A SURVEY OF THE LOURE

THROUGH

DEFINITIONS, MUSIC, AND CHOREOGRAPHIES

by

JULIE ANDRIJESKI

Submitted in partial fulfillment of the requirements

For the degree of Doctor of Musical Arts

Document III Advisor: Dr. Ross Duffin

Department of Music

CASE WESTERN RESERVE UNIVERSITY

May 2006

TABLE OF CONTENTS

List of Examples ii

List of Tables iii

SCOPE OF STUDY 1

SOURCES AND ABBREVIATIONS 4

DATABASE I: LOURE DEFINITIONS 5

Overview 5

Database I 28

DATABASE II: LOURE MUSIC 45

Overview 45

Database II 62

DATABASE III: LOURE CHOREOGRAPHIES 91

Overview 91

Database III 110

CROSS-DATABASE ISSUES 115

Emergence of the Loure through the Works of Lully 115

“L’Aimable vainqueur” and “The Louvre” 127

ALPHABETICAL LIST OF WORKS 130

BIBLIOGRAPHY OF SECONDARY SOURCES 139

ii

LIST OF EXAMPLES

Example I-1. Loure. Montéclair, Nouvelle méthode, 1709 17

Example I-2. Loure. Montéclair, Méthode facile, 1711 17

Example I-3. Loure. Montéclair, Petite méthode, 1735 19

Example I-4. Loure. Montéclair, Principes de Musique, 1736 20

Example I-5 Loure. Corrette, L’école d’Orphée, 1738 21

Example I-6. Loure. Corrette, Le parfait maître à chanter, 1758 22

Example I-7. Loure. Denis, Nouvelle méthode, 1757 23

Example I-8. Loure. Denis, Nouvelle méthode, 1757 25

Example I-9. Loure. Denis, Nouvelle méthode, 1757 26

Example I-10. Loure. Kirnberger, Recueil d’airs de danse caractéristiques, 1777 27

Example III-1. Campra, “L’Aimable vainqueur” from Hésione (1700) 99

Example III-2. Variation on Campra’s “L’Aimable vainqueur” from Ms-110 99

Example III-3. Comparison of Campra’s “L’Aimable vainqueur” with Ferriol y Boxeraus’s ornamented versions (1745) 101

Example III-4. Ornamented version of Campra’s “L’Aimable vainqueur” By Minguet y Yrol (ca. 1760) 103

Example IV-1. Loure ensuitte, Le Plaisirs de l’Isle enchantée (Lully, 1664) 115

Example IV-2. La Loure. Les Dinivitez et les Numphes. Alceste (Lully, 1674) 116

Example IV-3. Loure pour les Pêcheurs, Alceste (Lully, 1674) 116

Example IV-4. Menuet, Bellérophon (Lully, 1679) 118

Example IV-5. [Loure], Ballet du Temple de la Paix (Lully, 1685) 119

Example IV-6. Loure, L’Idylle sur la Paix (Lully, 1685) 120

Example IV-7. [Untitled], Les Fêtes de l’Amour et de Bacchus (Lully, 1672) 122

iii Example IV-8. Menuet, La Grotte de Versailles, (Lully, 1668) 123

Example IV-9. Les Oyseaux, La Grotte de Versailles 123

Example IV-10. Premier Air, pour les Menades et les Satires, Psyché (Lully, 1668) 125

Example IV-11 Air, Les Peuples de Catay rendent hommage à Medor, Roland (Lully, 1685) 126

LIST OF TABLES

Table III-1. Music Incipits for Loure Choreographies 108

Table III-2. Classification of Loure Choreographies According to Character 109

iv ACKNOWLEDGEMENTS

This project grew out of a simple question I asked my first baroque dance teacher, Elaine Biagi Turner, many years ago: “What are the steps to a loure

(incorrectly pronounced ‘loo-ray’)?” My understanding of the loure has come a long way since then. At this point it is much simpler to thank everyone in the entire world for their help and support than to list the multitudes that have aided me throughout this project. That said, I would like to offer special thanks to the following: Judith Schwartz, Christena Schlundt, Meredith Ellis-Little, Rebecca

Harris-Warrick, and Carol Marsh for their invaluable primary source material; and the library staff at UC-Berkeley, Stanford University, The Hague, and especially the efficient and generous Stephen Toombs, Head Librarian of the

CWRU Music Library, for access to manuscripts and microfilms.

This document would never have made it to fruition without the undying enthusiasm and support of my advisor, Dr. Ross Duffin, mixed with the encouragement and vote of confidence by an invaluable recent addition to the

CWRU music faculty, Dr. Georgia Cowart, Department Chair. I sing her praises.

Heartfelt thanks also to the Chatham Baroque musicians, staff, and board of directors who granted me the time I needed to finish this long-overdue project.

Finally, I thank my loving husband, Tracy. Through thick and thin he did everything he possibly could to ensure my success. I really couldn’t have done it without him.

v

A Survey of the Loure Through Definitions, Music, and Choreographies

Abstract

by

JULIE ANDRIJESKI

The loure, a French theatrical dance and air, flourished during the reign of

King Louis XIV and spread throughout much of Europe during the eighteenth century. The music for this dance is generally characterized by its slow tempo,

6/4 time signature, iambic pickup and sautillant rhythms. The evolution of this dance, from its emergence in Jean-Baptiste Lully's operas and ballets through stabilization in the works of André Campra and his contemporaries to diffusion in Georg Telemann's works and the late operas of Jean-Philippe Rameau both support these general characteristics and exhibit flexibility within these limited traits.

The following study examines three types of source material in separate databases: definitions, music, and notated dances. Although some aspects of the loure arise in only one type of source, the three databases complement each other and together form a well-rounded portrait of the loure through the seventeenth and eighteenth centuries. SCOPE OF STUDY

The loure, a French theatrical dance and air, flourished during the reign of

King Louis XIV and spread throughout much of Europe during the eighteenth century. The music for this dance is generally characterized by its tempo (slow or grave), time signature (6/4), pickup (usually ), and sautillant rhythms ( ). e q q. e q The evolution of this dance, from its emergence in Jean-Baptiste Lully’s operas and ballets through stabilization in the works of André Campra and his contemporaries to diffusion in Georg Philipp Telemann’s oeuvre and the late operas of Jean-Philippe Rameau both support these general characteristics and exhibit flexibility within these limited traits.

A handful of choreographies in the Feuillet-Beauchamp dance notation specific to this time period show that the loure in most cases was one of the most demanding dances in the repertoire and was particularly well-suited to the athletic abilities of professional male dancers. Of the five choreographies that exhibit word “loure” on the title page, all but one are choreographed to a typical loure air, described above. The exception, set in the time signature “3” with a quarter-note pickup, is not only the most famous choreographed loure but is the most popular of all Baroque dances. This ballroom dance for a couple set to

Campra’s air “l’Aimable vainqueur” from Hésione (1700) appears in seventeen separate publications or manuscripts from 1701-1765. “L’Aimable vainqueur” plays an important role in the study of the loure, especially in relation to those in

1 England, called “Louvres.” The inclusion of dances that are similar to the loure but are not so labelled , namely the “Entrée Espagnolle,” the “Pastoral” and the

“Gigue lente,” help define the character of the loure.

A majority of the loure definitions in dictionaries, dance manuals and music treatises support the general description as an air or dance in 6/4 with dotted (“pointed”) rhythms to be played slowly and gravely. Additional details defining the loure as a type of bagpipe, a slow gigue, or “much beloved by the

Spanish,” reveal further loure qualities at specific points in time and place. The pedagogical loures found in the music treatises, with no further description, portray further aspects of the dance air in connection through the eyes of the musicians who played and/or composed them.

The following study examines these three types of source material in separate databases. Database I, Definitions, contains loure descriptions from dictionaries, dance manuals, music treatises and method books from 1690 to

1820. Database II, Music, includes over eighty musical examples of loures dating from 1668 to 1760. Database III, Notated Dances, amasses twenty-seven loures or dances related to the loure that are known to exist in Feuillet-Beauchamp notation.

Each one of these databases individually holds a wealth of information that helps to define the loure. The definitions (Database I) provide clues to the origin of the word “loure,” establish the loure as a specific musical instrument,

2 air and/or dance, and show trends in the dissemination of this information during the seventeenth and eighteenth centuries. The loure music (Database II), the largest of the three databases, reveals a variety of loures and national styles.

The choreographed loures (Database III) not only show the preferred step vocabulary found in loures but also the favored loure airs, many of which have multiple choreographies. The number of step units per musical measure and the character of these dances also help pinpoint both style and tempo much more efficiently than either definitions or music alone. Although some aspects of the loure arise in only one type of source, we will find that the three databases complement each other and together form a well-rounded portrait of the loure through the seventeenth and eighteenth centuries. Further issues involving more than one database that arose during this study follow in Cross-Database Issues.

3 SOURCES AND ABBREVIATIONS

Original manuscripts, prints or facsimiles thereof were viewed whenever possible. The comprehensive guide, French Court Dance and Dance Music by

Judith Schwartz and Christena Schlundt , proved indispensable in locating sources with loure definitions (Database I). Comments from this book are marked “JS” in Database I. Translations of the French and German definitions are my own unless otherwise marked.

The loures listed in Database II (Music) were found by combing through special collections of French operas and instrumental music. Libraries at The

Hague, UC-Berkeley, and Stanford University as well as Case Western Reserve

University supplied the majority. Cross-references to any existing notated choreographies are included in Database II. This is indicated by a number preceded by “LMC” (Little-Marsh Catalog), a cataloging system for dances in

Feuillet-Beauchamp notation introduced in La Danse Noble: An Inventory of Dances and Sources by Meredith Ellis Little and Carol G. Marsh (1992). The LMC number also identifies the individual dances listed in Database III (Choreographies). The

Little-Marsh inventory was my key source for locating these loures choreographed in Feuillet notation. Source abbreviations for Database III are identical to those used in the Little-Marsh inventory, as are the abbreviations for gender of dancers (H = “Homme”; F = “Femme”).

4 DATABASE I: LOURE DEFINITIONS

Overview

Database I falls fairly neatly into three categories: dictionaries (general

arts and sciences, music, and dance), dance treatises, and music treatises. Each

follows a slightly different trend, although almost all sources mention tempo and

character. Interestingly, very little is said in general about the pickup at the

beginning of a loure, although examples accompanying descriptions most often

show a quarter-note or eighth-note/quarter-note pickup. These writers freely

borrowed information from one another and presented it either verbatim or

slightly embellished.

Dictionaries

True to their nature, definitions found in dictionaries are general and

succinct. Lexicographers in this database, fourteen in all, generally agree that the

loure has two basic definitions: 1) an ancient instrument resembling a musette;

and 2) an air and a dance, usually in 6/4, slow (or rather slow) and grave. In

some cases, these two definitions are related. In contrast, two lexicographers

define the loure as a specific air and dance, “l’Aimable vainqueur.”1

1 “L’Aimable vainqueur,” the most popular choreographed dance throughout the eighteenth century, plays an important role within this study. The air comes from Campra’s ballet, Hésione, premiered in 1700. The famous ballroom dance to this air was published by Louis Pécour in 1701.

5 The two earliest dictionaries, overseen by Antoine Furetière (1690) and

Thomas Corneille (1694), define the loure as an ancient instrument that resembles the musette. A Loureur, they write, is accordingly one who plays the instrument.

Apparently, the loure as an air and dance was not well known at this time since neither dictionary mentions it. Definitions for other dances such as the menuet and the chaconne are included, however. From 1699 onward the loure was known first as a dance and air, yet the loure’s original definition as an ancient instrument remained within many descriptions well into the nineteenth century.

By 1732, Johann Gottfried Walther qualifies that it is a large bagpipe (eine grosse

Sack-Pfeiffe), reiterated by fellow German Valentin Trichter ten years later.

Denis Diderot mentions that “according to some” the loure is an ancient instrument in his Encyclopédie (1751-80). Jean-Jacques Rousseau then writes in his music dictionary of 1768 that the loure is an ancient instrument upon which the air [= loure] was played. Later music and dance dictionaries closely adhere to this latter slightly expanded definition, not only William Waring’s direct translation of Rousseau’s work but also Compan’s dance dictionary (1787), thought to be the most authoritative eighteenth-century dictionary on the subject, Meude-

Monpas’s music dictionary (also 1787), and Framery’s music encyclopedia (1818).

Shortly after Raoul-Auger Feuillet’s first dance treatise was published in

1700, Sébastian de Brossard (1705) defined the loure in his influential music

6 dictionary as an air and a dance (as well as a musette).2 He further states that the

loure is in 6/4, the tempo slow or grave, and one must mark the first beat of the

measure more than the second. Brossard’s description of the beat structure is gradually refined by subsequent lexicographers. By 1742 Valentin Trichter writes that not only is the first beat of the measure marked more than the second, but the first note is also pointed and fully held. Denis Diderot states (incorrectly) that the note in the middle (rather than the first note of every half bar) of each beat is pointed (“on pointe ordinairement la note au milieu de chaque tems”).

He may have borrowed this definition from Jean le Rond D’Alembert, who supplied many of the articles in the Encyclopédie, although D’Alembert correctly describes this in his own music theory treatise (1752): “ordinairement on passé breve la note du milieu de chaque tems…” Finally, Rousseau (1768) instructs that when each time (beat) contains three notes, the first note is pointed, and the middle note is rendered a breve.

Two theorists, both Englishmen, mention a specific air and dance,

“l’Aimable vainqueur,” when defining the loure (or, more precisely, “Louvre”).3

In 1776 Hawkins states outright that the “Louvre” is “a term applied singly to a

2 Most dictionary definitions of the loure fall under loure, although there are some definitions for the loure under “gigue.” In his supplement to Diderot’s Encyclopédie Rousseau (1768) does not list “loure” as a separate entry yet he defines “gigue” as a fast type of loure, a turnaround from the more popular idea that the loure is a slow gigue. Trichter’s earlier definition of the loure (1742) also falls under “Gigue” (loure = a slow and pointed gigue). At least two other German authors of music treatises (Niedt 1721, Mattheson 1739) and perhaps Dupont (1713) do the same.

3 Denis includes “l’aimable vainqueur D’hesione” in his list of dance airs in simple triple meter with a “mouvement grave” (Nouvelle méthode, 1757), but he does not call it a loure.

7 well-known French air, otherwise called L’aimable vainqueur, for which Lewis the

Fourteenth had a remarkable predilection. This air has since formed a well-

known dance.”4 Thomas Busby echoes this verbatim a decade later (A Complete

Dictionary of Music, ca. 1786). A reprint of Hawkins’ music dictionary was published as late as 1875, the latest source in this survey. Below we shall see that dance treatises also provide a connection between the loure (or “Louvre”) and

“l’Aimable vainqueur.”

Dance Treatises

The dance treatises, written by dance masters who may have accompanied their students on the violin, provide a practical approach to performing the loure. This small portion of the Definitions database (eight sources in all) maps the development and dissemination of the two most popular dance treatises as well as the specific dance, “l’Aimable vainqueur.”

The two most influential authors in this category are, not surprisingly,

French: Raoul-Auger Feuillet and Pierre Rameau. Most subsequent treatises stem from the writings of these two men. Feuillet’s initial presentation of an “air de loure” in 1700 illustrates a dance in 6/4 with an eighth-note/quarter-note pickup. Whereas the loure is a dance in quadruple time, it should have two step-units per measure, according to Feuillet. He later (1704) explains that each quadruple-time measure can be broken down into two measures of triple time.

4 Hawkins, A General History of the Science and Practice of Music (1776), p. 705.

8 Weaver published the first English translation of Feuillet’s Chorégraphie in 1706.

Tomlinson’s treatise almost two decades later (1724, pub. 1735) reiterates many of Feuillet’s teachings, yet his is not a direct translation. He does agree with

Feuillet (and therefore Weaver) that each measure of quadruple time may equal two triple time measures. He further stipulates that each triple measure should answer to one measure of the sarabande and that each movement usually begins with a pickup (“odd notes”). Rameau (1725), on the other hand, does not mention the loure at all, but he does refer to specific steps in “l’Aimable vainqueur” (designated “loure” in notated choreographies) in sections referring to coupés and arm movements. Essex follows suit in his direct translation of

Rameau (1728), although he adopts the English name for the dance, the

“Louvre,” established by Weaver a few years earlier. Tomlinson (pub. 1735) also refers to specific steps in the “Louvre,” as part of his explanation of the chassé.

Additionally, Tomlinson connects the “Louvre” to a more general definition of

“loure” based on Feuillet’s description of the quadruple-time dance. This use of

“Louvre,” then, came to be used both generally and in reference to “l’Aimable vainqueur” solely by the English.

Tomlinson’s preface to his dance manual is enlightening, as it mainly serves as a means to right the wrongs that have been done to the author. Most important to this survey is the manuscript’s year of completion, which according to Tomlinson was 1724, one year before Rameau’s similar dance manual

9 appeared and four years before Essex’s translation of Rameau’s work was published in England. Tomlinson claims, among other things, that he was not aware of Rameau’s work, although their approach to the manual is similar.

Unlike Rameau, however, Tomlinson does provide loosely translated passages from Feuillet’s chapter on time and cadence (Tomlinson’s Chapter XIII), therefore providing the reader with general descriptions of the dance types, including the loure (“louvre”). In this section Tomlinson also offers connections between quadruple dances, “viz. louvres or slow jigs,” and specific choreographies as did

Feuillet to a lesser extent.5 The “Louvre” (= “l’Aimable vainqueur”) is not included here, most probably because this falls within the section concerning quadruple (6/4) time, and “l’Aimable vainqueur” is in three) although he mentions it in an earlier chapter (in connection to the chassé). Instead,

Tomlinson lists the “Entrée Espagnol” and “Pastoral Dance,” both in 6/4, beginning with pickups (e q and q respectively) and the “Union,” noting that it does not begin with “odd notes” like the others.6

The lone Spaniard represented in the Definitions database, Ferriol y

Boxeraus, loosely based his relatively late dance treatise on Rameau’s model. He devotes a small chapter to “Amable,” the Spanish version of “l’Aimable vainqueur,” and is mainly interested in reporting the steps of this dance measure by measure. He also addresses the taboo of holding hands in Spain at this time

5 Feuillet’s paragraph includes only one specific dance, the “Entrée d’Apollon” in quadruple duple time, and then states simply also “Airs de Loure.” 6 For further discussion of the Entrée Espagnolle see Overview to Database III.

10 by reassuring his readers that they are not required to do so in this particular

dance.7

No German trend can be discerned in this category alone since only one

late German dance manual mentions the loure.8 Johann Heinrich Kattfuss (1800)

merely lists the loure among other older dances that a pupil should know.

Music Treatises

Two types of loure descriptions fall within the music treatises herein: those that provide verbal descriptions of the loure (fifteen) and those that simply provide a musical example (eleven, representing six composers). All agree that the tempo of the loure is slow (grave, pesament, pesant) but there are subtle preferences in time signatures, length of notes, and the general character of the dance based both on national styles and current trends over the eighteenth century.

At the beginning of the eighteenth century most sources in this category agree that the loure is (usually) in 6/4 (Masson, Montéclair, Dupont, Niedt).

Toward the middle of the century the balance shifts to 3/4, especially in

England (Anon. ca. 1730)9 and Germany (Türk, Sulzer and Kollmann).10 This

difference does not amount to much since earlier writers concede that 6/4 merely

7 The choreography from this source will be discussed in Overview to Database III. 8 Gottfried Taubert, eminent dancing master and author of the most thorough dance treatise (over 800 pages in length) published in 1717, does not mention the loure at all. 9 This may be in part due to the popularity of the triple-time dance, “l’Aimable vainqueur.” 10 See also the section on Telemann’s loures, in the Overview to Database II.

11 equals two bars of triple time, and vice versa for later generations, but it does

show national trends. The triple time signature also suggests a greater

connection between the loure and “l’Aimable vainqueur.” There are exceptions

to this rule. For instance, except for David (1737), the French authors of music

treatises favored composing loures in 6/4.11 Kirnberger composed loures in 3/2

(although his example shows that two measures of 3/2 are comparable to one

measure of the conventional quadruple-time, 6/4). Sulzer, although he and

Kirnberger worked together on his treatise, states that loures are usually in 3/4

and at least some use of 3/2 would be preferred.12 Two of Sulzer’s fellow countrymen, writing toward the end of the century, also affirm that loures are usually in triple time (Türk, 1789; Kollmann, 1799). Rameau’s treatise (1722) gives “4” as a literal quadruple time signature for the loure,13 and Denis (1757) includes as one of three examples an unlikely loure in 12/4 (the other two are in

6/4) that features a more Italianate style of composition; that is, smaller note values in general, few of them dotted.

Both Quantz (1752) and Türk (1789) comment on the style of playing the loure. Quantz says all bows should be detached, whether the notes are pointed or not. Türk, on the other hand, states that dotted notes should not be played in a detached manner. This could be due to many things: the difference between

11 This is not always the case in French opera composition. See Campra’s loures, for example. 12 Sulzer, however, suggests using the same
time signature in this case. His example concerning time signatures is somewhat confusing [see Sulzer, 1792]. 13 This does not hold true, however, for his own loures. See Database II: Music.

12 playing the flute and playing the keyboard; the evolution of style, or simply a

difference of opinion. These are the only two who discuss bow strokes in the

loure.14

Three sources describe beating the 6/4 measures of the loure in two equal

beats (Masson, Dupont, D’Alembert); another (Neidt) states the beat is part even,

part uneven. Quantz is more concerned about tempi in relation to other dances

when he suggests one pulse beat on each crotchet, or quarter note.

Almost all loure examples in this database begin with a pickup, yet it is

not until 1766 that pickups are specifically mentioned in a definition. Joseph

Lacassagne remarks in his singing manual (1766) that loures usually begin with

an eighth-note/quarter note made in the middle of the second beat. Türk, over

two decades later (1789), also asserts that loures generally begin in this manner

but also takes care to say that this is not always the case. Sulzer (1792), who

usually offers ample explanation, brusquely states that loures begin with an

eighth-note/quarter-note pickup and then concerns himself with time signatures

and the like that hold more interest to him. Kollmann (1799), who can only

recollect Bach’s loure from his violin Partita, writes that both the loure and the

ciaconne are made up of dotted rhythms yet the loure differs from a ciaconne by

beginning with the three last quavers (eighth-notes) of the measure, whereas the ciaconne begins with the full bar.

14 In addition, Montéclair provides suggested bowings in his loure examples. See Example I-2 below.

13 Descriptive words for the loure outside of the common “slow” and

“grave” are plentiful: heavy (Montéclair, David), majestic (Quantz, Kollmann),

proud and arrogant (Mattheson), strong and serious (Türk), solemn, dignified

and noble (Sulzer). Kirnberger (ca. 1777) cautions both performer and composer

to be aware of the national or regional differences among dances of the same

type.15 A few theorists, mainly German, recognized a Spanish connection to the

loure, although no music treatises were found that mention the loure at all.

Friedrich Erhardt Niedt (1706)16 was first to describe a predilection not for the

loure but for the (fast) gigue by both the English and the Spanish: “[The gigue] is

a fast dance, very common with Englishmen (and Spaniards)” (parentheses his).

At the end of that same paragraph Niedt includes his only definition of the loure:

“NB: those Gigues written in 6/4 are not fast, but rather, very slow Gigues,

called Loures.” Nearly two decades later fellow German Johann Mattheson

extrapolates from this definition saying loures (rather than gigues as Niedt

stated) are performed “in a proud and arrogant manner. Because of this they are

much beloved by the Spanish.” (1739) Yet another German, Valentin Trichter,

echoes this verbatim in his Curiöses Reit-Jagd-Fecht-Tantz-oder Ritter-Exercitien-

Lexicon (1742).17

15 Paraphrased by J. Schwartz and C. Schlundt, French Court Dance and Dance Music: A Guide to Primary Source Writings, 1643-1789. Dance and Music Series, No. 1 (Stuyvesant, NY: Pendragon Press, 1987), p. 153. 16 Based on an English translation of the 1721 edition in P. Poulin and I. Taylor, trans. The Musical Guide (Oxford: Clarendon Press), 1989, pp. 137-8. 17 This Spanish connection correlates with information in Databases II and III. See “Entrées Espagnolles” in the Overview to Database II.

14 Sulzer provides the most entertaining glimpse into the impact of the loure

on at least one 18th-century viewer:

For dancing, the loure calls for much ceremony and all the grace which accompanies it. Because of the slowness of the movements, maintaining full balance requires much strength. The best dancers must be found for this. Quite often they misuse their strength by adding heavy yet unnatural gestures to their thighs, which merely shows off an unusual strength of the tendons, but contributes nothing to the moral expression. One may remark of this dance what is said of largos in music: it must be short, otherwise it is tiring even for the audience.18

The loure examples included in music manuals span nearly seventy years and present a surprisingly wide variety of loures. Four theorists (three French and one German) provide musical examples in their treatises in lieu of written definitions specific to the loure.19 Although they lack this verbal definition, they

do act as descriptive teaching aids in practical music making and therefore will

be discussed here, but with an eye to the music within Database II.

Michel Pignolet de Montéclair (1667-1737) held dance airs in high regard

as a means of showing correct tempo, character, and good taste in music. Based

on the lack of further verbal definition one assumes the author believed that the airs de danse spoke for themselves and needed no further explanation.

Montéclair’s loure examples span twenty-seven years and illustrate stylistic

18 Johann Georg Sulzer, Allgemeine Theorie der schönen Künste (Leipzig, 1792), p. 293. 19 With the exception of Kirnberger, it is unclear whether these airs were composed by the authors of these treatises or borrowed from another source. To date, no concordances have been found, however.

15 trends during that time in four of his music instruction books (1709, 1711, 1735,

1736).

Montéclair’s earliest loure example from Nouvelle méthode (1709), a lone melody line, shows a G major air in 6/4 meter, bi-partite with clear, regular four- bar phrases [see Example I-1. This loure resembles Lully’s early loures. It has a quarter-note pickup, sautillant rhythms mixed with straight quarter notes and many instances of | movement. Montéclair’s subsequent loures emulate this q h h q dance air with subtle yet significant revisions. A similar, slightly more active loure in A Major published two years later in Méthode facile (1711) includes a rare example of suggested bowings [Example I-2]. Montéclair provides two different bowing options for a few of the measures, allowing that one is simpler than the other. The simpler version allows the player to bow “as it comes,” alternating down- and up-bows. The more challenging bowing pattern follows the established French bowing rules of the time, with retakes of the bow on the downbeat and mid-bar.20 This bowing strongly suggests a division of every

measure into two big beats (down-bows on beats one and four), common to

loures at this time.

20 Much has been written on this topic. The most important seventeenth-century source on French bowing style is found in a preface to Florilegium secundum by Georg Muffat, although he does not include a bowing specifically for the loure. For an English translation, see K. Cooper and J. Zsako, “Observations on the Lully Style of Performance,” in Musical Quarterly liii (1967), beginning on page 20. See also J. Tarling, Baroque String Playing for Ingenious Learners (2000), pp. 88-97, and H. W. Myers, “Orchestral Bowing Techniques,” in Le Ballet des Facheux: Beauchamp’s Music for Moliere’s Comedy, ed. G. Houle (Bloomington: Indiana University Press, 1996).

16 # Grave + œ ˙+ œ. + 6 œ. œ œ œ ˙ œ œ ˙ ˙ œ œ œ œ œ œ & 4 œ J + ˙ J

# œ + ˙ œ+. œ œ œ+ ˙ œ œ œ #œ. œ œ œ œ . œ ˙. ˙ . . œ & + 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 J .

Example I-1. Montéclair, Nouvelle méthode, 1709.

Grave # ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥+ ≤ ## 6 œ. œ œ œ œ œ œ. œ œ œ œ œ ˙ ˙. ˙ & 4 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 & J J œ J J . . ≥ ≤ ≥ ≤ ≥ ≤ ≥ # ≥œ. œ≤ ≥ ≥ ≤ ≥+ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ## J œ œ ˙ ˙ œ œ ˙ œ. œ œ œ œ ˙. ˙ œ & J œ ≥ ≤ ≥ ≤ ≥ ≤ ≥ # ≥œ. œ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥+ ≤ ≥+ ≤ ## J œ œ ˙ ˙ œ œ ˙ . œ œ œ . j . & œ J œ œ œ ˙. ˙ . ≥ ≤ ≥ ≤ ≤ ≥ ≤

Example I-2. Montéclair, Méthode facile, 1711.

Montéclair’s loure from Petite méthode, published over twenty years later

(1735), is similar to his earlier loures with one significant exception: The penultimate bar in each half has been changed to a 3/2 bar therefore turning

17 what used to be a two-beat measure into a hemiola-like three-beat measure more

similar to a courante [Example I-3]. This could have been a trend in loures

during this time. Five of the six French loures in Database II from 1723 up to

Rameau (1735) incorporate penultimate three-beat bars in at least one section

(usually the “B” section), although the 6/4 time signature remains intact

(Couperin 1724; Mouret 1723, 1727; Blamont 1730; Rebel 1735. Montéclair’s loure

from Principes [1736, see below] also ends this way.). More significantly, the division of the 6/4 bar into three beats rather than two outside of this time frame

(1723-1736), even by the same composers named above,21 are rare, although there

seems to have been a similar trend around the turn of the eighteenth century

(Jacquet de La Guerre 1691; Desmarets 1698, 1699; Destouches 1699). The only

loure in Database II with this phrasing after 1736 is by Destouches from

Semiramis (1711).

21 The one exception is found in Mouret’s Pirithous. Of the two loures included in this opera, only one has a three-beat penultimate bar.

18 6 œ œ. œ œ + ˙ + ˙ + œ œ ˙ ˙+. ˙ œ & b 4 J #œ ˙ nœ #œ #˙

œ. + + j b œ œ #œ ˙ ˙ œ nœ ˙ 3 œ nœ œ. œ 6 ˙ ˙ . . œ & J 2 #+œ œ . J 4 .

œ + b j œ œ œ œ œ œ. œ œ œ j & +œ. œ œ +˙ +œ. œ J +œ. œ ˙. ˙.

+ ˙ œ œ+ œ 3 œ œ. œ + œ 6 ˙. ˙ & b n˙. #œ œ œ œ 2 œ J#œ. J 4 .

Example I-3. Montéclair, Petite méthode, 1735.

Montéclair’s final loure from Principes de musique published one year later

(1736) is the same loure that appears in his 1709 treatise, with a few added embellishments and anticipations (compare mm. 7, 13, and 16 in Examples I-1 and I-4), again signifying a slight change in style comparable to other loures from this time.

19 # + ˙ œ. 6 œ. œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ & 4 œ J +˙ ˙ œ J

# + œœ œ. + œ œ œ œ #œ. œ œ œ. œ œ œ œ. œ ˙. ˙ . . œ & +˙ J œ 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 ˙. ˙ & J J J J .

Example I-4. Montéclair, Principes de Musique, 1736.

Michel Corrette wrote many music treatises throughout his life.22 At least

two of them contain a loure.23 The earlier treatise of the two, L’école d’Orphée

(1738), a violin method for playing in the French and Italian styles, includes a loure in the form of a duet for two treble instruments [Example I-5]. It is easily identifiable as a loure: it begins with an eighth-note/quarter-note pickup and contains sautillant rhythms as well as forlane-like cadences. The phrasing is slightly out of the ordinary: although eight bars comprise both sections of this bi-partite air, they are not divided into even four-bar phrases. All of these loure traits are also incorporated into Corrette’s loure from Le Parfait maître à chanter

22 In his article on Corrette in the New Grove Dictionary, David Fuller identifies over seventeen method books (Stanley Sadie, ed., New Grove Dictionary of Music and Musicians Vol. 4 [1980], pp. 801-2). 23 A total of six treatises by Corrette are listed in Schwartz, pp. 115-119. Of these, the loure is mentioned in only two.

20 (1758) [Example I-6]. Here he presents the loure as a single melody line, and includes more varied rhythms, some with smaller note values, in addition to the general loure traits found in his earlier air.

Loure œ œ. œ œ 6 œ#œ œ + j œ. œ œ #œ œ ˙ œ œ. œ œ + œ œ & b 4 J œ œ œ. œ œ J J J #œ. J

œ#œ œ. b 6 j ˙ J œbœ ˙ œ œ j & 4 œ œ #œ œ œ J œ œ œ œ œ œ. œ œ œ œ.

6 œ œ œ œ œ. œ œ œ œ+. œ œ & b œ œ J œ œ J 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 œ + & b œ J J œ#œ œ œ œ ˙ . . œ œ ˙ #œ œ œ œ. J

11 ˙ œ œ + œ œ. œ œ œ +. & b œ œ. œ œ œ œ J œ œ œ ˙ j J J œ œ. œ œ œ#œ ˙ œ+ & b ˙ ˙ ˙ œ J œ bœ œ œ œ b˙ œ b˙ œ œ œ.

15 j œ + j bœ. œ #œ œ œ + j & b œ œ œ œ œ. œ œ J œ œ. œ œ ˙ œ œ. . œ. œ bœ b j Œ œ œ œ œ . & œ #œ œ. œ œ ˙ #œ ˙ œ œ ˙ œ œ.

Example I-5. Corrette, L’école d’Orphée, 1738.

21 œLoureœ œ œ + œ œ j j B 6 œ #œ. œ œ œ . jbœ œ. œ œ . œ . . . œ 4 J J œ œ œ œ + œ +œ ˙ œ œ Jœ

˙ + œ + + + œ œ œ. œ B œ œ. œ œ bœ œ œ. bœ œ œ œ œ bœ œ œ nœ. œ œ #œ œ J œ J œ J ≈

œ œ œ. œ + œ. œ œ+ œ. œ œ+ œ œ œ œ B œ ≈ œ #œ œ œ J œ œ œ J œ ˙ œ œ. .

Example I-6. Corrette, Le parfait maître à chanter, 1758.

Like Montéclair, Claude Denis provides multiple examples of loures

without a written definition, but unlike his predecessor he includes them all in

one treatise. Denis’s Nouvelle méthode was published posthumously, in 1757. It

was most likely written during the 1740s for his music school in Paris.24 His

Nouvelle méthode includes three loures plus l’Aimable vainqueur, although the

latter is not called a loure, merely listed as “l’aimable vainqueur D’hesione”

under examples for the metric sign “3.” The inclusion of l’Aimable vainqueur is

significant in two ways: It strengthens the case for the dance air’s continued

popularity later in the eighteenth century; and it suggests that by this time it is

divorced from a direct relationship with the word “loure” even as other loures

are included in the same text.

Denis’s loures are some of the most creative and curious compositions in

this survey. Two loures are in the conventional 6/4 time signature, yet one is in

24 Neal Zaslaw, “Denis, Claude,” in New Grove Dictionary of Music and Musicians Vol. 5 (1980), p. 364.

22 12/4, a unique contribution to this study. Denis’s “Loure en rondeau” [Example

I-7] is most typical of earlier loures despite its key signature of five (!) sharps (B

Major).25 It is in 6/4, with an eighth-note/quarter-note pickup and dotted

rhythms. The rondeau form, ABA, is unusual; only three loures in the entire database fall in this category. The A section is comprised of two equal four-bar

phrases; the B section is extended, with a phrase structure of four plus nine bars.

In the bars before the return to A Denis modulates, an even rarer occurrence in

loures, from B major to F-sharp minor.

Loure en rondeau # # œ œ œ+. œ œ œ œ œ œ+. œ œ & # ## 46 J J œ ˙ œ. œ œ. œ œ œ œ. œ ˙ Œ‰J + J J J + J œ %

# ## œ+. œ œ œ œ œ œ+. œ & # # J œ ˙ œ. œ œ. œ œ œ œ ˙. œ. j + J J J + œ œ Fine

# # j j . œ +. #œ ˙ #œ+. œ # ## ˙ œ. œ œ œ œ J œ œ œ œ œ Œ‰J 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 & J J J + œ œ ˙

# # j j œ œ & # ## œ nœ. œœ nœ. œ œ œ nœ œ œ nœ œ. œnœ œ œ. j J #+˙ J œ #+˙ œ. J + œ ˙. œ. D.S. al Fine

Example I-7. Denis, Nouvelle méthode, 1757.

25 This remote key was most likely used as a teaching tool for his students.

23 The second loure in Denis’s Nouvelle méthode [Example I-8], also in 6/4, stretches the rules even further. It begins with a single quarter-note pickup not to a downbeat but to the middle of the first bar.26 The sautillant rhythms in alternation with quarter notes, use of Lully’s signature | and forlane ( ) h q q h h q q rhythms are typical enough; yet it is through-composed rather than bi-partite

(Mondonville’s “Pastoral” from Daphnis et Alcimadure, an even more quirky loure from the same time [1754] is the only other through-composed loure). This loure begins in the modest key of B-flat, but after only eight bars the piece meanders from F minor through G minor, F major, E-flat major, and finally back to B-flat major only to end in B-flat minor. The phrasing is extremely irregular beginning with one-and-a-half-bar phrases, giving the impression the piece should be in

9/4 or 3/4 rather than 6/4, but soon after the pattern varies. The overall phrase structure is: 1
- 1
- 4 – 7 – 1
- 2
- 2 – 2 – 2 – 2 – 3 – 3
. Despite these many twists, however, this piece retains enough rhythmic loure qualities to be identifiable as such.

26 This pickup in itself is not uncommon. See Database II: La Barre (1694), Bouvard (1706), Campra (1708), Mouret (1723 and 1727), and others.

24 Loure # ## 12 œ m˙ œ œ œ œ œ œ œ œ + œ œ & # 4 œ œ œ #˙ œ œœ œœnœ œ œ œ œ œ œ œ

# ## # œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œnœœ œ œ & œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ œœ œœœœœœœœœœ˙œ

# # œ + # # œ œ nœ œ #œ œ œ œ œ œ. J œ ˙ œ œ œ œ œ œ #˙ #œ œœ œ œ œœœœ œ œœ 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 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 w. w. m J

Example I-8. Denis, Nouvelle méthode, 1757.

This is not so for Denis’s final loure [Example I-9]. This C-sharp minor loure, in 12/4, consists mainly of eighth-note runs mixed with rhythms and h q very few dotted patterns. It shares many features with his loure discussed directly above (uneven phrases, modulations, through-composed), yet without the rhythmic underpinning there is very little left to connect it to a loure.

25 Loure + b 6 j œ œ œ . œ œ œ œ œ ˙ œ . œ œ & b 4 œ œ. œ œ œ œ œ œ J œ J

b œ œ j & b œ œ. œ œ œ œ. œ œ œ ˙ œ œ. œbœ œ J œ œ œ +œ n+˙ J

b j & b ˙ œ œ. bœ œ bœ. œ œ œ œ ˙ bœ œ œ œ œ J œ n+œ œ ˙ œ œ n+œ

b j œ œ œ. œ œ œ œ j & b ˙ œ jœ nœ #œ œ œ œ #œ. œ œ œ œ œ. œ œ. œ œ m +

b œ. œ œ œ œ . œ & b ˙ œ J œ œ ˙ œ ˙ œ œ J œ œ œbœ œ ˙ œ

+ b œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ n b b & b ˙ œ J œ œ œ ˙ J œ œ J n b b

+ b b œ œ. œ œ œ œ. œ œ j œ œ œ œ. œœ ˙. œ œ œ + & b b ˙ J œ œ J nœ. œ œ œnœ œ

+ bb b œ œ œ œ œ œ œ œ œ œ w. & b œ œ nœ œ œ œ œ nœ œ œ n+œ

Example I-9. Denis, Nouvelle méthode, 1757.

Kirnberger’s single eight-bar loure for keyboard from Recueil d’airs de danse caractéristiques (1777) is modest in comparison [Example I-10]. Set in 3/2, it is part of a larger piece entitled “Les Caractères des Danses” and consists of only eight bars. The one loure feature retained in this short example is the pickup, in

26 this case quarter-note/half-note that corresponds to the eighth-note/quarter-note pickups at the beginning and here and there in the bass line. Even though many traits attributed to the loure are missing from both Denis’s and Kirnberger’s loures, the qualities they retain—the dotted rhythms and/or the eighth- note/quarter-note pickup (or equivalent, in Kirnberger’s case) are typical of other loure composers from the mid- to late 1700s, as will be shown in the

Overview to Database II.

Ÿ Ÿ # 3 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ 6 & # 2 #œ˙ ˙ ˙ ˙ w wœ ˙.#˙œ 8 œ ˙ w ˙ ˙ w Ó Ó ˙ ˙ ˙ ˙ ˙ ˙ ? # 3 ˙. œ #˙ ˙ ˙ ˙ œ ˙ ˙ 6 # 2 ˙. œ ˙. ˙ ˙ 8 œ

Example I-10. Kirnberger, Recueil d’airs de danse caractéristiques, 1777.

27 DATABASE I: LOURE DEFINITIONS

1690 Furetière, Antoine La Haye, Rotterdam: Arnout & Reignier Leers Dictionnaire universel, contenant généralement tous les mots françois, tant vieux que modernes, et les termes des sciences et des arts. Definition: Vieux mot qui signifioit autrefois musette, qui vient de lyra. On appelloit aussi Loureur, celuy qui en joüoit. Translation: An old word that meant “musette,” derived from the word “lyra.” Also, “Loureur,” one who plays the instrument.

1694 Corneille, Thomas Paris: chez la veuve de Jean Baptiste Coignard Le dictionnaire des arts et des sciences. Par M.D.C. de l’Académie Françoise. Tome Troisiéme. A-L. Definition: Vieux mot, que Borel dit avoir signifié autrefois une grande Musette. On l’a appellée ainsi, non pas de Lyra, mais à cause du son que rendoit cet Instrument. On a aussi appellée Lourour ou Loureur, celuy qui en joüoit, ce qui fait appellée les hautbois in Languedoc des Toro loros. Translation: An old word which Borel said meant a large Musette. They call is thus not from ‘lyra’, but because of the sound this instrument made. Also Lourour ou Loureur, one who played the instrument, which led to the oboists in Languedoc being called Toro loros.

1699 Masson, Charles Paris: Jacques Collombat et l’auteur Nouveau traité des règles de la composition de la musique par lequel on apprend à faire facilement un chant sur des paroles, à composer à 2, à 3 et à 4 parties, etc., et à chiffrer la basse-continue, suivant l’usage des meilleurs auteurs. Ouvrage très utile à ceux qui jouent de l’orgue, du clavecin, et du théorbe. Troisième édition, revue et corrigée. Definition: (concerning meter) La Loure, qui a ordinairement pour signe 6/4, se battent à deux tems égaux lentement; elle doit estre du même mouvement que la Mesure à deux tems lents. Translation: The loure, ordinarily indicated with a sign of 6/4, is beat slowly in two equal beats. It must be of the same time as a measure in slow duple time. Comment: [JS] “Frequent reference to music by Lully makes this book a practical guide to French style in the late 17th c.”

28 DATABASE I: LOURE DEFINITIONS

1700 Feuillet, Raoul Auger Paris: auteur, Michel Brunet Chorégraphie ou l’art de décrire la dance par caractères, figures et signes démonstratifs, avec lesquels on apprend facilement de soymême toutes sortes de dances. Ouvrage très- utile aux maîtres à dancer et à toutes les personnes qui s’appliquent à la dance. Definition: La Mesure à trois temps, comprend les Airs de Courante, Sarabande, Passacaille, Chaconne, Menuet, Passepied, &c. & la Mesure à quatre temps, comprend les Airs lents, comme par exemple l’Entrée d’Apollon de l’Opera du Triomphe de l’Amour, & les Airs de Loure. / [D] ans la Mesure à quatre temps on en met deux [Pas pour chaque Mesure]. Translation: The measure in triple time includes the Airs of the Courante, Sarabande, Passacaille, Chaconne, Menuet, Passepied, etc., and the measure in quadruple time includes the slow Airs, for example the “Entrée d’Apollon” from the opera Triomphe de l’Amour, and the Airs of the Loure. / In measures of quadruple time there are two step-units per bar. Comment: Example with an eighth-note/quarter-note pickup and two step units to an “Air de loure” follow on the next page.

1704 Feuillet, Raoul Auger Paris: Feuillet Recüeil de dances contenant un très grand nombres des meillieures entrées de ballet de Mr. Pécour, tant pour homme que pour femmes, dont la plus grande partie ont été dancées à l’Opéra. Recüeillies et mises au jour par Mr. Feüillet, m. de dance. Definition: On doit regarder la mesure de Loure, ou gigue lente come la mesure à quatre temps, par ce que, quoi que la Loure ou gigue lente contienne six temps et que l’autre n’en contienne que quatre châque mesure de Loure ou gigue lente, fait le même effet que deux mesures à trois temps, ainsi si ie pose une barre à la moitié d’une mesure de Loure, ces deux moitiez seront deux mesures à trois temps. Translation: Regarding the time of the Loure, or slow gigue, like the measure in quadruple time, the Loure or slow gigue contains six beats, and while they contain four beats, they have the same effect as two measures in triple time. Thus, if one inserts a bar halfway through a measure of the Loure, these two halves equal two measures in triple time.

29 DATABASE I: LOURE DEFINITIONS

1705 Brossard, Sébastien de Paris: Christophe Ballard Dictionaire de musique, contenant une explication des Termes Grecs, Latins, Italiens, & François, les plus usitez dans la Musique. Definition: Espece de Musette. V. CONTINUO & ZAMPOGNA. C’est aussi souvent le nom d’un Air d’un Danse qu’on écrit ordinairement sous la Mesure de 6. pour 4. & qu’on Bat lentement ou gravement, en marquant plus sensiblement le premier temps de chaque Mesure, que le second & c. Translation: A type of musette. See CONTINUO and ZAMPOGNA. This term is often also the name of an air of a dance ordinarily written in 6/4 meter and beaten slowly and gravely, marking the first beat of each measure more perceptibly than the second, etc. Comment: [JS] “The first extensive dictionary of musical terms in France, Brossard’s famous work provided much material for later musical dictionaries by Walther and J.J. Rousseau.” Her description suggests that the word, “loure,” is not added until the 1705 version; however, both “loure” and “lourer” appear in Gruber’s 1703 translation of Brossard. Gruber misinterprets “musette” as “music” in his translation of the loure. Definition of “lourer”: “c’est une maniere de Chanter qui consiste à la premiere de deux Nottes de pareille valeur, comme deux Noires deux Croches & c. qu’à la seconde, sans cependant la pointer ou la picquer.” [Gruber translation: “A manner of singing that consists of giving a little more time and force to the first of two notes of like value, such as two quarter notes or two eighth notes, than to the second,

1706 Weaver, John London: H. Meere Orchesography, or, the Art of Dancing. Definition: And quadruple time, is made use of in slow tunes, as appears by the second tune in the following plate, and the tunes call’d loures. [p. 88] Regarding quadruple time in his A Small Treatise of Time and Cadence in Dancing (London 1706), Weaver states: . . .for each measure of a loure or slow jigg, is the same with two measures of triple time; for if you put another bar in the middle of the measure of a loure, it will be then two measures of triple time. . . . [p. 4]

Comment: Translation of Feuillet, Recüeil, 1704. Under “Of Time, Measure, or Cadence.” Weaver’s second edition (ca. 1715-22) includes the “Louver.”

1709 Montéclair, Michel Pignolet de Paris: auteur, Foucault Nouvelle méthode pour aprendre la musique par des démonstrations faciles, suivies d’un grand nombre de leçons à une et à deux voix, avec des tables qui facilitent l’habitude des transpositions et la conoissance des différentes mesures. Definition: [See Addendum to Database I, Example I-1]

Comment: Includes only one example of loure, no definition. Loure example is in 6/4, quarter- note pickup, regular phrasing.

30 DATABASE I: LOURE DEFINITIONS

1711-12 Montéclair, Michel Pignolet de Paris: Methode facile pour apprendre a jouer du violon. Definition: [See Addendum to Database I, Example I-2]

Comment: Montéclair provides a loure example on p. 17 in 6/4, A Major, quarter-note pickup, marked “Grave”. Also provides two sets of bowings.

1713 Dupont, Pierre Paris: Ch. Ballard Principes de musique par demandes et par réponçes avec de petits exemples. Definition: Loure on doit chanter gravement au Contraire, l’ors qu’il est en Ecrit, Gigue, il fait chanter, ou joüer legerement. Translation: (6/4, in 2 equal beats) Loure must be sung gravely; on the other hand, when it is written “gigue, it should be sung or played lightly. Comment: [JS] Reissued a few times with slight variances in the title (1718, 1719, 1740). An intro to music in dialogue form; character implications by metric signatures discussed.

1721 Niedt, Friedrich Erhardt Hamburg: B. Schillers Wittwe und J. C. Kissner Musicalischer [!] Handleitung anderer Theil von der Variation des General-Basses, samt einer Anweisung wie man aus einem schlechten General-Bass allerley Sachen als Praeludia, Ciaconen, Allemanden, &c. erfinden könne. Definition: Gique, ein Französisches Wort / auf Italianisch Giga, wovon jenes herkommt: ist ein schneller Tanz / bey den Engeländern (auch Spaniern) sehr gebräuchlich. Ihr Tact ist theils egal, theils inegal, als 3/8, 6/4, oder 12/8 (NB. Die / so im 6/4 geseßt werden / sind keine schnelle / sondern sehr langsame Giques, die man Loures nennet.) Translation: Gigue, a French word, in Italian, Giga, from which the other is derived. It is a fast dance, very common with Englishmen (and Spaniards). Its time is partly even, partly uneven, such as 3/8, 6/4, 6/8, or 12/8 (NB: those Giques written in 6/4 are not fast, but rather, very slow Gigues, called Loures.) Comment: Translation by Pamela Poulin and Irmgard Taylor, The Musical Guide (Oxford: Clarendon Press, 1989). “Loure” falls under description of “Gique”; the 1706 edition does not mention the loure.

1722 Rameau, Jean-Philippe Paris: Jean Baptiste Christophe Ballard Traite de l’harmonie reduite à ses principes naturels; divisé en quatre livres. Definition: la Gigue Françoise est encore souvent désignée par le mouvement de la Loure. Translation: The French gigue is still often designated by the movement of the loure. Comment: From Livre IV. Principes d’accompagnement. Musical incipit for loure gives time signature of “4”; that of the French Gigue is set in “2.” Book 4 talks extensively of accompanying dance movements. See eng. transl.: Jones, Griffith. A Treatise On Harmony, In Which The Principles Of Accompaniment Are Fully Explained And Illustrated By A Variety Of Examples. London: Longman & Broderip [ca. 1795].

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1725 Rameau, Pierre Paris: Rollin fils Le Maitre à Danser. Definition: . . . . on donne des examples de ce pas dans l’Aimable Vainqueur; qui est une fort belle danse de ville, ils y font placez de differentes manieres & si a propos qu’il semble que la jambe exprime les nottes; ce qui prouve cet accord ou plutôt cette imitation de la Musique avec la douceur de ses sons par des pas doux & gracieux. [p. 141] Il s’en fait encore d’une autre sorte de côté, en effaçant l’épaule, dont il y en a deux dans le premiere couplet de l’Aimable Vainqueur, dans le Bretagne, dans la Nouvelle Forlanne, & dans plusieurs autres, & dont l’opposition ne se fait qu’à la fin du pas. . . . [p. 228] Translation: There are some examples of this pas [Coupé of two movements] in L’Aimable Vainqueur, which is a very beautiful ballroom dance. They are used in different ways and so appropriately that the legs seem to express the notes, which shows this harmony, or rather this imitation of music, since the sweetness of its sounds are expressed by soft and graceful steps. It is performed still after another Manner sideways shading the shoulder, of which sort of Step there are two in the first strain of the l’Aimable Vainqueur, in the Bretagne, the new Forlanne, and many others, in which the Opposition is only made at the End of the Step. Comment: L’Aimable Vainqueur is mentioned under Chapter XXX, “Of Coupés of Movement.” AV also mentioned in Part II, Chapter VIII, “Of the Manner of Moving the Arms with Pas de Bourrée or Fleurets.” See also Essex, John. The Dancing Master. Essex substitutes “Louvre” for “l’Aimable Vainqueur” to “Louvre” in his translation.

1728 Essex, John London: J. Brotherton The Dancing Master: or, The Art of Dancing Explained. Definition: There are Examples of this Kind in the Louvre, which is one of the finest Ball Dances, wherein different manners are so properly introduced, that the Legs seem to express the Notes; which proves that Harmony, or rather that Imitation of Musick with Dancing, since the Sweetness of its Sounds ought to be imitated by the most easy and becoming Steps. And as this is one of the most agreeable, there is a Manner of moving the Arms gracefully with it, that shall be explained in the tenth Chapter Part the Second [p.81]. It [the Coupée] is performed still after another Manner sideways shading the Shoulder, of which sort of Step there are two in the first strain of the Louvre, in the Bretagne, and the new Forlanne, and many others, in which the Opposition is only made at the End of the Step [p. 133].

Comment: Translation of Pierre Rameau’s dance manual.

1729 Jenyns, Soame London: J. Roberts The Art of Dancing: A Poem in Three Cantos. Definition: To her we all our noblest dances owe/The sprightly Rigadoon, and Louvre slow,/ The Borée, and Courant, unpractised long,/Th’immortal Minuet, and the sweet Britagne.

Comment: Definition from a poem, “The Argument. Of French Dancing.” Spelled “louvre,” difficult to tell if this refers to “l’Aimable Vainqueur” (= Louvre) or to loures in general, since the poet refers to both general dances (Borée, Courant, Minuet) and at least one specific dance (Britagne).

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1730 [ca.] [Anonymous] London: J. Walsh Rules: Or a Short and Compleat Method for Attaining to Play a Thoroughbass Upon the Harpsichord or Organ. Definition: LOURE, is the Name of a French Dance, or the tune thereunto belonging, always in Triple Time, and the Movment [sic], or Time, very Slow and Grave.

Comment: Includes a dictionary “or Explication of such Italian Words, or Terms, as are made use of in Vocal, or Instrumental Musick.” Also includes French words, “Loure” being one of them. It’s interesting to note that “Minuet” is not included in the dictionary, although “Minuetto” is, with a definition similar in style to that of the loure: “a Minuet, a French Dance so called, or the Tune or Air belonging thereunto. This dance and Air being so well known that it needs no Explanation.”

1732 Walther, Johann Gottfried Leipzig: Wolffgang Deer Musikalisches Lexikon. Definition: [gall.] 1. eine grosse Sack-Pfeiffe; 2. eine Pièce oder einen Tanz, ordinairement in 6/4 Tact gesetzt, welcher langsam und gravitätisch tractiert wird; jedes halben Tacts erste Note bekommt einen Punct, welcher wohl gehalten werden muss. Translation: 1. a large bagpipe; 2. a tune or a dance ordinarily set in 6/4 time, which should be performed slowly and gravely. The first note of every half bar is pointed and must be fully held. Comment: See Mattheson - Orch. I, p. 176.

1733 Villeneuve, Alexandre de Paris: auteur Nouvelle méthode très courte et très facile avec un nombre de leçons assez suffisant pour aprendre la musique et les agréments du chant.

Comment: [JS] Rudimentary singing manual, includes illustration of various dance rhythms, among them a loure. Not examined.

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1735 Tomlinson, Kellom London: Printed for the author The Art of Dancing Explained by Reading and Figures. Definition: Louvres or slow jigs are of two times or steps to a measure and agreeable with quadruple [time]. . . . Tunes of quadruple time rarely, if ever, begin with odd notes, as the foregoing tunes of common [time]. . . . As to tunes of triple time agreeing with quadruple, viz. louvres or slow jigs, they are of two measures, or of six crotchets in the bar, the first three whereof are beat down and the remaining up, each answering to a measure of a saraband, and a movement usually beginning in odd notes. For instance, the Entree Espagnol and Pastoral Dance, the latter by the late Mr. Isaac; and the Union by the same author is of this nature, tho’ it does not begin with odd notes as the dances aforesaid. [pp. 143-149] . . . the Sink and the Rise are together in the Midst of the Motion the leg makes, in stepping, as in the preceding; and supposing the Step is to a Louvre, or such like slow air, it is performed in the Manner following. . . . [pp. 27-28] The second strain of the Louvre begins with this Step [Chassé], the last Time of its playing over. . . . and in the dance it is performed facing to the right side of the room or lady, and not to the upper end of it, as here described. [p. 78]

1735 [ca.] Montéclair, Michel Pignolet de Paris: Boivin Petite méthode pour apprendre la musique aux enfans et même aux personnes plus avancées en âge. Definition: [See Addendum to Database I, Example I-3]

Comment: Includes only one example of a loure, no definition [p. 76]. This example, in 6/4, has a quarter-note pickup, is bi-partite, regular phrasing--interesting change of meter to show hemiola in penultimate measure of each section. Loure labelled “Pesament.”

1736 La Chapelle, Jacques Alexandre de Paris: auteur, veuve Boivin, le Clerc Les vrais principes de la musique exposé par une gradation de leçons distribuéez d’une manière facile et sûre pour arriver à une connoissance parfaite et pratique de cet art dédié à Mgr. le comte d’Argenson par le Sr. de La Chapelle.

Comment: Includes La Chapelle’s description of a pendulum and lengths of the pendulum for particular dances, including loure.

1736 Montéclair, Michel Pignolet de Paris: veuve Boivin Principes de musique. Definition: [See Addendum to Database I, Example I-4]

Comment: Loure in 6/4, Grave, in g major with quarter-note pickup, even phrasing.

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1737 David, François Paris: Boivin, Le Clerc Méthode nouvelle ou principes généraux pour apprendre facilement la musique, et l’art de chanter Definition: La Loure demande la Mesure, ou les mouvemens de trois tems pesant. Translation: The loure requires a measure in triple time, pesant. Comment: Definition of “loure” found under title, “Explication des mouvemens subordinés aux airs de Caractère pour la Danse, & autres,” along with definitions of ouverture/prelude; sarabande/passacaille/courante, etc.; le menuet, la chaconne, etc.; gigue (“demande la Mesure, ou les mouvement de trois huit, ou celle de six huit, ou celle de neuf huit, ou celle de douze huit, & trés legerement”); canarie/passepied; l’Allemande; la Marche.

1738 Corrette, Michel Paris: auteur, Boivin, Le Clerc L’école d’Orphée, Méthode pour apprendre facilement à jouer du violon dans le goût françois et italien; aven des principes de musique et beaucoup de lecons à I et II violons. Ouvrage utile aux commençants et à ceux qui veulent parvenir à l’exécution des sonates, concerto [sic], pièces par accords et pièces à cordes ravallées . . .Oeuvre XVIIIe. Definition: [See Addendum to Database I, Example I-5]

Comment: Gives musical example of loure (among others) for learning to play the violin in the French manner.

1738 Hotteterre, Jacques Martin “le Paris: J.B. Christophe Ballard Méthode pour la Musette

Comment: Gives example of air from the first act of the Opera, Alceste. This air is called “loure” in the Ballard print of Alceste. Hotteterre does not mention the loure here, marking it only “mouvement modéré.”

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1739 Mattheson, Johann Hamburg: Christian Herold Der vollkommene Capellmeister, das ist gründliche Anzeige aller derjenigen Sachen, die einer wissen, können, und vollkommen inne haben muss, der einer Capelle mit Ehren and Nutzen vorstehen will: zum Versuch entworffen von Mattheson. Definition: [Defined under subtitle, “Gigue,” Section 102] Diesen ernsthafften Melodien mag nun auch wiederum was frisches und hurtiges folgen, nehmlich VII, Die Gique, mit ihren Arten, welche sind die gewöhnliche, die Loure, die Canarie, die Giga. Die Loures oder langsamen und punctirten zeigen hergegen ein stolzes, ausgeblasenes Wesen an: deswegen sie bey den Spaniern sehr beliebt sind. [Section 104] Da gibt es, so wie von einigen der übrigen Melodien- Gattungen auch Arietten a tempo di Giga zum Singen: vornehmlich auf die Art der Loures, die keine unangenehme Wirckung thun. Translation: Now something fresh and lively might also follow these serious melodies, namely VII. The Gigue, with its types, which are the common ones, the Loure, the Canarie, the Giga. . . . The Loures or slow and pointed ones reveal on the other hand a proud arrogant nature: for this reason they are very beloved by the Spanish. [Section 104] Here there are, as with some of the other categories of melodies, also ariettas a tempo di Giga for singing: principally the Loures, which have a not unpleasant effect. Comment: See also Pt. 2, Chap. 5, Pt. 1, Chap. 10, par. 80-81.

1742 Trichter, Valentin Leipzig: Johann Friedrich Gleditsch Curiöses Reit-Jagd-Fecht-Tantz-oder Ritter-Exercitien-Lexicon, worinne der galanten ritterlichen Uibungen Vortreflichkeit, nebst allen in denselben vorkommenden Kunst- Wörtern hinlänglich erkläret. . . Definition: Ein Tanz, welcher ordentlich im 6/4 Tact geseßt, und langsam und gravitätisch tractiret wird; die erste Note in jedem halben Tacte bekommt einen Punct, welcher wohl gehalten werden muß. v. Gigue. sonst bedeutet Loure auch eine grosse Sack-Pfeiffe. Daher Loureur, ein Sack-Pfeiffer. [under “gigue”] Die loures oder langsamen und punctirten zeigen hergegen in Stolßes aufgeblasenes Wesen an; in deswegen sie bei den Spaniern sehr beliebt sind.” Translation: A dance, usually set in 6/4 time, and performed slowly and gravely. The first note in every half bar is pointed and should be fully held. See Gigue. The loure also describes a large bagpipe; hence “Loureur,” a bagpiper. [Gigue] The loures, or slow and pointed [gigues], are performed in a proud and arrogant manner. Because of this they are much loved by the Spanish. Comment: Also: “Lourer. Bedeutet, wenn man unter zwo gleich geltenden Noten ben der ersten ein wenig mehr hält, und derselben einen grössern Nachdruck giebt, als der zwenten, jedoch so, daß man sie nicht punctiret oder abstößt.” Exact definition (under “Gigue”) taken from Mattheson.

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1745 Ferriol y Boxeraus, Bartholomé Copoa: Joseph Testore Reglas utiles para los aficionados a danzar. Provechoso divertimiento de los que gustan tocar instrumentos; y advertencias polyticas a todo genero de personas.

Comment: Tratado 3 concludes with a section on Amable [sic], with verbal description (pp. 232 -35) plus the entire notated dance with its music (pp. 236-41). The music is especially interesting, showing “antigua” and “moderna” versions of the “L’Aimable vainqueur” air. See Addendum III, Example 2.

1751-80 Diderot, Denis, and Jean le Rond Paris: Briasson, David, Le Breton, Durand Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers, par une societé de gens de lettres. . . . Definition: [La loure] est, selon quelques-uns, le nom d’un ancien instrument, semblable à une musette. C’est aussi une sorte de danse dont le mouvement est grave, & marqué le plus souvent part la mesure à 6/4. On pointe ordinairement la note au milieu de chaque tems, & l’on marque le premier tems un peu plus que le second. ¶ La gigue n’est qu’une espece de loure, dont le mouvement est plus vif que celui de la loure ordinaire. Voyez GIGUE. Translation: [A loure] is, according to some, the name of an old instrument similar to a musette. It is also a type of dance whose movement is serious, and usually marked in 6/4 time. One usually points the note in the middle of each beat, and one marks the first beat a little more than the second. The gigue is only one type of loure, whose movement is more lively than that of an ordinary loure. See Gigue. Comment: Several authors contributed dance and music articles to this encyclopedia, among them, Louis de Cahusac contributed dance articles to the first 7 vols.; J.J. Rousseau supplied many music articles which became the basis of his subsequent music dictionary (1768); D’Alembert wrote articles on the Chaconne and Gigue. Diderot described many dances including the loure description herein. Rousseau’s supplement doesn’t include a description of the loure; however, he defines a gigue as a type of loure (as does d’Alembert). The ninth volume (includes loure def.) was published in 1765. See also description of gigue.

1752 D’Alembert, Jean le Rond Paris: David l’ainé, Le Breton, Durand Élémens de musique théorique et pratique, suivant les principes de M. Rameau. Definition: La Loure est un air dont le mouvement est grave, se marque de la mesure 6/4, & se bat à deux tems; elle commence d’ordinaire en levant: ordinairement on passe breve la note du milieu de chaque tems, & on pointe la première note de ce même tems. Translation: The loure is an air whose movement is grave, is marked in 6/4, and conducted in two beats. It usually commences with a rising figure; ordinarily one renders the middle of every beat a breve and point the first note of this same beat. Comment: [JS] “Book 2, ch. 16 offers the composition student a very brief description of the character of various airs” (includes loure). I examined the 1766 edition, “Nouvelle Édition/ Revue, corrigée & considérablement augmentée.”

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1752 Quantz, Johann Joachim Berlin: Johann Friedrich Voss Versuch einer Anweisung dei Flöte traversiere zu spielen. . .

Translation: The entrée, the loure, and the courante are played majestically, and the bow is detached at each crotchet, whether it is dotted or not. There is a pulse beat on each crotchet. Comment: [Only the English translation was consulted.] Quantz groups the entrée, the courante, and the loure together in his discussion of tempos of various dances. This all falls under the Chapter on the “Duties of Those Who Accompany a Concertante Part.” He is sympathetic to the dancer and advises musicians to give a steady accompaniment: “Although accuracy of tempo is very important in music of all types, it must be observed most rigorously in music for the dance. . . .Fairness demands that the orchestra accommodate itself to them as much as possible, and this is easily done if now and then one attends to the fall of their feet.”

1757 Denis, Claude Paris: Le Clerc Nouvelle méthode pour apprendre en peu de tems la musique et l’art de chanter, avec un nombre de leçons dans plusieurs genres . . . deuxième édition revüe et corrigée. Definition: [See Addendum to Database I, Examples I-7 through I-9]

Comment: Lists “l’aimable vainqueur D’hesione” under examples for metric sign “3”; examples of music in the lessons include three loures, all three a slightly different character, one in 12/4 and two in 6/4. The 12/4 Loure [p. 38], begins on the third quarter note with predominant half-note, quarter-note rhythms mixed with running eighth notes, through- composed, irregular phrasings--would not guess this was a loure (comes after a Forlane example, also in 12/4). A more typical loure, “Loure en Rondeau,” follows [p. 42] in 6/4, with characteristic pickup, sautillant rhythms, irregular phrasings. The final loure [p. 68] combines elements of the two previous loures, in 6/4 with some dotted rhythms, then a flurry of eighth notes to close; the quarter-note pickup leads to the middle of the bar; irregular phrases are

1758 Corrette, Michel Paris: auteur Le parfait maître à chanter, méthode pour apprendre facilement la musique vocale et instrumentale où tous les principes sont dévelopés nettement et distinctement. Definition: [See Addendum to Database I, Example I-6]

Comment: Loure example only--(elementary singing manual). Loure in 6/4, regular phrasings, bi-partite (B section twice as long as A section). Lully-like forlane endings of sections. No tempo marking. Includes somewhat uncharacteristic sixteenth-note movement in the second half. I notice very few dotted figures in general throughout the examples--more Italianate than French (as was the style in 1758 France?).

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1766 Lacassagne, Joseph Paris: auteur, veuve Duchesne Traité général des élémens du chant Definition: Un Air Grave marqué par 6/4. Elle commence ordinairement par une croche breve que fait le milieu du Second Tems. Translation: A grave air marked in 6/4. It usually commences with an eighth-note/quarter note made in the middle of the second beat. Comment: Discusses puzzling time signature, 2/3 (see courantes “La Dombe” and “La Bocanne”) (not really related to the loure); but also gives definition for loure.

1767 Bielfeld, Jacob Friedrich von Leiden: Sam. et Jean Luchtmans L’érudition complète . . . Les premiers traits de l’érudition universelle ou analyse abrégée de toutes les sciences, des beaux-arts et des belles-lettres par M. le baron de Bielfeld.

Translation: [See Comment] Comment: [JS] “To assist in characterization and in the depiction of specific subjects or sentiments, the ballet master relies upon music of specific mood or character, to which the steps correspond: Sarabande, Courante, Loure, etc. for the grave and serious; Menuet, Passepied, Chaconne, Gavotte, Rigaudon, Gigue, Musette, Bourrée, etc. for the gay playful, lively, or comic. . . .Bielfeld lauds the excellence of French dance music, in which the melodies agree so very well with both the character of each dance and the nature of the steps--a feature essential to the success of dance music. He criticizes French opera performances for the distracting practice of audibly beating time with a baton and for the poor musicianship of some female singers who sacrifice artistic qualities for the sake of vocal showmanship.”

1768 Rousseau, Jean Jacques Paris: veuve Duchesne Dictionnaire de musique Definition: Sorte de danse dont l’air est assez lent & se marque ordinairement par la mesure a 6/4. Quand chaque temps porte trois notes, on pointe la première, & l’on fait brève celle du milieu. Loure est aussi le nom d’un ancien instrument semblable à une musette, sur lequel on jouoit l’air de la danse dont il s’agit. Translation: A kind of dance, whose air is rather slow, and is ordinarily marked bya 6/4 measure. When each time bears three notes, the first is pointed, and that of the middle is render’d a breve. Loure is the name of an ancient instrument, on which the air of the dance in question was played. [Waring]

1770 Hoyle, John London: the author and S. Crowder Dictionarium musica, Being a Complete Dictionary, or Treasure of Music. Definition: The name of a French dance, or Tune thereunto belonging, always in Triple Time, and the movement or Time is rather slow and grave.

Comment: Said to derive largely from dictionaries of Grassineau and Rousseau; spells loure “lovre.”

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1776 Hawkins, John London: T. Payne and Son A General History of the Science and Practice of Music. Definition: The LOUVRE is a mere dance-tune; the term is not general, but is applied singly to a French air, called L’amiable Vainqueur [sic ], of which Lewis XIV. was extremely fond; the French dancing masters composed a dance to it, which is well known in England.

Comment: JS mentions no differences between the earlier 1776 version and the 1853 version, but describes only the latter version. See Busby.

1777 [ca.] Kirnberger, Johann Philipp Berlin, Amsterdam: Jean Julien Hummel Recueil d’airs de danse caractéristiques, pour servir de modèle aux jeunes compositeurs et d’exercice à ceux qui touchent du clavecin, avec une préface part J. Ph. Kirnberger. Partie I. Consistant en XXVI pièces. Definition: [See Addendum to Database I, Example I-10]

Comment: [JS] “In the 4-p. preface [Kirnberger] fervently advocates the playing of characteristic dances as a necessary prerequisite to expressive, stylistically correct performance and to good composition. . . . Further, one should be alert to national or regional differences among dances of the same type.” Includes “Les Caractères des Danses” (a loure is included in this set, written in 3/2).

1779 (ca.) Waring, William London: for J. Murray, Fielding and Water A Complete Dictionary of Music. Consisting of a copious Explanation of all Words necesssary to a true Knowledge and Understanding of Music. Translated from the Original French of J.J. Rousseau. Second Edition. Definition: A kind of dance, whose air is rather slow, and is ordinarily marked by the measure 6/4. When each time bears three notes, the first is pointed, and that of the middle is render’d a breve. Loure is the name of an ancient instrument, on which the air of the dance in question was played.

1782-89 Christmann, Johann Friedrich Speyer: H. Ph. C. Bossler Elementarbuch der Tonkunst zum Unterrict beim Klavier für Lehrende und Lernende mit praktischen Beispielen. Eine musikalische Monatschrift.

Comment: [JS] Contains “concise but detailed descriptions” of several dances, including the loure. A music magazine for keyboard teachers and pupils. Not examined.

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1786 [ca.] Busby, Thomas London: Richard Phillips A Complete Dictionary of Music. To Which is Prefixed a Familiar Introduction to the First Principles of that Science. Definition: Louvre: A term applied singly to a well-known French air, otherwise called L’aimable vainqueur, for which Lewis the Fourteenth had a remarkable predilection. This air has since formed a well-known dance.

Comment: [JS] First appeared in installments in the New Musical Magazine as “An Universal Dictionary of Music” (London, ca. 1783-86).

1787 Compan, Charles Paris: Cailleau Dictionnaire de danse. Definition: Sorte de Danse dont l’air est assez lent, & se marque ordinairement par la mesure à six-quatre. Quand chaque tems porte trois notes, on pointe la première, & l’on fait brève celle du milieu. Loure est le nom d’un ancien instrument, semblable à une musette, sur lequel on jouoit l’air de la Danse dont il s’agit. Translation: A type of dance whose air is rather slow, and is usually marked in 6/4. When each beat has three notes, the first is pointed and the middle one is short. “Loure” is the name of an old instrument, similar to a musette, on which the air of the dance in question was played. Comment: JS claims this source is “the most authoritative 18th-c. dance dictionary.” See Rousseau.

1787 Meude-Monpas, J.J.O, chevalier de Paris: Knapen et fils Dictionnaire de musique... Definition: Sorte de Danse dont l’air est lent, et se marque ordinairement par la mesure 6/4. La Loure tire son nom de celui d’un instrument ainsi nommé, sur lequel on jouoit l’air de la Danse dont il s’agit. Translation: A type of dance whose air is slow and usually marked 6/4. The loure draws its name from that of an instrument of the same name, on which one plays the dance tune described. Comment: Also has definition for “Lourer - C’est former des sons sourds, et, pour ainsi dire, concaves. Sur les Instruments, la manière de bien Lourer est agréable, en ce qu’elle consiste à forcer adroitement, ou à diminuer le dégré de son. Mais dans la Musique vocale, on ne doit jamais Lourer les sons, parce que la partie essentielle de la Musique vocale, qui est la prononciation, perdroit nécessairement de sa parfaite articulation, si le Chanteur enfloit la première syllabe d’un mot, et foiblissoit sur la seconde ou la dernière.” See Rousseau.

41 DATABASE I: LOURE DEFINITIONS

1789 Türk, Daniel Gottlob Leipzig, Halle: Auf Kosten des Verfassers Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende, mit kritischen Anmerkungen Definition: Die Loure wird langsam, ernsthaft, und kräftig vorgetragen. die punktirten Noten dürfen nicht abgeseßt werden. Gewöhnlich fangen diese im Drey-viertel = seltener im Sechsvierteltakte geseßten Tonstücke mit einem Achtel und Viertel: im Auftakte an; doch ist e q dies nicht immer der Fall. Mattheson nennt die Loure eine Art langsamer Giquen. Translation: The loure is performed with strength, slowly, and seriously. The dotted notes should not be played in a detached manner. These compositions, written in 3/4 and less often in 6/4, generally begin with an eighth and quarter note as an upbeat , although this is not e q always the case. Mattheson calls the loure a type of slow gigue. [Haggh]

42 DATABASE I: LOURE DEFINITIONS

1792 Sulzer, Johann Georg Leipzig: M.G. Weidmann Allgemeine Theorie der schönen Künste, in einzeln, nach alphabetischer Ordnung der Kunstwörter auf einander folgenden Artikeln abgehandelt. Definition: Musik und Tanzkunst. Ein kleines Tonstük zum Tanzen, dessen Ausdruk Ernst und Würde, auch wol hoheit ist. Der Takt ist 3/4, und die Bewegung langsam. Es fängt im Aufschlag an nach dieser Urt: , und besteht aus zwei Theilen, jeder von 8, 12 bus 16 e q \ q. eq Takten. Man hat zwar Louren in 6/4 Takt, der eigentlich also ein Allabreve von 3/4 anzusehen ist. ¶ Man findet bisweilen bei alten guten Composisten, daß sie, so wol in diesem, als andern Tänzen im ungeraden Takte zwei Takte in einen zusammen ziehen, und anstatt: 3/4 also: h q \ q h \ 3/4 setzen. Dieses hat seinen guten Nutzen, weil die meisten Spieler den Fehler begehen, h h h daß sie, wenn eine solche Stelle nach der ersten Urt geschrieben ist, die zweite gebundene Note besonders andeuten, welches dem wahren Vortrag an solchen Stellen gerade entgegen ist. Man muß aber bei solcher Zusammenziehung zweier Takte sie nicht für einen einzigen zählen, weil man sonst, wie einigen neueren begegnet ist, im Rhythmus fehlet und anstatt der acht Takte, neune bekömmt. ¶ Zum Tanzen erfodert die Loure einen hohen Unstand mit allem ihm zukommenden Reiz verbunden. Wegen der Langsamkeit der Bewegungen gehört viel Stärke zu Erhaltung des vollkommenen Gleichgewichts. Man sucht die besten Tänzer hierzu aus. Gar oft aber machen sie von ihrer Stärke ben Misbrauch, daß sie schwere, obgleich unnatürlich Schwebungen der Schenkel anbringen, die blos eine ungewöhnliche Kraft der Sehnen anzeigen, sonst aber zum sittlichen Ausdruk nichts beitragen. Man kann von diesem Tanz anmerken, was von dem Largo in der Musik gesagt worden; er muß kurz sein sonst wird er, selbst für den Zuschauer, ermüdend. Translation: Music and dance. A small piece of dance music whose expression is solemn and dignified, often even noble. (1) Its beat is 3/4 and its movement slow. It begins with an upbeat like this: and consists of 2 parts, each having 8, 12 to 16 measures. There are Loures in e q \ q. eq, 6/4, but these are really to be seen as an allabreve of 3/4. Sometimes one finds that old good composers in this, as in other dances in triple time, combine two beats into one, and instead of writing: 3/4 write it like this: 3/4 . This has its uses, since if they see a passage like this h q \ q h \ h h h written the first way, most players make the mistake of emphasizing the second tied note, which is exactly the opposite of the correct way of playing such passages. But when two measures are combined in this way, they must not be counted as just one, since otherwise, as sometimes happens among more recent ones [sc. composers? players?], a mistake is made in the rhythm, and instead of eight measures one has nine. ¶ For dancing, the loure calls for much ceremony and all the grace which accompanies it. Because of the slowness of the movements, maintaining full balance requires much strength. The best dancers must be found for this. Quite often they misuse their strength by adding heavy yet unnatural gestures to their thighs, which merely show off an unusual strength of the tendons, but contribute nothing to the moral expression. One may remark of this dance what is said of largos in music: it must be short, otherwise it is tiring even for the audience. Comment: First edition (2 vols. only) published 1771-4; second ed. published three times: 1778 -9, 1786-7, 1792-4. Kirnberger contributed to many articles, but not to that of the loure.

43 DATABASE I: LOURE DEFINITIONS

1799 Kollmann, August Friedrich London: author An Essay on Practical Musical Composition, According to the Nature of that Science and the Principles of the Greatest Musical Authors. Definition: The Loure is a piece in 3/4, of a slow movement and a pathetic or majestic character. It resembles the Ciaconne in having generally a dot after the first crotchet of a bar. But it differs from the said piece, in beginning with the three last quavers of the measure, when the Ciaconne begins with the full bar; and also in requiring a slower and more marqued performance than that piece. The only example of a Loure which I recollect stands in Sebast. Bach’s Solos for a Violin without a Bass, and is in 6/4; but Sultzer says of this measure when found in the pieces in question, that it must be considered as 3/2. Yet according to what I have said respecting simple and compound measure, in Chap. XI, of my Essay on Harmony, these pieces might perhaps be also written in 6/4 as compound 3/4, without losing their character; and with regard to this observation the diligent reader may examine those Loures he finds in other works.

Comment: “Kollmann’s presentation to the English public of a German method of teaching composition contains articulate treatment of dance music.” (JS) Definitions of dances fall under the Chapter entitled “Of Style and National Music.”

1800 Kattfuss, Johann Heinrich Leipzig: Heinrich Graff Chorégraphie, oder vollständige und leicht fassliche Anweisung zu den verschiedenen Arten der heut zu Tage beliebtesten gesellschaftlichen Tänze für Tanzliebhaber, Vortänzer und Tanzmeister. Erster Teil.

Comment: Listed under heading, “Von einigen aus der Mode gekommenen Tänzen” along with the sarabande, passepied, passacaille, musette, folie d’Espagne, gavotte, gigue, and rigaudon. No further explanation provided.

1818 Framery, Nicolas Etienne, et al. Paris: veuve Agasse Encyclopédie méthodique. Musique. Definition: Sorte de danse dont l’air est assez lent & se marque ordinairement par la mesure a 6/4. Quand chaque temps porte trois notes, on pointe la première, & l’on fait brève celle du milieu. Loure est aussi le nom d’un ancien instrument semblable à une musette, sur lequel on jouoit l’air de la danse dont il s’agit. Translation: A kind of dance, whose air is rather slow, and is ordinarily marked by the measure 6/4. When each time bears three notes, the first is pointed, and that of the middle is rendered a breve. Loure is the name of an ancient instrument, on which the air of the dance in question was played. Comment: Definition of loure by Rousseau. Also includes definition of “lourer”: “C’est nourrir les sons aven douceur & marquer la première note de chaque temps plus sensiblement que la seconde, quoique de meme valeur.” (Rousseau)

44 DATABASE II: LOURE MUSIC

Overview

The music gathered for this database constitutes the largest of the three source collections, with over eighty examples of loures. These examples are limited to those specifically entitled “Loure” with the following exceptions: a few early dance airs by Lully that help show the origin of the loure; the airs to the choreographies identified as “loures” in Database III; five “Entrées

Espagnolles”; plus a few airs linked to other loures in the database. Since the loure, as an air and a dance, first appeared in French theatrical works, this collection relies heavily on those from French operas, ballets, and other court entertainments (approximately two-thirds). The rest come from mostly non- theatrical works by predominantly French and German composers. The most prolific composer of loures represented outside France is Georg Philipp

Telemann; therefore eleven of his loures have been included herein.

Approximately one-third of the French operas examined contained no loures at all. Loures by English composers, including George Frederick Handel, were not found.1 Also, Georg Muffat, observant pupil of Lully, does not seem to have composed any loures.

1 However, documentation from the London stages do list several performances of the “Louvre” amongst plays and other entertainments. See “l’Aimable vainqueur and the Louvre” in Cross- Database Issues.

45 The majority of loures in the database have the following features in common: they begin with a pickup (all but two), usually but also or ; e q q q h contain dotted (sautillant) rhythms; and are in 6/4 (two-thirds of the examples) or 3 or 3/4 (one-third). Nearly two-thirds of the loures show imitative bass entrances.

The character of the loures, from Lully’s to Rameau’s, is most often pastoral. The lilting dotted rhythms that imitate a bagpiper, the predominance of major keys, and the characters portrayed all support this conclusion. From the idyllic scenes in Lully’s operas to the Graces, Bacchantes, faunes and farmers from subsequent works this idea persists throughout the seventeenth and eighteenth centuries. A less common character type is the sea creature:

Divinities of the Sea, Neptune, Tritons, and the like. Exotic characters such as

Centaurs, Ciclopes, Sarmates, and Chinese are also sometimes represented in a loure. Airs for Spanish characters, the Entrées Espagnolles, also fit many loure qualities, yet they are not called loures by the composers.

Only twelve loures in music manuscripts and prints included in this survey provide tempo indications. Presumably, the players, dancing masters, and/or conductors were familiar with the dance form and needed no further written guidance. Those composers lacking the background in French dance, or those composing loures later in the eighteenth century were more apt to apply tempo markings as well as other descriptive words to their loures. Evaristo

46 Felice Dall’Abaco, the lone Italian represented in this database, is a case in point.

He must have been introduced to the loure through his work and travels. He was employed by Maximilian II Emmanuel at the Bavarian court around 1704 and spent some years in France after the War of the Spanish Succession. The loure from his Concerto in B-flat major (ca. 1719) is marked “Adagio e Spiccato,” helpful words to an orchestra unfamiliar with the dance. The few markings that were recorded in addition to Dall’Abaco’s are as remarkably varied as they are limited, unlike similar information in the other two databases. The instructions given on tempo and/or style are: gravement (Campra 1697); pesament (Bertin

1716; Destouches 1718); detaché (Blamont 1730), and gracieusement (Boismortier

1747). Rameau supplies the remaining indications that run the gamut: très grave

(1739), grave (1739 and 1745); sans lanteur (1735), un peu gaye (1737), and vive

(1741).

In addition to the pickups and dotted rhythms mentioned above, two other rhythmic figures gained importance during this study: a syncopated pattern over the barline, | and, to a lesser extent, one typical of a forlane, . q h h q h q q The former pattern appears in the majority of loures in the database, in contrast to mainly movement in others. Those airs in which the syncopated rhythmic h q h q pattern does not appear or is limited to final cadences are mostly named something other than “loure,” i.e. Entrées Espagnolles, Campra’s “Gigue lente,” and Teobaldo di Gatti’s “2de Entrée pour les Candiots.”

47

Lully incorporated either forlane or syncopated rhythms in his airs but not both,2

although a few later composers did combine both rhythms in a single loure. As

the forlane began to flourish as a distinct dance type towards the turn of the

eighteenth century, the pattern disappeared from loures,3 although it h q q reappears mid-century, especially in the works of Rameau.

The first musical examples called loures, found in late seventeenth- century manuscripts and prints, were composed by Jean-Baptiste Lully, the icon of French music and dance, although it is difficult to tell whether Lully himself knew them as loures.4 In general Lully’s loures are pastoral in character, in major

keys set in 6/4 time5 with mostly irregular lilting phrases. The pickups to loures

by Lully come in three varieties: , , and . They are filled with sautillant q e q q h rhythms, with the exception of the loure for “les Divinitez et les Nymphes” from

Alceste [1674] that moves mainly in quarter- and half-notes, and are homophonic,

for the most part.6 Either the Forlane rhythm , usually appearing at the ends of h q q

2 This suggests that these two dance types, the loure and the forlane, emerged from the same prototype through Lully’s works. See “The Emergence of the Loure through the works of Lully” in Cross-Database Issues. Meredith Little and Nathalie Jenne linked the loure with the forlana in their well-researched book on dance types: M. Little and N. Jenne, Dance and the Music of J.S. Bach. Expanded edition (Indiana: Indiana University Press, 2001), pp. 185-193. 3 As always, there are exceptions, like Bertin’s loure from Ajax (1716). 4 See “The Emergence of the Loure through the works of Lully” in Cross-Database Issues. 5 “Les Oyseaux” from Le Grotte de Versailles is in 3 rather than 6/4, although it is only called a “loure” in posthumous sources. 6 One exception (although it is only called a “loure” on the choreography title page, see Database III) is the “Entrée des Ciclopes” from Acis et Galatée wherein the lower lines enter in imitation a few beats after the treble lines.

48 phrases, or the syncopated rhythm | are prevalent in most of Lully’s loures q h h q and precursors to the loure.

Many twentieth-century scholars identify Lully’s “Sarabande. Les

Espagnols” (not “Loure”) from Le Bourgeois Gentilhomme as one of the first loures.

With its bold character, angular six-bar phrasing, and minor key, however, it

contrasts greatly with most of Lully’s loures. Moreover, these compound-time

Entrées Espagnolle rarely utilize the “forlane” or syncopated rhythms mentioned

above. This topic will be discussed more fully below.

After Lully’s death in 1687, contemporaries of Lully were once again

allowed to compose grand theatrical works in France,7 many of which contain

loures. Pascal Colasse, formerly Lully’s secretary and conductor at the Paris

Opera, most closely followed Lully’s example. This is no surprise: Colasse knew

Lully’s works intimately as he was charged with composing the inner lines of the

older composer’s operatic scores. Loures appear in at least four of the ten

threatrical works attributed to Colasse. A few months after Lully’s death he

completed Lully’s final operatic undertaking, the opera Achille et Polyxène. The

loure included in the third act is most reminiscent of Lully’s loures. This pastoral

loure, an entrée for a shepherd, is in 6/4 time in a lilting major key, and filled

with | rhythms especially in the inner lines. Unlike Lully and many of his q h h q colleagues, Colasse consistently composed his loures in 6/4 with an pickup. e q

7 For a summary of Lully’s monopoly on the composition of large theatrical works in France see James R. Anthony’s article on Lully in the New Grove Dictionary of Music and Musicians (1980), vol. 11, pp. 314-315.

49 Two of Colasse’s contemporaries, Henri Desmarets and André Cardinal

Destouches, composed loures in similar fashion, although they were not as consistent. Desmarets in particular offers proof that loures at this time need not always be in 6/4. In Act IV of his tragedie lyrique, Circe (1694), he composed two loures one after another. The “Premiere Loure,” marked “Lentement doux,” is in three and commences with a quarter-note pickup. Following a vocal air for a nymph, the “Seconde Loure,” also marked “Lentement doux,” begins in 6/4 with an pickup. These two dances, both loures, contrast in many ways. First, the e q difference in time signatures is not merely cosmetic. Although most of the triple time measures in the first loure can be played as if they were barred in 6/4, the last few bars lie contrary, ending with one “extra” measure of 3. Secondly, all voices enter together in the Premiere Loure, while in the Seconde Loure they enter imitatively from the dessus through the bass lines. Thirdly, the quarter note is prominent in all parts, especially the treble and bass, throughout the first loure; in the second, dotted rhythms prevail. Finally, the first is in a major key, the second in minor.

Like Colasse, Cardinal Destouches generally composed his loures in 6/4 with an pickup, but composed the inner and lower voices homophonically e q rather than imitatively. He composed at least one loure in 3, however, perhaps to accommodate the peculiar phrasing: seven plus seven measures of 3 in the first half, and an uneven total of thirty-one measures in the second half. This

50 reasoning (substituting “3” for “6/4” to accommodate irregular phrases) does not hold true for all loures in the database, however, since a few in 6/4 phrase to the half-bar (see, for example, Rameau, Loure grave [1745]).

André Campra differed from his contemporaries in that he usually set his loures in a time signature of 3 rather than 6/4.8 The “Loure pour les Ris et les

Plaisirs” is a good example of Campra’s loures. Here he commences with only one quarter-note pickup, and the bass enters in imitative fashion two bars later.

Campra consistently composed imitative bass and inner lines in his loures. The typical rhythmic variants are present, as are irregular phrase structures. Unlike the loures in triple time of Desmarets and Destouches, however, Campra’s phrase structure, although irregular, works nicely into two-bar (= one measure in

6/4) phrases.

Among Campra’s theatrical works is the air that accompanies the most famous baroque dance of all, “l’Aimable vainqueur.” Compared to Campra’s other loures, this one is typical although it was only called “Loure” later in its evolution as a ballroom dance. The print merely shows “Second Air.” Set in triple time, its flowing pastoral nature reflects characteristics instigated by Lully.9

Elisabeth Claude Jacquet de La Guerre, a contemporary of Colasse and a favored composer of Louis XIV since her childhood, included a “loure” in her only opera Céphale et Procris. At first glance this seems to be a rather odd loure.

8 Exception: Loure for the savages in 6/4 from Hippodamie (1706). 9 For more on “l’Aimable vainqueur,” see Database III.

51 Set in 6/4, the abundance of measures in three half-note beats interspersed with

the more common two beats (= .) per measure, in combination with the relative h absence of dotted rhythms, is more typical of a courante. The sung air that

immediately follows the dance, however, with its characteristic pickup ( ) and e q dotted rhythms in compound duple time reveals a more viable loure,

reminiscent of the menuet and air from La Grotte de Versailles of Lully.10

Considering her intimate connections to the court of Louis XIV, she was sure to

have known the French dances of her time.

Michel de La Barre’s contributions to the loure database present issues

that may lead to a further understanding of the loure ca. 1700. His first set of trio

sonatas (La Barre, 1694) includes one loure and one loure-like “Trio – grave.”

The former is a model loure in general, in 6/4 with an upbeat, bi-partite with e q the typical syncopated and sautillant rhythms established above. This loure is

one of the few in regular four-bar phrases, and its texture is not imitative. The

“Trio – grave” from a subsequent sonata resembles the earlier loure in many

ways: it is in a slow 6/4 and commences with an eighth-quarter pickup to both

of its main sections, yet La Barre did not deem it a loure. There are three notable

differences in structure between these two airs that provide clues to La Barre’s idea of the loure. Most notably, whereas the first loure intertwines the syncopated and sautillant rhythms throughout, this air utilizes the sautillant

10 See “Emergence of the Loure” in Cross-Database Issues.

52 rhythm almost exclusively especially in the dessus, changing course at only three cadences. In addition, the phrases are quite irregular, and the piece begins mid- bar. Since irregular phrases lie in some of La Barre’s subsequent loures as well, however, this aspect is probably not a key difference. On the other hand, La

Barre’s mid-bar start and overbalanced use of the sautillant rhythms are rare in earlier loures. Upon reflection, La Barre’s preference for gigue-like rhythms

(trochaic vs. iambic movement) in his “Trio” resembles that of Campra in his

“Gigue lente” compared to Campra’s “loures,” suggesting a difference in basic rhythmic movement between the loure and the gigue lente.

La Barre’s second book of Pièces en Trio published in 1700, contain no fewer than four loures in his set of six trios. To date, this is the most to be found in one single published collection. All four can easily be identified as loures and resemble his loure discussed above with a few exceptions. All but one are made up of irregular phrases and all have imitative entrances. What is more, two are in rondeau form, although the form is disguised by repeat signs separating the compositions into two halves. Loure [3] (La Barre 1700) maintains regular four- bar phrases within a rondeau form, although the sections alternating with the four-bar A section are both made up of two four-bar phrases, and all four-bar phrases. The phrases are all the more clear since each four-bar phrase emulates the rhythms established in the A section almost exactly. Most striking in La

Barre’s Loure [4], also in rondeau form but with irregular phrases, is the key

53 signature of F minor, by far the most remote key up to this point. His harmonic

language is richer in all four loures from his second book than in the loure from

his previous publication. In the earlier loure La Barre modulated only to and

from the dominant, which is typical in loures from that time.

The Entrées Espagnolles

Database III includes five Entrées Espagnolles, a small yet significant

group.11 Of these, Lully composed two; another two are by Campra. The fifth,

found in Colasse’s Les Saisons as well as attached to Lully’s Anciens Balletti de Mr.

de Lully could be attributed to either composer. Together they cover forty years,

from 1670 – 1710, and provide the music for six choreographed dances.12 All five

entrées are remarkably alike. They begin with an pickup and are constructed e q in two-bar phrases, in 6/4,13 separated by pauses. The first section of their bi-

partite form comprises six measures (three groups of two-bar phrases) in all but

one.14 Their overall rhythmic movement is comprised of sautillant patterns

interspersed with trochaic ( ) rhythms. They hold few, if any, syncopated ( ) h q q h \ h q rhythms. In this way they differ from most other loures and form their own sub-

category.

11 There are other Spanish entrées in meters other than 6/4 (or its equivalent). They are excluded from this survey for obvious reasons. 12 For more information on the choreographies, see Database III. 13 Campra’s “Air des Espagnols” from Les Fêtes vénitiennes is in three but translates easily into two-bar units of 6/4; the phrase structure given in the database is based on this 6/4 meter. 14 Campra’s “Air des Espagnols” has the equivalent of eight bars in 6/4. Campra’s earlier Entrée Espagnolle is comprised entirely of six-bar phrases.

54 Only two loures and an early entrée found in the database emulate the

Entrée Espagnolle as described above. The entrée, “Seconde Entrée des paysans et paysanas dansans a l’espaniols” from Ballet Masquarade (1668) predates the first known Entrée Espagnolle in 6/4 time (or equivalent), and combines both pastoral and Spanish elements. Although the entrée is in “3,” the pickup and general movement of the piece concord with those Spanish entrées above.

Lully’s first pause comes after the fifth, rather than the sixth, measure, creating irregular phrases (in triple meter, five plus seven bars in the first half compared to six bars in other Spanish entrées); yet the overall effect is similar. Lully’s

Seconde Entrée contains more cross-rhythms than do the other composers’

Entrées Espagnolles, yet there are fewer than in his other loures. This piece may be the precursor to both his loures and compound-time Spanish entrées.

There are only two loures in the entire database that resemble the Entrées

Espagnolles above: Destouches’s loure from Martésie (1699) and Philidor’s loure from an instrumental suite (1717). The loure by Destouches seems to begin in similar style, yet the pauses between two-bar phrases only occur in the treble part, and only in the first section which is seven rather than six bars in length.

The latter, on the other hand, emulates the Spanish entrée in every respect, with its two-bar phrases punctuated by pauses, a six-bar first half, and rhythmic movement consistent with the entrées above. Philidor was responsible, as court librarian, for copying volumes of music by Lully and other court composers and

55 therefore was well-acquainted with the many dance forms. It appears that by the

time he composed this loure he did not make a distinction between the Spanish

entrée and the loure. This did not hold true for previous composers of Entrées

Espagnolle, however, as Lully’s and Campra’s loures so-marked differ in both

form and character from that of the Spanish entrée.

True to his vast musical output, Telemann was the most prolific composer

of loures outside of France, and eleven are represented herein. Most are in

simple triple time (eight vs. three in 6/4), with typical pickups (six begin with a

quarter note, four with an eighth-quarter). Imitative counterpoint is limited,

often replaced by echo or concertino/ripieno passages. One key element of the

loure that Telemann limits only to his earlier loures is the syncopated rhythm q h \ h . Those dated 1723 or later favor the more gigue-like trochaic rhythm ( ). q h q h q Telemann has a predilection for regular phrases, although the use of echoes sometimes interrupts this flow. The loure from Telemann’s Ouverture in f-sharp minor provides the best example here, with two “extra” bars extending the otherwise regular four-bar phrases.

Not only are the majority of Telemann’s loures suitable for dancing, but many also cleverly portray the characters in their title. The loure subtitled “Der verliebte Neptunus,” for example, flows seductively through the melody’s chromatic upper and lower neighbor notes and filled-in intervals of diminished fifths. The loure “Die Bauren Kirchweyh,” on the other hand, moves jauntily

56 along a jagged path with its off-kilter, dotted rhythms. This latter loure is

Telemann’s only loure to begin with a lone eighth-note, and the typical loure

rhythms are obviously displaced for comic effect. It should be noted at this

point, however, that this loure may not be Telemann’s at all as it is considered to

be spurious.15

Two final Telemann examples are worth noting since technically they

aren’t labelled “loure.” This is most likely because they are both from collections

in a generally more Italianate style. The first, found in “Venerdi” from the

Pyrmonter Kurwoche is as much a loure as any others yet Telemann marks it merely “Largo.” The other, composed for solo harpsichord in the collection

Essercizii Musici, is entitled “Lura” (literally “leather bag”), and is appropriately filled with ornamentation in imitation of a bagpipe.

Twelve loures constitute Rameau’s contribution to this database. They are among the latest loures in this survey and, along with Mondonville’s loure of

1754, illustrate the final vestiges of the loure. All but one comes from a staged work. These works simultaneously show Lully’s continued, or in some cases renewed, influence as well as new trends in form and style. For example, the

“Loure en Rondeau” from Les Indes Galantes incorporates several features introduced by Lully: it begins in 6/4 with an pickup in a major key; it makes e q use of sautillant rhythms (although not right away) and the rhythmic pattern | q h

15 I am grateful to Stephen Zohn for this and other information regarding the works of Telemann.

57 .16 Yet the form, a rondeau, is not typical; nor is the unison opening, the wide h q skips in all parts, and the virtuosic bassoon solo in the second half. In some ways

it is similar to the loure of Jacquet de La Guerre discussed above: its melody

initially moves in quarter notes and half notes rather than dotted figures; and the

air following the dance (in “3”) seems more typical of a loure (in this case, only

slightly, with the addition of imitative counterpoint).

The “forlane” rhythm that Lully often used ( ) reappears in a few of h q q Rameau’s loures.17 Two of his contemporaries also reinstated this rhythm in their

loures: Adolfe Benoît Blaise in his loure, “Entrée de Chinois” (1745), and Réné

de Béarn Brassac, “Loure pour les Matelots” (1750).

As already mentioned, Rameau’s loure tempos run the gamut from “trés

grave” to “loure vive.” It is interesting to note that although Rameau prescribes

a time signature of “4” for the loure in his Traite de l’harmonie (see Database I) he

composed his loures mostly in “2” (three out of twelve) or “3” (seven). Only two

are marked “6/4,” and none is in “4.” The time signature “2” makes sense on two

occasions. The loure from Castor et Pollux (1737) and “La Pantomime” (1741) are

both marked “loure” but with modifiers suggesting a faster tempo: “Loure, un

peu gaye” and “Loure vive” respectively.18 Since “2” is the time signature

16 This typical Lully rhythm can also be found in Rameau’s loures from Les festes d’Hébé, Temple de la Gloire, and Les Paladins. Forlane rhythms, also typical of Lully, appear in loures from Dardanus, Les festes d’Hébé, Platée, Temple de la Gloire, and “La Pantomime.” 17 Dardanus Loure 1, Les festes d’Hébé 1739; Platée, Temple de la Gloire 1745; Les Paladins 1760. 18 This “loure vive” in fact has very little to do with a loure at all. Most of the movement is gigue- like (half-notes followed by quarter notes) punctuated by sixteenth-note runs covering an octave in the keyboard part.

58 Rameau gives for the “Gigue Françoise,” a faster relation to the loure shown in

6/8, these two dances are suitably marked. The “Loure grave” from Platée, however, moves equivalent to 6/4 time and according to Rameau himself should be marked in “4.”

Beginning around 1745 Rameau turned the established pickup into a e q more literal . This, of course, has more to do with a trend during the middle of x q the eighteenth century away from the French style to a more Italianate style of

playing than with any rhythmic alteration on Rameau’s part. Apparently,

Rameau felt he could no longer assume the players would know to overdot the

eighth notes as had previously been customary.

Rameau’s phrases are usually uneven (ten of twelve). He, like Telemann,

incorporated echoes within some of his loures. The loure from Pigmalion (1748),

a mere sixteen measures in triple time, appears between a “Chaconne vive” and

a “Passepied vif” and is one of only two even-phrased loures by Rameau in this

database. Each two-bar phrase is echoed amid an active flute duet in thirds.19

Rameau’s most unique loure, also with echo effects, comes from Les Festes de

l’Hymen et de l’Amour one year earlier (1747). Here Rameau intertwines qualities

of both the loure and the sarabande. In triple time, paired eighth notes begin

softly on the second beat; two bars later a dotted figure preceded by a sixteenth

note answers, forte, and so it goes. It seems that by 1760 all that remains of the

19 Flute duets in thirds are quite common in Rameau’s loures.

59 loure in Rameau’s works is this sharply dotted pickup figure and the syncopated

rhythm ( ) within a pastoral context. q h \ h q Rameau’s loures, with their mix of old and new styles, provide a

satisfying conclusion to the loure. Two additional loures, however, deserve

mention. Both appear in Pastorales: Daphnis et Chloé (Boismortier 1747) and

Daphnis et Alcimadure (Mondonville 1754). These two airs uphold opposite ends of the loure spectrum regarding character, form and style.

The first Pastoral was written by the prolific composer, Josef Bodin de

Boismortier (Boismortier, 1747). Most of this composer’s works center around instruments connected with pastoral scenes: flutes, musettes, and vielles. The loure presented here comes from one of his last stage works, a pastoral, Daphnis et Chloé, for l’Académie Royale de Musique in Paris. Entitled “Loure.

Gracieusement” it is indeed graceful, in 6/4 with even phrases in Rondeau form reminiscent of La Barre’s even-phrased loure a half century earlier, with an imitative bass entrance. Unique to this loure is its pickup: a dotted quarter note precedes the usual and begins mid-bar ( ). The harmonies are simple, with e q q. e q modulations to the dominant and relative minor in the alternating sections. The chorus, followed by “Le Faune” sing to the same (slightly modified) air. Aside from the uncharacteristic pickup this air can be easily identified as a loure.

In comparison, Jean Joseph Cassanea de Mondonville’s loure, for the

“Entrée des Nobles,” does not look at all like a loure. There is no pickup, very

60 few sautillant patterns and only one syncopated rhythm, with no imitative bass.

Like Rameau, Mondonville composed duets in thirds that alternate with sections

in a grander, more pointed style, but the thirds are usually played by the violins

and flutes or the violins and bassoons (actually an octave plus a third in the latter

case) rather than shared by the flutes alone. This loure is through-composed (the only loure with this form in the database), in mostly four-bar phrases. Based on

Mondonville’s “Entrée des Nobles” as well as Rameau’s later loures, the e q pickup (although in the body of the piece, not at the beginning), and a pastoral

setting may be all that is left of the loure during its final years.

61 DATABASE II: LOURE MUSIC

1668 Lully, Jean Baptiste. Le Grotte de Versailles

# œ œ œ œ & 3 œ. Jœ œ œ œ œ œ œ. Jœ œ œ œ ˙

Phrase Structure: 3 - 3 :||: 3 - 4- 4 - PR (4-4) :|| Form: Bi-partite

Divertissement. Later used as a “curtain raiser” for L’Idylle sur la paix. Called either “menuet” or “loure” in various manuscripts.

1668 Lully, Jean Baptiste. Le Grotte de Versailles Les Oyseaux # 3 Œ‰œ œ œ. œ œ œ œ+. œ œ œ œ+ œ. œ œ œ ˙+ & J J +˙ J œ J +˙.

Phrase Structure: 8 :||: 8 - 10 :|| Form: Bi-partite

Divertissement. Follows menuet also found in this database, most likely the “lourre” referred to by the Res. 532 copyist (Philidor?), who instructs the player/conductor to “Tournez pour la Lourre.”

1668? Lully, Jean Baptiste. Ballet Masquarade Seconde Entree des paysans et paysanas + œ œ œ b j j œ. œ#œ œ. J ˙ œ + œ œ. œ & b 3 œ œ œ . œ œ J Œ œ œ œ J œ

Phrase Structure: 5 - 7 :||: 3 - 6 - 8 :|| Form: Bi-partite

Les paysans et paysanas chantans et dansans. La Signora Anna, paysanna la Signor Atto et la Signor Bordigon paysans.” Interesting mix of loure elements here, with peasants and Spaniards combined. Not, however, called “loure.”

62 DATABASE II: LOURE MUSIC

1670 Lully, Jean Baptiste. Le Bourgeois Gentilhomme Act IV Sarabande. Les Espagnols LMC 7820, 8100 œ. œ b 6 œ ˙ œ œ. œ œ œ ˙ J œ œ. œ œ œ œ & b 4 J œ J J ‰ J œ. J

Phrase Structure: 2 - 2 - 2 :||: 2 - 2 - 5 :|| Form: Bi-partite

Also in Lully, Le Ballet des Ballets (1670) and Le Carnaval Mascarade (1675). Not called “loure.”

1672 Lully, Jean Baptiste. La Festes de l’Amour et de Bacchus Act II, Scene 8 [untitled] œ # 6 j . œ œ œ. œ œ œ. œ œ œ. œ œ ˙ œ œ. œ & 4 Œ‰œ œ œ J J J J J

Phrase Structure: 3 - 4 :||: 4 - 5 :|| Form: Bi-partite

This is called a loure in other sources. Very similar to the loure found in L’Idylle sur la paix.

1674 Lully, Jean Baptiste. Alceste Prologue Loure. Les Divinitez et les Nymphes # 6 œ œ + + + & 4 œ. Jœ œ ˙ +˙ œ œ ˙ +˙ œ œ ˙

Phrase Structure: 4 - 4 ||: 4 - 4 :|| (First half does not repeat?) Form: Bi-partite

Pervasive rhythm throughout; largely homophonic , slightly more contrapuntal at cadences. qh \ hq Only a few sautillant rhythms. Also called “Menagerie,” “La Loure” in other manuscript sources.

63 DATABASE II: LOURE MUSIC

1674 Lully, Jean Baptiste. Alceste Act I, Scene 7 Loure pour les Pé[s]cheurs + + 6 œ ˙ œ. œ œ œ . œ œ œ œ. œ œ œ. œ œ œ + &4 J œ. œœ . J J J œ. œ œ

Phrase Structure: 4 :||: 4 - 5 :|| Form: Bi-partite

Interesting to note one definition of “Louve” pertains to “Péscheurs” in Corneille’s dictionary of arts and sciences, although it is not directly related to the dance: “Terme de Pescheur. Sorte de filet rond, qui est une maniere de petite rafle, avec quoy on prend force poissons.”

1685 Lully, Jean Baptiste. L’Idylle sur la paix Loure j b 6 œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ ˙ œ.œ œ œ & 4 œ J J J J J

Phrase Structure: 4 - 6 :||: 6 - 2 :|| Form: Bi-partite

Lilting. Has forlane element of repeated note in rhythm. Production premiered at the h q q Orangerie of Sceaux. This is not an opera but rather an anthem (87 lines long). Served as a companion piece to Les Fêtes de l’Amour et de Bacchus in 1689. This is Lully’s first Palais Royale production not written by Quinault; libretto by Racine. Print contains reference calling this loure a gigue.

1685 Lully, Jean Baptiste. Le Temple de la paix Prologue [no title] + œ ˙ + œ œ ˙ 6 œ ˙ œ œ œ. œ œ œ. œ œ œ œ œ œ &4J œ J

Phrase Structure: 6 :||: 4 - 4 :|| Form: Bi-partite

Paired with a menuet that precedes it. No title, Also called Air, Gigue in later scores.

64 DATABASE II: LOURE MUSIC

1686 Lully, Jean Baptiste. Acis et Galatée Act II, Scene 6 Entrée des Ciclopes. Second Air LMC 5240, 5260 # # 6 œ œ. œ j œ œ.œ œ œ & 4 J œ.œ œ œ ˙ œ ˙ œ.œ J J

Phrase Structure: 4 - 5 :||: 5 - 71/2 - 61/2 :|| Form: Bi-partite

Music not entitled “loure,” but both dance choreographies are called loures.

1687 Colasse, Pascal and Lully, Jean-Baptiste. Achille et Polyxène Act III, Scene 9 Entrée de Pastres Troyens. Loure bb 6 œ. œ œ œ œ+. œ œ œ. œ œ œ ˙ œ+. œ œ œ ˙ & 4 œ J J J

Phrase Structure: 4 - 4 :||: 6 - 8 :|| Form: Bi-partite

Loure leads into song, also in 6/4 sung by a shepherd, accompanied by flutes.

1689 Colasse, Pascal. Thétis et Pélée Act I, Scene 5 Loure. Ier Air pour les Divinitez de la Mer b j j j j j & b 46 œ œ. œ œ œ œ œ. œ œ j œ. œ j œ #œ. #œ. nœ œ œ œ +œ. œ

Phrase Structure: 8 :||: 10 - 8 :|| Form: Bi-partite

1689 Colasse, Pascal. Thétis et Pélée Act V, Scene 5 Loure. Entrée de Flore # 6 j œ œ œ œ œ. œ œ+. œ œ œ œ+ œ œ. œ œ œ œ œ & # 4 œ œ. J J J J

Phrase Structure: 7 :||: 13 :|| Form: Bi-partite

65 DATABASE II: LOURE MUSIC

1691 Jacquet de La Guerre, Elizabeth. Céphale et Procris Prologue Loure ˙ . b 6 œ œ œ œ œ ˙ œ œ œ œ œ & b 4 œ œ œ ˙ œ

Phrase Structure: 7 :||: 5 - 6 :|| Form: Bi-partite

A solo for the God, Nérée. This is a curious loure; looks to me more like a courante, with alternating 3- and 2-beat measures and very few dotted rhythms, no imitation. The vocal air that follows better fits the loure parameters.

1692 Marais, Marin. Pièces en Trio pour les Flutes, Violons, et Dessus de Viole Loure + 6 œ œ œ. œ œ œ œ œ+. œ œ œ œ+. œ œ. œ œ œ œ œ &4J J J œ. J œ œ J

Phrase Structure: 6 - 4 :||: 5 - 4 - 6 :|| Form: Bi-partite

1693 Charpentier, Marc-Antoine. Médée Prologue Loure . œ. œ. œ.bœ 3 œ œ œ. œ œ œ ˙ œ. œ œ #œ œ œœ #œ œ œ J #œ œ & J J J œ J J

Phrase Structure: 8 - 8 :||: 8 - 8 :|| Form: Bi-partite

Bass gives downbeat before pickup. Segues from previous chorus also in 3, “La Victoire,” who speaks to shepherds, asking them to take up their musettes and sing of love and its fires.

66 DATABASE II: LOURE MUSIC

1694 Desmarets, Henri. Circe Act IV, Scene 7 Premiere Loure. Lentement doux + œ + ˙ œ œ œ œ. + # œ œ œ œ œ œ œ ˙ ˙ œ œ œ & # 3 J . . œ

Phrase Structure: 3 :|| 12 || (No repeat 2nd half) Form: Bi-partite

One of two loures, in close proximity, in this opera. All parts begin simultaneously; straight quarter notes prevail over sautillant rhythm. Basically homophonic throughout.

1694 Desmarets, Henri. Circe Act IV, Scene 7 Seconde Loure. Lentement doux œ + + œ + 6 œ œ. œ œ œ. œ œ.œ œ œ œ œ. J œ.œ œ œ & b 4 ‰ J J J #Jœ œ. J J

Phrase Structure: 9 :|| 13 || (No repeat 2nd half) Form: Bi-partite

Very active, imitative in all parts, contrasts with Premiere Loure from same opera. Marked differences between the two loures in this opera, contained in the same act with only one dance separating them.

1694 La Barre, Michel de. Premier Livre des Trio, pour les violons, flutes, et hautbois. . . seconde edition Loure œ. œ +. œ œ. œ +. # 6 œ œ œ . œ œ œ J œ J œ œ J œ œ œ œ œ. œ & 4 J J J J

Phrase Structure: 4 - 4 :||: 4 - 4 :|| Form: Bi-partite

From a collection of six dance suites including only one mvmt. entitled “loure” but containing one other piece with strong loure characteristics entitled “Trio, grave.”

67 DATABASE II: LOURE MUSIC

1694 La Barre, Michel de. Premier Livre des Trio, pour les violons, flutes, et hautbois. . . seconde edition Trio - grave œ œ.œ b J œ œ. œ œ J œ.#œ œ œ . n œ œ œ+. œ œ.#˙ œ. œ & b 46 Œ‰ J J œ J J J œ

Phrase Structure: 31/2 - 31/2 :|| 51/2 - 6 - 6 || Form: Bi-partite

1695 Colasse, Pascal. Les Saisons Act IV, Scene 4 (L’Hyver) [Sarabande Espagnolle] + . # 6 œ ˙ œ œ. œ œ.œ œ œ œ. œ œ œ œ œ œ. œ œ & # 4 J œ J J J J J

Phrase Structure: 6 :||: 4 - 5 :|| Form: Bi-partite

No title, but bound with Anciens Balletti [?]de Mr. de Lully which contains the same piece, this time entitled “Sarabande Espagnole - Les Espagnoles.” Same beginning as Lully’s Second Air des Espagnols (Lully 1670), although different key.

1697 Campra, André. L’Europe galante Act I, Scene 2 Loure, pour les ris et les plaisirs œ œ ˙ #œ œ œ ˙ œ. œ œ œ œ œ œ œ œ œ ˙ & 3 . J œ J

Phrase Structure: 6 - 8 :||: 8 - 6 - 6 - 6 - 6 :|| [Reprise: 6 - 6 ] Form: Bi-partite

Interesting to note this entrée is entitled “Loure” while the third entrée of this act, the famous Entrée Espagnolle (here entitled “Premier Air, pour les Espagnols”), is not called a loure although it fits more loure characteristics (pickup, time signature).

68 DATABASE II: LOURE MUSIC

1697 Campra, André. L’Europe galante Act II, Scene 2 Premier air, pour les Espagnols. Gravement LMC 4040, 4120, 4240 œ + j b 6 œ #˙ œ œ œ.œ+ j œ. œ œ œ. œbœ & 4 J œ. J œ œ œ. œ œ J J

Phrase Structure: 6 :||: 6 - 6 :|| [Reprise: 6] Form: Bi-partite

Note regular phrasings, but six measures at a time. Also have 2-part version from 1699 edition.

1698 Desmarets, Henri. Les Festes galantes Act III, Scene 8 Loure + œ œ œ. œ œ. bb 6 ‰ J J #œ œ œ.œ+ œ œ œ+. œ œ œ œ & 3 J J J ˙.. œ J

Phrase Structure: 3 - 5 :||: 3 - 6 - 6 - [Reprise: 2] :|| Form: Bi-partite

Obvious hemiolas at cadences, imitative bass entrance, active bass line.

1699 Destouches, André Cardinal. Amadis de Grèce Act IV, Scene 3 Loure + + œ. + + # 6 œ #œ œ. #œ œ œ ˙ œ œ œ œ œ œ. œ.œ œ œ œ. œ & 4 J J J J œ J J

Phrase Structure: 6 :||: 5 - 4 - 7 :|| Form: Bi-partite

69 DATABASE II: LOURE MUSIC

1699 Destouches, André Cardinal. Marthésie, première Reine des Amazones Act III, Scene 3 Loure œ. œ œ œ + j j b 6 œ œ J œ œ. œ #œ+. nœ Œ‰ j & 4 J J J œ œ œ œ. œ œ.+œ œ œ

Phrase Structure: 4 - 3 :||: 5 - 6 :|| Form: Bi-partite

Begins with EE phrasing but does not continue. No imitative entrances - after “Une Fontaine” sings; followed by canaries. [Opera also has an AV-type tune in 3 - opens III/3, Naiades - flutes and violins.]

1700 Campra, André. Hésione Act III, Scene 5 Second Air LMC 1140, 1160, 1180 b3œ j j ˙ œ œ œ œ œ œ œ & œ. œ œ.œ œ œ œ ˙ œ. J ˙

Phrase Structure: 7 :||: 4 - 5 - 3 :|| Form: Bi-partite

This is the famous “L’Aimable Vainqueur,” but the music is not marked “loure” in any music manuscript or print found. Two of the three choreographies, however, attach the word “Loure” above the music staff. A song of nearly the same tune, sung by Venus, follows the dance in the opera.

1700 Campra, André. Hésione Act II, Scene 4 Gigue lente LMC 2620 œ œ. œ œ b 6 J #œ J œ. œ œ œ. j œ. œ b.œ œ œ œ œ & 4 J œ œ J J œ. J œ

Phrase Structure: 4 - 6 :||: 6 - 10 :|| Form: Bi-partite

Seems like it could go faster than other loures--fewer, less complicated dance steps per measure. Sautillant rhythms very prevalent. Imitative, active bass line typical of gigues. “Une des Graces” sings to similar tune, after which the dance repeats.

70 DATABASE II: LOURE MUSIC

1700 La Barre, Michel de. Pièces en Trio, pour les violons, flustes [sic], et hautbois. . . Livre sécond Loure [1] 6 j œ. œ b.œ œ+ œ œ. œ b.œ œ+ œ œ œ œ & b 4 œ œ J J œ J J œ œ œ œ

Phrase Structure: 4 - 5 :||: 5 - 6 :|| Form: Bi-partite

The second collection of trios by La Barre contains two loures. This first is a model loure with all of the characteristic components intact.

1700 La Barre, Michel de. Pièces en Trio, pour les violons, flustes [sic], et hautbois. . . Livre sécond Loure [2] j + œ + œ bb 6 œ œ+. œ œ œ. œ œ œ. œ œ œ. J œ œ. œ œ œ. J œ & 4 J œ J J J

Phrase Structure: 4 - 4 :||: 6 - 4 - 5 - 5 :|| Form: Bi-partite

Last phrase is a repeat of the previous phrase.

1700 La Barre, Michel de. Pièces en Trio, pour les violons, flustes [sic], et hautbois. . . Livre sécond Loure [3] œ œ œ + œ œ.œ+ œ + + # œ œ œ. œ œ ˙ œ œ J œ œ œ. œ & 46 J J J

Phrase Structure: 4 :||: 8 - 4 - 8 - 4 :|| Form: Rondeau AABACA

Extremely regular phrasing, even more clear by the incessant use of hemiolas at each cadence.

71 DATABASE II: LOURE MUSIC

1700 La Barre, Michel de. Pièces en Trio, pour les violons, flustes [sic], et hautbois. . . Livre sécond Loure [4] œ + œ œ b œ nœ ˙ œ œ. J œ ˙ œ œ. J œ œ. œ œ œ œ & b bb 46 J J

Phrase Structure: 5 :|| 8 - 5 - 7 - 5 || Form: Rondeau AABACA

Imitative texture, entrances. Rondeau fully written out (no repeats in second section).

1700 (ca.) Lalande, Michel-Richard de. Sinfonies pour les soupers du Roi Loure ensuitte 6 œ œ œ. œ œ œ œ œ œ. œ œ œ + œ. œ œ ˙ & b 4 J J J #œ. nœœ #Jœ

Phrase Structure: 6 :||: 5 - 6 :|| Form: Bi-partite

1701 Destouches, André Cardinal. Omphale Act I, Scene 4 Premier Air. Loure j + & b3œ œ œ. œ œ œ. j j j œ J + œ œ œ œ œ œ ˙.+œ œ œ œ ˙.+œ œ

Phrase Structure: 14 :||: 31 :|| Form: Bi-partite

Cannot be converted to strict 6/4 phrasings.

72 DATABASE II: LOURE MUSIC

1701 Gatti, Theobaldo. Scylla Act I, Scene 5 2de Entrée pour les [Candiots] LMC 4540, 5280 œ œ œ b 6 J œ œ. œ œ. J œ #˙ œ œ. œ œ ˙ œ œ œ & 4 J J . J œ

Phrase Structure: 4 :||: 4 - 4 - 4 :|| Form: Bi-partite

Not imitative start; bass line moves slowly at the beginning (dotted half notes) but then speeds up. Very similar to the marked Loure from the same opera, Act IV/2. Only called “loure” in choreography.

1701 Gatti, Theobaldo. Scylla Act IV, Scene 2 Loure œ œ œ œ œ. œ b 6 J œ. J J œ.#˙ œ. œ œ œ. j & b 4 J Jœ œ œ. œ œ

Phrase Structure: 4 :||: 5 - 4 - 3 - 4 - [Rep. 4] :|| Form: Bi-partite

No imitative entrances, no syncopated bass rhythms, yet contains sautillant and half-note/ quarter-note movement. Similar in all respects to the “2de Entrée” from the same opera, also in this database. This loure fits into a nice trio of loure variants. It is preceded by an Entrée, also in gm, similar to AV (in 3, pickup, dotted rhythms often followed by | rhythmic patterns, q q h h q hemiola cadences) and is followed immediately by a song similar to the loure, sung by “une Bergere Egiptienne.” This song, although laid out in two sections like the preceding loure, is actually in rondeau form A :|| B - A - C - A; phrases are regular.

1702 Bouvard, François. Médus, Roy des Mèdes Act I, Scene 3 Loure # œ œ ˙ œ ## 6 J œ œ. œ œ œ œ œ œ œ œ. œ & 4 J œ œ œ. J œ J

Phrase Structure: 8 :||: 5 - 4 - 7 :|| Form: Bi-partite

73 DATABASE II: LOURE MUSIC

1702 Charpentier, Marc-Antoine. Le Malade Imaginaire Loure ˙.. œ œ œ œ. œ œ œ œ # 6 j œ. œ œ œ. œ œ J J œ & 4 œ œ J J

Phrase Structure: 8 :||: 8 Form: Bi-partite

Loure is first of a suite of dances.

1704 Desmarets, Henri, and André Campra. Iphigénie en Tauride Act I, Scene 6 Loure . b 6 œ ˙ œ œ. œ œ ˙ œ œ œ œ n˙ œ.œ œ œ & b 4 J œ J J J

Phrase Structure: 15 :||: 17 :|| Form: Bi-partite

Imitative entrances. Forlane-like rhythms. Closes first act, followed by final chorus reprise.

1706 Bouvard, François, et T. de La Doué Bertin. Cassandre Act III, Scene 3 Loure # œ œ œ # 6 ŒŒ œ œ œ œ œ. œ œ œ œ. J œ ˙ œ.œ œ œ & 4 œ œ. J œ J J

Phrase Structure: 6 :||: 5 - 6 :|| Form: Bi-partite

Pickup to mid-measure, segue from preceding premiere air; sometimes . Marked for “violons.” e q Followed by air for “une Troyenne.” Un coeur qui s’engage to similar tune. Note at bottom of table of contents reads: On a retranché plusieurs morceaux dans cette Piece, pour n’en point rendre l’exécution trop longue sur le Théatre. Neantmoins on a crû, non seulement ne devoir point les supprimer dans l’Impression de la Musique; mais encore qu’il êtoit necessaire de les indiquer dans l’ordre qui suit. . . .Acte III/Scene III. La Loure qui ne fert que d’Entre-Acte.

74 DATABASE II: LOURE MUSIC

1706 Colasse, Pascal. Polixène et Pyrrhus Prologue Loure pour les Tritons œ œ 6 J œ œ. œ œ. œ œ œ. œ œ +. œ œ j j &4 J J J œ J œ. œ œ.œ #œ œ

Phrase Structure: 8 :||: 7 - 9 :|| Form: Bi-partite

Scored for oboes. Imitative, but no imitative entrances. Frequent borrowings from Lully. This was his last opera.

1708 Campra, André. Hippodamie Prologue Air des Sauvages. Loure j j bb 6 œ œ. œ œ ˙ ˙ bœ œ. œ œ & 4 œ ˙ œ œ . œ œ ˙ œ J

Phrase Structure: 5 - 5 :|| 6 - 6 || Form: Bi-partite

“Un Sauvage” sings to a similar tune.

1709 Dornel, Louis-Antoine. Livre de simphonies contenant 6 suittes en trio Air en Loure œ. œ œ œ œ b œ J œ #œ œ. j œ œ œ œ œ œ œ œ & b 3 Jœ œ œ. œ œ œ œ œ œ

Phrase Structure: 9 - 17 - 10 ||: 7 - 8 - 15 :|| Form: Bi-partite

Imitative texture between two upper parts only (not b.c.).

75 DATABASE II: LOURE MUSIC

1710 Campra, André. Les Fêtes vénitiennes Act II, Scene 3 Air des Espagnols LMC 4600 ˙ + œ.+ b3œ œ œ. œ œ #œ+. nœ Œ‰œ œ œ œ. œ œ œ œ & J œ J J œ J œ œ J J

Phrase Structure: 2 - 2 - 2 - 2 :||: 2 - 2 - 4 - 4 :||4 (reprise) Form: Bi-partite

Bass rhythm slower harmonically than treble (often only one note per bar); but dance (by Pécour 1713) is quite complex.

1712-21(?) Telemann, Georg Philipp. Orchestral Suite in C major, “Lustige Suite” TWV 55:C5 Loure 3 œ œ œ œ œ œ œ œ. œ œ œ.œ j œ.œ j œ.œ œ œ œ œ œ œ œ &4J J œ œ œ œ J

Phrase Structure: 6 - 8 :||: 8 - 8 - 12 - 8 :|| Form: Bi-partite

1712-21(?) Telemann, Georg Philipp. Ouverture “La Putain” (Die Dirne), TWV Anh. 55:G1 Loure. Die Bauren Kirchweyh # œ. œ. œ œ. œ œ 3 œ œ œ. œ œœ. œ œ. œ œ. œ œ œ œ œ. œ œ. #œ œ. œ #œ. J œ. œ & J J J J . J J

Phrase Structure: 4 - 4 :||: 4 - 4 - 4 - 6 :|| Form: Bi-partite

Telemann’s got the rhythms “all wrong”--most likely on purpose, a comic affect portraying the characters?

76 DATABASE II: LOURE MUSIC

1712-21(?) Telemann, Georg Philipp. Ouverture in f-sharp minor, TWV 55:fis1 Loure # # j œ œ œ # 3 œ œ œ. œ œ œ . J œ ˙ j œ œ. œ œ & 4 J + œ œ.œ œ œ ˙ J

Phrase Structure: 4 - 2 - 4 :||: 4 - 2 - 4 - 4 - 2 - 4 :|| Form: Bi-partite

Intermittent 2-bar echoes in otherwise regular 4-bar phrase structure.

1713 Salomon, Joseph-François. Medée et Jason Loure j bb 6 œ œ. œ œ œ œ.œ œ œ œ. œ œ œ. œ œ œ œ & 4 J œ œ J J J œ. J

Phrase Structure: 4 - 4 :||: 6 - 4 :|| Form: Bi-partite

2nd half contains many 3-beat bars--six out of the 10 measures (often three half notes per bar in all but treble line). In series, French Opera in the 17th and 18th Centuries.

1716 Bertin, T. de La Doué. Ajax Act I Troisieme Air. Loure. Pesament # œ # 6 j ˙ j ˙ j œ œ œ. œœ & 4 œ œ œ œ. œ œ œ œ. œ œ.œ J

Phrase Structure: 2 :||: 10 :|| Form: Bi-partite

Second half loses 1/2 measure---pickup moves to mid-measure. Has all rhythmic loure qualities.

77 DATABASE II: LOURE MUSIC

1717 Campra, André. Camille, reine des Volsques Act V, Scene 3 Loure. Air des Volsques # ˙ ˙ #œ œ œ œ. œ œ œ œ œ. œ œ & 3 ˙ œ œ J Œ J œ œ œ

Phrase Structure: 9 - 9 :||: 9 - 9 - 10 - 7 (Reprise) :|| Form: Bi-partite

Measures not always grouped in twos (as if it were in 6/4, in other words); different pickup, opening rhythm.

1717 Philidor, André Danican. Suitte de Mr. Philidor le pere l’an 1717 Loure œ + + # 6 œ œ œ œ. œ œ.˙ œ. œ œ œ œ œ. œ & # 4 J œ J J œ J œ

Phrase Structure: 4 - 2 :||: 2 - 4 :|| Form: Bi-partite

Has characteristics similar to the entrées Espagnolle. (Short two-bar statements ending in a long tied note, six-bar phrases).

1718 Destouches, André Cardinal. Semiramis Prologue Loure. Pesamment b + œ œ b 6 j œ œ. œ œ œ œ. œœ ˙. Œ‰œ œ œ. œ œ . J œ & 4 œ J œ. J + J J

Phrase Structure: 4 - 4 :||: 5 - 5 - 3 :|| Form: Bi-partite

Imitative bass entrance.

78 DATABASE II: LOURE MUSIC

1719 (ca.) Dall’Abaco, Evaristo Felice. Concerto in B-flat Major, Op. V/4 Loure. Adagio e Spiccato ˙. œ. œ b 6 œ. œ œ.œ œ œ œ œ.#œ œ œ J œ.œ nœ œ & b 4 J J œ œ œ œ J J

Phrase Structure: 6 :||: 4 - 5 :|| Form: Bi-partite

No pickup, but imitative texture, sautillant rhythms, irregular phrasings. Dall’Abaco was Italian, born in Verona; he was employed by Maximilian II Emmanuel at the Bavarian court around 1704 and spent some years in France after the War of the Spanish Succession. His “Spiccato” marking indicates a detached bow stroke, an instruction usually taken for granted by the French, and may suggest differences in playing styles between those of the French and Italians/Bavarians. The absence of a pickup also suggests he was not completely familiar with this dance form.

1720 Bach, J.S.. Partita #3 for Solo Violin, BWV 1006 Loure j j # œ œ œ œ œ œ œ œ j ## # 6 . œ œ œ œ. œ œ œ œ œ œ. œ œ j & 4 œ œ J œ œ ˙ œ ˙œ. œ œ J Ó. Œ‰J Œ œ

Phrase Structure: 4 - 4 - 3 :||: 4 - 5 - 4 :|| Form: Bi-partite

1720 (ca.) Telemann, Georg Philipp. Ouverture in g minor, TWV 55:g4 Loure - Gasconnade œ . œ b œ.œ œ J œ #œ nœ œ. nœ œ œ bœ œ.œ œ & b 43 œ J œ œ œ œ J J œ

Phrase Structure: 8 - 8 :||: 8 - 8 - 4 :|| Form: Bi-partite

Second half has characteristic eighth-quarter pickup.

79 DATABASE II: LOURE MUSIC

1722(?) Bach, J.S.. Suite #5 for Harpsichord, BWV 816

Loure j # j j œ j 6 œ j œ œ. œ œ. œ & 4 œ œ ˙. œ. œ œ ˙.. œ œ œ œ ˙ œ œ œ œ J ˙.. œ J ˙

Phrase Structure: 4 - 4 :||: 4 - 4 :|| Form: Bi-partite

Suite mvmts: Allemande / Courante / Sarabande / Gavotte / Bourrée / Loure / Gigue

1723 Blamont, François Colin de. Les Festes grecques et romaines 2e. Entrée, Scene III Loure œ # œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ & 3 J œ ˙ J œ œ œ œ œ J

Phrase Structure: 12 :||: 5 - 4 - 10 - 6 :|| Form: Bi-partite

Appears before Air sung by Cleopatra & Antoine. Imitative bass entrance second half only. Danced by Bacchantes, following a Rondeau danced by the same.

1723 Mouret, Jean Joseph. Pirithous Act V, Scene 2 Loure œ + œ + 6 œ œ ˙. œ. œ. j œ œ œ œ+ &4J J œ œ œ œ œ œ. J œ

Phrase Structure: 6 :||: 11 :|| Form: Bi-partite

Second of two loures in this opera. Follows entrée de bergers (Musette in 3) plus musette sung by choir. More pastoral, flowing than the first loure. Followed by yet another musette in 2.

80 DATABASE II: LOURE MUSIC

1723 Mouret, Jean Joseph. Pirithous Act I, Scene 4 Loure pour les Centaures ˙ œ+. œ œ œ œ+ bb 6 œ ˙ ˙+ œ œ. œ œ. œ œ œ J œ & 4 J œ œ J +œ J

Phrase Structure: 6 :||: 10 [PR 4] :|| Form: Bi-partite

First of two loures in this opera. Pickup goes to mid-measure.

1723 Telemann, Georg Philipp. Ouverture in C-Dur, TWV 55:C3 Loure. Der verliebte Neptunus b œ œ.œ œ œ œ œ œ œ œ œ œ.œ œ œ ˙ & b b 3 J J ˙ œ nœ. J J œ n˙ œ

Phrase Structure: 8 :||: 8 - 8 :|| Form: Bi-partite

1724 Couperin, François. Huitiéme Concert dans le goût Théatral from Nouveaux concerts Loure m m ˙ œ ˙ œœ œ. œ œ œ ˙ # 6 m œ œ. œ œ ˙ œœ œ J & 4 ˙ J œ

Phrase Structure: 5 - 6 :||: 7 - 5 - 9 :|| Form: Bi-partite

Much use of rhythms throughout. qh \ hq

81 DATABASE II: LOURE MUSIC

1724 Telemann, Georg Philipp. Der Neumodische Liebhaber Damon Act II, Scene 12 Loure 6 œ j œ. œ œ œ. œ œ & b 4 œ ˙ œ. œ œ ˙ œ ˙ œ J J

Phrase Structure: 4 - 4 :||: 4 - 5 :|| Form: Bi-partite

Loure alternates with Gavotte (Gavotte - Loure - Gavotte), ends Act II; rhythms more gigue-like.

1727 Mouret, Jean Joseph. Les Amours des Dieux Prologue Loure pour les [Sarmates] . 6 j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &4 œ œ #œ œ œ œ.œ J #œ œ. J J

Phrase Structure: 2 - 2 - 2 :||: 4 - 4 - 4 :|| Form: Bi-partite

Pickup goes to mid-measure, limited sautillant rhythms. (The second entrée, Jupiter et Niobé, contains a song in 6/4 with a pervading rhythm and is referred to as a “forlane” although the h q h q familiar repeated-note figure ( ) is missing. Also contains typical loure pickup.) h q q e q

1730 Blamont, François Colin de. Le Caprice d’Erato ou les Caracteres de la Musique. Divertissement 2 Loure pour les Faunes. Detaché j œ 6 Œ‰œ œ œ. œ œ œ œ. œ ˙Œ‰. J œ &4 J œ œ œ ˙. œ œ. œ J J

Phrase Structure: 7 :||: 14 :|| Form: Bi-partite

Pickup comes mid-measure, following a downbeat from the bass (only treble and bass provided). Compare to Rameau’s loure in Les Indes Galantes. Dancers: Camargo, Dumoulin, Dupré.

82 DATABASE II: LOURE MUSIC

1730 (before) Telemann, Georg Philipp. Orchestral Suite in G minor, “La Changeante” TWV 55:g2 Loure œ œ. œ œ ˙ ## 3 œ. œ œ œ œ œ J œ œ œ. œ œ œ j & 4 œ J J œ œ œ. œ œ

Phrase Structure: 8 :||: 8 - 4 - 8 :|| Form: Bi-partite

1733 Telemann, Georg Philipp. Ouverture in G from Tafelmusik Loure Æ Æ Æ œ œ œ # 6 œ. œ œ œ œ Æ j œ Æ œÆ.œ J œ œ œ & 4 œ J œ œ œ. œ œ œ

Phrase Structure: 4 || 4 - 4 || 4 - 4 - 2 || 4 - 3 || 4 || 4 - 4 Form: A - B - A

B section a solo trio imitative section for flutes and violins.

1734 Telemann, Georg Philipp. “Venerdi,” from Pyrmonter Kurwoche Largo j Ÿ Æ Ÿ œ œ . œ j Ÿ œ œ œ Æ Æ j Ÿ j j œ # 3 œ œ œ œ. J œ œ œ #œ. œ œ j œ œ j j œ J œ œ œ œ œ œ œ œ. œ œ & 4 J J œ J

Phrase Structure: 4 - 4 :||: 8 - 4 - 4 :|| Form: Bi-partite

83 DATABASE II: LOURE MUSIC

1735 Rebel, François, & François Francouer. Scanderberg Loure œ # 6 œ œ. œ œ œ ˙ + ˙ + ˙ ˙ & # 4 J œ œ ˙ œ œ œ œ

Phrase Structure: 4 - 4 :||: 6 - 6 :|| Form: Bi-partite

Pickup goes to mid-measure. Imitative bass, measures sometimes in 2, sometimes in three (like courante); at one point bass is clearly in two while treble is in three (see example). Extra measure of “3” is thrown in at end of first section to counteract its mid-measure start; second half pickup goes to the first beat of the measure.

1735 Rameau, Jean-Philippe. Les Indes Galantes 2ème Entrée Loure en Rondeau. Sans lenteur œ œ ˙ ### 6 œ ˙ œ œ œ & 4 J œ œ œ œ œ œ œ ˙ œ

Phrase Structure: 8 || 8 || 8 || 8 || 8 Form: Rondeau

First half contains mostly unison passages in the bass and treble; mainly quarter-note motion; second half more loure-like sautillant rhythms.

1737 Rameau, Jean-Philippe. Castor et Pollux Act IV, Scene 2 Loure. Un peu gaye œ j + œ œ j # 2 J œ œ. œ J œ œ+. ≈ œ œ & œ œ œ J œ œ +œ œ œœ

Phrase Structure: 8 - 4 :||: 8 - 6 - 4 :|| Form: Bi-partite

This loure first played by orchestra, then sung by “une Ombre,” then by choir. Note time signature, “2” equivalent to 6/8.

84 DATABASE II: LOURE MUSIC

1739 Rameau, Jean-Philippe. Dardanus Act III (Supplement) Loure 1. Très grave # # j # 3 ≈ œ œ+ œ œ œ œ j œ œ & R œ. œ œ. œ œ œ +œ. œœ . œ J œ œ +œ ˙ œ œ.

Phrase Structure: 7 - 8 - 6 :||: 11 - 6 - 6 - 6 :|| Form: Bi-partite

Interesting to note designated sixteenth-note pickup--only occurs in some places (does not occur, for example, in pickup to second half). Rests are very specific. Interesting syncopations between treble and bass; imitation in bass only in second half; a quirky little piece.

1739 Rameau, Jean-Philippe. Dardanus Act I (Supplement) Loure 2 + + j + ˙. œ œ + œ œ 6 œ œ œ œ. œ œ œ œ œ . œœ œ œ œ œ œ & b 4 J J

Phrase Structure: 6 - 6 :||: 5 - 4 :|| Form: Bi-partite

Another quirky loure, found in the supplement to the 1739 (?) version (“Air ajouté dans le P [remi]er Acte, après l’Air majestueux de la page 19”). (At any rate, probably published before 1744, as the edition published then includes another loure (in AM) which is found here only in the supplement.) This (dm) loure is not imitative in the contrapuntal sense, but there are many echo sections (marked “D.” and “F.”) throughout the short piece. More rests than usual in the bass line.

1739 Rameau, Jean-Philippe. Les festes d’Hébé Act IV, Scene 7 Loure. Grave # ## # j & 3 œ œ œ œ œ ˙ œ ˙ œ œ ˙. œ ˙ œ ˙ +˙

Phrase Structure: 9 -6 - 6 :||: 6 - 5 - 4 - 4 - 5 :|| Form: Bi-partite

Bass imitates violins (entrance two bars later at beginning--violins begin alone); flutes interject in thirds. Loure follows entrance of Terpsicore, Nimphes, Faunes and Silvains.

85 DATABASE II: LOURE MUSIC

1739-40 Telemann, Georg Philipp. Sixth Solo for harpsichord from Essercizii Musici Lura j œ. + + + . œ œ œ j œ #œ œ #˙ . 3 œ. œ œ ˙ œ œ œ œœ œ œ œ œ J œ œ œ œ & œ J J J

Phrase Structure: 6 - 6 :||: 8 - 8 :|| Form: Bi-partite

Haven’t run into any other “Lura”--interesting to find such a French piece in an otherwise Italianate collection. It lies between an Allemanda and a Corrente (followed by two “Minue”s and a Giga), all of which are in the Italian style (very few dotted rhythms).

1741 Rameau, Jean-Philippe. Concerto IV, “La Pantomime” from Pièces de clavecin en concert Loure vive œ b œ ˙ œ ˙ œ ˙. ˙ œ œ œ œ œ œ œ ˙ œ & b 2 Œ

Phrase Structure: 6 - 4 - 4 - 14 :|| Form: Bi-partite

Not what I would call a loure -- very few dotted rhythms, in 2, 16th-note runs, marked “Loure vive.”

1745 Blaise, Adolfe Benoît. La Divertissement Entrée de Chinois; Loure. Gravement et œ œ 6 œ œ œ œ. J œ œ œ &4 œ œ. J œ œ #+˙ œ ˙.

Phrase Structure: 10 - 6 :||: 8 - 8 [PR-2] :|| Form: Bi-partite

Has typical forlane rhythms and, in fact, is followed by a forlane, Entrée Pagodes, that is very similar to the preceding loure, with a less active bass line.

86 DATABASE II: LOURE MUSIC

1745 Rameau, Jean-Philippe. Platée Act III, Scene 5 Loure grave. “Annonce des Grâces” œ j b nœ œ. œ œ œ j . œ ˙ & b 2 J J +˙ œ œ J œ œ œ. œ œ nœ ˙

Phrase Structure: 4 - 2 - 3 1/2 - 2 1/2 :||: 2 1/2 - 2 1/2 - 4 - 2 - 8 :|| Form: Bi-partite

Piece begins with a few bars of the loure as the announcement of the arrival of the Graces, followed by a recitative in changing meters, then finally the loure. Phrase structure indicates final loure only.

1745 Rameau, Jean-Philippe. Temple de la Gloire Act II, Scene 1 Loure # & # 3 ≈ r ≈ r œ œ œ. ≈ r ≈ r œ œ œ œ œ.œ œ œ œ œ œ œ œ œ.œ œ œ œ œ œ

Phrase Structure: 4 - 4 - 7 - 8 - 9 || Form: Bi-partite

For Bacchus et Erigoné. This opera also includes an Air for “les Bergers et les Bergeres” which resembles AV.

1747 Boismortier, Josef Bodin de. Daphnis et Chloé. Pastorale Act III, Scene 9 Loure. Gracieusement # 6 j ˙ ˙ ˙ œ œ œ œ œ œ & 4 œ. œ œ ˙ œ œ œ œ œ œ œ œ

Phrase Structure: 8 - 8 - 8 - 8 - 8 || Form: ABACA

Like a rondeau; wouldn’t guess that this was a loure: no characteristic pickup ( ), not bi- q. e q partite; but does have sautillant rhythms and reminiscent of La Barre’s works. A faune q h \ h q sings to the same tune following the dance.

87 DATABASE II: LOURE MUSIC

1747 Rameau, Jean-Philippe. Les Festes de l’Hymen et de l’Amour, ou Les Dieux d’Egypte Act I Mouvemt. de Sarabande et de Loure # & # 3 œ#œ œ œ œ≈. r œ #œ œ œ œ≈. r œ œ œ œ #œ œ. #œœ œ œ+. œ œ œ œ œ+. œœ œ +

Phrase Structure: 6 - 4 - 7 :||: 6 - 6 - 6 - 5 - 5 :|| Form: Bi-partite

Curious mixture of sarabande and loure characteristics. Sharply dotted figures used as internal pickups loure-like; slurred pairs of eighth notes are gentler (= sarabande?)

1748 Rameau, Jean-Philippe. Pigmalion Entrée Loure 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 & R R R R

Phrase Structure: 8 - 8 - - - (incomplete?) Form: Bi-partite

Part of a dance suite; segues from a very brief (only 16 bars) “Chaconne Vive” (which is preceded by a short Menuet and Gavotte). Loure consists of a series of echoes, very homophonic; flutes provide a dotted-rhythm countermelody beginning in the fifth measure, similar to Rameau’s loure in Les festes d’Hébé.

1749 Rameau, Jean-Pierre. Zoroastre Supplement Loure + # # + œ œœ œ œœœ œ œ œ.œ œ. + œ + œ r # 3 œœ œ.œ œœ œœœœ œ œ. œœ.œ ≈ œ œ. ≈ R j œ. ≈ œ & R J R +œ œ +œ

Phrase Structure: 5 - 7 - 7 :||: 4 - 3 - 4 - 9 :|| Form: Bi-partite

The most prominent loure feature in this piece is the pickup, both at the beginning and x q internally. Otherwise, there is little resemblance.

88 DATABASE II: LOURE MUSIC

1750 Brassac, Réné de Béarn. Léandre et Héro Act IV, Scene 4 Loure pour les Matelots # # œ œ & # # 46 J œ œ. j jœ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ. œ œ. J

Phrase Structure: 7 :||: 12 :|| Form: Bi-partite

For violins and oboes; typical loure followed by song for “un Matelot” to the same tune.

1754 Mondonville, Jean Joseph Cassanea de. Daphnis et Alcimadure - Pastoral Prologue, Scene 3 Loure. Entrée+ des Nobles+ œ œ œ œ œ œ œ œ œ œ œ+ + + œ œ ˙+ j œ œœœ œœ œ œœœ œœ œ.œ œ œ œ œ+ œ & 3 œœ œ œ ‰ J œœ œ œ

Phrase Structure: 4 - 4 - 4 - 6 - 4 - 4 - 4 - 4 - 4 - 6 Form: Through-composed

“Pastoral Languedocienne.” This “loure” has very little to do with a loure, except that it is pastoral and includes a few internal eighth-note/quarter-note iambic pickups, similar to some of Rameau’s loures. It has no pickup at the beginning (although sometimes the familiar pickup begins internal phrases); it is not imitative; very few dotted rhythms; it is not bi-partite; it has mostly regular phrasings (4-bar) but throws in two 6-bar phrasings. Largely Italianate in nature; reflects changing times: “pour entendre plus facilement les Paroles Languedocienes, il faut....” In three acts.

1760 Rameau, Jean-Philippe. Les Paladins (Comédie Lyrique) Act I, Scene 6 Loure œ œ ˙. œœ ˙ r œ r œ œ œ œ. R & b3≈R œ œ. ≈ œ ≈ œ œ ≈R œ.œ ≈R ≈ œ. + œ.

Phrase Structure: 8 - 5 :|| 4 - 4 - 6 - 7 - 9 Form: Bi-partite

89 DATABASE II: LOURE MUSIC

1765 Telemann, Georg Philipp. Ouverture in D-Dur, TWV 55:D21 Loure œ . œ œ . Ÿ j & b 46 J œ œ J œ. œ œ œ œ œ œ œ J œ . . . œ. œ. œ œ œ œ.œ

Phrase Structure: 3 - 2 :||: 3 - 2 - 3 :|| Form: Bi-partite

(Winds tacet)

90 DATABASE III: LOURE CHOREOGRAPHIES

Overview

Dances with a key signature of 6/4, both fast and slow, comprise slightly

less than one quarter of the choreographies known to exist in Feuillet-

Beauchamp notation. This small portion, seventy-three in all, represents an

impressive number of dance types—fifteen. Of these, only six contain the word

“loure” on the title page, either in the title itself or under the music notation.

Three other choreographies outside of the 6/4 group are also loures (two with

“loure” under the music notation and one by association). All three are

composed to the same tune, one very important to any study of the loure; that is,

the famous “l’Aimable vainqueur” with a key signature of 3. A handful of other

6/4 dances are connected to the loure in some way: an entrée with “gigue lente”

inscribed under the music on the title page, six “Entrées Espagnolles” (of which

one is in 3), and two “Pastorals.”

The total number of airs that accompany these choreographies is limited

since many of the same tunes are used in multiple dances1 [See Table III-1. Music

Incipits for Loure Choreographies, following this Overview]. Of the eighteen dances identified above, only ten different airs are utilized: seven from operas by Lully, Campra, and Teobaldo di Gatti, two unidentified airs, and one by

1 This occurs in other dance types as well. An air from the fourth Entrée from Le Bourgeois gentilhomme, for example, provides the music for four separate Sarabande choreographies (LMC 7720, 7880, 7900, 7960).

91 James Paisible. Interestingly, of the seven opera airs used for loure choreo- graphies, not one is entitled “loure” in the opera score itself.

The step vocabulary in the loures and loure types range from very simple steps in the ballroom dances to some of the most demanding in the theatrical dances for men. Many of the dances, especially those that are based on the same tune, share some of the basic step combinations, particularly at the beginning of the dance.

Among the first notated dances containing the word “Loure” on the title page is a choreography by Claude Balon, “Entrée de Mr. Ballon.” Underneath a tune by an anonymous composer, the copyist wrote “Loure.” This dance comes from a collection of theatrical dances dated shortly after 1700.2 The step vocabulary is richly varied and complex. Amongst the many jumps, falls, slides, and turns are a full turn with foot gestures, several cabrioles, and a
-turn entrechat six. In addition, Balon’s “Entrée” includes quirky pauses and steps onto the heel and quick-changing échappers to fourth position, steps that are usually reserved for specific characters such as Harlequin or a sailor (dances for these characters and others can be found in this same collection). Despite a slower tempo, the dance incorporates steps often found in gigues. The tune, with its incessant sautillant rhythms, supports this gigue connection. It is not a

2 Ms-20, Rés. 817, Paris, Bibliothèque du Musée et de l’Opéra.

92 coincidence, then, that the opening modified pas de galliard in Balon’s entrée is similar to the “Gigue lente” discussed below.

Mr. Dupont’s dance to “l’Aimable vainqueur” from the same manuscript lacks the designation “loure” on its title page. The tune itself is barely etched in at all, showing just the first bar or so of each refrain at the top of every page.3

Blank music staves are common in this particular manuscript, so it is difficult to say whether the copyist assumed the dancer would be familiar with the tune or if the manuscript was simply left incompleted. In comparison to Balon’s loure,

Dupont’s choreography contains fewer character steps and is more flowing, with fewer rests and more rhythmically even movements within the bars. The steps are demanding, yet the overall effect of the dance reflects the pastoral nature of the dance air. In this way, it is akin to the couple dance to the same tune (see below).

Pécour’s second collection comprising thirty-five mainly theatrical dances

(pub. 1704) contains two loures, one danced in the theater, the other not.4

According to Pécour, the “Loure pour deux hommes” was performed in Gatti’s opera Scylla by two virtuosic male dancers, Blondy and Philbois. Like Balon’s

“Entrée,” it is filled with balances, jumps, multiple beats (entrechats, and a cabriole at the end), turns (,
, , and full), tombés, and tortillés, all

3 The first incipit was written in G major rather than the original key of F major, but subsequent incipits resort to the original key. 4 “Loure pour deux hommes Dancée par Mr. Blondy et Mr. Philbois. à l’Opera de Scilla” (LMC 5280) and “l’Aimable Vainqueur Entrée non dancée à l’Opera. Loure” (LMC 1160).

93 appropriate for the theater.5 Here the dance imposes the term “loure” on the music, as the air in the opera is merely “2de Entrée de Candiots.”

Unlike Dupont’s choreography to “l’Aimable vainqueur,” Pécour’s dance to the same tune is annotated “Loure.”6 Pécour is careful to note that it was not danced at the opera yet this demanding entrée for a solo male must have been performed in a theater. It outdoes Pécour’s 1704 “Loure” discussed above in its number of revolutions in its turns (1-
at one juncture) and beats, once even including two step-units within one triple-time measure compared to the usual two within a 6/4 bar. Featured in this dance are hemiola-like sequences over the barline. One spectacular passage containing such a hemiola begins with a series of turns crowned with a half-turn with beats. While this dance challenges the dancer as much or even more than other loures of its kind, it also retains a calm even flow much like Dupont’s earlier solo dance to the same tune. Again, this pastoral nature distinguishes the dances choreographed to “l’Aimable vainqueur” from other loures.

Two of the most spectacular loures were published later, one by Pécour around 1713, the other by Anthony L’Abbé ca. 1725. If the commentary is correct on the latter loure, however (“. . . performd before his Majesty King William ye

3”), the performance must have taken place long before as the King died in 1702.

5 Interestingly, the Venetian Gregorio Lambranzi featured the first page of this dance within the composition of his title page for the Neue und Curieuse Theatrialische Tantz-Schul, a treatise on commedia dell’ arte published in Nuremberg, 1717. 6 Like Balon’s “Entrée” the word “Loure” lies underneath the music, not within the dance title.

94 These two dances, “Loure dancée par Mrs. Blondy et Marcel a Galaté” (Pécour) and “Loure or Faune performd before his Majesty King William ye 3 by Monsr.

Balon and Mr. L’abbé” (L’Abbé) are similar in many respects.7 They are choreographed to the same tune, an “Entrée des Ciclopes” from Lully’s Acis et

Galatée, for the premier male dancers of the time. They even begin with the same step, a contretemps balonné (although Pécour’s version shows a simple step rather than the balonné). L’Abbé’s loure, however, transcends all other loures in the number of embellishments added to each step. One turn on the final page, for example, takes the dancer completely around twice and then immediately into another full turn followed by two steps including quarter and half turns amongst the various jumps and slides. L’Abbé’s dances in general often bring out gestures in the music in a unique way. In this loure he emphasizes some of the forlane-like phrase endings ( by setting the dance steps to the same rhythm. h q q) This is most apparent on the first notated page but can also be seen in the final measure of the dance. This unconventional ending, with the dancers facing each other, each with one foot in the air, is similar to the end of the Turkish dance in the same collection.

7 It could be that L’Abbé was familiar with Pécour’s dance and sought to create an even more ornate version of his own. That would mean, however, that either Pécour’s dance preceded L’Abbé’s (meaning both dates are incorrect by at least ten years) or that L’Abbé was wrong to assert that this particular loure was performed before King William a quarter of a century earlier.

95 The “Entrée pour une femme”8 performed as a solo dance by Mlle. Guiot

is not titled “loure” yet it is based on the same air from Scylla discussed above.

The dance is less athletic in general, softer in character, and shorter (it is only two pages long vs. seven for the men), yet it is made up of steps similar to those in the male duet, even including a full turn. There is one spectacular loure for two men in this same collection of theater dances (“Loure dancée par Mrs. Blondy et

Marcel a Galaté” LMC 5240), comparable to an earlier loure by Pécour (“Loure pour deux hommes, discussed above). Since the music and step style of the

“Entrée pour une femme” danced by Mlle. Guiot match other dances entitled

“Loure” it is curious that Pécour did not label it a loure. Perhaps this is because

Pécour, as well as other choreographers, considered the loure a man’s dance.

Aside from the two ballroom dances “l’Aimable vainqueur” and the “Lovre sovtenue” from “L’Obice,”9 the dances specifically marked “Loure” are all for

one or two male dancers. There is also the curious title “Loure or Faune” by

L’Abbé10; since “Faune” is a mythical half-man/half-goat God of the forest there

is an outside chance that “Loure” had a corresponding connotation, although

there is so far no supporting evidence for this.

8 LMC 4540, from Pécour’s collection of dances c. 1713. 9 LMC 1180 and 6420a, respectively. 10 LMC 5260.

96 “L’Aimable vainqueur”

Three separate choreographies exist for this dance air: two theatrical

dances for a solo male (examined above) and one ballroom dance for a couple.11

The latter version, the most famous of all baroque choreographies, appears in

fifteen separate manuscripts and editions covering sixty-five years and four

countries. Of the fifteen, five contain the word “Loure” and two are entitled

“Louvre.”

The French manuscripts and publications of this famous dance are present

throughout the history of “l’Aimable vainqueur.” Pécour choreographed the

ballroom dance shortly after Campra’s opera premiere of Hésione (1700, pub.

1701), in which the dance air first appeared. Dupont’s choreography to the same

air for a solo male dancer was issued in a manuscript around the same time (Ms-

20, ca. 1701), followed by Pécour’s solo in 1704 (discussed above). Both of these

solo dances are bolder and much more challenging technically than the lyrical

couple version. Seven subsequent copies of the ballroom dance originated in

France, most with a reference to a loure or to Pécour himself, from 1709 to 1765.

All are faithful to Pécour’s original choreography.

Six copies of Pécour’s couple dance appeared outside of France. One possibly Bavarian source of “l’Aimable vainqueur” (Ms-25) is faithful to the original, copied sometime after 1704.12 Of the three English versions, one source

11 LMC 1140, 1160, and 1180. 12 See Little and Marsh, La Danse Noble, pp. 133-134, for a discussion of this manuscript collection.

97 dates from around 1715 and uses Pécour’s original title for the dance. Two

subsequent English publications call this same dance “The Louvre.”13

Spanish versions from Capoa, Oporto, and Madrid complete the collection

of this ballroom version of “l’Aimable vainqueur” and are the most intriguing of

the lot. One of these relatively late dance treatises (1745 – 1758) provides small

variations within the choreography (Ms-110, 1751). Here the choreographer adds

beats, rond de jambes, and caprioles to many of the steps much like a musician

would add French trills and mordents to the music.14 The alterations to Campra’s

simple air that accompanies this particular choreography, however, is in a much

more Italianate, rather than French, setting with flowing eighth notes filling out

the melody. Example III-1 presents Campra’s original version of the air,

“l’Aimable vainqueur.” The ornamented version in Ms-110 follows [Example III-

2].

13 See separate section, “L’Aimable vainqueur and the Louvre” in Cross-Database issues. 14 One wonders if this is an example of how a foreign dancer might have seen this French dance performed by others at this time or if it merely reflects one Spanish choreographer’s approach.

98 œ b3œ œ j j œ ˙ œ œ œ œ œ œ œ ˙ & . œ œ œ. œ œ ˙ . J +

9 œ + b œ ˙ nœ œ. œ œ œ. œ œ œ œ. œ ˙ . . œ & ˙ œ œ J J J . .

17 œ œ. œ ˙ œ œ œ œ œ œ œ. œ œ œœœ œ+. œ ˙ œ & b J #œ œ J œ J

25 b œ ˙ ˙ œ œ ˙ œ œ œ. œ œ œ œ œ œ. œ œ œ œ & + œ œ J J

+ 33 œ œ œ. œ œ œ œ œ. œ œ œœœ œ. œ ˙ & b œ ˙ ˙ J œ J œ J .

Example III-1. Campra, “L’Aimable vainqueur” from Hésione (1700)

b 3 œ œ œ œœ. œ œ œ œ œ œ œ bœ œ œ œ & 4 œ. œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ

9 œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ ˙ . . œ & b ˙ œ œ nœ œ nœ J . .

17 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 & b #œ #œ œ œ #œ J

25 œœœ 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

33 bœ 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 J .

Example III-2. Variation on Campra’s “L’Aimable vainqueur” from Ms-110

99 Even more intriguing are the elaborate phrase renditions that accompany the dance found in a Spanish dance treatise published six years earlier. This example, by Ferriol y Boxeraus (1745), far outdoes the 1751 version and illuminates the shift in musical style during that time. Ferriol y Boxeraus presents the musical strains in two styles: “musica antigua,” and “musica moderna.” Ferriol’s “antigua” setting of the tune is already more ornate than the original dance air, ornamented with dotted figures and trills. In contrast, his

“moderna” settings are quite elaborate, in what he calls “al rigoroso estilo moderno Italiano.” In this section, Ferriol adds sixteenth-note passages and double- to quadruple stops to this otherwise simple tune. Ferriol’s “musica antigua” and “musica moderna” styles can be seen in comparison with Campra’s original air in Example III-3.

Pablo Minguet y Yrol’s dance manual, published thirteen years later, includes an embellished Italianate version of “l’Aimable vainqueur” similar to that of Ms-110. The second time through the A section, Minguet y Yrol changes the rhythms from smoothly Italianate to a dotted style more appropriate to

French music, an exact match to Ferriol y Boxeraus’s “musica antiqua” [Example

III-4].

100 b 3 œ j j Pécour (Campra) & 4 œ. œ œ œ. œ œ œ ˙

[Antigua]Ÿ b 3 œ. œ œ œ. Ferriol y Boxeraus (I) & 4 œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ Ÿ [Moderna] œ œ 6 Ÿ b 3 œ. œ. j œœ œ j œ œœ. œ Ferriol y Boxeraus (II) & 4 œ. œ œ œ œ œ. œ œ œ œ œœ œ œ. œ. œ œ. œ œ.

4 œ b ˙ œ œ œ œ œ œ œ ˙ & œ. J +˙ ˙ œ Ÿ Ÿ œ. œ œ œ œ. œ. & b œœ. œ. œ. œ œ. œ œ. œ œ œœ. œ ˙ œ. œ ˙ œ

œ. Ÿ Ÿ Ÿ œ j œ œ œ. œ œ œ. œœ 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

10 œ + . œ œ œ. œ œ œ. œ œ œ œ. œ ˙ œ œ J & b nœ œ J J J

œ. œ œ. œ Ÿ Ÿ Largo œ. œ. œ œ. œ b œ. œ œ. œ œ. œ œ.nœ œ. nœœ. œ ˙ œ œ & œ ˙ J Ÿ j Ÿ Largo œ œ œ œ œœ. œ œ œ œ œ œ œ œ œ Ÿ œ œ œ. œ œœ. œbœ b nœ œ œ nœ. œ œ. œ. œ œ œ œ œ œ œ œ. œ ˙ œ & #œ œ œ œ. œ. œ œ. œ ˙ œ œ

17 ˙ œ œ œ œ œ & b #œ œ

œ œœ. œ. œ œ. œ. œ œ. œ œ & b #œ. nœ œ

Ÿ Ÿ œ Ÿ Ÿ œ. œ œ œ 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 nœ œ œœœ#œ 5

101 20 œ œ. œ œ œ œ œ œ+. œ ˙ œ & b J œ J

Ÿ œ. œ Ÿ. œ œ . . Ÿ œ & b œ J œ œ #œ œ nœ #œ œ ˙

Pia. Ÿ œ For. œ œ œ. b #œ. œ nœ#œ œ œnœ.#œ œ. œ œ œ #œ œnœ œ œ œ œ œœ œ. œ œ & œ. œ#œ œ œ œ. œœ œ œ œœ œ œ 3

24 b œ ˙ ˙ œ œ œ. œ œ œ œ œ. œ & +˙ œ œ œ œ J œ J

Ÿ œ œ œ œœœ 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 Ÿ Ÿ œ œ Arp.o œ . Arp.o œ b œ œ œ œ œ œ œ œ nœ ˙ œ œ œ œ œ œ œ œ œ œ & œ. œ œ œ œ œ œ 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 œ œ œ. œ & b œ œ œ œ ˙ ˙ J

œ œ. œ œ œ œ œ œ œ œ & b . œ œ œ œ œ œ ˙

œ Correa œ œ For. 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. œœ. œ œ œ œ œ œ œ œ œ œ + 35 œ œ œ œ. œ œ œ œ œ œ. œ ˙ & b œ J œ J Ÿ œ œ œ. œ œ œ œ œ œ œ œ œ. œ ˙ & b œ œ J

6 6 Arp.o œ Ÿ Ÿ Pia.œ Ÿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ r ˙. b 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 œ

Example III-3. Comparison of Campra’s “L’Aimable vainqueur” with Ferriol y Boxeraus’s ornamented versions (1745)

102 œ b 3 œ œ œ œœ. œ œ œ œ œ œ œ œ œ œ œ œ & 4 œœœ œ œ œ. œ œ œ œ œ œ œ œ. J œ Ÿ Ÿ 9 œ œ Ÿ Ÿ œ œ œ œœœ œ œ. œ œ œ . œ n˙ œ. & b ˙ œ ˙ nœ œ œ nœ œnœ J œ

17 Ÿ b œœ. œœ. œ. œ œ œ.œœ. œ œ œ œ.œ œ. œ. œ & œ. œ œ. œ œ. œ œ. œ œ. œœ.œ œ. œ œ. œ ˙ Ÿ 25 œ. œ . œ Ÿ œ œ b œ. œ nœ. œ. œœ. œœ œ. œ œ.nœ œ.nœ œ. œ ˙ œ œœ œ & ˙ œ œ J

33 œœ. œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ & b #œ œ #œ œ œ nœ#œ. J œœ œ œ

41 Ÿ 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

49 Ÿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ˙ & b ˙ œ œ œ J œ

57 œ. œ œ.œœ.œ œ œœ. œ.œ œ. œ.œœ.œ œ œ.œ œ. œ œ œ. œ. œ ˙ œ & b #œ.nœ œ J œ #œ nœ#œ. J

65 œœœ œ ˙Ÿ 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

73 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 J

Example III-4. Ornamented version of Campra’s “L’Aimable vainqueur” by Minguet y Yrol (ca. 1760)

103 Entrées Espagnolles

Although the Entrées Espagnolles fit the general description of the loure

to a tee, it is notable that the word “loure” is missing from all choreographies of

this type as well as from virtually all of the airs that accompany them.15 In fact, the one dance form mentioned in any of the titles for this set is “Sarabande

Espagnolle,” not “Loure” (LMC 7820). The sarabande has stronger connections to Spain than does the loure and was known previously to have had a wild, lascivious character that would lend itself well to a Spanish entrée. Nevertheless, the Entrées Espagnolles do have much in common with other loures (6/4 time signature, pickup, virtuosic steps) and therefore can be seen as a subcategory e q of the loure.

The Entrées Espagnolles have a distinct musical phrase that separates them from the other loures; that is, two-bar phrases each stopping in the middle of the second phrase (see Table 2, Incipits for Notated Loures). They are also all in minor keys, and choreographed for a solo male (four) or female (one) dancer.

The step vocabulary is complex, often with slow balances followed by a flurry of activity,16 only to end again with a fairly abrupt movement followed by rests.

15 One later version of the “Premier air, pour les Espagnols” from André Campra’s L’Europe galante has recently come to my attention. It is found in a lute manuscript belonging to a Lord Danby and is entitled “La Loure,” probably copied into the book during a visit to Hamburg around 1710. 16 All but one (LMC 8100) of the Entrées Espagnolle in this database begin this way.

104 Pastoral

Two Pastorals survive in Feuillet notation and are based on the same air

(LMC 6720 and 6740). The dance is bi-partite: it begins with a 6/4 section, marked “Grave,” and then segues into a Hornpipe in 3/2. Like the Entrée

Espagnolle, the Pastoral is not marked “loure” yet it shares many loure features, most notably the time signature (6/4) and the tempo (Grave) as well as a common pickup (quarter note) and sautillant rhythms. The older of the two dances, “The Pastorall by Mr. Isaac,” was choreographed in honor of “Her

Majesty’s Birth Day” in 1713 for a couple. The opening “Grave” section involves fairly simple steps in creative combinations and floor patterns, typical of the choreographer (Mr. Isaac). Many circular patterns add a flirtatious quality to the dance, and the beginning of the Hornpipe outlines the shape of a heart. In contrast, the “Pastoral performed by a Gentleman,” choreographed by Anthony

L’Abbé, includes elegant yet demanding steps in straight-forward patterns much like the choreographer’s “Loure or Faune” from the same collection of dances.

Gigue lente

Several theorists and dancing masters describe the loure as or in conjunction with a slow gigue, or “gigue lente.” The “Entrée a deux dancée par

Mr. Dumirail et Mlle. Victoire à l’Opéra d’Hésione” provides the only choreography specifically described as a “Gigue lente” rather than a loure. In

105 general, this dance is more similar to gigues than are most loures. Both the rhythmic movement in the music and the dance steps themselves are commonly found in gigues, although there are two step-units per measure rather than one.

The dance as a whole is simpler than most loures, beginning (like the “Entrée de

Mr. Ballon” discussed previously) with a pas de galliard and followed by unadorned contretemps, glissades, and the like. There are no full turns, and very few beats. Couple dances for a male and female dancer are often simpler than solo dances or duets for two men. Yet this entrée was meant for the stage

(“dancée à l’Opera”) and was therefore danced by accomplished professional dancers (“Mr. Dumirail et Mlle. Victoire”). The character of the dance, an “Air des Graces,” must have dictated the graceful ease of the steps and the slower gigue tempo, although it is more active than the “l’Aimable vainqueur” ballroom dance.

Summary

Table III-1, Classification of Loure Choreographies According to

Character, summarizes the loure choreographies and their accompanying airs discussed in this Overview. The table shows two basic contrasting characters of the loure. On the left is the lilting, pastoral couple dance to “l’Aimable vainqueur.” On the other is the strong, arrogant “Entrée Espagnolle.” The remaining loures then fall somewhere inbetween. In general, the time signature

106 and the type of pickup help determine the character of the loure. The alone, q usually paired with the time signature “3,” often suggests a pastoral loure such as “l’Aimable vainqueur” while the pickup, in 6/4, more likely denotes a e q stronger character more suitable to the Entrées Espagnolles. The numbers refer

to specific dances in the Little-Marsh catalog (LMC) and correspond to the

dances listed in Database III.

107 TABLE III-1. MUSIC INCIPITS FOR LOURE CHOREOGRAPHIES First published/ performed Composer Incipit 1701 Gatti, Theobaldo b 6 œ œ.œ œ œ œ. œ œ #˙ œ. œ ˙ œ 2de Entrée pour les [Candiots] & 4 J J J œ J œ œ.œ J œ LMC 4540, 5280

1686 # # 6 œ œ. œ j œ œ.œ œ œ Entrée des Ciclopes. Second Air & 4 J œ.œ œ œ ˙ œ ˙ œ.œ J J LMC 5240, 5260

1700 b3œ j j ˙ œ œ œ œ œ œ œ Second Air & œ. œ œ.œ œ œ œ ˙ œ. J ˙ LMC 1140, 1160, 1180

1710 ˙ + œ.+ b3œ œ œ. œ œ #œ+. n œ Œ‰œ œ œ œ. œ œ œ œ Air des Espagnols & J œ J J œ J œ œ J J LMC 4600

1697 œ + 6 œ #˙ œ œ.+ j j . œ œ œ. œbœ Premier air, pour les Espagnols. & b 4 J œ. Jœ œ œ œ œ. œ œ œ J J LMC 4040, 4120, 4240

1670 œ. œ œ.œ œ œ œ. œ b 6 œ ˙ œ J ˙ J œ œ œ. œ œ Sarabande. Les Espagnols & b 4 J œ J ‰ J J LMC 7820, 8100

1700 œ œ. œ œ b 6 J #œ J œ. œ œ œ. j œ. œb.œ œ œ œ œ Gigue lente & 4 J œ œ J J œ. J œ LMC 2620

108

TABLE III-2. CLASSIFICATION OF LOURE CHOREOGRAPHIES ACCORDING TO CHARACTER1

3 ( ) 6/4 ( ) 6/4 ( ) q q eq LOURE 5240 H 3000 H 5260 H 5280 H L’Aimable vainqueur 4540 F* Entrée Espagnolle 1180 HF 6420 HF 4040 H 4600 H**

109 1140 H Pastoral 7820 H*** 1160 H 6720 H 8100 H 6740 HF 4240 2H 4120 F Gigue lente 2620 HF

* = Not entitled “Loure” (see Overview to Database III, p. 96). ** = Dance air in “3” rather than 6/4 *** = Entitled “Sarabande Espagnole”

1 Numbers are from M. Little and C. Marsh, La Danse Noble (1992). Dances entitled “Loure” are highlighted in dark grey; subcategories of loures are in light grey. DATABASE III: LOURE CHOREOGRAPHIES Type of Loure/ Choreographer/Source/ # Year LMC Dance Title/Music Place of Origin Meter Pickup Dancers

Loure 4540 Entrée pour une femme seul dancée par Mlle. Pécour, Louis-Guillaume 6/4 e q 2H Guiot 1704 Gatti, Teobaldi di, Scylla, I, 5 (”2de Entrée de [c1713]-Péc Paris Candiots”) (1701)

Loure 5280 Loure pour deux hommes dancée par Blondy et Pécour, Louis-Guillaume 6/4 e q 2H Philbois à l’opera de Scilla 110 1704 Gatti, Teobaldi di, Scylla, I, 5 (”2de Entrée de 1704-Péc Paris Candiots”) (1701)

Gigue lente 2620 Entrée a deux dancée par Mr. Dumirail et Mlle. Pécour, Louis-Guillaume 6/4 e q HF Victoire à l’Opera de Hésione. Gigue lente 1704 Campra, Andre, Hésione, II, 4 (1700) 1704-Péc Paris

Aimable vainqueur 1160 l’Aimable Vainqueur. Loure Pécour, Louis-Guillaume 3 q H 1704 Campra, André. Hésione, III, 5 (1700) 1704-Péc Paris

Entrée Espagnolle 4120 Entrée Espagnolle pour une femme dancée par Pécour, Louis-Guillaume 6/4 e q F Mlle. Subligny au Ballet l’Europe galante 1704 Campra, André. L’Europe galante, II, 2 (1697) 1704-Péc Paris DATABASE III: LOURE CHOREOGRAPHIES Type of Loure/ Choreographer/Source/ # Year LMC Dance Title/Music Place of Origin Meter Pickup Dancers

Entrée Espagnolle 4240 Entrée pour deux hommes, dancée par Mr. Pécour, Louis-Guillaume 6/4 e q 2H Piffetou et Mr. Cherrier au Ballet de l’Europe galante. Entrée Espagnolle. Gravement 1704 Campra, André. L’Europe galante, II, 2 (1697) 1704-Péc Paris

Aimable vainqueur 1180 Aimable Vainqueur Pécour, Louis-Guillaume 3 q HF 1704 (after) 111 Campra, André. Hésione, III, 5 (1700) Ms-25 Bavaria (?)

Loure 6420a L’Obice. L’ovre sovtenue Leveque l’Aîné 6/4 e q HF 1705 (ca.?) Unknown Ms-100 Paris (?)

Aimable vainqueur 1180 Aymable Vainqueurs. lour Pécour, Louis-Guillaume 3 q HF 1709 (after) Campra, André. Hésione, III, 5 (1700) Ms-30 Paris (?)

Pastoral 6740 The Pastorall. Grave Isaac 6/4 q HF 1713 Paisible, James [1713]-Pst London

Loure 5240 Loure dancée par Mrs. Blondy et Marcel a Galaté Pécour, Louis-Guillaume 6/4 q 2H 1713 (ca.) Lully, Jean-Baptiste, Acis et Galatée, II, 6 (1686) [c1713]-Péc Paris DATABASE III: LOURE CHOREOGRAPHIES Type of Loure/ Choreographer/Source/ # Year LMC Dance Title/Music Place of Origin Meter Pickup Dancers

Entrée Espagnolle 4600 Entrée seul pour un homme Pécour, Louis-Guillaume 3 e q H 1713 (ca.) Campra, Andre. Les Fêtes vénitiennes, Air des [c1713]-Péc Paris Espagnols, II, 3 (1710)

Aimable vainqueur 1180 aymable vainqueurs. Loure Pécour, Louis-Guillaume 3 q HF 1714 (after) Campra, André. Hésione, III, 5 (1700) Ms-70 Paris (?) 112

Aimable vainqueur 1180 Aimable Vainqueur. Loure Pécour, Louis-Guillaume 3 q HF 1715 (ca.) Campra, André. Hésione, III, 5 (1700) [c1715]-Aim London

Aimable vainqueur 1180 The Louvre Pécour, Louis-Guillaume 3 q HF 1722 (ca.) Campra, André. Hésione, III, 5 (1700) [c1722]-Orc London

Loure 5260 Loure or Faune perf. before his Majesty King L’Abbé, Anthony 6/4 q 2H William by Balon & L’Abbé 1725 (ca.) Lully, Jean-Baptiste, Acis et Galatée, II, 6 (1686) [c1725]-Lab Paris

Aimable vainqueur 1180 Aimable vainqueur Pécour, Louis-Guillaume 3 q HF 1725 (ca.) Campra, André. Hésione, III, 5 (1700) [c1725]-Ram Paris DATABASE III: LOURE CHOREOGRAPHIES Type of Loure/ Choreographer/Source/ # Year LMC Dance Title/Music Place of Origin Meter Pickup Dancers

Entrée Espagnolle 8100 Spanish Entrée perf. by Mr. Desnoyer L’Abbé, Anthony 6/4 e q H 1725 (ca.) Lully, Jean-Baptiste. Le Bourgeois gentilhomme, [c1725]-Lab London Ballet des nations, IV (1607)

Pastoral 6720 Pastoral perf’d by a Gentleman. Slow L’Abbé, Anthony 6/4 q H 1725 (ca.) Paisible, James [c1725]-Lab London 113

Aimable vainqueur 1180 L’aimable Vainqueur. Loure Pécour, Louis-Guillaume 3 q HF 1728 (after) Campra, André. Hésione, III, 5 (1700) Ms-80 Paris (?)

Aimable vainqueur 1180 Aimable vainqueur Pécour, Louis-Guillaume 3 q HF 1728 (ca.) Campra, André. Hésione, III, 5 (1700) [c1728]-Ram Paris

Aimable vainqueur 1180 The Louvre Pécour, Louis-Guillaume 3 q HF 1730 (ca.) Campra, André. Hésione, III, 5 (1700) [c1730]-Orc London

Aimable vainqueur 1180 Aimable vainqueur Pécour, Louis-Guillaume 3 q HF 1732 (ca.) Campra, André. Hésione, III, 5 (1700) [c1732]-Ram Paris DATABASE III: LOURE CHOREOGRAPHIES Type of Loure/ Choreographer/Source/ # Year LMC Dance Title/Music Place of Origin Meter Pickup Dancers

Aimable vainqueur 1180 Amable Pécour, Louis-Guillaume 3 q HF 1745 Campra, André. Hésione, III, 5 (1700) 1745-Fer Spain (Capoa)

Aimable vainqueur 1180 Pr Mr Pecour, le mable Vainqueur Pécour, Louis-Guillaume 3 q HF 1750 (ca.?) Campra, André. Hésione, III, 5 (1700) Ms-110 Spain (Oporto) 114

Aimable vainqueur 1180 El Amable, con otra Chorographia Pécour, Louis-Guillaume 3 q HF 1760 (ca.) Campra, André. Hésione, III, 5 (1700) [c1760]-Nbl Spain (Madrid)

Aimable vainqueur 1180 Aimable Vainqueur par M. Pécour Pécour, Louis-Guillaume 3 q HF 1765 Campra, André. Hésione, III, 5 (1700) 1765-Mag Paris CROSS-DATABASE ISSUES

Emergence of the Loure through the Works of Lully

Thanks in large part to André Danican Philidor-- composer, musician, and

court librarian from 1684 until his death in 1730--many of Lully’s early ballets

and other court entertainments were copied and preserved. Their faithfulness to

Lully’s originals, however, is difficult to determine since Lully left no autographs

of his operas and ballets, and he did not officially sanction his printed works

until 1679, years after he began composing dance music.1 What is more, markings such as titles for the dance airs differ from source to source. What may be a gigue in one copy, for example, may be labeled a loure in another. Despite these discrepancies, and with a little bit of hindsight, the loure does begin to emerge through these works by Lully as a unique dance type.

The earliest dance air entitled “loure,” albeit in a posthumous manuscript, lies within Lully’s Les Plaisirs de l’Isle enchantée [LWV 22/15a], composed in 1664.

Only the treble line has been preserved, in a collection compiled by Philidor sometime between 1684 and 1690,2 and bears the caption “Loure ensuitte.” This

G-major melody is in 6/4 time with a quarter-note pickup, and its bi-partite form

consists of equal four-bar phrases containing dotted rhythms [see Example IV-1]. œ œ # 6 œ. œ œ œ ˙ œ œ œ œ ˙. œ. & 4 œ J œ. J œ J

Example IV-1. Loure ensuitte, Les Plaisirs de l’Isle enchantée (Lully, 1664)

1 Lully worked closely with Christophe Ballard, the king’s printer, who published Lully’s opera, Bellerophon, in 1679. 2 In Collection Philidor des Fonds du Conservatoire, Rés F 531, Volume 47, Paris, France.

115 In 1708, two airs entitled “loure” appeared in a Ballard print of Lully’s second tragédie lyrique, Alceste (first presented in 1674) [LWV 50/11 and 29]. The printed five-part score, although published after Lully’s death, helps further define what came to be known as the loure by establishing a relationship between the treble and bass lines, missing in the earliest example above. The loure from the opera’s prologue is similar to that in Les Plaisirs de l’Isle enchantée above [see Example IV-2]. It is in G major, in 6/4 time with a quarter-note pickup, and contains dotted rhythms in four-bar phrases. The rhythm q h \ h q found throughout the homophonic texture has a lilting, pastoral quality, appropriate for the characters dancing: the Divinities and Nymphs.

# 6 œLoure. . Lesœ Divinitezœ œ + et les Nymphes + + œ & 4 œ J ˙ +˙ œ œ ˙ +˙ œ œ ˙ +˙. ˙

œ ? # 6 œ œ. œ œ ˙ œ œ ˙ . œ 4 J ˙ ˙ œ œ ˙ ˙ ˙

6 # + + œ œ. œ œ œ ˙ ˙ œ ˙ ˙ œ œ ˙ . & J + œ + + +˙. ˙

œ œ ? # œ. œ ˙ ˙ œ œ ˙ ˙ œ ˙ . J œ ˙. ˙ . œ

Example IV-2. La Loure. Les Divinitez et les Nymphes. Alceste (Lully, 1674)

116 The “Loure pour les Pêcheurs,” also from Alceste, looks similar [see

Example IV-3]. Here, though, an iambic rhythm of a quarter note followed by a half note acts as a pickup, and the phrasing is slightly more irregular. The A section consists of regular four-bar phrases (in 6/4); the B section begins that way but ends with a five-bar phrase. The bass line is simpler overall, nearly devoid of dotted figures, but the rhythms are more diverse. The rhythm that was q h \ h q pervasive in the loure above is here interspersed with one that is common to gigues: . h q h q

Loure pour les Pêcheurs 6 œ ˙ œ+. œ œ + œ œ œ. œ œ œ+. œ œ + & 4 J œ œ. œœ œ. J J J œ œ. œœ

œ ˙ œ ? 6 ˙ ˙ œ ˙ œ ˙ œ œ œ œ œ 4 œ œ

+ 5 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 ˙ Example IV- 3. Loure pour les Pêcheurs, Alceste (Lully, 1674)

Interestingly, one manuscript source entitles both of these loures

“menuets.”3 Upon examining Lully’s menuets, this is understandable, for

3 An anonymous source now housed at the University of Chicago; the dessus part only, containing various instrumental and dance pieces by Lully, Desmarets, Marais, and others. Published after 1695. Hotteterre’s marking, “mouvement modéré,” for this same air in his

117 although none of Lully’s menuets are in 6/4, several employ the rhythm q h \ h q within a time signature of 3. The menuet from Lully’s Bellerophon [LWV 57] that

ends Act IV, for example, is similar to the loures above in this respect [see

Example IV-4].

3 Menuet˙ ˙ œ ˙ ˙ œ œ œ. œœ ˙ œ & b 4 œ œ ˙ ˙ œ œ .

˙ œ ? 3 œ. œ œ ˙ œ œ ˙ œ ˙ ˙ œ ˙ b 4 J œ . ˙ œ

Example IV-4. Menuet, Bellérophon (Lully, 1679)

The rhythmic movement in an air in 6/4 from Le Temple de la Paix [LWV

69/16, Example IV-5] closely resembles the loure from Alceste danced by “Les

Divinitez et les Nymphes” and also has connections to a menuet. This instrumental air does not stand alone in the opera but emerges from a menuet and incorporates some of the menuet’s motives. What is more, this “loure,” embedded within the menuet, lacks any title of its own. This may be an oversight on the part of Lully and/or the printing company; alternatively, it could be thought of as a menuet variation. Looking past the instrumental pieces,

Daphnis and then the choir imitate not the air (= loure) that precedes it but the menuet, reiterating its time signature (3) and phrase structure (three bars).

Méthode pour la Musette (1738) is appropriate for a menuet and has less in common with tempo markings for the loure (“slow,” “grave,” etc.). See Overview to Database I.

118 Menuetœ. + 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 & 4 J J œ J J . J J

? 3 œ. œ œ#˙ ˙ œ j . œ. œ œ œ. œ œ œ œ 4 J œ œ œ œ ˙ . J J œ . œ #˙ .

10 j œ+. œ œ+. œ œ ˙ œ œ œ œ œ œ+. ∑ 6 Ó. Œ. œ ˙ œ œ œ & J œ ˙. 4 J œ

? œ 6 œ œ ˙ œ œ ˙ œ. œ œ œ œ œ œ œ œ 4 ˙. œ. J J œ #œœ. œ œ ˙. ˙œ + + 18 œ ˙ œ œ ˙ œ. œ 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 œ ? œ œ ˙ œ œ ˙ œ œ. œ œ ˙ œ ˙ œ . J œ. œ œ œ ˙ J ˙ œ ˙ ˙. œ. J

25 + + + 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 & J +œ. œ ˙. œ. J J J

œ œ œ œ ? œ œ #œ œ ˙ œ œ. ˙ œ œ œ œ ˙ ˙ œ ˙. œ. J œ J ˙ œ œ ˙ œ œ

31 ˙. œ. 3Daphnis j j & 4 j œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ. œ œ + + La gloire où ce Vainœ --- queurœ as pi re Est de faire ai -mer son Em --pi re ? 3 œ œ œ œ œ œ œ œ ˙. œ. 4 œ œ ˙ œ œ œ œ ˙ ˙

Example IV-5. [Loure], Ballet du Temple de la paix (Lully, 1685)

119 This loure from Le Temple de la Paix as well as another from L’Idyll sur la

Paix [LWV 68/11, Example IV-6] resemble their predecessors in that they are bi-

partite, contain dotted rhythms and are largely homophonic. In addition, they

introduce a new feature that is common in many loures and loure definitions:

the pickup. Other rhythmic patterns employed in the L’Idylle loure imbue a e q gigue-like quality, most notably the absence of the uneven rhythm in favor q h \ h q of a more even movement , seen in the “Loure pour les Pêcheurs” above, and h q h q also a rhythm that later will be affiliated with another type of gigue called the forlane: . h q q

Lourej ˙ œ œ. œ œ œ. œ b 6 œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ ˙ œ œ. œ œ J œ œ. œ J œ & 4 œ J J J J J J

œ œ ? 6 œ ˙ œ œ j œ œ. œ œ ˙ œ œ . œ œ. œ œ b 4 J œ ˙ œ ˙ œ. œ œ ˙ J n˙ J J

7 œ. œ. œ œ œ œ œ. œ œ œ. œ œ œ . œ œ œ œ. œ ˙ œ œ. . œ œ & b J J J J n˙ œ J ˙ Jnœ . J

œ ? œ œ œ. œ ˙ j ˙ œ ˙. ˙ œ . J œ b œ. J J œ nœ œ. œ œ ˙. ˙ œ œ. .

Example IV-6. Loure. L’Idylle sur la paix (Lully, 1685)

The two loures from L’Idylle sur la paix and Ballet du Temple de la paix, both performed and printed in 1685, are not only the latest examples we have from

Lully’s oeuvre, but they are the only loures in this survey that appear in printed scores overseen by Lully himself, published soon after their premieres. These

120 loures, then, would seem to be the most reliable representations of the dance

type sanctioned by the composer; yet as we have seen, even these trusty sources

do not unequivocally call the airs in question “loure”; one is referred to as a

gigue; the other is embedded, with no new dance title, in a menuet.

A dance performed by “les Suivants de l’Amour” from Les Fêtes de l’Amour

et de Bacchus [LWV 47/40, Example IV-7] closely resembles the loure from L’Idylle

sur la Paix discussed above. This dance, untitled on the specific page but referred

to as “Simphonie, Loure” on the list of contents4 is in 6/4 and like the loure from

L’Idylle contains rhythms common to forlanes ( ) at the end of every phrase. h q q An early source designates it a gigue and at least three later sources label it a loure.5 The loure from L’Idylle may indeed be a faster gigue rather than a loure since there is a note referring to that dance as a “gigue” at the entertainment’s end: “On reprend la Gigue page 39” (Repeat the Gigue on page 39). The

“Loure” is on page 39, and there are no gigues nearby. This might be a moot point in light of definitions of the loure from France around that same time: the loure is often called a type of gigue and vice versa (gigue = type of loure). It is interesting to note here that even though (fast) gigues were popular in various forms and countries before Lully’s time, Lully himself composed very few. The most reliable scores printed by Ballard and sanctioned by Lully contain only four

4 Printed by Ballard in 1717, forty-five years after its premiere. It is interesting to note that this is only one of two dances in this edition named by dance type, the other being a menuet. Otherwise, they are named according to the characters that dance them (i.e. “pour les Faunes & pour les Driades”) or by the event (“la Mariée”). 5 See Herbert Schneider, Chronologisch-Thematisches Verzeichnis sämtlicher werke von Jean-Baptiste Lully (LWV) (Tutzing: Hans Schneider, 1981), p. 158.

121 gigues so titled.6 This small sampling of gigues exhibits many attributes common to loures: two of the four are in 6/4 (the others are in 6/8); all but one begins with an iambic pickup; and sautillant rhythms abound within uneven phrases. Yet there are differences. Most notably, regular rhythms such as h q h q and . prevail over , more common in loures, producing an ebullient, h q h \ h q straight-forward character rather than a lilting, pastoral quality. All but one of

the gigues utilize imitative entrances in the accompanying voices, and only one is

in a major key. In addition, these gigues show that the bass and inner lines more

often than not move just as rapidly as the dessus, disproving the common

misperception that faster dances are accompanied by slower supporting lines.

+ œ . œ œ # 6 j . œ œ œ. nœ œ œ. œ œ œ. nœ œ ˙ œ œ. œ œ J œ œ. œ & 4 œ œ œ J J J J J J

˙ ? # 6 j œ ˙. ˙. ˙. 4 œ ˙ œ ˙ œ ˙ œ ˙. œ

6 # œ. œ œ œ. œ œ œ. œ œ œ. œ ˙ œ œ. œ & J J J J #œ . J œ

? # . . ˙ ˙. ˙. œ . œ œ ˙ ˙ œ œ. J Example IV-7. [Untitled], Les Fêtes de l’Amour et de Bacchus (Lully, 1672)

6 Found in Persée (1682); Amadis (1684); Roland (1685); and Ballet du Temple de la Paix (1685). Based on Meredith Ellis’s list in her dissertation, The Dances of J.B. Lully (1632-1687), Stanford University, 1967.

122 Similar confusion between loure and menuet arises under different

circumstances in Lully’s La Grotte de Versailles, a divertissement performed in

1668 but not published until 1685, as a companion to L’Idylle sur la paix. An

instrumental air appears as a “menuet,” [LWV 39/9] danced by shepherds and

shepherdesses, that alternates with a chorus in typical (for Lully) three-bar

phrases[Example IV-8]. The same menuet, designated likewise, appears again in

Lully’s Le Carnaval (1675, pub. 1720). Immediately following the menuet is a

Ritournelle paired with a sung duet, “Les Oiseaux vive sans contrainte,” [LWV

39/10] that resembles a loure [Example IV-9].

œ # 3 œ . œ œ œ . œ œ . . & 4 œ J œ œ œ œ œ œ J œ œ œ ˙ . .

? # 3 œ ˙. œ œ j . . 4 œ. œ œ œ . . œ œ ˙. œ ˙ ˙ Example IV-8. Menuet, La Grotte de Versailles, 1668

# % 3 Œ‰œ œ œ. œ œ œ œ. œ œ œ œ œ. œ œ & 4 J J ˙ J œ J

? # 3 œ œ ˙. œ 4 J œ ˙ ˙. œ œ œ. œ ˙

# 1 2 j œ ˙ œ œ . . œ & ˙. œ. J ˙. œ. œ

œ œ œ. œ œ œ œ. œ œ ? # œ. J J . . ˙ J œ ˙ . .

Example IV-9. Les Oyseaux, La Grotte de Versailles

123 The majority of sources label the above menuet a “loure” yet at least one source deems the more loure-like ritournelle and song that follows as such. 7

Although this menuet, like those from Bellerophon and Alceste discussed above, contains some loure qualities (pickup, occasional rhythmic patterns), the overall composition better matches Lully’s menuets (triple time, three-bar phrases, quarter-note movement). The loure designation for this menuet in later sources may have arisen from a written instruction in an earlier score preceding the menuet that instructs one to “tournez pour la Lourre.”8 At the end of the menuet, there is a note to alternate the chorus and the menuet (“on reprend chantés dans ces lieux”), probably concluding with a chorus. Therefore, the performers would need to turn past the menuet at the end of the set to proceed; hence, ”tournez pour la Lourre.” This would infer that the “lourre” refers to the ritournelle and sung air, “Les Oiseaux,” following the menuet [Example 9]. The

pickup, characteristic rhythmic patterns and phrasing all support this e q hypothesis. The Ballard print from 1685 adds further support by setting this pair in 6/4 (unlike the Philidor manuscript where it is in “3”).

There are a few more examples within Lully’s theatrical works that have been called a loure in later manuscripts. Among them is the “Premier Air, pour les Menades et les Satires” from Psyché [LWV 45/28, Example IV-10]. This air certainly resembles the preceding loures, most strikingly the ‘Loure les Divinitez et les Nymphes’ from Alceste [compare with Example IV-2].

7 Duo choisis, 1728, p. 7. See Schneider, p. 158. 8 Res 532, p. 29 (Qu. 1, see Schneider p. 5).

124 Premier Air, pour les Menades et les Satires. b 6 Œ œ œ œ ˙ ˙ œ œ ˙ œ. œ œ œ j Œ & 4 œ œ. J J œ œ œ. œ ˙ œ

? 6 Œ œ ˙. œ ˙. ˙ œ b 4 ˙ ˙. œ ˙ œ ˙. ˙

˙ œ œ œ œ œ b œ œ œ. œ œ œ œ œ. œ œ Œ . . ‰ œ & œ. J J J . . J œ ? ˙. œ ˙ œ . . J œ b ˙ œ ˙ ˙. Œ . . ‰

Example 10. Premier Air, pour les Menades et les Satires, Psyché (1678).

Another air considered to be a loure in a posthumous manuscript is from

Roland [LWV 65/55, Example IV-11]. Danced by “Les Peuples de Catay” in homage to Medor, it shares similar qualities with those already examined above

(time signature, pickup, dotted rhythms, some characteristic rhythmic patterns).

Yet the dessus contains more incessant sautillant rhythms and an imitative bass entrance more common to a faster gigue during Lully’s time.9

One final point, concerning Lully’s “Sarabande Espagnolle.” According to the definition above, Lully’s “Sarabande Espagnolle,” considered to be a loure by many, does not fit into Lully’s characterization of a loure. On the other hand, it shares a similar character with the sarabande, after which it is named. So, although the “Sarabande Espagnolle’s” pickup and time signature fit more easily with later definitions of loures, in Lully’s time the dance would have been more in character with the sarabande.

9 M. Ellis [Little] classifies this dance a “gigue” in The Dances of J.B. Lully, p. 176.

125 Les Peuplesœ de Catay rendent hommage+ à Medor. Air # 6 œ . œ œ œ. œ œ . j œ. œ j œ. œ œ œ & 4 J J œ œ œ J œ œ. œ œ J

œ. œ ? # 6 œ. œ œ œ J œ ˙ 4 Œ Ó. ŒŒ œ J ˙ œ

# œ. œ œ œ. œ œ œ œ œ œ. œ œ+ œ & J J #œ œ œ œ J œ . .

œ œ ? # œ œ ˙ œ #œ œ œ ˙ #˙ œ œ œ œ . .

Example IV-11. Air, Les Peuples de Catay rendent hommage à Medor, Roland (1685).

In summary, Lully most likely connected his idea of a loure to its older definition as a bagpipe, or musette. Lully’s loures (or his airs that others looking back called loures) share qualities with the gigue, forlane, and menuet. They are pastoral, with flowing melodies, mainly in major keys.

126 “L’Aimable vainqueur” and “The Louvre”

As mentioned in preceding sections, it is not always clear whether the

“Louvre” refers to the loure in England, to the dance air, or to Pécour’s famous couple dance set to the air “l’Aimable vainqueur.” Weaver makes a distinction between the two in his Orchesographie. He mentions the “loure” just as Feuillet does in a discussion of quadruple time and in a later section lists Pécour’s 1701 choreography “l’Aimable vainqueur” as “The Louvre.” Rameau does not discuss the loure at all, yet he refers specifically to “l’Aimable vainqueur” when describing coupés and arm movements in Le Maitre à Danser. In his English translation of Rameau’s work (1728) Essex changed the name “l’Aimable vainqueur” to “The Louvre.” Apparently by this time, English audiences knew the dance by that name.

As popular as this dance appears to have been in England, no dance airs entitled “loure” have been found in any English operas from that time. There are, however, several listings for “Louvres” performed on London stages from about 1720 to 1750. A few appeared following the publications of Weaver’s second edition, but many only list one dancer. For example, a “Mrs. Wall” performed the “Louvre” four times in 1724 and twice in 1725. In 1726 she danced the “Louvre” with Mr. Dupre. One clearer example comes in 1731, one year after a reprint of Orchesography was circulated. Both the “Louvre and

Bretagne” were danced by Mlle. Marie Sallé and her brother. Choreographies for both the “Louvre” and the “Bretagne” are included in Orchesography. A more entertaining description adds a new dimension to the “Louvre” when a Miss

127 Violante, “just arriv’d with a new extraordinary fine Company. . . after the Irish

Manner,” enters the London scene:

[September 11, 1732] The famous Signora Violante will perform several new and surprising Performances on the Strait Rope, never perform’d by any one besides herself: [1] She Dances a Minuet as Neatly as a Dancing Master on a Floor. [2] She Dances with a Board, ten Foot in length, loose upon the Rope. [3] She Dances with two Boys fastned to her feet, which Occasions great Mirth. [4] She Dances with two heavy Men ty’d to her Feet. [5] She Performs the Exercise of the Colours. After this surprising Performance, Miss Violante will Dance a Louvre in Boys Cloaths.10

This extraordinary description implies that more than one “Louvre” existed, and that Ms. Violante danced this particular one alone. As mentioned above, there are two male solo choreographies, also named “L’Aimable vainqueur.” Miss

Violante may have performed one of these, or made up a “Louvre” of her own.

Similar to references in dance manuals, English music treatises and dictionaries are equally divided between defining a specific dance (“l’Aimable vainqueur”) vs. a general dance type (the loure, or louvre). An anonymous source on playing a “Thoroughbass Upon the Harpsichord” published around

1730 includes the following: “LOURE, is the Name of a French Dance, or the tune thereunto belonging, always in Triple Time, and the Movement, or Time, very Slow and Grave.” At first glance this might seem to refer only to l’Aimable vainqueur, but when compared to another like definition it obviously refers to a dance type: “Minuetto. A Minuet, a French Dance so called, or the Tune or Air belonging thereunto. The dance and Air being so well known that it needs no

10 Emmett L. Avery, The London Stage, 1660-1800, vol. 3 (Carbondale: Southern Illinois University Press, 1960).

128 Explanation.”11 John Hoyle reiterates this definition in his Dictionarium musica,

Being a Complete Dictionary, or Treasure of Music forty years later. Yet only six

years later, in 1776, music historian John Hawkins defines the “Louvre” as “. . .a

mere dance-tune; the term is not general, but is applied singly to a French air,

called L’amiable [sic] Vainqueur, of which Lewis XIV was extremely fond; the

French dancing masters composed a dance to it, which is well known in

England.” Hawkins’s contemporary, Thomas Busby reiterates this definition, under “Lovre,” a decade later.

Based on the evidence at hand it seems reasonable to surmise that the

“Louvre” in England referred to the air and dance “l’Aimable vainqueur” either directly or indirectly. In some cases, Pécour’s ballroom version for a couple was probably performed, particularly in the years following the reissuing of Weaver’s dance treatises 1722 and 1730. Pécour’s couple dance was not always the version that was danced, however. This is clear from Miss Violante’s performance of a

“Louvre” in boy’s clothes. The loure, on the other hand, seems to have described a general dance type, although this was much less common in England.

11 Anon., Rules: Or a Short and Compleat Method for Attaining to Play a Thoroughbass Upon the Harpsichord or Organ. . . . (London: J. Walsh), ca. 1730, p. 22.

129 ALPHABETICAL LIST OF WORKS

Database I. Loure Definitions

[Anonymous]. Rules: Or a Short and Compleat Method for Attaining to Play a Thoroughbass Upon the Harpsichord or Organ. London:J. Walsh, ca. 1730.

Bielfeld, Jacob Friedrich von. L’érudition complète . . . Les premiers traits de l’érudition universelle ou analyse abrégée de toutes les sciences, des beaux-arts et des belles-lettres par M. le baron de Bielfeld. Leiden: Sam. et Jean Luchtmans, 1767.

Brossard, Sébastien de. Dictionaire de musique, contenant une explication des Termes Grecs, Latins, Italiens, & François, les plus usitez dans la Musique. Paris: Christophe Ballard, 1705.

Busby, Thomas. A Complete Dictionary of Music. To Which is Prefixed a Familiar Introduction to the First Principles of that Science. London: Richard Phillips, ca. 1786.

Christmann, Johann Friedrich. Elementarbuch der Tonkunst zum Unterrict beim Klavier für Lehrende und Lernende mit praktischen Beispielen. Eine musikalische Monatschrift. Speyer: H. Ph. C. Bossler , 1782-89.

Compan, Charles. Dictionnaire de danse. Paris: Cailleau , 1787.

Corneille, Thomas. Le dictionnaire des arts et des sciences. Par M.D.C. de l’Académie Françoise. Tome Troisiéme. A-L. Paris: chez la veuve de Jean Baptiste Coignard, 1694.

Corrette, Michel. L’école d’Orphée, Méthode pour apprendre facilement à jouer du violon dans le goût françois et italien; aven des principes de musique et beaucoup de lecons à I et II violons. Ouvrage utile aux commençants et à ceux qui veulent parvenir à l’exécution des sonates, concerto [sic], pièces par accords et pièces à cordes ravallées . . .Oeuvre XVIIIe. Paris: auteur, Boivin, Le Clerc , 1738.

Corrette, Michel. Le parfait maître à chanter, méthode pour apprendre facilement la musique vocale et instrumentale où tous les principes sont dévelopés nettement et distinctement. Paris : auteur, 1758.

D’Alembert, Jean le Rond. Élémens de musique théorique et pratique, suivant les principes de M. Rameau. Paris: David l’ainé, Le Breton, Durand, 1752.

David, François. Méthode nouvelle ou principes généraux pour apprendre facilement la musique, et l’art de chanter. Paris: Boivin, Le Clerc , 1737.

130 Denis, Claude. Nouvelle méthode pour apprendre en peu de tems la musique et l’art de chanter, avec un nombre de leçons dans plusieurs genres . . . deuxième édition revüe et corrigée. Paris: Le Clerc, 1757.

Diderot, Denis, and Jean le Rond d’Alembert. Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers, par une societé de gens de lettres, Paris: Briasson, David, Le Breton, Durand, 1751-80.

Dupont, Pierre. Principes de musique par demandes et par réponçes avec de petits exemples. Paris: Christophe Ballard, 1713.
Essex, John. The Dancing Master: or, The Art of Dancing Explained. London: J. Brotherton, 1728.
Ferriol y Boxeraus, Bartholomé. Reglas utiles para los aficionados a danzar. Provechoso divertimiento de los que gustan tocar instrumentos; y advertencias polyticas a todo genero de personas. Copoa: Joseph Testore, 1745.

Feuillet, Raoul Auger. Chorégraphie ou l’art de décrire la dance par caractères, figures et signes démonstratifs, avec lesquels on apprend facilement de soymême toutes sortes de dances. Ouvrage très-utile aux maîtres à dancer et à toutes les personnes qui s’appliquent à la dance. Paris: auteur, Michel Brunet, 1700.

Feuillet, Raoul Auger. Recüeil de dances contenant un très grand nombres des meillieures entrées de ballet de Mr. Pécour, tant pour homme que pour femmes, dont la plus grande partie ont été dancées à l’Opéra. Recüeillies et mises au jour par Mr. Feüillet, M. de dance. Paris: Feuillet, 1704.
Framery, Nicolas Etienne, et al. Encyclopédie méthodique. Musique. Paris: veuve Agasse, 1818.
Furetière, Antoine. Dictionnaire universel, contenant généralement tous les mots françois, tant vieux que modernes, et les termes des sciences et des arts. La Haye, Rotterdam: Arnout & Reignier Leers, 1690.
Hawkins, John. A General History of the Science and Practice of Music. London: T. Payne and Son, 1776.
Hotteterre, Jacques Martin le Romain. Méthode pour la Musette. Paris: J.B. Christophe Ballard, 1738.
Hoyle, John. Dictionarium musica, Being a Complete Dictionary, or Treasure of Music. London: the author and S. Crowder, 1770.
Jenyns, Soame. The Art of Dancing: A Poem in Three Cantos. London: J. Roberts, 1729. Modern edition: Cottis, Anne, ed. The Art of Dancing: A Poem in Three Cantos by Soame Jenyns. London: Dance Books Ltd., 1978.

131 Kattfuss, Johann Heinrich. Chorégraphie, oder vollständige und leicht fassliche Anweisung zu den verschiedenen Arten der heut zu Tage beliebtesten gesellschaftlichen Tänze für Tanzliebhaber, Vortänzer und Tanzmeister. Erster Teil. Leipzig: Heinrich Graff, 1800.
Kirnberger, Johann Philipp. Recueil d’airs de danse caractéristiques, pour servir de modèle aux jeunes compositeurs et d’exercice à ceux qui touchent du clavecin, avec une préface part J. Ph. Kirnberger. Partie I. Consistant en XXVI pièces. Berlin, Amsterdam: Jean Julien Hummel, ca. 1777.
Kollmann, August Friedrich Christoph. An Essay on Practical Musical Composition, According to the Nature of that Science and the Principles of the Greatest Musical Authors. London: author, 1799.
La Chapelle, Jacques Alexandre de. Les vrais principes de la musique exposé par une gradation de leçons distribuéez d’une manière facile et sûre pour arriver à une connoissance parfaite et pratique de cet art dédié à Mgr. le comte d’Argenson par le Sr. de La Chapelle. Paris: auteur, veuve Boivin, le Clerc, 1736.
Lacassagne, Joseph. Traité général des élémens du chant. Paris: auteur, veuve Duchesne, 1766.
Masson, Charles. Nouveau traité des règles de la composition de la musique par lequel on apprend à faire facilement un chant sur des paroles, à composer à 2, à 3 et à 4 parties, etc., et à chiffrer la basse-continue, suivant l’usage des meilleurs auteurs. Ouvrage très utile à ceux qui jouent de l’orgue, du clavecin, et du théorbe. Troisième édition, revue et corrigée. Paris: Jacques Collombat et l’auteur, 1699.
Mattheson, Johann. Der vollkommene Capellmeister, das ist gründliche Anzeige aller derjenigen Sachen, die einer wissen, können, und vollkommen inne haben muss, der einer Capelle mit Ehren and Nutzen vorstehen will: zum Versuch entworffen von Mattheson. Hamburg: Christian Herold, 1739.

Meude-Monpas, J.J.O, chevalier de. Dictionnaire de musique. Paris: Knapen et fils, 1787.

Montéclair, Michel Pignolet de. Methode facile pour apprendre a jouer du violon. Paris, 1711-12.
Montéclair, Michel Pignolet de. Nouvelle méthode pour aprendre la musique par des démonstrations faciles, suivies d’un grand nombre de leçons à une et à deux voix, avec des tables qui facilitent l’habitude des transpositions et la conoissance des différentes mesures. Paris: auteur, Foucault, 1709.

Montéclair, Michel Pignolet de. Petite méthode pour apprendre la musique aux enfans et même aux personnes plus avancées en âge. Paris: Boivin, ca. 1735.
Montéclair, Michel Pignolet de. Principes de musique. Paris: veuve Boivin , 1736.

132 Niedt, Friedrich Erhardt. Musicalische Handleitung zur Variation des General-Basses, samt einer Anweisung wie man aus einem schlechten general-Bass allerley Sachen als Praeludia, Ciaconen, Allemanden, etc. erfinden könne. Hamburg: B. Schillers Wittwe und J. C. Kissner, 1721. Modern edition: Poulin, Pamela L., and Irmgard C. Taylor, trans. The Musical Guide. Oxford: Clarendon Press, 1989.

Quantz, Johann Joachim. Versuch einer Anweisung dei Flöte traversiere zu spielen. Berlin: Johann Friedrich Voss, 1752.
Rameau, Jean-Philippe. Traite de l’harmonie reduite à ses principes naturels; divisé en quatre livres. Paris: Jean Baptiste Christophe Ballard, 1722.

Rameau, Pierre. Le Maitre à Danser. Paris: Rollin fils, 1725.
Rousseau, Jean Jacques. Dictionnaire de musique. Paris: veuve Duchesne, 1768.
Sulzer, Johann Georg. Allgemeine Theorie der schönen Künste, in einzeln, nach alphabetischer Ordnung der Kunstwörter auf einander folgenden Artikeln abgehandelt. Leipzig: M.G. Weidmann, 1792.
Tomlinson, Kellom. The Art of Dancing Explained by Reading and Figures. London: Printed for the author, 1735.
Trichter, Valentin. Curiöses Reit-Jagd-Fecht-Tantz-oder Ritter-Exercitien-Lexicon, worinne der galanten ritterlichen Uibungen Vortreflichkeit, nebst allen in denselben vorkommenden Kunst-Wörtern hinlänglich erkläret. Leipzig: Johann Friedrich Gleditsch, 1742.

Türk, Daniel Gottlob. Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende, mit kritischen Anmerkungen. Leipzig, Halle: auf Kosten des Verfassers, 1789.
Villeneuve, Alexandre de. Nouvelle méthode très courte et très facile avec un nombre de leçons assez suffisant pour aprendre la musique et les agréments du chant. Paris: auteur, 1733.
Walther, Johann Gottfried. Musikalisches Lexikon. Leipzig: Wolffgang Deer, 1732.

Waring, William. A Complete Dictionary of Music. Consisting of a copious Explanation of all Words necessary to a true Knowledge and Understanding of Music. Translated from the Original French of J.J. Rousseau. Second Edition. London: for J. Murray, Fielding and Water, ca. 1779.
Weaver, John. Orchesography, or, the Art of Dancing. London: H. Meere, 1706.

133 Database II. Loure Music

Bach, Johann Sebastian. Partita #3 for Solo Violin, BWV 1006, 1720.

______. Suite #5 for Harpsichord, BWV 816. Neue Bach Ausgabe V/viii, 2000. First published ca. 1722.

Bertin, T. de La Doué. Ajax. Paris: Christophe Ballard, 1716.

Blaise, Adolfe Benoît. La Divertissement par Mr. Blaise. Paris: avec Privilege du Roy, 1745.

Blamont, François Colin de. Le Caprice d’Erato ou les Caracteres de la Musique. Divertissement. Paris: avec Privilege du Roy, 1730.

______. Les Festes grecques et romaines. Paris: Christophe Ballard, 1723.

Boismortier, Josef Bodin de. Daphnis et Chloé. Pastorale. Paris: chez l’Auteur, avec Privilege du Roy, 1747.

Bouvard, François. Médus, Roy des Mèdes. Paris: Christophe Ballard, 1702.

______, and T. de La Doué Bertin. Cassandre. Paris: Christophe Ballard, 1706.

Brassac, Réné de Béarn. Leandre et Hero. Labassée. Avec Approbation, 1750.

Campra, André. Camille, Reine des Volsques. Paris: Christophe Ballard, 1717.

______. Hésione. Paris: Christophe Ballard, 1700.

______. Hippodamie. Paris: Christophe Ballard, 1708.

______. L’Europe galante. Paris: Christophe Ballard, 1697.

______. Les Fêtes vénitiennes. Paris: Christophe Ballard, 1710.

Charpentier, Marc-Antoine. Le Malade Imaginaire. Paris: Christophe Ballard, 1702.

______. Medée. Paris: Christophe Ballard, 1693.

Colasse, Pascal. Les Saisons. Paris: Christophe Ballard, 1695.

______. Polyxène et Pyrrhus. Paris: Christophe Ballard, 1706.

______. Thétis et Pélée. Paris: Christophe Ballard, 1689.

134 ______, and Jean-Baptiste Lully. Achille et Polyxène. Paris: Christophe Ballard, 1687.

Couperin, François. Huitiéme Concert dans le goût Théatral from Nouveaux concerts, 1724.

Dall’Abaco, Evaristo Felice. Concerto in B-flat Major, Op. V/4. Amsterdam: chez Jeanne Roger, ca. 1719.

Desmarets, Henri. Circe. Paris: Christophe Ballard, 1694.

______. Les Festes galantes. Paris: Christophe Ballard, 1698.

______, and André Campra. Iphigénie en Tauride. Paris: Christophe Ballard, 1704.

Destouches, André Cardinal. Amadis de Grèce. Paris: Christophe Ballard, 1699.

______. Marthésie, premiere reine des Amazones. Paris: Christophe Ballard, 1699.

______. Omphale. Paris: Christophe Ballard, 1701.

______. Semiramis. Paris: Christophe Ballard, 1718.

Dornel, Louis-Antoine. Livre de simphonies contenant 6 suittes en trio. Paris: chez l’auteur, avec Privilége du Roi, 1709.

Gatti, Theobaldo di. Scylla. Paris: H. de Baussen, chez l’Autheur, 1701.

Jacquet de la Guerre, Elizabeth. Cephale et Procris. Paris: Christophe Ballard, 1691.

La Barre, Michel de. Pièces en Trio, pour les violons, flustes [six], et hautbois. . .Livre sécond. Paris: Christophe Ballard, 1700.

______. Premier Livre des Trio, pour les violons, flutes, et hautbois. . . seconde edition. Paris: Christophe Ballard, 1694.

Lalande, Michel-Richard de. Sinfonies pour les soupers du Roi. In F-V Ms mus 139- 143, after 1720. [Qu. 60]

Lully, Jean-Baptiste. Acis et Galatée. Paris: Christophe Ballard, 1686.

______. Alceste. Paris: Christophe Ballard, 1708. First performed in 1674.

______. Ballet Masquarade. Excerpts in “Airs de ballets et d’opera,” dessus de violon, F-Pn Vm6 5, 1668(?). [Qu. 22]

______. L’Idylle sur la paix. Paris: Christophe Ballard, 1685.

135

______. La Festes de l’Amour et de Bacchus. Paris: Christophe Ballard, 1717 (first performed in 1672).

______. Le Bourgeois Gentilhomme. Excerpts in F-V Ms mus 139-143, after 1720 (first performed in 1670). [Qu. 60]

______. La Grotte de Versailles. Excerpts in F-Pc Rés 532, ca. 1685. First performed in 1668.

______. Le Temple de la Paix. Paris: Christophe Ballard, 1685.

Marais, Marin. Pièces en Trio pour les Flutes, Violons, et Dessus de Viole. Roger: Amsterdam, 1692.

Mondonville, Jean Joseph Cassanea de. Daphnis et Alcimadure – Pastoral. Paris: chez Auteur, 1754.

Mouret, Jean Joseph. Les Amours des Dieux. Paris: L. Hüe, avec Privilege du Roy, 1727.

______. Pirithous. Paris: chez l’Auteur, 1723.

Philidor, André Danican. Suite de Mr. Philidor le pere l’an 1717. In F-V Ms mus 139-143, after 1720. [Qu. 60]

Rameau, Jean-Philippe. Castor et Pollux. Paris: chez Prault fils et al., 1737.

______. Concerto IV, “La Pantomime” from Pièces de clavecin en concert. 1741.

______. Dardanus. Paris: chez l’Auteur, 1739.

______. Les festes d’Hébé. Paris: chez l’Auteur, 1739.

______. Les Festes de l’Hymen et de l’Amour, ou Les Dieux d’Egypte. Paris: chez l’Auteur, avec Approbation et Privilege du Roi, 1747.

______. Les Indes Galantes. In Oeuvre complètes, Vol. 7, ed. C. Saint-Saëns (revised 1968). First performed in 1735.

______. Les Paladins. Facsimile reprint in French Opera in the 17th and 18th Centuries, Vol. XLIV. First performed in 1760.

______. Pigmalion. Paris: chez l’Auteur, avec Approbation et Privilege du Roi, 1748.

______. Platée. Paris: chez l’Auteur, avec Approbation et Privilege du Roi, 1749.

______. Temple de la Gloire. n.d. First performed at Versailles, 1745.

136

______. Zoroastre. Paris: chez l’Auteur, avec Approbation et Privilege du Roi, 1749.

Rebel, François, and François Francouer. Scanderberg. Paris: chez l’Auteur, 1735.

Salomon, Joseph-François. Medée et Jason. Facsimile reprint in French Opera in the 17th and 18th Centuries, Vol. XXVIII. First performed in 1713.

Telemann, Georg Philipp. Der Neumodische Liebhaber Damon. 1724.

______. Orchestral Suite in C Major, “Lustige Suite.” TWV 55:C5, 1712-21(?).

______. Orchestral Suite in G Minor, “La Changeante.” TWV 55:g2, before 1730.

______. Ouverture, “La Putain” (Die Dirne), TWV Anh. 55:G1, 1712-21(?).

______. Ouverture in C Major, TWV 55:C3, 1723.

______. Ouverture in D Major, TWV 55:D21, 1765.

______. Ouverture in F-sharp Minor, TWV 55:fis1, 1712-21(?).

______. Ouverture in G Major from Musique de table. In G.P. Telemann: Musikalische Werke. Kassel and Basel, 1950- , vol. XII. First printed in 1733.

______. Ouverture in G Minor, TWV 55:g4, ca. 1720.

______. “Venerdi,” from Pyrmonter Kurwoche, 1734.

______. Sixth Solo for Harpsichord from Essercizii Musici, 1739-40.

Database III. Loure Choreographies

Catalogue No. 113. In Derra de Moroda Archives, Musikwissenschaftliches Institute der Universität Salzburg. [Ms-25]

Codice No. 1394. Choregraphie, o arte para saber danzar todas suertes de danzas por choregraphie. Oporto, 1751. [Ms-110]

Ferriol y Boxeraus, Bartholome. Reglas Utiles para los Aficionados a Danzar. Capoa: Joseph Testore, 1745. [1745-Fer]

Feuillet, Raoul-Auger. Choregraphie ou l’Art de d’Ecrire la Dance. Paris: Chez l’Auteur, 1700. Facsimile reprint, New York: Broude Bros., 1968.

137

Feuillet, Raoul-Auger. Recueil de Dances, Composées Par M. Feuillet, Maître de Dance. Paris: Chez l’Auteur, 1700, fols. 29-32. Facsimile reprint, New York: Broude Bros., 1968. [1700-Feu]

Isaac. “The Pastorall. Mr. Isaac’s New Dance, made for Her Majestys Birth Day 1713. The Tune by Mr. Paisible.” London: Walsh, 1713. [1713-Pst]

L’Abbé, Anthony. A New Collection of Dances, Containing a Great Number of the Best Ball and Stage Dances. London: Roussau, ca. 1725, pp. 1-6. [c1725-Lab]

Leveque l’Aîné. “L’Obice.” MGWM-Res. In the Dance Collection at the New York Public Library, New York, n.d. [Ms-100]

Magny. Principes de Chorégraphie. Paris: chez Duchesne, 1765. [1765-Mag]

Minguet, Pablo. El Noble Arte de Danzar a la Francesa, y Española. Madrid: Pablo Minguet, ca. 1760. [1760-Nbl]

Ms. fr. 14884. Paris, Bibliothèque Nationale, after 1709. [Ms-30]

Pécour, Louis-Guillaume. “Aimable Vainqueur.” London: R. Shirley, ca. 1715. [c1715-Aim]

Pécour, Louis-Guillaume. “Aimable vainqueur.” Paris: chez le Sieur Feuillet and Michel Brunet, 1701. [1701-Péc]

Pécour, Louis-Guillaume. Nouveau Recüeil de Dance de Bal et celle de Ballet. Paris: Chez Le Sieur Gaudrau, ca. 1713. [c1713-Péc]

Pécour, Louis-Guillaume. Recüeil de Dances contenant un tres grand nombres, des meillieures Entrées de Ballet de Mr. Pécour. Paris: Chez le Sieur Feuillet, 1704. [1704-Péc]

Rameau, Pierre. Abbregé de la Nouvelle Methode dans l’Art d’Ecrire ou de Traçer toutes sortes de Danses de Ville. Paris: chez l’Auteur, ca. 1725. Reissued ca. 1728 and ca. 1732. [c1725-Ram]

Rés. 817. Paris, Bibliothèque du Musée de l’Opéra, ca. 1701. [Ms-20]

Rés. 934. Paris, Bibliothèque du Musée et de l’Opéra, after 1714. [Ms-70]

Rés. 1163. Choregraphie ou l’Art de d’Ecrire la Danse. Paris, Bibliothèque du Musée et de l’Opéra, after 1728. [Ms-80]

Weaver, John. Orchesography, or the Art of Dancing by Characters and Demonstrative Figures. Second Edition. London: Walsh, ca. 1722, pp. 107-112. Reissued ca. 1730. [c1722-Wea]

138 BIBLIOGRAPHY OF SECONDARY SOURCES

Avery, Emmett L., and Arthur H. Scouten, eds. The London Stage 1660-1800. Parts 2 and 3. Carbondale: Southern Illinois UP, 1960-61.

Ellis, Helen Meredith. The Dances of J.B. Lully (1632-1687). Ph.D. Dissertation, Stanford University, 1967.

Harris-Warrick, Rebecca. “Contexts for Choreographies: Notated Dances Set to the Music of Jean-Baptiste Lully.” Jean-Baptiste Lully: Actes du colloque / Kongreßbericht, Saint-Germain-en-Laye – Heidelberg, 1987, pp. 433-456.

Herlin, Denis. Catalogue du Fonds Musical de la Bibliotheque de Versailles. Paris: Publications de la Société Française de Musicologie Éditions Klincksieck, 1995.

Little, Meredith Ellis, and Carol G. Marsh. La Danse Noble: An Inventory of Dances and Sources. New York: Broude Brothers Limited, 1992.

Pitou, Spire. The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. 2 vols. Westport, Connecticut: Greenwood Press, 1983.

Schneider, Herbert. Chronologisch-Thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (LWV). Tutzing: Hans Schneider, 1981.

Schwartz, Judith L., and Christena L. Schlundt. French Court Dance and Dance Music : A Guide to Primary Source Writings, 1643-1789. Dance and Music Series, No. 1. Stuyvesant, N.Y.: Pendragon Press, 1987.

139