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FORQUERAY Et D’Aplomb » morceaux semblent être de Jean-Baptiste plutôt que nouveau rondeau qui encadre La Latour¸ pièce plus d’Antoine, car ils font souvent référence à des animée. Il s’agit sans doute d’une référence au château Antoine DDD contemporains du fils plutôt que du père. de Passy, acquis en 1747 par La Pouplinière, mécène de 8.553717 La Suite n° 2 débute avec la vive La Bouron, suivie Rameau ; Latour est sans doute le pastelliste et de La Mandoline, « rondeau » marqué « point trop vite portraitiste Quentin de La Tour, ou le chanteur La Tour. FORQUERAY et d’aplomb ». Les sept couplets, présentant parfois des Les autres morceaux inclus sur ce disque viennent caprices harmoniques inhabituels, sont séparés par des compléter les suites présentées sur une édition formes variées du thème principal, qui apparaît enfin antérieure (Naxos 8.553407). L’allemande La Laborde Harpsichord Suites Nos. 2 and 4 sous forme d’arpèges. La Du Breuil est une Loure, tire son titre de l’un des critiques musicaux français les danse décrite comme une gigue lente. Le titre rend plus éminents de l’époque, Jean-Benjamin de La Borde, hommage à Jean Dubreuil, maître de clavecin et également compositeur et violoniste, qui occupa plus Luc Beauséjour théoricien, qui était plus jeune que Jean-Baptiste. tard une position importante à la cour comme confident La Leclair tient son titre du célèbre violoniste et du roi. Elève de Rameau, La Borde fut aussi l’ami de compositeur Jean-Marie Leclair, également « ordinaire Voltaire et Beaumarchais. On lui doit un Essai sur la de la musique du roy » sous Louis XV. Vient ensuite musique ancienne et moderne, mais aussi la conception une chaconne, La Buisson, dont le titre fait sans doute d’un clavecin chromatique. allusion à René du Buisson, célèbre claveciniste de La Morangis ou la Plissay, dont le titre fait sans Paris. doute référence à une ville du sud de Paris, est une La Suite n° 4 en sol mineur commence par La chaconne de Jean-Baptiste et conclut la troisième suite Marella, morceau aux rythmes pointés dont le titre est publiée. La Rameau, rendant hommage à l’un des pour Giovanni Battista Marella, confrère de Jean- grands compositeurs français de cette période, présente Baptiste sur les quatuors de Telemann de 1737. C’est l’indication « majestueusement » et ouvre la cinquième ensuite La Clément, marquée « noblement et détaché », suite. Elle est ici suivie par la vive La Guignon, dont le pour Charles-François Clément, qui avait dédié ses titre fait référence au violoniste italien Jean-Pierre sonates en trio à Forqueray et à sa femme en 1743. La Guignon (Ghignone). Guignon s’était produit avec sarabande, La D’Aubonne doit être jouée « avec Jean-Baptiste Forqueray à Rennes en 1727 et avait beaucoup de goût et Sentiment », son atmosphère lui aussi participé aux quatuors de Telemann à Paris solennelle menant à un morceau plus rapide, La en 1737-38. La sarabande, La Léon, marquée Bournonville, faisant allusion à Jacques de « tendrement », est accompagnée d’une note spécifiant Bournonville, claveciniste de la génération d’Antoine que la partie aiguë ne doit presque jamais être jouée Forqueray considéré au moins comme l’égal de directement avec la basse. Rameau. La Sainscy est un rondeau avec quatre Keith Anderson couplets et la suite s’achève avec Le Carillon de Passy, Version française : David Ylla-Somers 8.553717 8 Antoine Forqueray (1672-1745) Antoine Forqueray (1672-1745) Harpsichord Suites Nos. 2 and 4 Suites pour clavecin n° 2 et n° 4 Antoine Forqueray won a reputation as one of the intermittently in exile in France. Antoine Forqueray était reconnu comme l’un des Hubert Le Blanc disait qu’il était « quinteux, fantasque foremost players of the viola da gamba of his time. The Forqueray represented a new school of French viol meilleurs interprètes de viole de gambe de son époque. et bizarre », même s’il le louait pour avoir réconcilié son of the dancing-master and violinist Michel playing, influenced by the fashionable goût italien. He Fils du maître à danser et violoniste Michel Forqueray, l’harmonie française et la mélodie italienne. C’est deux Forqueray, he was heir to a long family musical was described by Hubert Le Blanc in his last-ditch il était l’héritier d’une longue tradition musicale ans après la mort de son père en 1745 que Jean-Baptiste tradition. By remoter ancestry the Forquerays were defence of the viola da gamba, Défense de la basse de familiale. Antoine Forqueray joua du violoncelle pour publia cinq des quelques trois cents suites que l’on allegedly descendants of Scots who had accompanied viole contre les entreprises du violon et les prétentions Louis XIV à cinq ans ; ce fut le début d’un patronage attribuait à Antoine Forqueray. Il en édita deux Mary Queen of Scots to France on her marriage to the du violoncel, as quinteux, fantasque et bizarre royal qui mena, en 1689, à sa nomination comme versions, l’une pour deux violes et l’autre pour clavecin, Dauphin, the eldest son of Henri II and Catherine (crotchety, fantastic and strange), while praised for his « musicien ordinaire de la chambre du roy ». sous le titre Pièces de viole avec la basse continuë de’Medici, in 1548. At the age of five, Antoine reconciliation of French harmony and Italian melody. In Il succédait au compositeur et joueur de viole Gabriel composées par Mr. Forqueray le père mises en pièces Forqueray played the cello for Louis XIV, the 1745, two years after his father’s death, Jean-Baptiste Expilly. Plus tard, il fut nommé « chantre de la chambre de clavecin par Mr. Forqueray le fils. Jean-Baptiste beginning of royal patronage that led, in 1689, to his published five suites drawn from some three hundred du roy », conservant ce titre jusqu’en 1742. En 1697, il Forqueray s’était imposé comme un interprète tout aussi appointment as musicien ordinaire de la chambre du attributed to Antoine Forqueray. These he published in épousa Henriette-Angélique Houssu, claveciniste qui talentueux que son père. En 1726, il avait été employé roy, in succession to the composer and viol player two versions, one for two viols and the other for l’accompagnait en concert. Leur premier fils, Jean- par Quantz à l’Opéra avec le fils de Marin Marais Gabriel Expilly, who resigned in that year. He was later harpsichord, under the title Pièces de viole avec la basse Baptiste-Antoine, naquit en 1699, mais le couple connut Roland-Pierre, et en 1737, il participa, avec le flûtiste appointed chantre de la chambre du roy, retaining this continuë composées par Mr. Forqueray le père mises en des heurts et des difficultés et finit par se séparer en Michel Blavet, Giovanni Battista Marella et Joseph- title until 1742. In 1697 he married Henriette-Angélique pièces de clavecin par Mr. Forqueray le fils. Jean- 1710. Par jalousie professionnelle ou pour des raisons Barnabé l’Abbé, à la création de quatuors de Telemann, Houssu, a harpsichordist who accompanied him in Baptiste Forqueray had achieved equal eminence as a plus personnelles, Antoine Forqueray fit emprisonner durant le séjour de huit mois que fit ce dernier à Paris. performances. Their first son, Jean-Baptiste-Antoine, performer. In 1726 he had been employed by Quantz at son fils à Bicêtre et en 1725, il convainquit le régent de En 1732, il avait épousé Jeanne Nolson, la tante de la was born in 1699. The marriage, however, was fraught the Opéra with Marin Marais’ son Roland-Pierre, and in le bannir de France, mais grâce à l’intervention d’amis claveciniste Anne-Jeanne Boucon et un an après son with divisions and difficulties and ended in separation 1737 took part, with the flautist Michel Blavet, et d’admirateurs influents de Jean-Baptiste, ce décret fut décès en 1740, il épousa la claveciniste Marie-Rose Du in 1710. Whether from professional jealousy or for Giovanni Battista Marella and Joseph-Barnabé l’Abbé, révoqué. Antoine Forqueray quitta Paris en 1731 et Bois, qui on le pense participa aux arrangements pour more personal reasons Antoine Forqueray had his son in the first performance of quartets by Telemann, in the s’établit à Mantes, où il passa le reste de sa vie, à partir clavier publiés en 1747. En 1742, il succéda à son père à imprisoned at Bicêtre and in 1725 persuaded the Regent course of the composer’s eight-month stay in Paris. In de 1736, pensionné par la cour. A l’apogée de sa la cour comme « chantre de la chambre du roy » et en to banish him from France, a decree rescinded on the 1732 he had married Jeanne Nolson, aunt of the carrière, il avait rivalisé dans le domaine de la viole 1761, il entra au service de Louis François I, prince de intervention of Jean-Baptiste’s influential friends and harpsichordist Anne-Jeanne Boucon and a year after her avec son aîné, Marin Marais, et avait collaboré avec le Conti. Comme son père, il eut des élèves prestigieux, supporters. Antoine Forqueray retired from Paris in death in 1740 married the harpsichordist Marie-Rose luthiste Robert de Visée, le claveciniste Jean-Baptiste dont Henriette-Anne, la fille de Louis XV, et Louis 1731 and settled at Mantes, where he spent the rest of Du Bois, who, it has been suggested, had a hand in the Buterne et le flûtiste René-Pignon Descoteaux, d’Orléans, fils du régent. En 1766, il commença à his life, from 1736 as a court pensioner. At the height of keyboard arrangements published in 1747. In 1742 he éminents interprètes de l’époque.
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