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Le Sieur De Machy and the French Solo Viol Tradition

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Le Sieur De Machy and the French Solo Viol Tradition Le Sieur de Machy and the French Solo Viol Tradition Shaun Kam Fook Ng This thesis is presented for the degree of Master of Arts of The University of Western Australia School of Music 2008 ii Abstract During the late seventeenth century in France, the viol was beginning to emerge as one of the most important musical instruments of the day. French luthiers had created the quintessential French viol, which allowed violists in France to make their mark on viol playing, both as performers and teachers. So fervent was this enterprise that players soon formed cliques, creating two opposing schools of viol playing. One of the main protagonists who is the focus of this thesis, De Machy, led one of these schools. Although we are fully aware of this historical dichotomy, it is widely assumed that De Machy’s rivals were the eventual victors of this conflict, and thus have become the model for modern violists to emulate. This has, however, encouraged modern violists to completely disregard the efforts of De Machy, which, as this thesis shall demonstrate, are as important as those of his contemporaries. Chapter 1 discusses De Machy’s place in modern scholarship, giving readers an overall view of the kinds of biases and prejudices that currently exist. It also serves to act as a brief collation and analysis of modern writings that discuss De Machy. Chapter 2 provides us with a historical account of the viol in France, giving special emphasis to solo viol playing. It also traces the evolution of musical style and playing technique as well as the development of the instrument within its social role. Chapter 3 discusses French ornamentation on plucked instruments, keyboard instruments and the viol, giving special emphasis to De Machy’s own ideas on ornamentation. Possible explanations for the proper execution of these ornaments are also provided. Chapter 4 revaluates Rousseau and the Traité de la Viole (1687), and seeks to determine its reliability as a credible source of information. iii Chapter 5 describes and analyses the quarrel between De Machy and Rousseau as described by Rousseau in the Réponce de Monsieur Rousseau (1688). In addition to providing a more complete picture of the social interactions of the viol community of the late seventeenth century, this chapter seeks to better explain the issues that De Machy and Rousseau argued about. Chapter 6 examines historical and modern writings and attempts to explain one of the main issues of aforementioned quarrel, the left hand position otherwise known as the ports de main as advocated by De Machy. Appendix A reproduces the avertissement from De Machy’s Pièces de Violle. The facsimile of the original publication is presented alongside the English translation. This document is central to many of the issues discussed in this thesis. Appendix B is an English translation of the Réponce de Monsieur Rousseau. One of the aims of this thesis is to re-examine the history of the viol in France, and more specifically, its use as a solo instrument. It is through De Machy’s Pièces de Violle and Rousseau’s Réponce that most of this information is centred. iv Contents Abstract ii Contents iv Musical Examples vi Table of Figures vii Acknowledgements ix Chapter 1 De Machy in the Modern Writings 1 Introduction 1 Examples in Recent Scholarship 2 Conclusion 13 Chapter 2 A Brief History of the Solo Viol Tradition in France 14 Introduction 14 Beginnings in France 14 André Maugars and Nicolas Hotman 24 Dubuisson 33 De Machy 36 Sainte Colombe 39 The Beginnings of Basso Continuo in France 44 Marais 47 Forqueray 49 Sainte Colombe le fils 61 Solo Viol Works Outside France 64 Conclusion 65 Chapter 3 French Ornamentation and De Machy 67 The Lute and Theorbo 68 Ornamentation According to Mersenne 73 Lute Ornamentation in the later seventeenth century 76 Ornamentation for the Harpsichord 78 Ornamentation for the Viol 80 Ornamentation according to De Machy 82 Techniques 97 Conclusion 104 Chapter 4 Rousseau and his Traité 106 Rousseau 106 Rousseau in Modern Writings 108 Examining the Traité 111 Rousseau Imitates Mersenne 118 Conclusion 123 Chapter 5 Quarrel Over Viol Playing: Rousseau vs. De Machy 125 Rousseau’s Initial Retort 128 Melody or Harmony? 129 Tenuës 134 De Machy’s Reply 140 Rousseau’s Réponce 147 Conclusion 196 v Chapter 6 De Machy’s Two Ports de main 200 Left Hand Positions on the Viol 201 Left Hand Positions on the Lute 203 Modern Examples of Left Hand Technique 205 Conclusion 207 A Possible Explanation 208 Conclusion 214 Chapter 7 Conclusion 215 Bibliography Primary Sources 220 Secondary Sources 222 Journals 224 Appendix A Avertissement from De Machy’s Pièces de Violle (1685) 227 Appendix B Réponce de Monsieur Rousseau (1688) 239 vi Musical Examples Ex. 1 A suggested performance of Fig. 20, bar 1-2. 86 Ex. 2 A suggested performance of Fig. 22, bar 1-3. 88 Ex. 3 A suggested performance of Fig. 26, bar 1-2. 91 Ex. 4 A suggested performance of Fig. 32, bar 25-27. 94 Ex. 5 A suggested performance of a petit tremblement et martellement in Fig. 34. 95 Ex. 6 A suggested performance of Fig. 36, bar 1-2. 96 vii Table of Figures Fig. 1 De Machy, Pièces de Violle (1685), title page. 3 Fig. 2 De Machy, Pièces de Violle, Extrait du Privilege du Roy. 6 Fig. 3 Detail of a consort of viols in a drawing from 1538. 16 Fig. 4 Detail of a violist. 17 Fig. 5 Detail of a violist. 17 Fig. 6 An early five-string viol. 20 Fig. 7 Nicolas Hotman. 29 Fig. 8 Forqueray (Focroi in the manuscript), Allemande. (Paris: Bibliothèque Nationale F-Pn Vm7 6296) 52 Fig. 9 Forqueray, Allemande, bar 5 and Pièces de viole (1747), Allemande La La Borde, page 1, bar 13. 53 Fig. 10 Forqueray, Allemande, bar 6-7 and Pièces de viole, La Regente, page 16, bar 14-15. 54 Fig. 11 Forqueray, Allemande, bar 8 and Pièces de viole, Allemande La La Borde, page 1, bar 22. 54 Fig. 12 Forqueray, Allemande, bar 14 and Pièces de viole, La Eynaud, page 19, bar 7-8. 54 Fig. 13 Forqueray, Allemande, bar 25 and Pièces de viole, Allemande La La Borde, page 1, bar 2 55 Fig. 14 Forqueray, Allemande, bar 21 and Pièces de viole, Jupiter, page 35, bar 112. 55 Fig. 15 Forqueray, Pièces de viole, La Du Vaucel, page 19. 59 Fig. 16 Chambonnières, Pièces de clavessin (1670), Table des agréments. 78 Fig. 17 d’Angelbert, Pièces de Clavecin (1689), Table des agréments. 79 Fig. 18 De Machy, Pièces de Violle, Demonstrations des Agréments, page 13. 83 Fig. 19 De Machy, Pièces de Violle, Demonstrations des Agréments, Tremblement, page 13. 83 Fig. 20 De Machy, Pièces de Violle, Menuet, first book, page 25, bar 1-8. 86 Fig. 21 De Machy, Pièces de Violle, Demonstrations des Agréments, Petit tremblement, page 13. 87 Fig. 22 De Machy, Pièces de Violle, Allemande, first book, page 17, bar 1-4. 88 Fig. 23 De Machy, Pièces de Violle, Demonstrations des Agréments, Tremblement sans apuïer, page 13. 88 Fig. 24 De Machy, Pièces de Violle, Sarabande, first book, page 39, bar 23-24. 89 Fig. 25 De Machy, Pièces de Violle, Demonstrations des Agréments, Martellement and Double martellement, page 13. 90 Fig. 26 De Machy, Pièces de Violle, Allemande, second book, page 17, bar 1-3. 91 Fig. 27 De Machy, Pièces de Violle, Demonstrations des Agréments, Port de voix, page 13. 91 Fig. 28 De Machy, Pièces de Violle, Allemande, first book, page 17, bar 5-9. 92 Fig. 29 De Machy, Pièces de Violle, Demonstrations des Agréments, Battements, page 13. 92 Fig. 30 De Machy, Pièces de Violle, Demonstrations des Agréments, Aspiration, page 13. 92 Fig. 31 De Machy, Pièces de Violle, Demonstrations des Agréments, Tremblement et martellement, page 13. 93 Fig. 32 De Machy, Pièces de Violle, Gigue, first book, page 22, bar 22-32. 94 Fig. 33 De Machy, Pièces de Violle, Demonstrations des Agréments, Petit tremblement et martellement, page 13. 94 Fig. 34 De Machy, Pièces de Violle, Prelude, page 26, 3rd stave. 95 Fig. 35 De Machy, Pièces de Violle, Demonstrations des Agréments, Port de voix et martellement, page 13. 95 Fig. 36 De Machy, Pièces de Violle, Sarabande, first book, page 39, bar 1-7. 96 Fig. 37 De Machy, Pièces de Violle, Prelude, first book, page 16, 6th stave. 97 Fig. 38 De Machy, Pièces de Violle, Demonstrations des Agréments, Simple unison and Unison double, page 13. 97 Fig. 39 De Machy, Pièces de Violle, Gavotte, first book, page 42, bar 1-5. 98 Fig. 40 De Machy, Pièces de Violle, Gavotte, first book, page 32, bar 1-5. 99 Fig. 41 De Machy, Pièces de Violle, Demonstrations des Agréments, Tenües de nottes and Tenües ordinaires, page 13. 99 Fig. 42 De Machy, Pièces de Violle, Prelude, second book, page 15, 1st stave. 100 Fig. 43 De Machy, Pièces de Violle, Allemande, first book, page 17, bar 5-9. 101 Fig. 44 De Machy, Pièces de Violle, Demonstrations des Agréments, Liaison, page 13. 101 Fig. 45 De Machy, Pièces de Violle, Courante, first book, page 37, bar 1-12. 102 Fig. 46 De Machy, Pièces de Violle, Demonstrations des Agréments, Coulé d'archet and Coupé, page 13. 102 Fig. 47 De Machy, Pièces de Violle, Prelude, first book, page 15, 1st stave. 103 Fig. 48 De Machy, Pièces de Violle, Chaconne, first book, page 51, bar 1-7. 103 Fig. 49 De Machy, Pièces de Violle, Sarabande, first book, page 30, bar 1-9.
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