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Xerox University Microfilms 300 North Zmb Road Ann Arbor, Michigan 46100 76-24,600 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame, 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North ZMb Road Ann Arbor, Michigan 46100 76-24,600 GINTER, Anthony Francis, 1932- THE SONATAS OF PIERRE GAVINIES. The Ohio S ta te U n iv ersity , Ph.D ., 1976 Music Xerox University Microfilms , Ann Arbor, Michigan 4S106 ©Copyright by Anthony Francis Ginter 1976 THE SONATAS OF PIERRE GAVINIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Anthony Francis G inter, B. A., M. M. E. * * * * * The Ohio State University 1976 Reading Committee: Approved By Professor Herbert S. Livingston Professor Keith E. Mixter • Professor Norman F. Phelps A d v i s e r / School of Music PREFACE AND ACKNOWLEDGMENTS This present study is a detailed examination of the formal procedures found in the sonatas for v io lin and basso continuo and the sonataB for two violins unaccompanied by Pierre Gavinies. During his lifetim e, Gavinies, a native of Bordeaux, was held in high esteem by his contemporaries. As a violin virtuoso, composer and director of the Concert Spirituel he was an important figure on the musical scene in P a ris. While his fame may have been temporarily obscured during the time of the Revolution, in 1794 he was offered a prestigious p o sitio n a t the In stitu t National de Musique. His renown as a d is ­ tinguished violinist was acknowledged by Burney in his General History 1 2 of Music, and V iottl called him the “French T a rtin i." Among his 3 friendships, he enjoyed that of the philosopher Jean-Jacques Rousseau. Charles Burney, A General History of Music from the E a rliest Ages to the Present Period. Originally 4 vols., 1776-89, with critical and historical notes by Frank Mercer (2 vols.; New York: Harcourt, Brace &Co., 1935), II, 976. 2 Constance D, T. Pipe let CPrincesse de Salm2 Eloge historique de Pierre Gavinils (Paris: Soci£t£ du Lyc£e des Arts, 1802), p. 7. Cf. Arthur Pougin, Viotti et l'lcole moderne de violon (Paris: Schott, 1888), p. 38. 3 Francois Fayolle, “Gavinies," Notices sur Corelli. Tartini. Gavinies, Pugnani et Viotti (Paris: tn.p.l, 1810), p. 29. Fayolle relates the incident where Rousseau, knowing of Gavinies 1 fondness of veal c u tle ts, invited him to share a meal for which Rousseau him­ self prepared the cutlets. l i Most present day violinists are acquainted with Gavinies through his Twenty-four Matinees, virtuoso studies with which many may have struggled as violin students. However, as Dufourcq writes in his La Muslque frangaise, many violinists are totally unaware of 4 his six concertos and sonatas. The latter Include the three collec­ tions of sonatas for violin and basso continuo and the collection of sonatas for two violins unaccompanied. Nevertheless, David and Lowenberg, in their article in Grove's Dictionary of Music and Musi- clans, point out that in France Gavinies is regarded as the founder of the French school of violin playing, and B orrel, in Die Musik In Geschichte und Gegenwart.^ praises Gavinies as a violinist, teacher and composer. La Laurencie, in his chapter on Gavinies in L'Ecole frangaise de violon de Lully h V iotti,^ has an extensive, documented biography but only a short stylistic discussion in which the formal aspects of the sonatas are touched upon only briefly. Likewise, Newman, in The 8 0 Sonata In the Classic Era, describes Gavinies as the "most successful, 4 Norbert Dufourcq, La Muslque francalse (Paris: A. & J. Picard, 1970), p. 249. ^Paul David and Alfred Lowenberg, "Gavinies, Pierre," Grove's Dictionary of Music and Musicians, ed. by Eric Blom (5th ed.; New York: St. Martin's Press, 1954-61), III, 582. ^Eugene Borrel, "Gavinies, Pierre," Die Musik in Geschichte und Gegenwart. ed. by Friedrich Blume (Kassel and Basel: B#renrelter, 1949- 6 8 ) , IV, 150B-1O. j Lionel de La Laurencie, L'Ecole frangaise de violon de Lully a Viotti (3 vols,; Paris: Llbrairie Delagrave, 1922-24), II, 277-332. William S. Newman, The Sonata in the Classic Era (2nd ed.; New York: W. W. Norton & Company, 1972), pp. 611-12. i l l renowned, and representative" of the late French composers of sonatas for violin and basso continuo but provides only an overview of the formal characteristics of the sonatas. An examination of Doctoral Dissertations in Musicology, edited 9 by Cecil Adkins, and the annual supplements printed in the Journal of the American Musicological Society reveals that much less attention has been paid by scholars to the music of French composers of the eighteenth century, including violin literature, than to the music of German or Italian composers. This study attempts to partially fill that gap and also supplement the important contributions already made to the study of French violin literature by the two dissertations, "The Instrumental Works of Jean-Joseph Cassanla de Mondonville" by Edith Borroffand "The Sonatas for Violin and Figured Bass by Jean- Marie Leclair L'Ain£" by Robert E. Preston.** In the completion of a project such as this, numerous people must be thanked for their assistance along the way. I am extremely grateful to my adviser, Professor Herbert Livingston of The Ohio State University, for his help in supervising my entire course of study for 9 Cecil Adkins, ed., Doctoral Dissertations in Musicology (5th ed.; Philadelphia: American Musicological Society, 1971). *^Edith Borroff, "The Instrumental Works of Jean-Joseph Cassenla de Mondonville" (2 vols.; unpublished Ph.D. dissertation, University of Michigan, 1958). **Robert E. Preston, "The Sonatas for Violin and Figured Bass by Jean-Marie Leclair L'Atn^" (3 vols.; unpublished Ph.D. dissertation, University of Michigan, 1959). iv the Ph.D. and for his genuine interest and valuable advice while directing my dissertation. To my reading committee, Professor Nor­ man Phelps and Professor Keith Mixter of The Ohio State University, 1 wish to extend my sincere gratitude for their careful reading of the text and many helpful suggestions. I wish to express my appreciation to Miss Olga Buth, head librarian of the music library of The Ohio State University, and her s ta f f who were always very congenial and helpful when 1 needed assistance and to the staffs of the British Museum, the Bibliotheque Nationale, the Bibliotheque du Conservatoire Royal de Muslque (Brus­ sels) and the University of Michigan for their prompt and courteous service in making m aterials av ailable to me. Finally, I owe the greatest debt to my wife, Dorothy, without whose patience, encouragement and s a c rific e s this whole project would not have been completed and to my four children, Ted, Suzy, Kathryn and Paula, who understood when "Dad was busy writing" and could not always be available to help them with their daily problems. v VITA August 28, 1932 .... Born - Windsor, Ontario 1954 .................................... Artist Diploma, Royal Conservatory of Music, Toronto, Ontario 1957-1964 ........................... Violinist, Toronto Symphony Orchestra, Toronto, Ontario 1963 ......................................... B. A., University of Toronto, Toronto, O ntario • 1965 .................................... M. M. E., Indiana University, Bloomington, Indiana 1965-1971 ........................... Assistant Professor, Otterbein College, • W e ste rv ille, Ohio 1965- .................................... V io lin is t, Columbus Symphony O rchestra, Columbus, Ohio 1969-1973 ........................... Conductor, Columbus Symphony Youth Orchestra 1971 ......... NDEA Graduate Fellowship, The Ohio State University, Columbus, Ohio 1973 ......................................... Canada Council Doctoral Fellowship 1 9 7 2 - .................................... Conductor, Knox County Symphony, Mount Vernon, Ohio Associate in Performance, Kenyon College, Gambler, Ohio FIELD OF STUDY Major F ield : Music H istory Professor Richard H. Hoppin Professor Herbert S. Livingston Professor Keith E. Mixter Professor Norman F. Phelps v i TABLE OF CONTENTS Page PREFACE AND ACKNOWLEDGMENTS............................................................................. 11 V I T A ................................................................................................................................ v i LIST OF PLA TES......................................................................................................... ix Chapter I .
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