b ˙ ˙ œ# ˙. #˙ . œ . #˙. œ.
? m j M j b ˙. n˙. œ. œ œ b˙. œ. œ œ . ˙. œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.196 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m j j j jm j œ. j m j œb . œ œ œ. œ œ ˙ œ. œ œ œ. œ œ . mœ œ. œ œ b . n˙w.. œ. œ œ. ˙. œ œ. œ œ œ ˙ œ œ ˙ œ œ# . ˙œ & ˙ J J J Œ m œ œ m m œ œ œ œ ˙. ˙ j œ œ ? . . œ œb . œ J ˙ œ. œ œ œ. œ J b J J œ n˙. œ. Œ Œ œ J œ œ œ.
22 j j j j j ˙ œ. œ œ œ. b œ [] b œ œ œn œ#œ. œ #œ ˙ œ ˙. ˙œ. œ œ ˙ œ ˙w.. œb . œ œb & J œ #˙ œ œ m œ. b œ ? œ œ ˙ J œn . œ œ œ œ. œ œ œ. œ œ ˙. b ˙ œ œ. J J J J
26 j j j j j m jm œ œ œ œ. œ œ œ œ œb . œbœ œ œ œ œ ˙. œ & b ˙. œ œ ˙ ˙œ. œ ˙ œ œ ˙. œ #˙
œ. œ œ œ j œ ? œ# . œ œ œ. œ œb . œ œb œ œ. œ œ b J J J J œ œ #˙ œ n˙
30 m j j j j j (a) j œ. jœ jœ œ œ ˙œ. œ œ œ# . œ œ œ.œ œ œ. œ œ# ˙. ˙œ. œ œ ˙ bœ œ. œ œ œ. œ œ œ ˙ œ ‰ J ˙ ˙ ˙. œ œ . & b J J Œ‰J . [fin] œ. œ œ. œ m œ œ. œ œ m ? œ œ. œ œ œ. œ œ œ œ. œ J œ œ ˙ b J J J J J ˙. ˙. ˙ . Œ Œ œ ˙ œ
(a) last two notes (d”, c”) for first time only WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.196 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.196 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
No. 24 (fols. 17v–18r, Hand A’), Gigue damadis 1684 (g) [Gigue from Amadis (1684) LWV 63/5 (g)] M. 15 rhL1 dot missing M. 16 rhL1 dot missing rh1 ties missing lhU2 rest missing M. 25 rhL1 dot missing M. 34 rh4–5 last two notes (d”, c”) for first time only
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.196 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture De Rolande furieux) Roland, 1685
US-BEm MS 777 (Menetou), no. 27, fols. 18v–20r LWV 65/1 j j m m œ œb . œ œ bœ œ. œ œ œ œ œ. œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ & 2 ˙ J œ g ‰ ˙ w ˙ Œ œ œ. œ ˙ #˙ ˙ ˙ ? 2 ˙ J Œ œ ˙ œ œ œ œ © David Chung, 2014
5 m j œ j j j j œ œ œ œb . œb œ. œ œ. [] œ œ. œ œ w & ˙ œ. œ w œ b œ œ œ w ‰ J œ j m Œ ‰ œ ˙ œ œ œ œ bœ œ œ œ bœ ? w w ˙ ˙ œ œ œ œ ˙ œ œ œ œ b˙ n˙
9 j M j j œ œ. œ œ ˙œ. œb œ. œ M œ Œ ˙ ‰˙ œ œ. œ #˙ œ# . œ œ. œ œ & J œ J J ‰ œ œ œ ˙ ˙w j ‰ j œ œ œ j ? ˙ ˙ ˙ œ ˙. œ ˙ œ ˙ œ. œ Œ œb ˙ œ. œ Œ œ ˙ ˙
14 j j j j j m j œ œb œ. œ j œ# . œ œ# œ. œ œ. [] œ# . œ œ. œ œ œ ˙œ. œ mœ. œ & ‰ J œ œ bœ œ b œ ˙ ‰ J b‰œ J J m œ ? j œ. œ bœ œ œ œ œ œ ˙ bœ˙ w œ. œ J œ œ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
n 18 j j j œ j œ œ ˙ œ œ œ. œ œ œ ˙œ. #w˙ œ. œ #œ œ #˙. ‰ œ . ‰ J & œ g ˙ J œ J j ‰ œ œ œ œ ? ˙ œ œ# . #œ n˙ ˙ œ œ œ œ œ œ œ J œ œ œ œ œ œ
1. 2. 22 j j m œ œ j œ œ œ œ j œ œ. œ œ œ œ œ. œ œ. œ & œ œ œ #˙œ. œ w . 3 œ œ . œb œn . œ #˙ #w Œ J œ œ œ [] ? œ œ œ œ ˙ œ ≈ œ œ . 3 . . ∑ Œ œ œ ˙.
26 m j m . œb j j ˙ œ œ œ. œ œ œ . œ ˙œ. œ œ œ œ œ. œ œ œ œ œ & #˙. ˙ œ œ w. œ œ œ œ mœ m œ œ œ œ œb œ œ bœ œ bœ œ œ bœ œ ? Œ œ œ œ œ œ œ œ
29 j m j œ bœ œ bœ œ œ œ œ. œ œ. œ œ œ œ ˙œ œ œ œ œ œ ˙œ. œ & b˙ œ œ œ bœ œ ˙œ œ œ
n ? œ œ œ œ #œ œ œ œb œ œ œ bœ ˙. œ œ œ œ œ œ œ œ œ œ Œ ˙ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
32 j j j mœ. œ bœ œ ˙ œb œ. œ œ [] . . œ œ. œ œ ˙. ˙ . œ œ œ. œ œ œ ˙ & J Œ bœ bœ œ œ œ #œ œ œ# œ #œ ? œ œ #œ œ œ# œ œ œ #œ œ œ œ œ œ œ œ
35 œ œ j j j œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ & w . ˙. ˙œb . œ. œ ˙œb . œ œ ˙. n œ œ œ œ œ œ ? œ œ œ œ œ# œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ
38 m m j œ œ j j œ œ œ œ j œ. œ ˙ œ œ œ œ œ œ œ œ. œ œ œ œ. & ˙. #˙. œ. Œ ˙ #˙ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ #œ œ #œ #œ œ œ œ Œ œ
41 j j j j œ œ œ œ œ. œ œ œ. œ œ œ. œ ˙œ. œ. œ & œ #œ œœ# œ œ #œ œ w. ˙.
? œ œ œ œ œ œ œ ˙. œ œ# œ œ #œ œ œ œ œ œ œb œ œ bœ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
44 j m œ œ. œ bœ œ œ j j ˙. ˙ œ œ œ œ œ. œ #œ. œ & Œ Œ ˙œ# œ ˙ 2 bœ ? œ œ œ œ œ œ œ œ œ 2 #œ œ #œ œ ˙ œ œ Œ œ
46 j j j [] œ œ œ 2 ˙œ. œ œ. œ œ. œ bœ œ œb . œ œ & g˙. œ ˙ ˙ ˙ J ˙ ? œ bœ˙. œ 2 œ ˙ w J œ w# œ
49 T j œ œ œ œ œ j #œ œ #œ ˙œ œ œ œ œ œ œ œ. J œ. œ & Œ œ œ. ‰ œ #œ œ. ˙ ˙ œ w w ? ˙œ. œ œ œ# ˙ ˙ ˙ J œ ˙
52 T j j j œ j . œ œ œ œ. œ ˙œ. œ œ ˙œ. œ ˙œ ˙ & œ œ œ ˙ ? œ ˙ Œ œ œ œ œ ˙ œ Œ ˙ b˙ œ. œ œ œ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
55 j j m M j œ. œ œ. œ œ ˙œ. œ œ #œ œ w# & J Œ ‰ œ œ˙. ˙ n j j ? ˙ œ. œ w Œ ‰ œ œ ≈ œ œ œ bœ œ ˙ w# ˙
58 j j j . œ œb . œ ˙ œ œ œ ˙ œ. œ œ œ ˙ œ œ ˙ & ‰ J œ ˙ ‰ J œ ˙ ‰ J
. [] œ œ ˙ œ bœ œ œ # œ œbœ œ ? ˙ œ. œ œ œ Œ Œ œ ≈ ˙ . œ
61 j œ. []œ ˙ œ œ œ ˙ œ œ œ œ œ œ ˙ œ & ‰ J œ œ œ ‰ J œ ˙ œ œ Œ ≈ œ b˙. œ œ œ œ œ œ œ œ ? Œ œ ≈ œ ≈ œ œ œ
1. 2. 64 j j œ œ œ œ œ œ œ œ. œ œ b˙ œ# . œ œ 3 œ œ œ œ . 2 w & ‰ J œ œ Œ w# (a) j ? ‰ œ œ ˙ . ˙ 3 œ . 2 ˙ ˙ œ w
(a) a third higher: g
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In both “2” and “3” time, eighth notes in conjunct motion (mm. 1–8, 24, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 27 (fols. 18v–204, Hand A’), Ouuerture De Rolande furieux (d) [Ouverture from Roland (1685) LWV 65/1 (d)] M. 6 lhL1 tie missing M. 7 rhL3 flat missing M. 15 rhL2 flat missing lhL1 rest missing M. 24 lh time signature missing lh2 dot missing M. 29 lhL1 rest missing M. 33 rhL2 dot missing M. 34 rhL4 rest missing M. 44 rhL3 rest missing M. 45 rhL1 rest missing M. 48 rhU1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 8 ______M. 49 rhL1 rest missing M. 57 rhL1 tie missing M. 60 lh3 sharp missing M. 61 rhM1–3 tie, note, tie missing rhL1 tie missing lhL4 rest missing M. 64 lhU4 a third higher: g M. 66 lh time signature missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
C’est l’amour (Gauotte) Roland, 1685
US-BEm MS 777 (Menetou), no. 28, fol. 20v LWV 65/13
œ mœ œ œ œ m 2 œ œ œ. . œ #œ œ œ œ# . œ ˙ . . œ œ & C’est la --mourJ qui nousJ me na- ce ... J œ œ˙ œ ˙ œ ˙. #œ œ ? bœ œ ˙ œ. œ b˙ œ ˙ . . Œ œ 2 J Œ Œ œ ˙ . . ˙ © David Chung, 2014 Œ œ
7 b m m M œ œ œ œ œ j œ œ œ œ œ œ œ & œ bœ bœ œ œ œ œ œ. œ ˙ œ
œ ˙ œ ˙ w ? #œ w. œ ˙ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œb J Œ œ Œ
12 œ œ œ œ œ m m m j œ œ œ œ œ œ œ œ œ & œ œ œ œ œ. œ ˙ #œ œ œ
˙ œ œ œ ˙ œ ˙. œ ? œ ˙ #œ œ #˙ œ œ œ œ œ ˙ ˙ Œ œ Œ œ
17 m m œ œ œ. œ ˙ œ œ œ œ œ œ œ # œ œ œ œ œ. œ ˙ & J œ œ œ J . ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ? œ #˙ œ b˙. œ œ œ #˙ œ Œ œ Œ (a) Œ œ œ ˙ . Œ œ (a) a second lower: b WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.198 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“C’est lamour qui nous menace …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.198 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 8–13, 15–6, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 28 (fol. 20v, Hand A’), Gauotte (d) [C’est l’amour from Roland (1685) LWV 65/13 (d)] 18 lhL4 a second lower: b
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.198 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte (Gauotte) Roland, 1685
US-BEm MS 777 (Menetou), no. 29, fol. 21r LWV 65/12
œ m m œ œ ˙ œ. œ œ œ œ m œ œ œ & 2 œ# œ œ œ œ#œ œ œ œœ œ ˙ #œ b œ ? b˙ œ œ œ œ œ œ wœ œ œ œ œ 2 Œ (a) œ œ# © David Chung, 2014
5 m m œ M œ bœ ˙ œ. œ œ œ œ M œ œ œ. œ & #œ ˙ . . J œ ˙ ˙ ˙ œ b˙œ bœ ? œ œ œ ˙ œ œ . . Œ œ œ b˙ œ bœ œ œ ˙ . . Œ œ
10 œ œ œ œ œ mœ mœ œ œ œ œ œ# . œ œ & #œ #œ œ J Œ ˙ ˙ œ bœ œ bœ œ. ˙ œ #œ œ w œ bœ œ ? Œ œ J Œ
14 M bœ œ œ m œ œ œ. œ œ œ œ œ M œ. œ œ œ œ œ. œb mœb . œ & J J J ˙ œ bœ˙ ˙ ˙ ˙ ˙ œ ? œ. J œ Œ œ Œ œ ˙. œ ˙ ˙. œ œ
(a) eighth note WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.199 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
18 m œ m œ œ m œ mœ. œ œ œ œ œ œ œ œ. œ ˙ & œ œ œ œ# J #œ J .
? ˙ ˙ ˙ œ #œ œ˙ ˙ ˙ . œ Œ œ ‰ J œ #˙ œ bœ #˙ ˙ . Œ œ œ ˙ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.199 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.199 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 2–4, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 29 (fol. 21r, Hand A’), Gauotte (d) [Gavotte from Roland (1685) LWV 65/12 (d)] M. 1 lh time signature missing
M. 3 lhL4 eighth note: M. 7 lhL1 rest missing M. 10 lhL2 rest missing M. 22 lhL1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.199 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gigue Roland, 1685
US-BEm MS 777 (Menetou), no. 30, fols. 21v–22r LWV 65/11 M m j m œ. œ ˙. ˙ œ m˙ œ m œ œ 6 œ œ œ# . œ œ œ. & 4 J œ J J % m m œ œ œ# . œ œ ˙ œœ# ˙. ? 6 ‰Œ ∑ Œ‰J J Œ‰œ œ. œ œ 4 J J © David Chung, 2014
5 m M M m m œ œ #˙. œ. œ b˙ bœ ˙ œ# œ. & J œ œ œ. J œ œ J M ‰ J œ# Œ . Œ‰j œ ˙. ? œ œ œ #˙. ˙ ˙ ˙œ œ œ œ œ œ. œ œ J Œ‰œ b˙ œ ˙ J J
1. 8 m œ œ mœ. œ m œ œ mœ. œ j œ. œ œ. œ ˙.#œ Œ‰ œ . & J J J J ‰ J ˙ œ . #˙ ? ˙. ˙ œ ˙ œ j . œ# . œ œ ˙. œ# ˙. œ œ Œ Œ . J Œ Œ œ . œ œ
2. 11 j œ. [] œ m. œœb . œ œœb ˙. bœ œ ˙. I œ œ. œ œ# œ œ œ ˙. J & ‰ J ˙ J J J j ˙ œ ˙. œ. œ ˙. ? Œ ‰ œ œ ˙ œ ˙. bœ œ. œ œ ˙. ˙ J J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.200 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
premiere reprise 14 n œ. œ m M. . j M J œ œ. œ œ ˙ œ œ ˙. œ. œ œ & J œ J % j . ˙. ˙ œ œ ˙. œ œb . œ œ ˙ ˙. ? ˙ œ œ ˙œ. œ. œ œ œ#˙. œ œ ˙ J J J
2[eme] reprise 17 m œ œ œ. œ œ ˙. œ. œ œ ˙. œ. œ #˙ œ J & J J ‰ J œ [] [] ˙ . ˙ . ˙ ˙. œ m ? ˙ œ œ. œ œ œ. œ œ œ# . #œ œ ˙ œ œ œ. œ œ J J J Œ ‰ J œ J
20 œb . œ œ œ m œ m œ œ m J œ. J œ œ# . œ œ œ œ# œ. œ. œ œ# & J œ. J J J
Œ ˙ ˙. j ˙. ? œ. œ œ œ ˙ œ.[] œ J #˙ œ œ œ #œ ˙ œ ˙ œ ˙ . J . .
1. premiere reprise 2. 2[eme] reprise 3. 23 j œ œ. œ œ ˙. œ œ. œ œ . ˙ œ J . ˙. œ œ. . & ‰ J ˙ ‰ J œ ‰ J ˙ œ. % j (a) Œ‰œ œ M[] ? œ ˙ . œ œ . œ . . œ. œ . ˙ œ œ œ . ˙. œ œ. . J Œ‰œ J Œ‰œ œ. J J (b) (a) dotted half note (b) half note WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.200 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.200 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 30 (fols. 21v–22r, Hand A’), Gigue (d) [Gigue from Roland (1685) LWV 65/11 (d)] M. 11 rhL2 sharp missing M. 17 rhU1–2 dots missing M. 22 lhL1 dot missing M. 23 lhU1 tie missing lhU4 dot missing M. 25 lhU1 tie missing lhU2 dotted half note lhL4 note missing lhL5 half note
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.200 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée, gavotte (Gauotte) Roland, 1685
US-BEm MS 777 (Menetou), no. 31, fol. 22r LWV 65/40
œ M M. m. œ œ œ œ mœ m œ œ m œ mœ œ œ œ J & 2 œ œ œ œ œ J
œ œ œ ˙ œ œ ? œ œ# ˙ #œ œ ˙. œ œ œ œ œ œ 2 Œ œ œ œ œ œ w © David Chung, 2014
5 M #m˙ m œ œ œ œ. œ m. . . œ œ œ# . œ œ œ œ œ J œ œ & . . J J ˙ ˙ œ ? œ #˙ w œ œ œ œ œ œ œ œ œ œ . . ˙ Œ œ œ œ œ œ œ œ
10 m m œ œ œ j m j œ œ œ œ œ œ mœ œ œ œ. œ œ. œ mœ. œ ˙ . & œ# . J J . œ œ œ ˙ œ œ œ ? œ œ œ œ œ#œ œ œ #œ #œ˙ ˙ #˙ ˙ . œ œ œ œ œ œ œ œ Œ œ .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.201 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.201 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 2–3, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 31 (fol. 22r, Hand A’), Gauotte (a) [Entrée, gavotte from Roland (1685) LWV 65/40 (a)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.201 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Marche en rondeau (Marche | rondeau) Roland, 1685
US-BEm MS 777 (Menetou), no. 32, fols. 22v–23r LWV 65/65
œ m j œ. œ œ œ œ œ œ œ. œ mœ . & 3 œ ‰˙ œ ˙ J ˙œ œ quand onJ vient dans ce - boc - cage... J M ˙. œ œ ˙. Œ œ œ œ œ ˙ ? 3 Œ œ œ œ ˙. œ ˙ œ Œ‰J œ Œ œ © David Chung, 2014
6 m m œ. œ œ œ œ. œ œ. œ m & ˙. œ . J ˙ œ J œ ‰ J ˙ J œ œ œ Œ œ œ œ œ œ œ œ œ ? . œ ˙ #˙ ˙. œ . ˙. Œ‰J œ
11 m œ œ . j œ. œ œ œ #œ #˙ œ œ & #˙œ œ ˙ œ J ‰ J ˙ ‰ J ˙ œ Œ œ ˙ . . ˙ œ œ œ œ œ œ ˙ œ œ ? Œ œ ˙ œ œ J œ œ œ œ Œ ‰ J œ Œ‰J
16 . m œ j mœ. œ œ œ œ œ œ œ œ. œ . œ & J #˙ ‰˙ œ J J ˙ m œ œ [] œ œ œ œ œ ˙ œ m ˙œ œ œ ˙ . ? Œ œ . œ œ œ œ œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.202 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
21 œ m j ˙ œ œ œ. œ mœ œ œ. & ‰ œ ˙ J ˙ œ ˙. œ J ‰ J ˙ Œ œ œ œ œ ? ˙. œ ˙ œ ˙ Œ ‰ J œ Œ œ ˙. œ Œ‰J œ
25 œ. m mœ. œ œ œ mœ œ œ œ œ œ J #˙ œ œ# J & ‰ J ˙ j Œ œ œ œ œ. œ œ. bœ bœ œ œ bœ ? J œ ˙ ˙ œ œ œ œ œ Œ ‰ J œ
29 bœ m j œ. œ . j . & #˙ ˙ œ œ. œ œ œ œ œ ‰ J ˙ J b Œ œ œ ˙ œ œ œ œ œ œ œ ? œ œ œ ˙ œ œ ˙ Œ œ ˙ œ Œ‰J œ
33 m j m j œ œ œ œ œ œ œ. & œ. œ œ œ ˙ œ ˙. œ ‰ J ˙ œ œ œ Œ œ ? œ œ œ œ œ œ ˙ œ œ œ œ ˙ . œ Œ ‰ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.202 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“quand on vient dans ce boccage …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.202 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3–4, 9–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 32 (fols. 22v–23r, Hand A’), Marche | rondeau (C) [Marche en rondeau from Roland (1685) LWV 65/65 (C)] M. 3 rhU1 tie missing (cf. m. 21) M. 20 lhU1 dot missing
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.202 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet en trio (Menuet pour les hautbois) Roland, 1685
US-BEm MS 777 (Menetou), no. 33, fol. 23r LWV 65/63
œ œ œ œ œ œ œ œ mœ œ œ œ œ œ œ œ œ œ œ mœ œ œ œ m & 3 œ œ ˙ œ ˙ œ ˙ œ œ œ œ ˙. ˙ œ ˙ œ ? 3 œ Œ Œ œ Œ œ © David Chung, 2014
6 m œ ˙. œ . . œ œ œ œ œ œ œ œ œ œ mœ œ & ‰ J ˙ . . ˙. Œ œ ˙. œ ? œ ˙. œ ˙œ œ Œ‰J œ . . Œ Œ œ œ
10 œ œ œ œ œ œ œ œ œ m. & œ œ œ œ œ œ œ œ œ œ ˙. œ . J ‰ J ˙ ˙ Œ œ œ ˙. œ ˙ ? ˙. ˙. œ œ ˙ . Œ Œ ˙. œ . Œ ‰ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.203 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.203 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1, 3–4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 33 (fol. 23r, Hand A’), Menuet pour les hautbois (C) [Menuet pour les hautbois from Roland (1685) LWV 65/63 (C)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.203 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet (menuet) Roland, 1685
US-BEm MS 777 (Menetou), no. 35, fols. 23v–24r LWV 65/5
œ œ œ & b 3 œ. J œ œ œ œ œ œ œ œ œ œ œ ˙. œ ‰ J ˙ Œ Œ ˙ œ œ ˙ ˙ œ œ ˙ ˙ ˙. ? 3 œ œ œ œ œ œ œ œ œ b Œ Œ Œ Œ‰J œ © David Chung, 2014
7 œ œ œ œ œ œ & b . J œ œ œ œ œ œ œ œ œ ˙. œ ‰ J ˙ Œ Œ ˙ œ œ ˙ ˙ œ œ ˙ ˙ . ? b œ œ œ œ œ œ œ œ ˙ œ Œ Œ Œ Œ‰J œ
13 m m m œ b . j œ. œ œ œ œ œ œ œ & . œ. œ œ J Œ Œ œ œ œn œ œ œnœ ˙ nœ ? . ˙. œ ˙. œ œ b . Œ œ
17 [] m œ m œ . œ œ œ œ œ œ œ. œ ˙ œ . & b J ‰ J ˙ . [] ˙ œ . œ ˙ [] œ œn ˙ œ œ œ ˙ . ? b Œ Œ ‰ J Œ œ œ . Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.204 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
The repeat of the opening strain (mm. 1–6) is written out in full (mm. 7–12) in Menetou, hence the omission of the repeat sign in the first strain.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.204 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (m. 19, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 35 (fols. 23v–24r, Hand A’), menuet (F) [Menuet from Roland (1685) LWV 65/5 (F)] M. 6 double barline M. 18 lhU1 dot missing M. 20 rhU1 dot missing lhU1 dot missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.204 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet (menuet) Roland, 1685
US-BEm MS 777 (Menetou), no. 36, fol. 24r LWV 65/4 œ m œ œ œ mœ. œ œ ˙ œ ˙ ˙ œ & b 3 œ Œ ˙. ˙. ˙. œ œ œ ˙ ˙ ˙. ˙ œ œ ˙ ? b 3 Œ Œ œ © David Chung, 2014
6 œ m œ œ œ mœ. œ œ ˙ œ ˙ ˙. œ & b œ ‰ J ˙ . [] ˙. . . œ œ œ . ˙ ˙ ˙ œ ˙ œ ? b Œ Œ œ Œ Œ œ œ ˙ Œ‰J œ .
11 œ ˙ ˙ œ m œ œ . œ. œ œ œ œ œ. œ œ & b . J J []. œ œ œ ˙ œ . ˙ œ œ œ˙ œ ˙ œ œ ˙ ? b . Œ ˙ œ œ Œ ˙
16 m j m œ ˙ œ œ œ m œ œ œ. . b œ. œ œ œ œ ˙ œ ˙ œ & J ‰ J ˙ . ˙ œ ˙ ˙. [] ? ˙ œ œ œ œ ˙ œ œ . b Œ ˙ ˙ œ Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.205 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.205 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 14, 18–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 36 (fol. 24r, Hand A’), menuet (F) [Menuet from Roland (1685) LWV 65/4 (F)] M. 10 lhU1 dot missing M. 11 lhU1 dot missing M. 20 lhU1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.205 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet (menuet) Roland, 1685
US-BEm MS 777 (Menetou), no. 37, fol. 24v LWV 65/66 M m j m ˙ œ œ œ œ œ œ œ j & 3 œ. œ œ œ ˙ œ œ. œ œ (a) . ˙ ˙ . ? ˙ œ œ œ ˙ œ œ œ œ œ ˙ œ 3 Œ œ œ ˙ Œ œ œ œ Œ œ © David Chung, 2014
6 m˙ ˙ œ œ œ ˙. œ œ. œ œ œ m & œ ‰ J ˙ . . J ˙ ˙ ˙ . ? œ œ ˙ œ Œ œ œ ˙ œ œ ˙ Œ œ œ Œ ‰ J œ . . ˙. œ ˙
11 m j m m œ m˙ œ œ mœ œ œ ˙ œ œ œ œ œ œ. œ . J & œ ‰ J ˙ j ˙. œ œ œ œ œ œ œ œ ˙ Œ [] œ ? œ œ . œ œ œ œ œ œ . œ œ Œ Œ ‰ J œ ˙ .
16 m j œ m˙ m œ œ œ œ œ œ œ. œ ˙ . & ˙ œ œ ˙ ‰. œ . J ˙ j ˙ œ œ œ œ œ ? œ ˙ œ œ œ œ œ. œ œ œ ˙ . œ œ Œ œ ˙. œ . Œ ‰ J œ (a) see commentary WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.206 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.206 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 11, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 37 (fol. 24v, Hand A’), menuet (C) [Menuet from Roland (1685) LWV 65/66 (C)]
M. 4 lhL4–6 last 3 notes uncertain. Menetou: M. 15 lhL1 dot missing M. 19 lhL3 rest missing M. 20 lh barline missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.206 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trio (trio) Roland, 1685
US-BEm MS 777 (Menetou), no. 38, fol. 25r LWV 65/41
œ œ œ ˙ œ j & 2 Œ œ œ œ œ œ #˙ œ œ ˙ œ #œ ˙œ. œ # ˙. œ # œ ? 2 œ ˙ œ œ œ ˙ œ ˙ © David Chung, 2014
5 1. 2. j j œ œ œ œ œ. œ œ œ œ œ œ & œ. œ œ #œ œ œ. œ w#w . . #˙ œ œ . ˙ œ J J
? œ œ œ œ œ #œ #œ . . œ œ . œ œ œ œ œ œ œ œ. J œ . . ˙ . ˙
10 j j m ˙ œ œ œ œ ˙ œ œ ˙ œ œ œ. œ œ. œ œ œ ˙ ˙ œ œ & J J
˙ œ œ. œ œ. œ œ œ œ ? œ œ œ. œ œ œ œ œ J œ œ œ J œ œ ˙
15 1. 2. j ˙ œ. j ˙ #œ œ œ. œ œ. œ œ œ ˙ œ œ . & J J #œ œ œ #œ ˙ ˙ œ œ ? œ œ œ. œ œ œ œ œ . œ J œ ˙ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.207 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.207 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 9–11, 14, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 38 (fol. 25r, Hand A’), trio (a) [Trio from Roland (1685) LWV 65/41 (a)] M. 8 rhL1 note missing M. 12 lh1 note missing M. 18 rh2–3 notes supplied from m. 8 M. 19 lh empty staff
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.207 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Vous ne devez plus attendre (vous nedeuez plus atandre) Amadis, 1684
US-BEm MS 777 (Menetou), no. 39, fols. 25v–26r LWV 63/36 j j œ. bœ œ œ œ. bœ œ & b 3 œ. œ œ œ #œ ˙ œ œ œ. œ J œ ‰ J ˙ J
[] ? 3 œ. œ œ œ œ œ œ # œ œ œ b J œ œ. œ © David Chung, 2014
5 1. 2. j b œ b b œ œ œ ˙ . ˙ œ . œ. œ œ nœ ˙ & œ #œ ˙ . ˙ . J Œ œ Œ œ œ œ œ œ ? b œ œ œ . . œ œ œ œ bœ œ ˙ ˙ œ
10 m m bœ œ ˙. ˙. bœ b ˙ œ œ ˙ œ œ œ mœ œ œ œ œ œ œ & . J j œ œ œ œ œ œ œ ? œ bœ mœ œ œ œ œ. b œ œ œ. œ œ J
15 j ˙ œ bœ œ b œ bœ b œ œ œ œ. œ œœb œ œ œ œ œ œ œ œ œ œ œ & œ. J
œ œ œ ˙. ˙. ˙ œ œ ? b œ bœ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.208 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
20 j j m j j œ œ œ œ œ. œ œ œb . œ œ & b œ. œ œ œ œ œ. œ ˙ J œ. œ J J ˙ J œ# Œ œ j ? œ œ bœ œ œ œ œ b œ œ ˙ œ nœ œ œ .
25 j j œ œ. œ œ. œ œ ˙. & b œ œ. œ œ œ œ œ #œ œ œ œ. œ œ J # J ? œb œn œ œ# . œ œ œ #œ b . J œ œ œ. J œ J
29 j ˙. œ ˙ œ bœ œ œ œ & b œ œ œ œ œ # œ œ. œ œ œ œ œ œ #œ œ œ œ œ# . J œ œ œ œ ? b #œ œ #œ œ ˙. ˙. œ œ œ œ
34 m bœ j j . & b œ œ œ#œ. œ œ œ #œ œ. œ ˙ . J J ˙ Œ ? bœ œ œ œ œ œ œ . b œ œ ˙ . œ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.208 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.208 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3, 9–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 39 (fols. 25v–26r, Hand A’), vous nedeuez plus atandre (g) [Vous ne devez plus attendre from Amadis (1684) LWV 63/36 (g)] M. 3 lh4 sharp missing M. 36 lhU2 tie missing lhU3 note missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.208 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Preparons nous (premier air du tample delapaix) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 40, fol. 26v LWV 69/2
m m œ 2 Œ œ œ œ ˙ œ œ ˙ œ œ m˙ œ œ ˙ œ & pre-- pa rons -ous pour la feste nou-- uel le ... Œ Œ ˙ œ ˙ ˙ ? w œ œ# œ ˙ ˙ wœ #˙. ˙. œ 2 Œ Œ ˙ œ ˙ © David Chung, 2014 Œ
6 m m m ˙ œ œ ˙ œ œ œ. œ œ œ ˙. œ œ œ & ‰ J J œ œ
w ˙. œ ˙ #œ œ œ œ œ œ ? w ˙. œ œ œ #œ œ Œ ˙ w ˙ œ
11 m œ œ œ œ j & #˙. œ œ œ œ. œ ˙ .
w w œ ˙ ? œ #œ #œ œ œ #œ #˙ . Œ œ œ œ œ Œ œ .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.209 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“preparons hous pour la feste nouuelle …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.209 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 40 (fol. 26v, Hand A’), premier air du tample delapaix (a) [“Preparons nous” from Temple de la Paix (1685) LWV 69/2 (a)] M. 2 lhL3 rest missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.209 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
La Goire luy suffit Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 42, fol. 27v LWV 69/–
œ œ. œ œ. œ ˙. œ œ m œ œ 2 Œ J J œ. œ œ J J & la gloi-- re luy sufJ fit ... J J % œ. ‰ j œ œ œ ˙ Œ œ œ œ˙ ? 2 œ œ œ œ œ œ . œ œ œ œ J #˙ œ J œ © David Chung, 2014
5 m mœ œ œ j j œ . œ œ. œ œ œ œ œ œ. œ œ. J & J J J J J m Œ œ œ Œ œ œ œ #˙ œ mœ œ œ œ œ œ œ œ œ œ ? J J ˙ œ œ œ ˙ œ
8 1. 2. œ œ œ œ œ œ m œ œ œ œ œ œ œ. œ ˙ . 3 ˙ œ & J . % œ œ œ œ ? œ œ œ œ œ œ ˙œ œ ˙œ . 3 œ œ œ œ . ˙
12 ˙ œ m œ œ m #œ œ mœ# . œ #˙ œ #œ & . J J J œ J J ˙œ j #˙ œ œ #˙ œ œ œ œ. œ# œ œ œ œ ˙ ? . œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.210 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
16 M [] œ I œ œ# . œ ˙ œ œ #˙ œ œ œ œ# . œ & J J J J œ œ œ œ ˙ œ #œ œ ˙ ˙. #˙ œ œ# œ œ œ œ œ ? œ Œ‰J
20 ˙ œ m œ œ œ œ œ m j œ & J J œ œ. œ ˙ . œ œ œ œ œ œ ˙ œ ˙ œ œ ? ˙ œ# . œ œ #˙ . J ‰ J Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.210 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“la gloire luy suffit …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.210 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 42 (fol. 27v, Hand A’), [untitled] (a) [“La Gloire luy suffit” from Temple de la Paix (1685) LWV 69/– (a)] M. 3 rhU4 rest missing M. 6 rhU2 rest missing M. 16 rh2 sharp missing M. 23 rh2 copied from m. 11 lhL3–4 copied from m. 11
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.210 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet (menuet) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 43, fol. 28r LWV 69/14
m 3 œ. œ œ œ m˙ œ œ œ. œ œ ˙ œ œ & J ‰ J #˙ Œ œ [] ? ˙ œ#œ ˙ œ# ˙. ˙ 3 Œ ˙ Œ ˙ . œ Œ ‰ J œ © David Chung, 2014
5 m œ. œ œ œ m˙ œ œ œ. œ œ ˙. œ . & J ‰ J #˙ . Œ ? ˙ ˙ œ# ˙ œ# œ œ ˙ [] Œ ˙ ˙ ˙ . œ . Œ ‰ J œ
9 . œ. œ œ œ œ œ œ œ œ œ œ œ & . J œ #˙ œ ˙ œ #˙ ? . ˙ ˙. ˙ œ œ œ ˙. Œ Œ œ œ
13 j œ. œ œ œ œ œ œ œ []# œ. œ . & J œ ˙ ˙. œ ‰ J ˙ ˙ œ Œ ‰ j œ ? ˙ ˙ œ œ ˙. [] œ . Œ Œ œ ˙ ˙ .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.211 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.211 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 43 (fol. 28r, Hand A’), menuet (a) [Menuet from Temple de la Paix (1685) LWV 69/14 (a)] M. 4 lhU1 dot missing M. 8 lhU1 dot missing M. 15 rhL2 sharp missing M. 16 lhL1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.211 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gigue Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 44, fols. 28v–29r LWV 69/13
œ. œ œ œ. œ j œ œ œ œ 6 J R J J œ œ. œ œ . œ. œ œ œ. J . œ œ & 8 R J J R J R J J R J R J œ. œ œ j r ? 6 J J œ. œ œ j 8 R J R J œ . œ œ © David Chung, 2014
5 n m œ œ œ# j œ. œ œ r j œ œ œ œ. œ œ œ. œ œ & œ. œ œ œ# œ. R J . œ œ J J œ. œ œ . J J R J J R J ‰ R R J J J R R J J R #œ. œ. œ œ œ. œ œ œ œ œ œ ? œ. œ œ# œ J J œ# . œ œ . œ œ. œ œ . œ J J R J J R J R J J R J J R œ œ J J R J
9 (a) (c) œ œ œ œ. œ œ œ œ œ. œ œ œ# . œ. œ œ œ. œ J J J R J J œ œ J R J ‰ œ œ . & J R J J R R R J J J j j j j j œ. œ œ œ œ œ [] ? J œ J œ. œ œ œ œ œ. œ œ œ œ œ œ . . R J R J . œ œ# . œ œ œ J J œ ‰ ≈ œ . J R J J R J J R œ J (b) J
13 % j œ. œ. œ œ. œ #œ œ. œ œ œ# . œ œ. œ œ . œ. œ œ œ œ J œ J J R J œ & J R . J R J J R J R J R J J R J j j r œ. j j . ‰. œ œ œ. œ œ œ. œ œ œœ# œ œœ# œ œ. œ œ ? œ. . J R J J œ œ œ. œ J œ# J œ. œ# œ J R J R J J R J R J (a) see commentary (c) quarter note (b) eighth note WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.212 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 œ. œ m œ œ# . œ. œ# œ J R œ œ# . œ#œ œ. œ. œ# œ œ# . œ# . œ J & J œ# œ J R J J J R J J R J J R R J j ‰ j œ ‰. r j œ œ œ# . œ œ. œ œ œ œ ? œ. œ œ œ. œ# œ œ. J J œ œ J R J J œ œ# œ œ Œ œ œ. R R J J R J J J J J J
21 (d) r [] j j j œ# #œ œ# œ œ œ œ . œ œ# œ. œ . #œ œ . J œ. œ œ œ# œ ≈ œ œ . œ œ & ≈ J R J œ J R J R J ‰‰ R J J J n m œ[]. [] œ. œ m # œ œ. œ œ j œ. œ #œ ? ‰ . œ œ J R J J R J œ j ‰‰œ J R J R J œ œ
24 [] j œ. œ œ œ. œ œ. j r j j r & J J œ œ œ œ. œ œ œ. œ . œ œ œ# . œ . œ œ R J R J J R J J R J ≈#œ œ œ j j j R œ œ r œ. œ œ œ. œ œ. . œ []. œ œ ? J R J œ œ# œ œ œ œ. œ œ . œ. œ œ [] J R J Œ J J R J J J œ J œ J œ . œ œ n R R J R J
28 1. 2. j r m . œ j j r j œ. œ & œ œ œ#œ . œ œ œ. J œ . œ. J ‰ œ œ R J J J j % [] r j ‰ œ ‰ . œ #œ ? œ j œ. œ J œ . œ# . œ œ œ œ. œ. J R J J
(d) a second lower: e”, f”-sharp WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.212 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.212 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 44 (fols. 28v–29r, Hand A’), Gigue (a) [Gigue from Temple de la Paix (1685) LWV 69/13 (a)]
M. 11 rh1–4 M. 12 rhL3 quarter note lhU1 dot missing lhL3 eighth note M. 21 rhL2–3 a second lower: e”, f-sharp” rhL5 dot missing lhL1 dot missing lhL2 sharp missing M. 26 lhL4 dot missing M. 27 rhU1 dot missing lhL4 dot missing M. 29 lhU1 dot missing lhU4 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.212 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée de bergers et bergères (Entree des bergers Et bergerres) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 45, fol. 29v LWV 69/6 (a) j j j ˙ œ œ œ œ. œ j j œ j j 2 ˙ #˙ ‰ œ œ œ œ œ. œ œ œ œ œ ˙œ œ œ. œ & J #œ œ# J J J J J #˙ œ œ ˙ j m ? 2 ‰ œ œ. œ œ ˙ ˙ œ #˙ œ œ ˙ © David Chung, 2014
5 j j m j m œ œ. œ œ. œ œ j œ œ œ œ œ. œ w œ œ œ œ. œ ˙ œ œ & œ œ J Œ œ ˙ j œ mœ ‰ œ ˙ œ œ ˙ œ œ œ ˙ ? œ œ. œ œ œ œ œ ˙ #˙ œ ˙ ˙ J
9 m 1. j m j œ œ œ œ œ œ œ. & œ œ œ œ œ œ œ ˙œ. œ œ œ ˙ œ ‰w œ œ ˙ . œ J œ ˙ œ ˙ ˙ œ œ œ œ œ ? œ œ œ œ. œ ˙ œ ˙ œ . ˙ J œ Œ œ œ. œ œ œ œ .
13 2. mœ. œ œ œ œ m Mœ. œ & ‰w œ œ ˙ . œ œ œ œ œ œ œ J œ ˙ J J Œ ˙. ˙. #œ w œ œ œ. œ ˙ ˙ ˙ œ œ ? œ . J œ œ ˙ œ . Œ‰J œ (a) see commentary J WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.213 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 #œ M # œ œ # œ m. mœ# . œ œ œ #œ #œ œ œ œ œ œ œ# œ# & J J # œ #˙ ˙ [] . œ œ #œ I œ ˙. ˙ #œ ? ˙. œ# . œ œ. œ# œ œ J J
20 M T œ M T M œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ & œ ˙ ? ˙ ˙ ˙ œ ˙ œ œ. œ #˙ œ. œ ˙ œ. œ ˙ J J J
23 m # #œ œ œ# . #œ #œ œ œ œ m j ˙ œ œœ# . œ œ œ œ œ œ œ œ . & Œ J ˙ œ œ #˙œ œ (b) j Œ œ ? ˙ œ. œ œ. œ œ. œ œ ˙ ˙ ˙ J J Œ œ
26 1. 2. . & w œ . w œ ˙ ‰ J ˙ Œ ‰ J #˙ j œ j ? Œ ‰ œ œ œ œ . Œ ‰ œ ˙ w . w
(b) a second higher: f WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.213 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.213 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1, 5–12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 45 (fol. 29v, Hand A’), Entree des bergers Et bergerres (a) [Entrée de bergers et bergères from Temple de la Paix (1685) LWV 69/6 (a)]
M. 1 rhU1 horizontal stroke through the stem: M. 18 lhU4 sharp missing M. 23 lhU3 a second higher: f M. 27 rhL1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.213 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
La Paix revient Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 46, fol. 30r LWV 69/33 m œ œ. œ ˙. œ œ ˙ œ & 3 J œ ‰ œ ˙ la paix re --uient dans cet a zille J ... #œ ˙ œ ˙œ ˙ ˙œ œ ? 3 Œ œ Œ œ œ ˙ œ œ œ Œ ‰ œ © David Chung, 2014 J
5 œ m ˙. œ. œ œ œ œ ˙. œ . & J ‰ J ˙ .
Œ ˙ œ j ? ˙ ˙ ˙ #œ Œ [] ‰ œ œ . œ œ ˙ œ œ œ ˙ . .
9 m œ m œ œ M m . œ. œ œ. œ œ œ œ. œ œ & . J J J
œ #œ œ ˙œ ˙ œ œ œ ? . ˙ œ œ œ œ ˙ . œ œ Œ ˙
13 j mœ. œ œ mœ. œ œ œ œ œ. & J J J ˙ œ ˙. œ . J ‰ J ˙ œ œ œ #œ ˙ ˙ œ œ ˙ [] ? ˙ œ œ œ ˙ . Œ œ ˙ . œ . Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.214 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m j œ ˙. œ œ. œ ˙. œ œ œ ˙ œ & J œ
œ œ œ œ ˙ œ œ œ œ œ ? ˙ œ œ
21 m œ j . œ œ. œ ˙. œ œ œ ˙. . & J œ ˙ .
œ œ œ ? œ œ œ œ œ œ œ . œ œ œ .
25 j j j . œ œ œ. œ œ œ œ . . œ. #œ œ. œ œ œ œ. œ œ & J J J
m œ m ? . œ œ œ œ œ œ œ œ œ œ œ . œ ˙
29 m j m j œ. #œ œ œ. œ œ œ œ œ œ œ. œ ˙. . & œ J J œ .
œ ? œ œ œ œ œ œ œ ˙ . œ ˙ .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.214 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“la paix reuient dans cet azille …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.214 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 11, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 46 (fol. 30r, Hand A’), [untitled] (C) [La Paix revient from Temple de la Paix (1685) LWV 69/33 (C)] M. 8 lhL1 dot missing M. 15 rh1 note missing M. 16 lhU1 dot missing M. 32 barline missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.214 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
On conteroit plus tost Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 47, fols. 30v–31r LWV 69/18
M m œ œ œ ˙ œ œ œ œ œ œ œ & 3 J J œ on con-- te roit plus tost ... œ œ œ œ œ ? ˙œ. ˙ œ œ œ œ œ. œ 3 œ œ œ œ œ œ J © David Chung, 2014
5 M M œ ˙ œ Mœ œ œ œ œ œ‰œ œ. œ œ J œ & J J J J J
œ œ œ œ œ Œ ˙ ˙ œ œ ˙ ? œ œ. œ œ œ J œ œ œ œ
9 1. m m m œ œ œ œ ˙ œ œ œ . . & J J œ œ J J ˙ . Œ ˙ ˙ ? ˙. œ #œ œ œ #˙ ˙. . œ Œ ˙ .
13 2. M œ. œ œ mœ m œ œ & ˙ œ . . J œ œ œ
Œ œ œ œ ? ˙ œ . . œ œ #œ œ #˙ Œ ˙ . . ˙. œ œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.215 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 . . œ & ˙ ˙ œ œ
œ œ œ œ œ ? œ #œ œ #œ œ œ œ #œ œ œ œ œ œ
20 m œ œ œ. œ œ œ œ mœ & œ ˙ ˙ J J J
œ œ ˙. œ œ œ œ ? ˙œ. #˙ œ œ œ œ œ Œ
24 œ œ œ ˙. ˙. & Œ œ œ œ œ œ ? œ. œ œ œ œ œ œ œ œ œ œ œ œ
27 œ mœ œ œ & ˙ ˙.
? m œ œ ˙ ˙ œ œ œ œ Œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.215 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“on conteroit plus tost …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.215 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3–7, 9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 47 (fols. 30v–31r, Hand A’), [untitled] (C) [On conteroit plus tost from Temple de la Paix (1685) LWV 69/18 (C)] M. 23 rhU3 tie missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.215 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Canarie (canaris) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 48, fol. 31r LWV 69/26
œ. œ m r 6 œ. œ œ J œ œ. œ œ œ. j & 8 J R J R J J R J J œ œ j j j j j ‰ j œ œœ œ œ j ‰ j ? 6 œ J œ J œ œ œ#œ œ. œ œ 8 œ. J J © David Chung, 2014
5 œ. œ œ œ œ œ. œ œ R œ œ. œ œ. œ . . œ. J & J R J J J J R J ≈ R œ . . J R j ‰ j œ ? œ. œ. œ. [] . . œ J œ œ œ œ œ œ . . . œ. J J J J J ‰ œ ‰ ≈ œ œ R J
9 n œ. œ œ m œ. n œ. œ œ œ# . œ# œ œ œ œ r j [] œ J R J R J J J R J . œ œ œ. œ œ . œ. œ & J R J J R J J œ# œ J R J ≈ R œ j j j j j j œ œ œ œ œ œ œ . . r . œ œ ? œ œ œ œ œ [] œ œ œ J œ œ œ J œ œ œ. œ œ. ‰ ≈ œ J R J J J J J J J J œ Œ œ œ . R J J
13 œ. œ œ œ œ œ. œ œ œ. œ œ œ & J R J œ. J J œ œ œ. J J R J œ. œ œ. œ J R R J J R J R J ≈ R œ [] j j j j j œ. j œ œ œ œ œ. j ? œ œ œ œ œ œ œ J œ œ œ œ œ œ J J J œ œ J œ J œ. J J J J J J J J ‰ ≈ œ œ R J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.216 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
The music was barred incorrectly in 3/8 until measure 5. Superfluous barlines are broken through staves in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.216 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”.
Critical Notes
No. 48 (fol. 31r, Hand A’), canaris (C) [Canarie from Temple de la Paix (1685) LWV 69/26 (C)] M. 7 lhU1 dot missing M. 12 rhU1 dot missing lhL1 dot missing M. 13 lhU1 dot missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.216 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Passepied (passepied) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 49, fol. 31v LWV 69/31
œ œ œ œ œ œ œ œ œ œ œ œ œ & 83 J J J J R R R R J J J J . j j j œ œ œ œ. œ œ œ ? 3 œ œ. ‰ œ . 8 J © David Chung, 2014
6 œ œ œ . J œ œ œ J œ œ œ œ œ œ œ œ & . J R R J R R J J J J J j j œ j œ ? œ œ œ. œ œ œ . J Œ œ œ œ œ œ œ œ J J J J J J
11 œ œ œ œ œ œ œ œ œ œ œ œ & J J J J J R R R R J j j j j j œ. œ œ œ œ œ œ œ ? œ œ œ . œ J J J
15 œ œ m œ œ œ œ œ œ . & J J J J J . j j œ. œ œ œ œ œ œ ? œ J œ J œ ‰ œ . J J J J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.217 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.217 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3/8” time, sixteenth notes in conjunct motion (mm. 3, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 49 (fol. 31v, Hand A’), passepied (C) [Passepied from Temple de la Paix (1685) LWV 69/31 (C)] [No comments]
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.217 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 50, fol. 32r LWV 69/32
œ. œ œ œ œ œ œ & 3 J œ ˙ ˙
Œ œ œ œ ˙ œ ˙. œ œ œ ? 3 ˙. Œ œ œ œ © David Chung, 2014
5 m œ œ œ. œ œ ˙ œ œ. œ œ œ œ & J œ œ Œ œ ˙ œ ˙ ˙ [] œ œ œ ˙œ œ ? ˙ ˙ .
9 m œ œ œ œ œ. œ œ ˙. œ & ˙ ˙ ‰ J ˙ .
[] ˙ . œ œ ? ˙ œ œ œ œ ˙ . œ ˙ œ . Œ‰J œ
13 mœ. œ œ œ mœ. œ œ ˙ m & . J œ œ œ. œ œ Œ œ œ œ ˙. œ ˙ ˙œ œ œ œ ˙ ? . Œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.218 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 ˙ œ m˙ œ œ. œ œ œ œ & J œ œ
Œ œ œ ˙. œ ˙ œ ? ˙ œ œ œ œ ˙ ˙ œ ˙ œ
21 œ œ m œ mœ. & ˙ œ œ œ ˙. œ . J ‰ J ˙ ˙. ? ˙ œ œ œ œ ˙. . œ ˙ ˙. œ . Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.218 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.218 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 11, 20, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 50 (fol. 32r, Hand A’), Menuet (C) [Menuet from Temple de la Paix (1685) LWV 69/32 (C)] M. 6 lhL1 dot missing M. 9 lhU1 dot missing M. 12 lhU1 dot missing M. 13 redundant “ ” removed
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.218 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Suivons l’aimable paix Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 51, fol. 32v LWV 69/25
4 œ œ œ œ œ œ œ œ œ œ & 8 J J J J J œ J J J J œ J Sui ---uons lai ma ble paixJ ... j j œ œ ? 4 ˙ œ œ œ œ œ œ ˙ 8 œ œ J J J J Œ œ © David Chung, 2014J J J J
5 œ œ œ œ œ œ œ œ œ J œ œ . . œ œ œ œ & J J J J J J J J . . J J J J J j j j j j j j j œ œ œ œ œ œ ˙ œ œ œ œ ? œ œ œ œ ˙ . . œ J J J J J J J Œ œ J
10 j j œ œ œ œ œ œ œ œ œ œ œ œ œ r & J J J J J J J J J J J J œ J œ . œ œ œ œ ˙œ ? œ œ œ œ œ œ J œ J J J J J J J œ
14 . œ œ œ œ œ œ J œ œ œ œ œ œ. œ œ. . & œ. R R R R J J J J J J R . ‰ ≈ r j j r ‰ r œ œ œ œ. ? œ œ œ œ œ œ œ œ œ œ œ J J œ œ œ J Œ œ . J J J J WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.219 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“Suiuons laimable paix …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.219 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “4/8” time, sixteenth notes in conjunct motion (mm. 14–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 51 (fol. 32v, Hand A’), [untitled] (C) [Suivons l’aimable paix from Temple de la Paix (1685) LWV 69/25 (C)] [No comments]
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.219 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Suivons l’aimable paix (trio) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 52, fol. 33r LWV 69/25 j j m j j j j j j j j j j j j j 4 œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 J œ J J œ œ œ J œ œ œ œ œ œ œ nous fuJ -- yons laJ beauJ J teJ ... J J J J J J œ œ ? 4 œ œ œ J œ œ j œ œ œ œ œ 8 J J J œ J J J J J © David Chung, 2014
6 j j j j j j j j j j j j j œ œ œ œ œ œ œ œ j œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ œ & J J J J J J J J J J J J J J j œ œ œ ? œ . . œ œ J J J œ œ J œ œ œ. . . J J J J œ
11 j j r j j j j j j j j mj r œ œ œ œ œ œ œ [] r œ œ#œ & œ œ œ œ œ œ œ # œ œ œ#œ.. œ œ. œ J J J J J J J J J J J R R R œ œ ? j œ œ œ J œ J œ œ œ œ œ œ œ œ J œ J J J J œ J R R
15 j r r j j j j j j r œ. œ œ œ œ œ œ œ œ . & œ J œ œ œ œ œ œ. œ œ. R R J J J J J J R œ œ œ j ? œ J œ œ œ œ œ œ œ œ R R J J J J J œ œ.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.220 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“nous fuyons la beaute …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.220 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “4/8” time, sixteenth notes in conjunct motion (mm. 14–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 52 (fol. 33r, Hand A’), trio (C) [Suivons l’aimable paix from Temple de la Paix (1685) LWV 69/25 (C)] M. 13 rhL1 sharp missing
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.220 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chantons bergers (lidil de seaux) Idylle sur la Paix, 1685
US-BEm MS 777 (Menetou), no. 53, fol. 33v LWV 68/10
œ œ œ ˙ œ œ œ & 3 œ œ œ œ# . œ œ ‰ #œ ˙ œ bœ œ œ chan-- tons ber gers EtJ nous res--- joü i ssonsJ ... [] œ ˙. . ˙ . œ ˙ ? 3 œ œ ˙ œ œ œ ˙ œ Œ œ œ œ œ œ Œ ‰ J œ Œ œ œ © David Chung, 2014 Œ
7 m œ. œ œ œ œ œ œ œ œ œ & œ œ œ J bœ œ ˙. œ œ ‰ ˙ ˙ œ œ œ˙. œ œ œ œ ˙ œ [] ? ˙ œb œ œ œ œ i œ œ b˙ œ œ˙ œ Œ ‰ J œ Œ bœ œ
13 j ˙ œ œ œ œ œ ˙ œ œ ˙ œ & œ ˙ œ œ œ# . œ œ œ J J ‰ J ‰ J ˙
˙ œ œ ˙. ˙. œ œ œ ? ˙. œ œ œ œ ‰ œ œ œ œ ˙. Œ‰J œ Œ J œ Œ ˙
19 œ m œ œ œ œ & œ œ ˙. œ œ# œ œ #œ ˙ œ œ ‰ J #˙ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙. œ ? œ #˙ œ ˙ œ ˙ œ Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.221 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“chantons bergers Et nous resjoüissons …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.221 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 2, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 53 (fol. 33v, Hand A’), lidil de seaux (d) [Chantons bergers from Idylle sur la paix (1685) LWV 68/10 (d)] M. 5 lhU1 dot missing M. 10 rhU3 flat missing
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.221 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Sans crainte Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 54, fol. 34r LWV 69/5
œ ˙ œ œ œ œ œ ˙ œ œ œ & 3 ˙ œ #œ #œ œ #œ œ m˙ œ œ #œ sans crainte dans nos prai - ries ... 6 6 6 6 4 œ œ œ œ œ œ œ ? 3 œ œ œ ˙ œ œ 6 6 M œ œ © David Chung, 2014 # œ
7 1. 2. j j j ˙ . œ ˙ . . œ. œ œ œ ˙ #œ œ. ˙ œ & ˙ . . œ. J J J 6 4 6 œ œ œ œ œ ? . . J œ ˙ œ. œ œ œ ˙ œ. J œ
12 j j j % œ œ œ œ M˙ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ & J J J J 6 6 4 6 4 6# 6 œ œ ? œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ
17 1. 3. 2. (a) j j j œ j œ. œ œ œ#œ œ œ œ œ. []œ œ œ . œ . & œ# . œ J #œ œ. I œ œ œ œ. . ˙ . J J J [fin] 6 6# 5 6 % œ œ œ œ ? œ. J œ œ ˙ œ . œ . œ ˙ œ. œ (a) copied from m. 13 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.222 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“sans crainte dans nos prairies …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.222 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 54 (fol. 34r, Hand A’), [untitled] (a) [Sans crainte from Temple de la Paix (1685) LWV 69/5 (a)] M. 19 rhL2 sharp missing M. 21 rh2 supplied from m. 13
2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.222 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Charmant repos Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 55, fol. 34v LWV 69/8 % j j j j j # œ j œ œ œ œ. œ œ. œ œ. #œ œ œ# . œ œ œ & 3 œ. œ œ œ. œ œ# . œ œ #˙ œ œ. J œ. œ œ. œ#œ char--J mant re pos d’uneJ vie in --- no cen te ... J J J 7 6 5 6 6 5 # 7 b # # # ? ˙ ˙ ˙ œ œ œ 3(a) œ œ ˙ œ# ˙ œ œ ˙ œ œ œ © David Chung, 2014
8 j j j j œ. œ œ œ. œ œ ˙ œ œ. œ œ œ œ œ œ. œ œ œ œ & ˙. . œ. œ œ œ œ. œ œ ˙ œ œ. œ œ œ œ. œ œ œ œ fin J J J J #œ 6 6 5b 6# ? œ œ œ œ. œ œ œ. œ œ œ. j . œ œ œ œ J œ œ œ œ œ œ œ ˙. œ ˙. œ
17 j j % j œ œ . œ ˙ œ œ œ # œ œ œ œ # œ œ œ œ œ œ. œ ˙ œ œ. œ œ ˙ œ œ œ ˙ œ œ œ œ. œ œ & œ œ J J Œ ˙ œ œ. œ 5 J 6 5 b ˙ œ ? œ œ ˙ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
26 j j j % œ œ œ# . œ #œ œ œ œ. #œ œ# ˙. œ. œ œ ˙ œ œ œ. œ œ . œ . & œ J œ# J # œ œ œ J# œ ˙. ? j œ. œ œ œ ˙ œ œ œ œ œ œ . ˙ œ ˙ œ# œ œ œ
(a) for last time only (after m. 31) WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.223 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“charmant repos d’une vie innocente …”) omitted in this edition.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.223 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 9–10, 21–2, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 55 (fol. 34v, Hand A’), [untitled] (a) [Charmants repos from Temple de la Paix (1685) LWV 69/8 (a)] M. 1 lhL1 Editorial a for last time only
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.223 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuertue Du Tample dala paix) Le Temple de la Paix, 1685
US-BEm MS 777 (Menetou), no. 56, fols. 35r–36r LWV 69/1 r r m œ. œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ 2 Œ‰œ œ œ œ œ J J œ m & R R ˙ Œ ˙ Œ œ œ œ w w ? 2 œ œ œ. œ œ œ #˙ œ. œ œ œ œ œ ˙ R R ˙ R R © David Chung, 2014
5 m j j j œ. œ ˙ œ j œ œ œ m j ˙œ. œ ˙ ˙ ˙œ. œ. œ œ œ œœ œ œ œ œ. œ & Œ œ ˙ œ ? œ ˙. w œ œ œ œ ˙ œ œ. œ œ œ œ œ ˙w R R œ œ œ R R J J #˙ ˙ œ.
9 j r r r r j j . . œ œ. œ g ˙œ. œ œ œ œ . j & œ. œ ˙œ œ ˙œ. œ œ œ œ wœ. œ œ œ ˙ g ˙ œ œ œ œ. œ ‰ j ˙. ˙. œ ˙. ? #˙. œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ Œ œ
14 1. 2. j j j œ mœ œ j œ j j œ œ w . 6 œ. J œ . œ œ œ œ œ œ œ œ œ. œ œ. & w . 8 J J . J J J J J J œ# œ œ. J j œ œ œ œ œ r r œ j ? œ œ ? œ œ œ œ œ œ . 6 œ & œ œ . œ œ œ œ œ œ j j j j j j J J J J œ . 8 . J J J J J J J J œ œ œ œ œ J J Œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
(a) 19 j j j œ œ œ œ œ œ. m. œ œ œ# J œ œ J œ J œ œ# œ œ J œ œ# J œ œ œ œ & œ. J J J J J J J R R J R . œ œ. œ. œ œ. . œ j j ? œ œ œ J œ œ J J œ J œ œ œ œ œ œ. œ œ œ# œ œ œ# J J J J J J J J J J J J J J œ œ œ J J J J
23 j j j j j œ j j j œ œ œ œ# œ œ œ# œ# œ œ#œ œ œ# œ œ# œ J œ J J J J œ œ J œ# œ œ#œ œ# œ J # œ œ# œ & J J ‰ J J J J J œ œ œ œ. œ. œ. œ ? œ œ# œ œ œ œ# J œ œ J J œ J œ œ J J J J J J J J J J J
27 j j j j j j j j j j œ #œ œ œ# œ œ# mœ# . œ œ œ# œ œ œ œ# œ œ œ œ# #œ#œ œ œ# J J œ J J œ# J J J J œ œ œ œ œ œ. œ œ & J J R J J J J J J œ œ œ œ œ j œ ? J J œ# J œ# œ œ# œ j J J J J J J J œ J œ œ œ. œ. œ.
31 j j j j j j j j j j j œ œ œ œ œ œ œ œ œ j j j j œ & œ œ œ œ œ. œ. œ œ. œ œ œ œ œ# œ œ œ J J J œ. œ. J J œ œ œ n n ? J œ œ œ œ# œ# œ œ œ œ œ œ j j j J J J J J J œ J J J œ œ œ œ œ œ œ œ œ J J J J J J J J J J J
(a) two sixteenth notes WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
35 œ j j j j j j œ# œ# œ œ œ# œ œ œ# . œ œ œ œ œ œ œ j œ œ J J J J J J J J J R J J J œ œ œ œ œ œ œ œ & J J J J J J J ? j j j j j j œ œ œ œ j j j œ œ œ j J J œ œ œ# œ# œ œ œ J J œ œ. œ. œ. J
39 j j j j j j j m œ j j j mj j j j j j œ j j r & œ œ œ œ œ œ œ#œ œ œ# œ œ œ œ œ œ. œ œ œ. œ œœ œ#œ.. œ 2 J J J J J J J J J J J J R ? œ œ œ j j j j j j j j j J œ œ œ œ œ œ œ œ œ œ œ j j j œ œ œ œ j 2 J J J J J J J J œ œ# œ# œ œ J J œ
43 j j j j œ œ œ œ œ œ œ œ# . œ œ# . œ #œ & 2 ˙ œ# . œ œ#œ ˙œ# . œ œ œ œ œ œ ˙ ˙ œ œ ˙ ‰ J œ ˙ œ œ# ˙ ˙ œ œ ? œ. œ mœ. œ œ œ œ œ 2 ˙ J J œ ˙. œ ˙. œ œ
1. 2. 47 j j j j j j œ# . œ œ œ. œ œ# . œ œ. œ œ w ˙ œ œ œ œ. œ œ. œ 6 œ. œ œ œ . 2 w & (b)J J 8 J J J Œ œ ˙ n ? œ #œ œ# œ œ œ˙ œ ˙ 6 œ ? . J œ 8 . . 2 w Œ œ œ.
(b) a second lower: c” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1–2, 4–6, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 56 (fols. 35r–36r, Hand A’), Ouuertue Du Temple dela paix (a) [Ouverture from Temple de la Paix (1685) LWV 69/1 (a)] M. 10 lhU1–2 erroneous tie (between d’ and e’) removed M. 22 rh4–5 two sixteenth notes M. 43 rhL3 tie missing M. 48 rhL2 a second lower: c” lhL4 rest missing M. 50 time signatures missing notes uncertain
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée (Entree) Armide, 1686
US-BEm MS 777 (Menetou), no. 58, fol. 37v LWV 71/12 j j m j œ . œ j j œ. œ œ œ. œ œmœ. 2 g˙˙ œ. œ œ. œ œ. œ œ. œ œ œ ˙ œ & M ˙ œ. J J J œ œ m ‰ j œ œ œ ? œ œ œ mœ œ œ œ œ œ œ œ j œ œ œ ˙ œ 2 œ œ œ œ œ J œ œ © David Chung, 2014
5 5 j j m . œ œ œ œ. j œ œ #œ œ œ# . œ œ ˙ œ# œ. œ œ œ œ. œ œ œ œ. œ & ‰ J g œ ‰ J œ J J ? œ. œ œ mœ j J œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J . œ
1. 2. 9 pre[mi re] fois 2[ me] fois œ. m j j j r œ. œ m œ œ. œ œ & œ. œ œ. œ w . ˙ œ . œ J . œ# J R J œ œ #˙ ‰ œ ‰ œ R R J ˙ J œ ? Œ ‰ jœ œ Œ‰j ˙ ˙œ. œ œ. bœ œ œ ˙ œ œ œ . œ œ . J R œ œ œ œ Œ œ ˙ ˙ Œ J R
13 j r m œb . œ œ œ œ œ œ. œ œ. œ J . œ#œ œ . œ#œ. œ œ. œ œ œ œ. œ œ œ œ. œ œ. J & R J R . J œ. œ .
œ ˙ ˙ m œ . œ. œ œ. ? . œ œ. œ œ œ œ. œ. œ œ œ œ œ œ. œ œ œ œ J R J R Œ ˙ œ œ. œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.225 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 œ bœ œ bœ œ œ. m œ œ. œ œ. œ m œ œ. œ ˙ œ œ. œ & œ œ. œ. w ˙ . ˙ n . . ? ˙˙ ˙ œ #˙ œ œ œ. œ œ. œ œ œ œ œ
1. 2. 20 m œ [] œ œ. œ. œ œ . j r œ. œ & œ œ. œ œ œ ˙ œ . œ J . w œ ˙ R ‰ J ˙ mœ œ. ? œ ˙œ ˙ œ . œ œ œ œ. œ Œ . w œ Œ‰J ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.225 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.225 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1–2, 7–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 58 (fol. 37v, Hand A’), Entree (C) [Entrée from Armide (1686) LWV 71/12 (C)] M. 13 lhL5 rest missing M. 20 rhU6 dot missing M. 21 rh2–5 copied from m. 11 lhU4 copied from m. 11 lhL1–2 copied from m. 11
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.225 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Menuet (menuet) Armide, 1686
US-BEm MS 777 (Menetou), no. 59, fol. 38r LWV 71/14
mœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 œ œ œ œ
[] ˙. ˙ ˙ . ˙ ? œ œ ˙. œ œ 3 Œ Œ œ œ Œ Œ œ œ © David Chung, 2014
6 m m œ m ˙ œ œ œ . ˙. œ . . œ. œ œ œ. œ œ œ œ ˙. & ‰ J ˙ . . J J
[] m ˙ œ m œ œ œ œ œ ˙. œ œ œ ? . œ . . œ œ œ œ Œ‰J œ (a)
11 œ ˙ œ. œ œ œ œ œ œ œ mœ. œ œ. œ œ œ œ. œ & J J œ J J m œ œ ? œ œ œ œ ˙. œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ ˙. œ
17 m m j M ˙œ. œ œ ˙. œ[]. œ œ œ. œ œ . j & ˙ ˙ . œ J œ ˙œ œ ˙. œ . ‰ J ˙ ˙. œ mœ œ ˙ œ œ ? œ œ œ œ œ œ œ œ ˙ . Œ œ ˙. œ . Œ ‰ J œ (a) redundant upwards stem removed WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.226 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.226 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1, 3–4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 59 (fol. 38r, Hand A’), menuet (C) [Menuet from Armide (1686) LWV 71/14 (C)] M. 4 lhU1 dot missing M. 6 lhU1 dot missing
M. 10 lh1 redundant upwards stem removed. Menetou: M. 19 rhL1 dot missing M. 22 lhL1-2 rests missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.226 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte en rondeau (Gauotte rondeau) Armide, 1686
US-BEm MS 777 (Menetou), no. 60, fol. 38v LWV 71/9 j j j j œ œ j 2 œ. œ œ œ. œ . ˙ œ. œ œ œ œ œ. œ & ‰ J œ w œ œ mœ Œ #˙ % œ œ m ˙ ? 2 ˙ œ. œ œ ˙ œ œ œ œ #œ œ ˙ J œ Œ œ © David Chung, 2014
5 œ. œ œ. œ œ œ œ . œ œ m œ. œ J J œ œ œ œ œ œ J & ˙ J ˙fin Œ Œ œ ˙ œ #˙ w œ ˙ œ ? œ ˙ œ œ œ œ œ œ œ œ œ œ œ
9 (a) j j m #œ #œ œ j j œ œ j œ œ. œ œ œ. œ . ˙ œ. œ œ œ œ œ. œ & ‰ J œ w œ œ mœ Œ #˙ ˙ ˙ œ œ ˙ ? ˙ œ. œ œ ˙ œ œ œ œ #œ œ ˙ J œ ˙
13 m œ# œ. œ œ# . m[] œ œ œ#œ œ œ mœ# . œ œ# œ. J œ #œI œ m œ J œ œ & ˙ œ J J œ ‰ J œ % jŒ œ œ ˙ ? Œ ‰ ˙ ˙#œ œ œ œ œ œ. œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ J Œ Œ œ œ œ
(a) redundant downwards stem removed WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
This piece ends on m. 5, as indicated by “fin”, and the player should provide a suitable ending.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 3–4, 6–12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 60 (fol. 38v, Hand A’), Gauotte rondeau (a) [Gavotte en rondeau from Armide (1686) LWV 71/9 (a)] M. 4 rhL1 rest missing
M. 9 rh5 redundant downwards stem removed. Menetou: M. 11 rhL4 rest missing M. 12 rhL1 rest missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______M. 15 rh2 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Plaisirs ont choisy pour azile Armide, 1686
US-BEm MS 777 (Menetou), no. 62, fols. 39v–40r LWV 71/62 [solo voice] M j j œ mœ. œ m b 3 Œ œ œ œ œ J #˙ œ# & les plaiœ œ --sirs ont choi sy pour azille ...
˙ ˙[]. ˙ œ œ ? Œ Œ˙ œ œ. œ œ ˙ œ œ œ œ œ b 3 Œ ˙ b˙. ˙. M Œ © David Chung, 2014
5 m œ M M m œ œ œ œ œb œ œ ˙ œ Œ œ œ m œ œ & b Œ J J œ œn Œ Œ mœ œ œ ˙ œ œ œ œ œ nœ ? ˙ ˙. b˙. œ œ œœ# bœ œ ˙ œ bœ œ b œ œ œ œ
11 j j j œ. œ mœ# œ mœ# . œ œ ˙œ. œ œœ œ œ. œ nœ œ œ œ. œ b bœ nœ J J & flutte[s] œ ? œ œ œ. bœ œ œ œb . œ bœ b œ œ œ ˙ œ & ‰ œ œ œ œ œ œ Œ œ œ
17 m j m j j . œ œ #œ œ #œ. œ œ ˙œ. œ œœ œ œ. œ œ œ œ œ. œ œ œ #œ œ #œ. œ & b J
œ b œ œ œ. bœ œ œb . œ bœ œ œ ? & ˙ œ. œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
22 M œ œ m œ M M m œ ˙ œ œ œ #œ œ j & b œ. œ œ œ. œ œ. œ violons J J œ œ œ œb ˙. œ˙. œ œ œ ˙. œ ? œ œ. œ Œ œ ˙ b J ˙ œ œ œ œ
[solo voice] 27 m j M M ˙ œ œ #œ . œ œ œ œ . b œ œ. œ œ ˙˙ œ œ œb œ bœ œ œ œ & J ces lamour ... J J J ˙. œ ? œ ˙ œ ˙ œ ˙ ˙ œ œ œ œ œ b œ œ œ œ œ. œ œ œ œ ˙ œ . ˙ œ
33 m m Œ œ bœ bœ œ œ œ mœ. œ œ œ & b ˙ œ J œ j œ œ œ œ [] ? œ. #˙ œ ˙ ˙œ. . œ i ˙œ. œ œ #œ. œ œ# b ˙ œ ˙
38 M m œ M œ œ œ œ. œ mœ# . œ œ & b œ œ œ œ J J œ Œ j ˙ ˙ ˙ œ œ œ. œ mœ ˙ ? œ ˙ ˙œ. b˙. œ œ œ b œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
43 m M m œ œ œ œb œ m j & b œ œ œ. œ œ ˙. ˙ #œ œ #˙ ? œ n˙ œ œ œ œ œ b
47 j j m j r j j œ œ. œ œ . œ œ. b œ œ œ# . œ œ œ #œ œ œ. b œ. œ œ œ œ œ œ œ œ. œ œ ˙ œ œ. œ & flutte[s] J J J
m j m b œ œ œ œ œ œ œ œ œ œ œ œ & œ œ . œ ˙ œ œ œ
52 j r j m j mj r œ . œ œ. œ œ œ# . œ œ œ. œ œ# . œ œ œ œ œ œ œ œ b œ œ œ bœ œ œ œ. œ œ œ œ œ œ œ & J œ violons m ˙ ˙. j ? b˙ ˙. b œ œ œ œ œ œ œ œ ˙. & . œ ˙ œ
57 m œ M œ M œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ ˙ ˙ ˙. œ ˙ ? b˙. #˙. œ ˙ ˙. b˙. b ˙ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
[solo voice] 62 M m M j j M b œ j œ. œ œn œ. œ œ œ œb & œ #˙œ. œ œ Jeune coeurs tous ...
œ Œ œ ˙[] œ ? ˙ . œ nœ œ b œ ˙ œ ˙ bœ œ œ Œ œ œ
66 m M j m m b ˙ œ . œ œ œ & Œ œ œ œ. J œ œ. J ˙ œ Œ œ œ œ ˙ œ œ ˙ ? ˙. œ œ# œ ˙ ˙. b˙ œœ# . œ #œ œ b œ œ
71 m M M œ œ Mœ. œ mœ# Mœ œ œ œ œ b Œ œ. œ œ J J J œ œ œ & J J J % j œ ˙. œ œ œ œ ? œ #œ œ œ ˙. ˙œ. b b˙ œ œ œ ˙ œ œ Œ œ œ
76 m m T . j œ œ ˙ œ# œ œ ˙œ# œ œ . & b œ J J œ œ [fin] J % ˙. œ œ ? ˙. œ j j ˙œ œ b b˙ œ œ œ œ ˙ œ. Œ œ œ.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Editorial Remarks
Text between staves (“les plaisirs ont choisy pour azile …”) omitted in this edition.
A multi-section piece originally scored for voice, two flutes, violin with keyboard accompaniment. The characteristic ornaments and idiomatic keyboard textures provide grounds for the possibility of playing this piece on the harpsichord alone.
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways,
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 62 (fols. 39v–40r, Hand A’), [untitled] (a) [Les Plaisirs ont choisy pour azile from Armide (1686) LWV 71/62 (g)] M. 2 lhL1 dot missing M. 36 lhL1 flat missing M. 64 lhL1 dot missing
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______M. 74 lhL1 rest missing M. 78 lhL1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture Des festes debaccus et de lamour) Le Bourgeois Gentilhomme, 1670
US-BEm MS 777 (Menetou), no. 83, fols. 1Ar–2Ar LWV 43/1 j m œ œ œ œ w j j ˙ j œ œ œ #œ . . œ# . œ g˙w. œ œ. œ œ. œ œ & b 2 œ. #œ œ #œ œ œ . œ. œ œ œ. ‰ œ œ œ œ J (a) J J M j œ œ. œ [] ? 2 œ #œ œ ˙ . w œ ˙. œ ˙ . b ˙ . . . œ œ. œ œ. œ œ œ# œ J J J © David Chung, 2014 J
5 m m j m ˙ œ œ bœ œ j œ wb j j & b œ œ œ œ ˙ œ. œœn œ. nœ ‰ œ ˙. œ. œ. œ J J J œ# w ˙. ? j ˙ m œ œ b œ. œ œ. œb œb . œ œ. œn œ. œ œb . œ œb . J J J J J J n
9 j j j m j j j œ. œ œ. œ j œ. œ ˙œ. œ œ. œ ˙ œ. #œ œ & b œ. œ œ œ. œ œ œ œ œ œ œ. œ œ. œ mœ# œ# ‰ J ˙ J J j j ‰ œ œ ‰ œ œ ? œ. œ# œ. œ ˙ n˙ ˙ j b J J œ. œ w
1. 2. 13 m [] w# œ m ˙ j œ œ œ # œ w# œ 6 & b ‰ œ. œ œ œ œ. œ œ œ œ . ‰ œ ˙ 4 [1 fois]J œ œ œ #œ #œ 2 foisJ ‰ j j ? #œ œ #œ œ œ ˙œ. œ . 6 b ˙ œ œ œ . w œ 4 Œ‰J œ Œ‰J œ (a) redundant quarter rest removed WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
16 6 œ m M œ & b 4 . Œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ Repris m ? 6 . m b 4 . ∑ & Œ œ œ œ œb œb œn . œ œ œ# . œ œ œ m œ œ
19 m j m m j m œ œ mœ œ bœ œ. œ œ œ œ œ œ œ œ & b œ . J ˙. œ œ œ œ. œ œ #œ. ˙ œ œ œ œ œ bœ œ b˙ œ ˙. b œ ˙ ˙ ? Œ & œ m
22 m œ m œ œ ˙ œ œ œ œ œ œ# œ œ # #œ œ œ ˙. & b #˙ œ ˙. œ . Œ ˙ œ ? œ œ ˙ œ œ œ œ œ m ˙. œ œ b Œ Œ œ œ œ œ #˙. œ
25 j j œ œ œ œ œ œ #œ œ. œ œ #˙œ. œ ˙. ˙ œ & b ˙. œ œ œ nœ œ œ #w œ œ# œ [] Œ œ œ ? œ œ œ. œ œ w . œ œ œ œ b J ˙ ˙ w. m
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
28 n j j #œ b œ œ œ ˙. nœ nœ œ. œ œb œ. œ œ & œ œ #œ œ œ ˙ œ ˙ œ Œ ˙ #œ œ œ
? œ œ œ œ œ m M b ˙. ˙. œ œ œb œ œb . œ œ ˙ œ ˙. œ J
31 j m M œ. j œ œ œ œ œ bœ œb œ bœ b œ œ œ œ œ œ. œ œ œ œ bœ œ œ n˙. & œ #œ œ #˙ œ œ œ œ bœ ˙.
? œ œ b ˙ œ ˙ œ œ Œ œ w. ˙. œ
34 n m. b˙ bœ b ˙. ˙. œ œ œ œ ˙. œ. œ œ œ œ & ˙. ˙ ˙ ˙ œ ˙ œ œ ? œ œ œ œ ˙. œ œ œ œ bœ œ œb œ bœ œ œ b bœ œ œb bœ œ œ n˙. œ
37 n m j j [] Œ Œ j m œb . œ œ. b œ œ œ. œ ˙. j & b œn œ ˙˙ n˙ œ œ œ œ œ œ œ œ œ œ ˙. œ œ. œ
? w. œ œ œb œ bœ œ b ˙ ˙ w. œ œ ˙ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
40 j œ œ bœ œ bœ œ œ bœ œ œ m j . œ œ mœ. œ œb œ œ œ œ bœ œ bœ œ bœ œ œ. & b ˙œ. J ‰ œ ˙ œ
[] w w ? œ b œ œ œ ˙. ˙ ˙ wb ˙ b œ ˙. ˙ Œ œ
43 j j j m œ. œ ˙ œ œb . œ . œb j . b œ ˙ œ œ œ œ œ. œ []˙ ˙ ‰ œ & ‰ J ˙ ‰ J œ ‰ #œ œ œ # ˙ Œ J (b) J œ Mœ œ œ ? ˙. œ œ œ œ b ˙. n˙. ˙ œ b˙. œ
46 m. œ ˙. œ œ œ m m ˙. œ œ œ ˙. . œ œ œ œ# . œ œ #œ œ & b ˙ ˙ ˙ ˙ J M œ ˙. b ? œ œ œ œ ˙. œ œ œ œ b #˙ Œ œ œ œ bœ œ œb œ œ œ ˙.
49 m j j j œ œ œ. œ œ. ˙ œ. œ œ #œ œ. œ bœ #œ˙ œ w. œ & b ˙ œ œ œ œ œ œ œ Œ wn . #˙ œœ. # fin
? œ œ œ j Œ œ Œ œ ˙ . b œ œ œ œ œ œ œ. œ œ w. . M œ ˙
(b) a second higher: a’
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In both “2” and “6/4” time, eighth notes in conjunct motion (mm. 1, 16–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 83 (fols. 1Ar–2Ar, Hand A’), Ouuerture Des festes debaccus et de lamour (g) [Ouverture from Le Bourgeois Gentilhomme (1670) LWV 43/1 (g)] M. 1 lhL1 stem missing
M. 3 lh1 redundant quarter rest removed. Menetou: M. 4 lhU2 dot missing M. 14 rhU5 sharp missing M. 26 lhU1 dot missing M. 27 rhU1 tie missing M. 38 rhU1 flat missing M. 40 lh2 flat missing M. 43 rhL5 a second higher: a’ M. 45 rhL1 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______M. 45 rhL2 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Jupiter Isis, 1677
US-BEm MS 777 (Menetou), no. 84, fols. 2Av–3Ar LWV 54/24 (a) j j j œ œ ‰ j j ˙ œ b 2 œ œœb œ œ œ bœ œ œ œ œ œ œ. œ œ & J œ. œ ‰ œ œ œ ˙ J J J J J J œ œ œ m˙ m ? 2 œ œ œ œ œb . œ ‰ J J J œ. œ b J J J œ œ J © David Chung, 2014
5 j j j j j j ‰ œ ˙ œ ˙. œ œb œ œ œ œb œ bœ œ œ œ œ ˙ œ & b ˙. œ œn œ œ œ n œ œ œ ‰ J J J œ œ J J n
? ˙. œ œ bœ œ œ j j j ˙ #œ œ b J J œ œ œ ‰ œ œ œ
9 j j œ œ œ j œ# . œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ ˙. œ œ b œ. œ œ œ œ œ œ œ œ œ œ œ œ. ˙ œ J & J œ J œ ˙. œ œ œ j œ œ. œ œ ˙. œ mœ ? b œ. J J œ œ J J
13 m j j œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ b #œ œ œ œ œ#œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ & J J œ œ œ œ œ m ˙ œ œ ? œ. œ # œ œ œ J . b J œ œ. J J J
(a) a second lower: c” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.230 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 j j j œ œ œ. œb œ œ. œ œ œ œ œ. œ œ bœ œ œ œ. œ & b œ. œ œ œ œ J œ œ œ œ J J J J œ œ œ œ œ œ m ? œ bœ œ œ œ bœ œ bœ œ œ œ œ. œ b œ J
20 j b j b œ œ œ. œ œ. œ œ œ œ œ œ œ nœ œ nœ & œ. J J œ œ œ œ œ j ? œ œ œ ˙. œ œ b œ œ œ. œ œ J J
23 j j œ . œ œ œ œ b bœ˙. œ œ œ œ œ œ œ. œ œ œ œ# œ œ. œ & J œ œ œ œ œ œ. J J bœ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ bœ œ bœ œ #œ œ
26 j j m ˙ œ œ j m ˙ œ. œ #œ œ œ. œ œ j & b œ œ œ. œ #œœ œ œ. œ w J J J fin ? œ œ œ j b bœ bœ œ bœ œ œ œ œ. œ œ œ œ œ w
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.230 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.230 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1, 3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 84 (fols. 2Av–3Ar, Hand A’), Jupiter (g) [Jupiter from Isis (1677) LWV 54/24 (g)] M. 3 rhU4 a second lower: c”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.230 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture de lopera Disis) Isis, 1677
US-BEm MS 777 (Menetou), no. 85, fols. 3Ar–4Ar LWV 54/1 m m œ . œ œ j œ. œ . J ˙ œ J œ. œ œ œ œ. œ œ œ. & b 2 œ. J œ. J œ œ (a) J ˙ ˙ ˙ ˙ ‰ j œ œ. œ ˙˙ œ#˙. œ œ. œ œn . œ œ ? 2 ˙ œ. œ ˙ J J J J b Œ œ J © David Chung, 2014
5 M j m j j j j j œ. œ œb . œ œ œ. œ œ. œ œ œ. œ . . œ œ œ œ & b ‰ J œ J œ œ œ. J œ œ œ ˙œ œ. œ ‰ œ ‰ ‰ J œ ‰ J œ ‰ j œ ‰ j j œ. œ œ. œ œ œ. œ œ œ ‰ œ œ ? J J J œ# . œ œ. œ œ. œ œ. œ œ. œ b J J J J J
9 j j m j j j œ. œ œ. œ j œb . œ œ œb . œ ˙. œ ‰ œ œ #˙ & b ˙œ. œ ˙ œ. œ œ œ œ ‰ œ ‰ J J (b) J J ˙ j ‰ j œ ‰ œ œ . œ mœ œ. œ œ ? œb . œ œ. œ [ w ] œ. œ œ. œ b J J œ. œ œ J J J J
1. 2. 13 j m j mœ œ œ. œ œ mœ œ w [] w [] . bœ œ œ# . œ . #œ œ# ˙ . œ# ˙ . & b J ‰ J ‰ J œ ‰ J . ‰ J œ œ œ ? j j #œ j b œb . œ œ. œ œ. œ Œ ‰ œ œ œ œ . Œ ‰ œ ˙ J J ˙ ˙ ˙ w
(a) e’ a second higher: f’ (b) g’ a second higher a’ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m m œ m j j Œ œ œ œ œ #œ œ œ# œ œ #œ œ œ. œ œb œ. œ & b 3 œ œ œ œ œ œ œ œ œ. œ ˙ œ Repris ∑ Œ J
? b 3 &
22 m œ m œ. œ œ mœ. m œœ. œ œ œ. œ œ J œ #˙ œ œ & b J J J [] ˙ b˙ . ˙[] [] ? œ œ œ œ œ . & b ˙ . œ œ˙. œ œ œ Œ œ œ Œ œ
27 m ˙. m [] œ œ. #œ œ œ œ. œ œ œ. œ œ œ œ b œ œ b˙ œ œ & b J J [] ˙. []. ˙ . ˙. ? ˙ . œ œ˙. œ œ œ˙ œ œ œ œ œ œ œ œ b œ œ œ #œ œ œ
33 m m [] j j œ œ. b œ œ œ. œ bœ œ [] œ œ œ œ œ bœ œ œ & b Œ œ œ œ ˙œ.. œ ˙. œœ ˙œ. (c) œ˙. œ œ bœ œ œ œ œ œ œ œ œb ˙. ? œ b Œ œ
(c) a second lower: c” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
38 m œ œ. œ œ m Mœ. œ œ œ b œ. œ œ œ œ. œ œ J œ. œ & J (d) J ˙. ˙.[]. œ˙. œ ˙ œ˙. œ œ ? œ œ œ œ˙ œ œ œ œ œ œ œ œ b
43 m m j j m œ œ [] j m œ. œ œ œ. œ œ ˙œ . œ. œ ˙ œ œ œ œ. œ œ & b ˙. ˙ Œ ˙ œ œ œ œ œ œ . Œ Œ . ? ˙ œ ˙ b Œ œ œ œ œ œ œ œ œ
48 m ˙ œ œ œ œ j œ œ œ œ m œ œ œ mœ. œ œ œ œ œ. œ & b œ# . J #˙ ˙. ? œ œ œ œ œ œ œ œ œ œ ˙ œ ˙. b Œ Œ Œ œ œ
53 œ. œ m œ m b œ J œ. œ #˙ œ œ mœ. œ ˙ œ & J J œ
[] [] ? ˙ . œ ˙. ˙ . œ˙ . #œ œ b œ˙ . nœ œ œ #œ˙ œ œ œ œ bœ nœ œ
(d) flat removed from e’ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
(e) 58 œ œ m [] œ. œ œ m M œ. œ œ b œ mœ. œ œ œ œ# . œ & b ˙ J J J ˙ ˙. . œ ˙ œ ˙ #œ œ œ ? œ œ œ œ˙ œ œ œ nœ œ œ #œ œ b
63 m j m j m œ œ. œ œ. œ œ œ œ œ m œ œ. #œ œ ˙ ˙. œ. œ œ# . œ & b ˙ J m . [] [] bœ˙ nœ œ #œ œ œ œ œ œ b œ œ ˙ . ? œ b Œ œ œ
68 b [] ˙ m œ m œb . œ œ œ b œ œ & b œ œ œ œ œ œ œ œ œ J œ
[] Œ ? bœ˙ . nœ œ œ˙ #œ œ ˙. ˙. b Œ œ œ œ˙. œ œ
72 [] m M b œ j [] b œ. œ œ œb œ. œ œ œ œ œ j . & J œ œ #˙ œ œ œ œ #œ. œ ˙ . œ ‰ J ˙ fin ? ˙. j Œ ‰ j œ . b œ œ œ œ œ œ œ. œ œ œ ˙ . œ . Œ œ ˙ (e) e’ a second lower: a” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In both “2” and “3” time, eighth notes in conjunct motion (mm. 4, 18–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 85 (fols. 3Ar–4Ar, Hand A’), Ouuerture de lopera Disis (g) [Ouverture from Isis (1677) LWV 54/1 (g)] M. 3 lhM1 a second higher: f’ M. 9 rhL2 a second higher: a’ M. 10 lhL1 rest missing M. 15 rhL1 rest missing rhL3 dot missing lhU1–2 rests missing M. 16 rhL3 dot missing lhU1–2 rests missing M. 22 rhU1 dot missing M. 24 lhL1 stem missing M. 25–7 lhU1 dots missing M. 31 rh4 flat missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______M. 33 rh3 flat missing M. 34 rhL3 a second lower: c” M. 35 rhL1 dot missing M. 39 lhM1 dot missing M. 41 lhU1 flat removed from e’ M. 44 rhL2 rest missing M. 45 rhL1 dot missing M. 46 lhU1–2 rests missing M. 53 lhU1 dots missing M. 56–7 lhU1 dots missing M. 58 rh2–3 a second lower: a” M. 59 rh4 flat missing M. 66 lh1–2 flats missing M. 67 lhU1 dot missing M. 68 lhU1 dot missing M. 69 lhU2 rest missing M. 72 rhU2 flat missing M. 76 rhU1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Entree de Bellerophon) Bellerophon, 1679
US-BEm MS 777 (Menetou), no. 87, fols. 5Ar–6Ar LWV 57/1 m m j M j m j j j œ. œ œ œ œ . m. œ œ. œ œ œ œ. œ œ. œ C ˙.. œ œ œ œ J œ. œ ˙ ˙ ˙ & gg˙ ‰ J œ j ‰ œ œ œ œ œ œ ˙ ˙ œ. œ ˙ ˙ ˙ œ œ œ œ œ ˙ ? C ˙ J œ . œ. œ J J © David Chung, 2014
5 m jM j œ. œ œ. œ œ. œ ˙ œ œ œ ≈ w˙ œ. œ ˙. œ œ ‰ œ œ . œ œ œ œ œ œ œ & g J ‰ J ‰ œ ‰ J œ œ m ‰ j ˙. ˙ ˙ ˙ m ? œ œ œ œ œ œ #˙. œ œ# œ. œ ˙ œ. œ œ J ˙ J #˙
9 j m j m j Mœ œ œ œ œ. œ œ œ# . œ #œ œ. œ œ œ & œ. œ œ œ œ ˙ œ œ ˙ œ. œ œ œ œ ‰ J œ ˙ ‰ J J
? m Mœ. w œ œ ˙. œ œ. œ œ ˙ ˙ w ˙ ˙ œ. J
1. 2. 13 m m j m m œ m œ mœ œ ‰ œ œ œ œ œ œ œ œ œ œ œ & œ. œ m œ œ. J ˙ œ œ œ . ˙ . ‰ œ œ œ ‰ J #˙ ‰ J ˙ ˙ Repris m m j j ? ‰ œ œ Œ‰œ. œ œ . . ˙ ˙ œ . œ . . ∑ & Œ œ ˙ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 j œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ#œ œ. œ & J œ. J J J J m m m m œ œ ? & ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ m
20 m j m j œ œ œ ˙œ. œ œ œ œ #œ œ œ œ œ. œ œœ# . œ œ #œ œ. œ . œ œ & b˙ ˙ œ. bœ œ œ# . œ œ. œ bœ bœ J R œ œ m m œ œ œ ? bœ œ bœ œ œ œ œ œ mœ œ bœ œ œ bœ œ mœ œ œ œ
23 m j j m j m œ. œ œb . œ œ œ œ œ œ bœ œ œ œ . œ œ œ œ œ œ. œ ˙ #œ œ œ bœ #œœ ˙. œ. œ œ œ œ œ œ & Œ. J J œ bœ bœ n˙ . J J n œ œ m ? #mœ œ m œ œ nmœ œ m œ mœ œ œ mœ œ œ œ œ œ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ
27 m m j œ œ œ œ #œ m œ# œ œ œ œ œ œ œ œ œ œ & ˙œ. œ œ œ#œ œ . J œ œ# œ œ œ œ œœ# . œ . J J J œ ? œ œ mœ œ mœ œ œ œ m œ œ œ œ mœ œ œ œ œ œ œ œ œ œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
30 (a) j œ œ œ œ œ œ œ & œ bœ œ œb ˙ bœ œ œ˙ œ œ œ œ œœ œœ œœ. œ #œ œ ˙ g ˙ g˙ œ œ. J ? œ œ œ #m˙ œ œ œ m˙ œ œ mœ œ œ mœ œ œ œ œ
33 m m œ œ œ.˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ œ ˙ b˙ ˙œ œ ˙œ ˙ œ œ
œ. œ m˙ œ œ bœ œ bœ œ mœ œ œ œ mœ œ œ m ? J œ œ œ œ œ œ œ œ œ œ œ
37 m œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ b˙ œ œ. ˙œ ˙ Œ ‰ ˙ ? œ œ œ . ‰ J œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ m m m m œ
1. 2. 40 m œ œ œ œ œ œ mœ œ œ œ œ. œ ˙ ‰ œ . w & œ ˙ . w
? œ œ œ œ œ . ‰ œ w [] . w [] œ J œ Œ ˙ . Œ ˙ .
(a) sixteenth note WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 1, 3–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 87 (fols. 5Ar–6Ar, Hand A’), Entree de Bellerophon (C) [Ouverture from Bellerophon (1679) LWV 57/1 (C)] M. 3 lhL1 tie missing M. 10 lh2 eighth note (beam missing) M. 15 rh+lh notes missing M. 23 rhL1 rest missing
M. 31 rhU6 sixteenth note: M. 33 rhL1 rest missing M. 37 rhL4 rest missing M. 38 rhL2 rest missing M. 40 lhU1-2 tie, note missing M. 41 lhL2 dot missing M. 42 lhL1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______M. 42 lhL2 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trompettes (trompette de bellerophon | rondeau) Bellerophon, 1679
US-BEm MS 777 (Menetou), no. 89, fol. 10Av LWV 57/64 (a) % Mœ. œ œ œ mœ œ œ œ œ m˙ œ & 3 œ œ œ œ œ œ œ œ œ œ ˙ ˙. œ œ œ œ œ œ ? 3 ˙. Œ Œ œ © David Chung, 2014
5 M œ œ. œ œ œ mœ œ œ œ œ œ. œ œ & œ œ œ œ œ œ œ œ œ ˙ ˙. ˙. ? ˙. Œ œ œ œ œ œ
9 m j m œ j œ mœ œ œ œ . œ œ ˙œ. œ ˙. . œ œ‰ œ œ & ‰ œ ˙ . J œ J [fin] . œ˙ #˙ ˙ œ ? ˙ . œ œ Œ œ ˙. œ . Œ Œ‰J œ
13 j m œ. œ j œ j œ œ ˙œ# . #œ œ mœ. œ œ. œ œ œ œ œ & ˙ J ‰ œ œ œ #œ ˙œ. Œ ˙ ? œ ˙ ˙ ˙ œ œ ˙. ˙ œ ˙. ˙. œ Œ œ (a) erroneous note a third below (c”) removed WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.233 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
18 m m œ œ. œ œ œ m. ˙ œ. œ œ œ œ œ œ. œ œ & #˙ œ J J J % œ œ [] #œ˙ œ I œ œ œ ? œ œ œ# ˙ ˙. œ ˙ œ œ Œ œ
23 m j œ œ œ œ. œ œ mœ. & J œ œ ˙ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ
27 m m j m œ œ. œ œ. œ œ œ œ œ œ. œ & J ˙ #˙ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
31 m m M. œ œ œ m. œ. œ œ œ J œ œ œ ˙ œ & J (b) J % ˙ œ œ œ œ ˙ œ ? œ œ œ œ œ œ œ œ ˙. Œ œ œ
(b) a second lower: c” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.233 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.233 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 2–4, 6–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 89 (fol. 10Av, Hand A’), trompette de bellerophon | rondeau, (C) [Trompettes from Bellerophon (1679) LWV 57/64 (C)]
M. 3 rh1 erroneous note a third below (c”) removed. Menetou: M. 9 lhL1 rest missing M. 20 lhU2 sharp missing M. 31 lhU1 a second lower: c”
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.233 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Trompettes (trompette debellerrophon | rondeau) Bellerophon, 1679
US-BEm MS 777 (Menetou), no. 90, fol. 11Ar LWV 57/19
m œ œ œ œ œ œ œ. œ œ œ m˙ œ & 3 J œ % œ œ œ œ œ ˙. ˙. œ œ œ œ œ œ ? 3 Œ œ œ œ œ œ œ © David Chung, 2014
5 m œ œ œ œ œ. œ œ œ mœ. œ ˙. . & J J ‰ œ ˙ . J [fin] œ œ œ ˙. œ . ? œ œ ˙ ˙ œ Œ œ œ œ Œ ‰ J œ .
9 œ m . œ m œ mœ. œ œ. œ œ œ# . #œ œ œ œ# & . J J J
˙ œ œ ˙ œ œ œ œ ? œb œ œ œ œ . Œ ˙ ˙. œ œ œ
13 ˙. m œ m œ œ m ˙ % œ ˙ œ. #œ œ# . œ œ . J œ# . œ . & ‰ J J J ‰ J ˙ . j Œ œ œ œ. œ ˙ œ œ# ˙. œ œ œ œ œ ˙ ? œ Œ œ œ œ . œ . Œ ‰ J œ Œ‰J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.234 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
18 mœ. œ œ mœ. œ œ m œ m j & . J J œ œ. J œ. œ œ Œ œ œ Œ ˙œ œ ˙ œ# œ ˙ ˙. ˙. ˙. œ ? . ˙ œ
22 % œ mœ. œ œ œ œ m m & J œ œ œ œ. œ ˙. œ . J ‰ J ˙ œ ˙ ˙ œ ? œ ˙ œ œ ˙ . Œ œ Œ œ ˙. œ . Œ ‰ J œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.234 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.234 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3–4, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 90 (fol. 11Ar, Hand A’), trompette debellerrophon | rondeau (C) [Trompettes from Bellerophon (1679) LWV 57/19 (C)] M. 1 lhL3 rest missing M. 5 lhL3 rest missing M. 24 lhL3 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.234 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte (Gauotte) Bellerophon, 1679
US-BEm MS 777 (Menetou), no. 91, fol. 11Av LWV 57/42
j m m 2 œ œ œ. œ œ œ œ œ œ & œ. œ J œ œ œ. J ‰ j ˙ œ œ ˙ ˙ ? 2 Œ œ #˙ ˙ ˙ ˙ Œ œ œ œ #œ œ Œ œ © David Chung, 2014
5 œ m m . œ œ œ. œ œ #œ œ mœ# . œ œ œ œ #œ œ. œ & œ œ . J J J œ ˙ œ. œ ˙œ œ œ œ œ œ ˙ #˙ ? . œ. œ œ œ œ #œ œ œ œ ˙ . J Œ œ
10 m m œ m œ œ #œ œ œ œ #œ œ œ# . œ & œ œ œ œ œ œ œ œ J
œ œ œ ˙ ˙ ? œ˙ œ ˙ ˙ œ œ ˙ Œ œ œ ˙ œ
13 m ˙. œ œ œ œ œ m j & ˙ œ œ. œ œ œ œ œ. œ ˙ J ˙ ? œ œ œ œ œ ˙ ˙ #œ œ œ œ œ. œ œ œ œ œ œ ˙ œ J œ Œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.235 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.235 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1, 7–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 91 (fol. 11Av, Hand A’), Gauotte (G) [Gavotte from Bellerophon (1679) LWV 57/42 (G)] M. 15 lhL3 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.235 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (entree Deproserpine) Proserpine, 1680
US-BEm MS 777 (Menetou), no. 92, fols. 12Ar–13Ar LWV 58/1 j œ œ j m j j œ˙. œ œ ˙ œ œ œ œ œ œ & C w M œ œ ˙ œ wœb . œ œ. œ œ œ ˙˙.
Œ ˙ ˙ œ bœ œ œ ˙ ˙ œ bœ ˙ ˙ j ? C ˙ #˙ œ ˙ ˙ œ. œ Œ œ © David Chung, 2014
5 j œ . œ œ œ œ bœ . œ œ œ #˙ œ œ œ œ œ œ œ œ œ #˙ œ œ œ #œ œ & œ œ. œ œ œ œ œ œ œ œ. œ Œ ‰ J œ ‰ J J n Œ‰j m Œ ? ˙ œ ˙ ˙. œ ˙ œ ˙ œ œ bœ œ w ˙ Œ œ
9 1. 2. m j [] œ œ. œ œ œ. #˙ œ œ # œ œ ˙ œ. ˙ œ w œ# . w œ# 6 & ˙ œ ‰ J ˙. . ‰ J ˙. 4 n (a) m bœ j j ? œ œ œ œ œ œ œ ˙ Œ ‰ œ œ œ œ œ Œ ‰ œ ˙ 6 œ #˙ ˙ ˙ . ˙ 4 Œ œ
13 m j m œ œ . œ œ ˙ œ œ œ œ œ. œ œ œ ˙œ œ. œ œ œ & 46 . Œ œ œ #œ œ œ# w ˙ œ #œ œ #œ œ œ ˙ n
? œ œ #œ œ œ ? 6 . & Œ œ b˙. œ ˙ Œ 4 œ œ œ œ
(a) measure supplied by the Editor WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m m j j j j œ bœ œ œ ˙. œ œ œ œ. œ œ œ. œ œ œ. œ.œ œ œ ˙œ. œ & ˙. ˙ œ. œ œb œ. œ œ J J J ˙ ˙ œ . . œ œ b˙ œ œ bœ œ . œ œb ˙. ? Œ œ œ œ J Œ Œ œ
20 œ m œ œ œ bœ œ bœ œ . œ bœ œ œ œ œ & œ œ œ œ w˙ œ œ ˙. œ œ œ Œ ˙ w ? œ œ œ œ œ. œ œ . œ œ œ œ œ Œ œ œ bœ œ œ
23 œ œ œ œ mœ# #œ œ ˙. œ œ œ œ œ . #œ œ & ˙. ˙œ œ œ œ ˙ ˙. ˙ . œ œ œ œ œ œ œ ˙˙ œ ? œ œ œ œ œ œ
26 m j m m ˙ . . œ j j œ œ œ # ˙ œ ˙. œ œ ˙ œ. œ œ. œ œ #œ œ & ˙ #œ #˙ œ#œ w œ ˙. œ œ ? œ #œ #œ œ œ w œ Œ Œ œ œ #œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
29 œ m œ œ ˙ œ œ œ œ œ œ œ & œ œ œ œ œ œ #œ œ #œ ˙ bœ œ œ (b) Œ Œ ˙. ˙. ? ˙ œ #œ ˙ œ œ#œ ˙ œ œ œ œ b˙ bœ b˙ œ
32 m bœ œ bœ œ œ ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ˙ œ œ b˙ œ ˙ œ ˙ c
˙ ? ˙ œ [] Œ Œ œ ˙. ˙. ˙. b ˙. c
35 m j r m œ m m œ. œ bœ œ [] œ œ œ œ œ #œ. œ œ . œ [] œ œ œ œ œ # œ œ œ œ œ & c #˙ œ ‰ J ‰ œ œ b œ œ bœ ˙ ‰ J œ J m(c) m ? œ m[] c & ‰ œ b œ œ bœ œ œ œ bœ œ œ œ œ w œ J œ# œ œ Œ‰J ˙
38 m j r j m r j r œ œ bœ œ œ œ. œ œ. œ œ . œ œ œ œ.. œ œ . œ œ œ œ & œ ≈ J œ œ. œ ˙ R J R œ mœ bœ bœ. œ mœn œ. œ bmœ j ? J œ J R œ œ œ œ œ mœ. œ & œ (d)J R (b) a second lower: c” (d) dotted quarter note (c) ornament between c” and a” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
40 m M mj r j r œ œ œ œ . m œ. œ œ . œ œ œ œ œ œ []œ œ j r œ œ œ œ œ œ œ & J R ‰ œ ≈ œ # œ œ œ# . œ# œ œ# œ œ ˙œ J ≈ R J M ˙ œ ? œ œ# œ œ. œ œ. œ œ œ œ œ Œ J J R œ œ œ #œ
42 m j r j r mj r m m #œ œ˙ . œ œ . œ œ . œ œ œ œ œ œ . œ œ & œ œ ˙ œ #œœ œ ˙ œ œ #œ M
m ? j r Œ œ œ œ œ . œ œ œ œ œ œ œ œ ˙ œ m œ œ
44 m m m œ. œ œ. bœ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ & wœ# œ œ œ
m m ? œ œ œ œ œ œ œ œ. œ. œ œ# œ œ œ bœ œ bœ. œ bœ œ œ
46 m œœ œ œ œ œ œ œ. œ œ. #œ ˙ œ ‰w œ . & J ˙ fin Œ œ bœ œ ? Œ‰j . œ. œ œ œ œ ˙ . J ‰ œ w J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In both “ ” and “6/4” time, eighth notes in conjunct motion (mm. 1–4, 16, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 92 (fols. 12Ar–13Ar, Hand A’), entree Deprosperine (d) [Ouverture from Proserpine (1680) LWV 58/1 (d)] M. 9 rhL4 sharp missing M. 12 measure missing M. 30 lhU2 a second lower: c” M. 34 lh2 flat missing M. 36 rhL7 ornament between c” and a” rhL8 flat missing lh4 flat missing M. 37 rhL6 sharp missing M. 39 lh9 dotted quarter note M. 40 rhL11 sharp missing lhL1 rest missing M. 47 barline missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte (bellefleur charmante onbrage gauotte | en trio) Proserpine, 1680
US-BEm MS 777 (Menetou), no. 93, fol. 13Av LWV 58/46 % m œ m j 2 œ. œ œ œ. œ œ œ œ œ œ œ. œ ˙ . & J J #œ #˙ ˙ œ ˙ œ œ œ œ #œ œ œ œ# ˙ ? 2 œ œ œ. œ œ œ œ ˙ . Œ œ J œ Œ œ ˙ © David Chung, 2014 Œ œ
6 œ . . œ œ. œ œ œ ˙ œ œ œ œ œ œ œ œ & J J J % ˙ œ œ œ œ ? œ œ˙ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ œ œ
11 œ œ œ. œ œ œ œ œ œ. œ œ. œ mœ. œ m & J J J J ˙ % ˙ œ œ œ œ œ œ œ œ ˙ œ œ # ? œ #œ œ œ ˙ œ œ ˙ œ œ Œ œ
16 œ m j œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ. & J J #˙ œ ˙ (a) ˙ œ % œ œ#œ #œ˙ œ œ œ #œ œ ˙ ˙ Œ œ ? #œ œ œ. œ œ œ œ œ œ œ ˙ J Œ œ ˙
(a) redundant quarter rest removed WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.237 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
%en trio 21 m j j m j œ. œ œ œ œ. œ œ œ œ œ œ. . & œ. œ œ œ# #œ. œ#œ œ# œ #œ #˙ œ ˙ . J J J [fin] ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ ˙
26 j j j m œ œ œ. œ ˙ œ œ. œ œ œ œ & œ œ. œ œ. œ ˙ œ œ œ œ œœ œ œ œ J J % œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
31 j j j m j œ œ . œ œ œ œ œ œ. œ . œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ #˙ & J J J ˙ % œ œ œ ? œ #œ œ œ œ œ œ œ œ œ œ œ ˙ œ Œ œ
36 m j j m œ œ œ. œ œ. œ œ œ nœ œ œ œ j & œ œ œ. #œ #œ œ œ œ œ œ#œ. œ ˙ J % œ œ ? œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.237 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.237 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 10, 19, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 93 (fol. 13Av, Hand A’), bellefleur charmante onbrage gauotte | entrio (a) [Gavotte (Second Air) from Proserpine (1680) LWV 58/46 (a)] M. 5 lhL1 rest missing
M. 18 lhL2 redundant quarter rest removed:
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.237 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture delopera dutrionphe delamour) Le Triomphe de l’Amour, 1681
US-BEm MS 777 (Menetou), no. 94, fols. 14Ar–15Ar LWV 59/1 jm j m j . . œ j j œ œ œ. œ œ œ œ œ. œ ˙ œ˙. œ œœ. œ[]œ œ˙. œ & b 2 œ œ œ œ œ œ œ œ œ œ J g˙ w I œ
? 2 w ˙ ˙ #œ œ œ œ ˙ œ œ œ œ b ˙ œ œ œ œ © David Chung, 2014
5 jm j m œ jMœ œ m j jm œ˙. œ.œ œ œ. œ . œ œ œ. j œ & b œn . œ‰ œ ‰ œ œ J . . œ œ.œ œ œ. œœ ˙ œ œ œ œ J ŒJ Œ J ‰ J œ œ ‰ œ j J [] ‰ œ œ œ œ n œ œ. œ ˙ œ.œ œ ˙. œ œ j ? œ œ J J ˙ œ œ w bœ œ b ˙ œ œ œ ˙ Œ‰J œ
10 j 1. jm m j œ. m j j œ . œ œ œ œ œ œ. œ œ œœœ œ. œœ ˙ œ b œ.œ ˙ œ œ. œ ˙ œœ œ œ œ œ œ J ≈ ‰ œ . œ . 6 & ‰ J ˙ J ˙ 4 Œ Œ ˙ œ œ œ. œ œ œ œ œ ˙ ? œ œ œœ œ ˙ ‰ œ œ . 6 b ˙ œ œ œ œœœœœ J Œ œ Œ ˙ œ œ 4 œ Œ‰J œ
15 2. m (a) œ. œ œ œ. œ œ mœ. œ j œ œ. œ 6 ˙.œ œ. œ œ . J œ œnœ. œ œ ˙œ. œ J œ & b 4 ‰ J ˙ J . J J j œ œ œ œ. œ œ. œ œ ˙. j ? 6 . . . J J œ. œ œ b 4 ˙. œ . J œ. œ œ Œ‰J œ (a) F-Pn Vm2 59 (Paris: Christophe Ballard, 1681): dotted quarter g”, eighth f” WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
19 j j m m j ˙ œ œ. œ œ ˙. ˙ œ œ. œ œ ˙ œ b ˙ œ œ. œ œ œ. œ ˙. ˙. J #˙ œ# œ. œ & ˙ J J ˙ œ. œ. œ œ œ œ. œ œ œ. œ œ œ. œ ? œ. œ œ œ œ J œ. œ J œ œ. œ œ b J J J J J J
n 23 m j j m m œ m j œ œ œ j œ. œ œ. œ œ mœ. œ œ œ œ#˙œ. œ ˙ œ. œ œ œ˙. ˙œ œ œ œ. œ & b J J J #˙ œn . J n˙ n˙ n j ? []n j . j j . œ ˙ j b œ# . œ œ œ œ œ œ. œ œ. œ œ œ œ . œ œ œ ˙. J œ œ
27 j j j j j œ œ. bœ œ œb . œ œ . j . bœ b ˙ œ. œ œ ˙˙ œ ˙œ. œ œ ˙œ œ œ œ. œ œ ˙ œ œ œ & ˙ J Œ ˙ œ ˙. ˙ œ j j ? œ ˙ j j j œ. œ b œ. œ œ œ œ. œ œ œ. œ œ œ œ. œ œ ˙. J œ. œ
31 m j j m œ œ œ [] j j œ. œ œ ˙ œ . œ ˙ n œ. œ œ ˙ œ & b w˙ . œ wn . ˙. œ. œ œn œ. J œ ˙ . œ. œ œ . œ ? œ. œ œ . œ œ. œ œ œ. œ œ œ œ œ œ. œ œ œ œ b J œ J œ J J J J J J
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
35 m j m j m j œ œ ˙ œ œ. œ œ œ #˙. œ. . œ˙ œ œ. #œ & b ˙. ˙ w ˙ œ ˙
n œ. œ œ œ. œ œ œ œ j ? J J œ# . œ œ . œ œb . œ œ. œ œ b J J J œ
38 j ˙ œ j œ m œ œ. œ œ œ œ. œ ˙. & b n˙ ˙. ˙œ. n˙ œn J œ ˙.
œ œ. œ œ œ. œ ? j œ œ œ. œ œ œ. J œ J œ b œ. œ œ œ. J J J
41 j m j j œ. œ j . œ œ œ. œ bœ & b ˙. œ ˙œ. œ œ œ ˙ ˙.
j ? œ. œ œ. bœ œ œ. j b J œ J œ œ œ. œ œ
43 j j j m m œ. œ œ œ. œ œ j ˙ œ ˙. ˙ œ œ œ. œ œ. œ œ & b ˙ œ ˙. ˙ Œ ˙ 2
? j j j j . œ œ j b œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ J œ. œ œ 2
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
46 j j m m j œb j ˙ œ œ œ œ œ. œ œ. œ. œ œ˙ . bœ œ œb . bœ & b 2 ˙ œ. nœœœ œ˙ œ œ ˙ ˙ J n˙ ˙˙
b . ? 2 œ. œ ˙ œb . œ ˙ œ ˙ b J J Œ ˙ ˙ œ Œ œ
50 m j j œ œb ˙. œ œ. œ ˙ œ ‰ œ œ ˙ & b ˙ n˙ ˙ J []n . œ Œ œ œ œ œ œ ˙ œ œ œ ? b œ œ œ J œ œ ˙
53 ˙ œ ˙ ˙œ œ œ œ ˙ œ œ œ œ ˙ ˙ œ œ ˙ & b ˙ ˙ œ ˙ œ œ œ œ ˙ œ œ œ œ ? b œ œ œ
56 j j m j 1. 2. ˙œ. œ ˙ œ. œ œ. ˙˙ ˙ ˙ œ 6 w œ œ. œ œ . w & b 4 ‰ J ˙ J . 2 w
˙ 6 j ˙ w ? b ˙ ˙ ˙ 4 Œ ‰ œ . 2 ‰ œ œ œ Œ œ w w
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1–5, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 94 (fols. 14Ar–15Ar, Hand A’), Ouuerture delopera dutrionphe delamour (F) [Ouverture from Le Triomphe de l’Amour (1681) LWV 59/1 (F)] M. 4 rhM3 sharp missing M. 5 lh4 natural missing M. 7 lhL1 tie missing M. 10 rhL2 tie missing M. 18 rhL2–3 F-Pn Vm2 59 (Paris: Christophe Ballard, 1681): dotted quarter g”, eighth f” M. 23 lh2 natural missing M. 33 rhL2 natural missing M. 45 rhL2 rest missing M. 51 lh7 natural missing M. 54 lh1 tie missing M. 58 rhL4–6 notes missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______lh time signature missing M. 59 barline missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Passacaille (passacaille de persee) Persée, 1682
US-BEm MS 777 (Menetou), no. 96, fols. 16Av–18Ar LWV 60/82 M m œ m M Mœ #œ œ œ œ œ. #œ #œ œ 3 œ. œ œ . J œ œ œ œ. œ œ & J J Œ œ ˙. ˙ . ˙ ˙ ? 3 ˙ ˙. ˙˙. ˙. œ Œ ˙ œ © David Chung, 2014
6 M M m. œ œ. #œ œ œ œ œ J #œ #œ œ œ M œ œ mœ. œ & œ œ œ œ œ J Œ m ˙. ˙ œ . ˙ ? ˙. ˙˙. ˙. ˙ ˙. Œ ˙ œ
11 m j m M m j m j œ[] œ. œ [] j œ œ œ. œ œ [] œ. œ & ˙ . œ I ˙œ. œ ˙ œ ˙ ˙ .
[] ? ˙. ˙. ˙ ˙. ˙ . Œ ˙ œ
16 m M M M m j mœ œ œ œ œ œ œ œ œ œ œ œ œ œm œ œ mœ œ œ & œ #˙œ. œ œ œ œ œ#œ œ œ #œ
œ ? ˙ & ˙œ œ œ œ . œ œ œ œ œ œ œ[]œ œ œ œ œ œ œ œ œ Œ ˙ œ ˙ ˙ . œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
21 M m m M mœ œ œ œ œ œ œmœ œ œ œ œ œ œm œ œ œ œ j M & œ œ œ œ #˙œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ˙ ˙ & ˙ ˙. œ œ ˙. œ œ œ œ œ œ œ œ œ œ
26 ŒŒ m œ œ œ œ M m œ & œ œ ˙. œ˙ #m˙ œ œ œ œ œ œ m œ ˙ œ ˙ œ œ œ ˙ ? ˙ ˙ ˙. ˙ ˙. Œ ˙ œ
31 m m j m œ M m m œ œ . œ œ œ. œ œ œ. œ œ & ˙ œ œ #˙œ œ œ J m œ œ ˙ ? ˙. œ œ & œ˙ ˙œ. œ œ ˙ œ ˙ œ ˙.
36 m m m œ j mœ œ œ œ Mœ œ œ œ œ m œ œ œ œ œ œ œ & #˙œ. œ œ œ œ œ œ œ œ œ m œ #œ œ œ #œ œ œ œ œ œ œ ? ˙. & #œ ˙ ˙ œ ˙ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
41 m m M . m œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mœ. œ m & œœ ˙ œ œ œ œ œ œ œ J œ
? œ ? œ. œ œ & œ œ œ œ œ J œ & œ œ œ œ œ œ ˙ ˙ ˙ œ ˙ ˙
46 m M M j œ œ œ. œ m œ œ œ. œ œ œ. œ œ œ œ œ œ & J œ# œ J #˙ œ (a) []˙ ˙ ˙ ˙ œ ˙ œ œ . ˙ ? I ˙ œ. œ ˙ œ & #œ œ Œ ˙
51 m j œ j œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ. œ œ ˙ œ ˙ & ˙œ œ œ œ œ œ œ Œ œ œ˙ œ œ œ Œ Œ œ ? œ œ œ œ œ & j œ ˙ œ. œ ˙ œ œ
56 œ œ m j œ m j œ œ ˙œ œ œ. m˙ œ œ œ œ œ. œ œ œ œ. œ & Œ Œ œ #˙ œ œ ˙ m ? œ œ œ mœ œ œ œ œ œ œ & ˙ œ œ #œ #˙ œ ˙ Œ œ œ
(a) bass clef shifted from beginning of the following measure WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
61 j m œ œ œ œ œ. œ œ œ œ œ œ œ œ & œ ˙œ œ œ œ #˙ œ œ œ œ ˙œ. #œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
66 m œ m j œ œ œ œ œ œ j & œ #˙œ. œ œ œ œ œ ˙œ œ œ œœ #˙œ. œ œ œ ? œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
71 œ œ œ œ œ œ œ j œ œ #œ & œ œ œ œ ˙œ œ œ œœ #˙œ. œ œ œ œ
œ ˙ œ œ ? & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
76 œ œ œ œ œ œ œ œ œ œ œ œ #˙ œ #œ œ œ œ œ œ œ œ œ & œ œ œ
˙ ˙ œ ˙ œ œ œ œ œ œ œ ? ˙. ˙. ˙. ˙ ˙. œ Œ ˙ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______
81 m M M œ œ œ œ œ œ m m œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ
. j œ œ œ œ œ. œ œ . j ? ˙œ. œ œ ˙. ˙ ˙. œ ˙œ. œ œ Œ ˙ œ
86 m m œ j œ #œ œ œ œ œ œ œ j & #˙œ. œ œ œ œ œ œ œ# œ œ œ #˙œ. œ œ ? #œ œ & ˙ ˙. ˙ œ ˙. œ ˙
91 œ #œ œ œ œ œ œ œ j œ #œ & œ œ œ œ œ #œ œ œ œ #˙œ. œ œ œ œ
m m m ? œ œ œ œ œ œ œ œ œ œ œ œ mœ œ œ œ ˙ œ œ œ œ œ
96
œ œ œ œ [] j œ œ #œ œ œ œ œ œ. œ ˙. & I ˙ ˙.
? ˙ œ œ œ œ œ œ œ œ œ œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 6 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 7 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 2, 4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 96 (fols. 16Av–18Ar, Hand A’), passacaille de persee (a) [Passacaille from Persée (1682) LWV 60/82 (a)] M. 11 rhL1 dot missing M. 12 rhL2 sharp missing M. 15 rhL1 dot missing lh1 dot missing M. 19 lhL1 dot missing M. 46 lh2 bass clef shifted from beginning of m. 47 sharp missing (before g) M. 48 lhL1 note missing M. 56 rhL1 rest missing M. 58 lhL1 rest missing M. 98 rhL2 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Entrée d’Apollon (entree dappollon) Le Triomphe de l’Amour, 1681
US-BEm MS 777 (Menetou), no. 100, fols. 21Av–21Ar LWV 59/58 m m j j M œ. j M œ. œ œ# . œ œ œ œ. œ b C ˙ œ œb . œ œ œ ˙œ. œ ˙ ˙ œ J & œ œ g˙ ˙
˙ ˙ ˙ œ œ ˙ ˙ ˙ œ ? C ˙ ˙ ˙. œ ˙. œ #˙ œ b ˙ © David Chung, 2014
5 1. m j jm m œ. m [] j œ œ. œ # n #˙œ. œ œ. œ ˙ œ#œ œ œ#˙œ. œ w . & b J J œ œ œ ˙ ˙ ˙ #w . ˙ ˙ ˙ ˙ ? . œ ˙. œ ˙w œ œ œ œ w . b ˙ ˙ œ œ œ œ . Œ ˙.
10 2. m j j m M b m M œ m b m œ Mœ. œ b ˙ œ . œ. œ œn . œ œ œ œ œ. œ œb . J œ. œ œ. J J & #˙ #˙œ. . ˙ J J J
? Œ œ mœ œ œ œ œ œ œ ˙. ˙ b ˙ ˙ . œb œ œ n˙œ œ œ œ œb œ Œ œ Œ œ ˙
15 M m Mœ œ œ m M œ bmœ œ œ mœb . œ Mœb mœ j M œ. œ œ œ. œ & b J ˙œ. œ ˙ J
œ œ ˙ œ œ ˙ ? n˙. ˙ œ œ œ ˙ ‰ œ œ œ ˙ n˙. œ b bœ ˙ Œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.240 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
19 Mœ. œ mœ. M œ m œ mœ. œ œ M mœ. œ œ#œ œ. œ# . œ œ ˙ œ œ ˙ & b J J J J ‰ j ˙ ‰ j œ . w. . œ ˙ #œ ˙ ˙. œ ˙. œ ? ˙ œ #˙ œ ˙. œ n˙. œ b #˙
24 m œ œ bM˙ œ M m j j b œ œ ˙ œ ˙ œ. œ œ œ œ. œ œ. œ œ & œ g ˙ œ J ˙ #œ. œ œ ˙. b˙. . ? œ ˙. œ ˙. œ #˙. œ ˙ b œœb œ b˙. ˙. bœ œ ˙ œ œ Œ œ
29 1. 2. (a) M œ œ M j . œ ˙ œ ˙ œ œ b˙ œ ˙ & b ˙ #œ. œ . œ œ g ˙ ˙ ˙ g ˙ . . ˙. œ ˙. œ b˙. œ ˙. ? ˙. œ n˙. œ œ ˙. œ b ˙ . œœb œ ˙ œ Œ œ Œ
34 m œ M˙ œ m j j & b œ . œ œ œ œ. œ ˙œ. œ #œ. œ œ ˙ J ˙ ? ˙. œ #˙. œ ˙ b b˙. ˙. bœ œ ˙ œ œ Œ œ ˙ Œ œ (a) petite reprise in mm. 31–7 copied from mm. 23–9 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.240 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.240 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “ ” time, eighth notes in conjunct motion (mm. 2, 6–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 100 (fols. 21Av–21Ar, Hand A’), entree dappollon (g) [Entrée d’Apollon from Le Triomphe de l’Amour (1681) LWV 59/58 (g)] M. 6 rh2 natural missing M. 25 rhU2 tie missing M. 26 rh1 note missing M. 30 rh1 note missing Lh1–2 notes missing M. 31–7 petite reprise copied from mm. 23–9
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.240 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Tranquil Cœur (tranquil coeur) Le Triomphe de l’Amour, 1681
US-BEm MS 777 (Menetou), no. 103, fol. 23Av LWV 59/3
j M m m b 3 œ œ. œ ˙. œ œ. œ & œ ˙ J ˙ œ ˙ œ œ œ œ œ œ ? 3 œ œ œ œ œ ˙œ œ œ œ œ œ œ œ b œ œ œ. J © David Chung, 2014
5 M m m œ œ b œ œ œ Œ œ & œ œ œ œ ˙œ. œ œ œ ˙ ˙ ˙œ ? œ œ œ œ œ œ œ œ œ œ œ œ b Œ œ œ
9 m m mœ œ m œ m j œ œ œ œ œ œ mœ œ & b œ œ. œ œ œ œ œ œ œ œ œ œ˙. œ œ ? œ œ œ œ ˙. œ œ œ œ œ nœ œ œ b
13 m []n œ. œ œ œ . . Œ œ œ & b ˙ . . Œ œ œ#œ ˙ œ œ œ [] œ œ œ œ œ˙ . œ œ ? ˙. . . œ œ œ œ œ. œ œ œ b Œ œ œ . .
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.241 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m j m m j œ œ. œ œ# œ œ œ œ œ #˙œ. œ ˙. & b œ œ mœ œ ˙. ˙. œ []I œ œ œ œ ? œ œ œ œ ˙œ œ œ ˙ b œ Œ œ œ
21 m m œ œ œ œ œ œ m. j & b Œ œ œ œ œ œ œ ˙. œ œ œ œ m ˙ ? œ ˙ œ œ œ. œ œ #˙œ œ b Œ œ ˙
25 m m M j j . & b œ œ. œ œ œ. œ ˙. . ˙ ˙. œ ? œ ˙ b œ œ œ œ ˙ Œ œ œ . Œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.241 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.241 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 2–3, 6–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 103 (fol. 23Av, Hand A’), tranquil coeur (F) [Tranquil Cœur from Le Triomphe de l’Amour (1681) LWV 59/3 (F)] M. 13 rhL1 natural missing M. 16 lhU1 dot missing M. 18 lhU2 sharp missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.241 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Deuxième Menuet (menuet du tronphe delamour) Le Triomphe de l’Amour, 1681
US-BEm MS 777 (Menetou), no. 104, fol. 24Ar LWV 59/7 m m bœ m m M bœ b 3 œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ & œ. J J œ œ œ. J J ˙. œ œ œ œ œ œ ˙. œ œ œ œ ? 3 œ œ ˙. œ œ b œ Œ œ œ © David Chung, 2014
7 M m m Mœ m Mœ œ mœ. b œ œ m . . mœ. œ œ. œ œ n˙ œ & œ ˙. . . J J J ˙ œ ˙. œ œ ? œ œ œ . œ˙. œ œ nœ ˙. b ˙ œ . . œ œ œ œ œ œ œ Œ œ Œ œ
13 m m [] j m m M Mœ œ n œ. œ. œ œ ˙ œ & b n˙ œ œ. œ œ ˙ œ ˙. œ J J ‰ J ˙ Œ ˙ œ nœ œ œ œ œ œ œ œ œ œ ? ˙ œ ˙œ œ ˙ b œ Œ œ ˙. œ Œ‰J œ
19 m M m j b œ. œ œ ˙ œ œ. œ œ œ. œ œ œ œ . j . & J J ˙œ œ ˙. œ ‰ J ˙ Œ œ ? #˙. œ ˙. Œ‰j œ . b œ ˙. œ œ œ œ ˙ œ . Œ œ Œ œ œ Œ œ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.242 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.242 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 4, 18, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 104 (fol. 24Ar, Hand A’), menuet du tronphe delamour (F) [Deuxième Menuet from Le Triomphe de l’Amour (1681) LWV 59/7 (F)] M. 15 rhL2 natural missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.242 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Gavotte pour Orithie et ses nymphes (gauotte) Le Triomphe de l’Amour, 1681
US-BEm MS 777 (Menetou), no. 112, fol. 28Av LWV 59/26 m m œ. œ œ œ m j œ. œ #œ œ œ J œ. œ œ œ œ œ. œ & b 2 œ J J #˙
œ ˙. n œ ‰ j œ #œ œ ? œ œ œ œ œ œ. œ œ œ ˙œ ‰ j œ b 2 Œ œ œ J œ #œ œ ˙ #œ © David Chung, 2014
5 1. 2. m M m ˙ . ˙ . œ# . œ œ. œ œb . œ & b #˙ . #˙ . J J J œ bœ œ œ ? # nœ œ œ ˙ b œ œ œ œ . ˙ . Œ œ Œ œ
9 œ M m œ œb œ bœ m œ œ. œ & b ˙ œ. œ œ œ œ J Œ ‰ [] j ˙ ? œ˙ œ œ b œ œ œ œ ˙ œ . œ œ b œ ˙ i œ œ œ Œ ‰ J ˙
12 M œ m Mœ. œ œ œ œ. œ mœ. œ œ# J œ œ# . œ ˙ & b J J J ˙ . j ‰ œ œ b œ n ? n˙ œ œ œ œ œ œ Œ œ b œ bœ œ œ œ bœ œ ˙ . Œ œ ˙
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.243 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.243 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “2” time, eighth notes in conjunct motion (mm. 1–2, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 112 (fol. 28Av, Hand A’), gauotte (g) [Gavotte pour Orithie et ses nymphes from Le Triomphe de l’Amour (1681) LWV 59/26 (g)] M. 9 lhU3 flat missing M. 11 lh1–2 rests missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.243 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (Ouuerture d Alceste) Alceste, 1674
US-BEm MS 777 (Menetou), no. 113, fols. 29Ar–30Ar LWV 50/1
˙ . œ m m j ˙ . œ œ œ. œ œ. œ m˙. œ j œ. œ & C ˙ . ≈ J J ‰ J œ. œ ˙
w ˙ ˙. ˙ ? ‰ œ œ œ ˙ ˙ ˙. œ œ œ œ. œ œ œ œ C w w ≈ J ≈ œ © David Chung, 2014
5 m j j m œ. œ ˙ mœ# . œ œ œ. œ œ œ . œ œ. œ . œ œ œ œ. œ œ J & ˙˙ œ. m ˙ ? #˙ #˙ œ. œ ˙ ˙ ˙ œ. œ œ ≈ œ œ œ œ. œ J ˙ œ˙. œ ˙ mœ. œ J J J J
1. 2. 9 m m j j j [] œ. œ œ# . œ m œ˙. œ œ˙. #œ œ I œ œ #w #w & J ˙ œ# #œ œ ˙ ˙ #˙˙ w . w 3
? ˙. œ œ#œ œ. œ j j ≈ ˙. ≈ J œ ≈ œ œ œ œ œ. œ œ œ œ œ . 3 ˙. œ. w w
14 œ œ m m œ œ œ. œ œ mœ. œ œ & 3 . Œ‰J œ. œ œ ˙. œ. J J J reprise J j Œ ‰ œ œ œ œ œ. œ œ ˙. œ# . œ œ ? 3 . ˙. ˙. Œ‰J J J ˙. ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 j œ œ œ œ œ m œ œ œ œ œ œ #œ œ œ˙. œ ˙ œ & œ. œ œ œ œ. J ˙ ˙ j m œ. œ œ œ m ˙. ˙ œ ˙. ˙ œ œ. œ œ# . œ œœ# ? Œ‰ œ œ. œ œ ˙. œ. J J J J
20 M œ [] œ œ. œ œ œ m œ œ ˙ ˙ œ ˙ ˙ œ œ . œ #œ J #˙ œ œ. J & Œ ˙ Œ ˙ œ œ œ m œ œ œ #˙ #˙. œ ˙ ? œ. œ œ œ œ. œ œ# œ. œ œ˙. #œ œ œ J œ J J J
23 mœ. M m œ œ# œ. œ œ# mœ. #œ œ #œ mœ# . œ œ œ# œ. œ ˙. & J J J J ˙.
? #˙. ˙. ˙ œ œ œ #œ œ œ œ œ mœ# . #œ # ˙. œ. œ œ œ. œ œ ˙. œ œ J œ J n J
26 m œ. œ œ œ. œ j œ m #˙. œ ˙ œ œ ˙. œ ˙ œ œ œ. œ #œ œ œ. œ & œ. J n J j œ œ œ . œ œ œ m œ m. œ œ. œ ? œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ J œ J J J n
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
29 œ m m m˙. œ. œ œ œ. œ œ œ. œ œ œ œ œ. œ œ & J J ˙ J m n ? #˙. ˙. œ. œ œ m. ˙ œ. œ œ œ˙. œ m œ. J œ œ œ œ. œ œ J J œ #˙. œ. J J
32 j m j œ œ j j œ. œ œ œ mœ ˙ œ. œ œ œ. œ œ œ . œ œ œ m˙ & ˙ œ ˙ œ ˙˙ m j œ ˙ j j ? œ. œ œ œ˙. œ . œ j j œ œ œ œ. œ œ œ. œ œ œ. œ J m œ
35 m j m œ. œ œ œ œ . œ œ m œ œ . j 2 ˙ J œ ≈ œ œ œ ≈ œ œ œ. œ. œ ˙œ. œ & #˙˙ J J m m ˙ ˙ #˙ ˙ ˙ ˙ ˙ ? 2 ˙ œ. œ œ. œ œ. œ ˙ J J J ˙ ˙
39 œ #œ œ #m˙ œ œ œ #œ. #œ œ m M m j ˙ ‰ ‰ œ. œ œ œ. œ œ. œ w . & ˙ J w m m M Œ œ ˙ œ œ ˙ ˙ w ? ‰ ˙ ##˙ w #˙ œ œ #˙ . œ œ œ ˙ œ w . w
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In both “ ” and “3” time, eighth notes in conjunct motion (mm. 1, 17–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 113 (fols. 29Ar–30Ar, Hand A’), Ouuerture d Alceste (a) [Ouveture from Alceste (1674) LWV 50/1 (a)] M. 1 rh1 dots missing lh time signature missing M. 11 rhU4 sharp missing M. 14 lh time signature missing M. 20 rhL3 rest missing M. 21 rh1 dot missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Les Songes agréables (Les Songes agreables d’atis) Atys, 1676
US-BEm MS 777 (Menetou), no. 114, fols. 30Av–31Ar LWV 53/58
M m M œ . œ mœ œ œ & b 3 Œ œ . œ #˙. œ ˙ % ˙ œ #œ œ œ m œ œ œ œ œ œ . œ œ œ œ œ œ ? b 3 Œ . Œ œ © David Chung, 2014 J
5 m bœ œ ˙ Mœ œ œ œ œ bmœ œ b˙ œ & b œ ˙œ ˙ œ˙. œ œ ˙ J j ‰ œ œ œ œ ˙ œ œ œn ˙ œ ? œb ˙ œ œ œ œ Œ œ œ b Œ œ ˙.
9 1. 2. m j b b œ œ œ. œ ˙. Œ œ œ . ˙. & ˙ #˙. ˙ #˙. 1ere fois g 2e fois % œ ˙ m Œ œ œ ? b b˙. œ. œ œ . ˙ œ Œ œ œ ˙. M ˙ J Œ
13 M m œ b . œ mœn . œ œ. œ œb œ. bœ œ œb mœ. œb & . J J J Reprise ˙ œ ? . œ ˙œ œ bœ˙. œ œ˙ ˙ œ œ œ b . ˙ œ ˙ nœ ˙.
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.245 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 m œ. œ œ. œ bœ œ bœ œ. œ œ bœ œ œ m & b J œ œ. œ œ œ J j ‰ œ œ Œ bœ œ œ œ œ œ œ ˙ œ œ œ ? b œb ˙. bœ ˙. œ œ
21 m m m œ œ œ œ bœ œ œb œn . œ œ œ œ œ# . œ #œ œ. œ & b J
˙œ œ œ œ #œ Œ œ œ œ ˙œ œ œ œ ˙ M œ ? b n˙. œ œ ˙
25 m œ œ œ œ œ m œ# . œ#œ œ œ œ œ œ œ bmœ œ bœ œ nmœ œ œ œ & b ˙ œ ˙ ˙œ œ ? œ œ ˙. ˙˙. œ œ b Œ Œ œ œ œ n˙ ˙
29 T m m œ œ œ œ œ œ œ #œ œ œ #œ œ. œ œ ˙œ# . œ #œ ˙. œ . & b J ‰ J n˙ . # œ œ ˙œ œ ˙œ œ œ œ ˙ ? œ œ œ ˙. . b Œ œ Œ ‰ œ œ . J(a)
(a) half note WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.245 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.245 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3, 6–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 114 (fols. 30Av–31Ar, Hand B), Les Songes agreables d’atis (g) [Les Songes agréables from Atys (1676) LWV 53/58 (g)] M. 1 lh time signature missing M. 32 lhL1 rest missing lhL4 half note
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.245 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Chaconne (Pleurs d’atis) Ballet des Muses, 1666
US-BEm MS 777 (Menetou), no. 116, fols. 32Ar–32Av LWV 32/– m m # M Mœ. œ œ œ. œ œ œ œ. œ œ & 3 œ œ œ œ œ J gœ. J (a) m Œ[] Œ [] œ œ œ œ œ[] #˙ œ ˙ ? # 3 ˙ . ˙ . ˙ . œ. œ œ œ (b) © David Chung, 2014
5 m m # m œ. œ œ œ. œ œ œ ˙. & œ œ œ œ œ J gœ. œ m ? # œ Œ Œ œ œ œ œ #˙ œ œ ˙ ˙. ˙. œ
9 # œ m m M œ œ. œ œ. œ œ œ œ œ œ œ mœ. œ & J gœ œ J
? # Œ œ œ Œ œ œ Œ ˙. ˙. œ œ Œ œ œ œ ˙ ˙.
13 m m m m # j œ & œ œ. œ œ. œ œ œ œ. œ œ œ. œ œ œ J ‰ J œ j ? # œ Œ ‰ œ œ œ œ œ# Œ œ œ œ ˙ ˙. ˙. ˙.
(a) a second higher: b (b) a second higher: e WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.246 Keyboard Arrangements of Musi c by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
17 # m m m . j œ. œ œ j & œ# œ œ# œ ˙. œ œ. œ Œ Œ ? # ˙ œ Œ ˙ Œ œ œ ˙ œ œ #˙. œ ˙ œ œ ˙.
21 m # œ j & œ œ œ œ œ. œ œ ˙ Œ ˙ œ. Œ ˙ % Œ ? # ˙ œ ˙ . œ œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ
25 m # œ œ œ & Œ ˙ Œ ˙ œ œ œ Œ Œ Œ ? # œ œ. œ œ œ œ œ #œ œ œ œ œ ˙.
28 1. 2. # m j œ ˙ . & œ œ. œ œ ˙ ˙. fin 1e fois ˙2e. fois % ? # ˙ Œ œ œ œ œ œ œ œ œ ˙. Œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.246 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.246 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 1–7, 9–11, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 116 (fols. 32Ar–32Av, Hand B), Pleurs d’atis (G) [Chaconne from Ballet des Muses (1666) LWV 32/– (B)] M. 1–3 lhL1 dots missing M. 2 lhU2 a second higher: b M. 4 lhL4 a second higher: e M. 21 lhL2 rest missing M. 22 lhL2 rest missing M. 27 lhU1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.246 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Courante de Lulli (Courante de Mr de Lully)
US-BEm MS 777 (Menetou), no. 117, fols. 33Ar–33Av LWV 75/24 M m (a) œ mœ. œ œ. œw œ. J œ œ œ œ œ œ ˙. œœ bœmœ œ & b 3 ‰ J . w œ. J ˙. œ. % Œ [] œ m ˙ . j œ œ œ ˙. œ n ˙ œ. œ œ œ œœ œ˙ œ ? 3 . œ. #œ œ ˙ #˙ œ b . w © David Chung, 2014
5 T n m j m j M œ. œ œ# œ mœ. œ œ b œb . œ œ œ œ. œ. œ œ. œ J & J ˙ œ #˙œ. œ J J (b) œ œ œ œ ? ˙ œ œ# ˙ œ Œ œ ˙ b ˙ ˙. œ ˙ ˙œ œ œ œ Œ œ Œ œ œ ˙ ˙
8 m 1. ˙. œ ˙. j œ m œ m m œ. œ #œ. œ œ œ ˙ ˙ & b ˙. ‰ œ œ nœ œn . œ œ# ˙ #˙ ˙ ‰ J . J 1er fois % Œ œ œ œ œ œ ? œ. œ # ˙ ˙ ˙ ˙ m b œ œ œ œ ˙ œ œ œ œ œ . w Œ ‰ œ ˙ J
11 2. œ œ. œ mœ œ œm œ ˙ ˙ J . J . œ. œ œ. bœ œ œb mœ & b #˙ ˙ ‰ . J J . œ 2e fois J (c) Œ [] ˙ œ œ œ œ œ œ œ˙ ˙œ œ ˙œ ? ˙ ˙ . .# ˙ œ œ œ œ œ b œ [] . (d) ‰ œ ˙ ˙ . J (a) eighth note (c) eighth note (b) dotted quarter note (d) two eighth notes WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
14 m m m j . œ. œ œ. œ œ b œ. œ mœ. œ ˙. b˙. œœ# . œ J & œ. œ J J #˙ œ J (e) n ˙ ˙œ œ m m ? #˙œ œ œ . œ b˙ œ bœ œ œ œ œ ˙œ œ ˙ ˙ b œn œb œ œ œ œ #˙
17 m œ # œ. œ œ œ œ# . œ#œ œ ˙œ œ œ ˙ œ & b œ. ˙ nbœ œ ˙ ‰ J . [fin]
? ˙. ˙. œ ˙. . b . œ œ œ ˙ ‰ . . œ J Œ œ J ˙ ˙
(e) eighth note WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty -seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1 . See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In “3” time, eighth notes in conjunct motion (mm. 3–4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 117 (fols. 33Ar–33Av, Hand B), Courante de Mr de lully (g) [Courante de Lully, after D’Anglebert/Lully (1689) LWV 75/24(g)] M. 3 lhU3 rest missing M. 3 lhL4 natural missing M. 4 rhL4 eighth note (beam missing) M. 6 lhU2 dotted quarter note M. 8 lhU6 rest missing M.11 rhL4 a second lower: g” lhU2 eighth note lhU3 dot missing lhL4 dot missing M. 12 lhU1 rest missing M. 13 lhL7–8 two eighth notes M. 15 lh9 eighth note
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 5 ______M. 18 lhL1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ______
Ouverture (La grotte de Versaille) La Grotte de Versailles, 1668
US-BEm MS 777 (Menetou), no. 118, fols. 34Ar–35Ar LWV 39/1
œ. m j j j œ. j b C œ. œ œ. œ ˙. ≈ œ œ œ ˙œ. œ œ. œ œ & œ œ ˙. œ. œ Œ œ ˙ M ˙ ˙ œ œ. œ ? C ˙ ˙ ˙ ˙ œ. #œ œ œ œ# . œ œ œ. œ œ b ˙ œ. œ œ œ. œ œ © David Chung, 2014
5 m j j œ m j j œ œ œ. œ œ. œ œ ˙œ. œ œ ˙. œ œ œ œ œ œ b . œ Œ œ ˙ ˙ œ œ# . œ œ ˙. & œ ˙ Œ œ œ œ ˙ Œ œ œ œ œ œ w œ. [] ˙ ? Œ œ ˙ ˙ n # b ˙ ˙ œ œ œ œ
9 m 1. 2. œ j œ œ œ ˙. œ œ œ#œ. œ w w œ œ œ #œ & b œ ˙ #w . #w . 3 Œ Œ œ œ Reprise œ ? œ ˙ bœ . . b œ ˙ ‰ œ œ œ œ œ . . 3 œ œ w
15 m m m œ. œ œ[] œ œ œ œ [] j [] j œ œ i œ œ bœ œ œœ# œ. œ œ œ . i œ œ˙. i œ œ & b œ œ œ œ œ œ ˙ œ ˙œ ˙ œ œ œ œ [] ? Œ ˙ œ œ œ i œ b œ œ œ
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.248 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 2 ______
21 m m j j m œ. œ ˙. œ œ œ (a) œ œ œ œ# . œ ˙. œ. œ œ ˙ & b œ œ œ œ œ œ œ#œ J Œ J ˙ Œ ˙ ˙. œ œ ˙. ˙. œ ? œ. bœ œ œb . œ ˙. Œ œ œ œ œ œ œ b J J œ Œ œ œ
27 j m m b˙. bœ œb œ œ œ b Œ ˙œ. œ ˙. œ œœ ˙œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ ˙ ˙ œ œ bœ œ œ œ œ ? . œb . œ œ œ œ ˙. b Œ œ œ Œ œ œ œ
33 m m j j j œ œ. bœ œ ˙ . œ œ œ ˙œ. œ ˙œ. œ œ #œ œ ˙ & b œ œ œ #œœ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œb ˙. ˙. œ œ ˙ œ. œ œ œ œ œ œ œ œ n˙ œ œ ? b Œ œ œ J
39 m m m j m m m j œ œ œ œ. œ œ# œ œ œ œ œ #œœ. œ b œ œ œ œ œ œ œ ˙œ œ œ œ ˙ œ œ œ ˙ & Œ #˙ œ œ œ œ ˙ œ œ ˙. ˙ ˙. ˙. œ # œ ? b ˙ ˙ b˙. œ œ œ œ ˙ œ œ Œ œ 45 j œ j m ˙. œ ˙œ. bœ œ ˙œb . œ mœ œ œ j j . & b C n˙ ˙ ˙ . ˙. œ œ ˙ ˙œ. œ #˙œ. œ w . J b˙ ˙ w
? ˙ ˙ w Œ . b C œ œ œ ˙ ˙ ˙ œ w . w œ #˙ ˙ ˙ ˙ (a) a second higher: d” ˙ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.248 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 3 ______
Source
US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).
Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.
Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise- Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.
Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint- Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber- Verlag, 1990), 472–3; Harris 2009, 2:160–1.
Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).
Performance Notes
In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2
1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.248 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 p. 4 ______The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.
In both “ ” and “3” time, eighth notes in conjunct motion (mm. 7, 9–10, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.
Critical Notes
No. 118 (fols. 34Ar–35Ar, Hand B), La grotte de Versaille (g) [Ouverture from La Grotte de Versailles (1668) LWV 39/1 (g)] M. 5 lhL1 rest missing M. 8 lhL3 natural missing M. 11 measure missing M. 15 rhL5 flat missing M. 19 rhU3 flat missing M. 20 rhU2 flat missing lhL5 flat missing M. 26 rhM1 a second higher: d” M. 39 rhL1 rest missing
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.248