Program Notes CESAR Symposium Williams College Department of Music and the Clark Brooks-Rogers Recital Hall September 13, 2008 by Mark Kroll

1 Program Notes CESAR Symposium Williams College Department of Music and the Clark Brooks-Rogers Recital Hall September 13, 2008 by Mark Kroll The French harpsichord tradition spans a period of almost 200 years, from the first decades of the seventeenth century to the last years of the eighteenth. Although the music evolved and changed dramatically, the essential core of the French harpsichord style remained remarkably constant throughout these two centuries. This statement would be difficult to make about any other period or genre in the history of keyboard music. For example, the harpsichord works of Handel bear little resemblance to those of Purcell or Byrd. There are few similarities between the music of the seventeenth-century Spanish composer Cabanilles and the sonatas of Domenico Scarlatti. Yet a harpsichord piece written by Chambonnières in 1655 and one composed by Balbastre in 1787, although different in many details, would both be immediately recognized as examples of French harpsichord music. The Elements of the Style A two-voice texture predominates, featuring on the one hand an elegant, richly ornamented melodic line and on the other a simple accompaniment. Intricate contrapuntal writing or full-voice chordal homophony are avoided, and many of the genres typically found in the other national styles of the Baroque, such as fugues, ricercare, fantasias and sonatas, are rare in France. The French harpsichord composer achieved maximum expressive effect by the resonant spacing of parts, a sensitivity to sonorities, and a rich harmonic language. Virtuoso keyboard displays were also kept to a minimum, and techniques such as the extensive arpeggiation in J.S. Bach's Chromatic Fantasy and Handel's Lessons or the rapid scale passages and repeated notes of Scarlatti do not appear until the middle of the eighteenth century, when the influence of the Italian style was once again felt in France. Three major genres can be found in eighteenth-century French harpsichord music: dance music, character or descriptive pieces, and dedicatory works. 2 Four dances comprised the typical French suite of this period: allemande, courante, sarabande and gigue. To this basic core were added a variety of dances and other movements, including menuets, gavottes, chaconnes, passacailles, rigaudons, and rondeaus. Character or descriptive pieces are programmatic in nature. French composers believed that music should express something other than itself. By the creative use of keyboard figures, distinctive rhythms or unusual harmonies, they might depict natural phenomena, political or social situations, scenes from the theater or folk heritage, emotions or paintings and other works of art. Character pieces appear infrequently in the early part of the century, but gradually became the standard after 1730. Dedicatory pieces were written to honor or acknowledge famous or influential persons, and carried the name of the dedicatee in the title. This genre was usually abstract in nature, but dedicatory works could occasionally be programmatic or even take the form of a dance movement. Ornamentation The extensive use ornaments is perhaps the most distinctive feature of French harpsichord music, and listeners often express astonishment (or chagrin) at their number and variety. The eighteenth-century writer Charles Burney's opinion of Couperin's music was not unique: "The great Couperin ...was not only an admirable organist but, in the style of the times, an excellent composer for keyed instruments...tho' his pieces are so crowded and deformed by beats, trills, shakes, that no plain note was left to enable the hearer of them to judge whether the tone of the instrument on which they were played was good or bad." However, this is not ornamentation in the sense of divisions or Italianate embellishments, in which the performer adds notes and figurations to a simple melodic line. The manner in which ornamentation was used in France distinguishes it from all other Baroque keyboard music. On a basic level French ornaments are decorations to the melody, similar to the style of decorating French furniture and architecture during the period. However, on a more profound level, the ornaments are meticulously notated and applied to create an astonishing range of nuance, color and dynamics on the harpsichord. 3 Chronology The eighteenth century was a period of intense activity for the composers of pièces de clavecin, and virtually every major composer published harpsichord collections. The first half of the era includes François (Charles) Dieupart, Louis Marchand, Louis-Nicolas Clérambault, Jean- François Dandrieu, Gaspard LeRoux and Elizabeth Jacquet de la Guerre. The second half is represented by Jacques Duphly, Michel Corrette, Jean-Francois Tapray, Jean-Jacques Beauvarlet-Charpentier, Nicolas Siret, Armand-Louis Couperin and Joseph Nicolas Pancrace Royer. Leading the list are François Couperin, Rameau and Balbastre. Francois Couperin (1668-1733) Francois Couperin represents the ultimate expression of the art of French harpsichord composition. His music encompasses all the elements of the national style, raised to an unequaled level of refinement. Couperin's figure towers over his predecessors and successors. Acknowledged as le Grand in his own lifetime, he enjoyed the most esteemed reputation among his contemporaries as a performer and composer. Works were dedicated to him by Siret, Louis- Antoine Dornel, and Michel Pignolet Monteclair, and a tribute to him is included in François Dagincour’s harpsichord pieces of 1733. Couperin occupies a central position both chronologically and stylistically. His life comes at the middle of the 200-year tradition of clavecinistes. He was witness to the last years of the reign of Louis XIV and the beginning of the gradual dissolution of the absolute monarchy that was France. Couperin's music represents a fusion and synthesis of all that had come before it, and it profoundly influenced all that would follow. French opera epitomized by Lully, Italian chamber music and the sonatas of Corelli, the Commedia dell'Arte and the Tragédies lyriques, French folk songs and the paintings of Watteau: all these elements left their imprint on Couperin's harpsichord music, where they are imbued with Couperin's natural delicacy, passion, humanity, and bon goût. A member of a distinguished musical dynasty, Francois was born on November 10, 1668. His uncle was the great seventeenth-century claveciniste Louis Couperin and his father François was organist at St. Gervais. It is a touching piece of history to note that when the young François le Grand lost his father, his mother arranged for Michel-Richard de Lalande to assume the duties at St. Gervais until Couperin was old enough to inherit that position. Couperin’s appointment as organiste du roi in 1693 allowed him to come in close contact with many members of the aristocracy. He performed regularly at Versailles and Fontainebleau, wrote many of his chamber works, and established his reputation as a composer and teacher. In addition to four published 4 volumes of harpsichord music, Couperin's works include two organ masses, secular and religious vocal music, chamber music and pedagogical treatises. Couperin called each group of harpsichord pieces an ordre rather than the more common “suite.” The Quatriême Ordre appears in his first book of harpsichord music, published in 1713, and Ordres VI and VIII were published in the second book (1716-1717). Book III appeared in 1722 and Book IV was published in 1730. Couperin’s preference for character and descriptive music is found in abundance throughout all of these books, revealing his love of popular culture, his tender sympathy for everyday life, and his understanding that the simple and the serious can easily coexist in one style. He expressed his philosophy with characteristic eloquence and modesty in the Preface to Book I: “I have always had a subject in mind when composing these pieces—subjects suggested on different occasions. Thus the titles correspond to ideas I have had…the pieces they describe are types of portraits which have sometimes been judged quite lifelike when I performed them.” Titles: Quatriême Ordre La Marche des Gris-vètus: This title refers to a fashionable regiment of soldiers who wore distinctive grey uniforms. The tone is ironic, since they sang the following song while marching: “The grey shirts sing of glory, sing of their virtues when they need to drink, and this gives them the power to gain honor.” Les Baccanales: This bacchanal is divided into three parts: “the pleasures of Bacchus,” “the tenderness of Bacchus” and the “excitement of Bacchus.” La Pateline: Patelin was a character in a fifteenth-century French farce that remained a hit play during Couperin’s lifetime. Patelin was always portrayed as smooth and tricky. La Réveil-matin: The oscillating tremolo figures in this piece imitate the ringing bells of an alarm clock, one that was sure to wake up a sleepy Couperin (and his audience). 5 Sixiême Ordre Les Moissonneurs: The rhythm and articulation evoke the cutting motions of the scythes of the reapers. Les Langeurs-Tendres: Appoggiaturas and sigh-figures give this piece a dramatic if not melodramatic feeling of tender melancholy. La Bersan: Dedicated to the daughter of André Bauyn, Seigneur de Bersan. Les Baricades Mistérieuses: Couperin’s use of the word “Baricades” and the meaning of the title still remains mysterious. Les Bergeries: This title refers to faux shepherdesses, aristocrats who dressed up and played at being peasants. The gentle motion and the tempo marking of “naïvement” evoke the pastoral world of Watteau. “Bergeries” were also the little curls that were all the fashion in hairstyles of little girls at the time. La Commére: The incessant, repetitive musical figures that seem to go nowhere create a subtle and ironic portrait of the gossip. Le Moucheron: Chains of trills and mordents evoke the annoying buzzing of a flea or fly. Huitiême Ordre La Raphaéle: Couperin, a close friend of the painter Watteau, was acquainted with Watteau’s patron Crozat, in whose house one could find an impressive collection of paintings by Raphael.

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