The Art of Chordal Cello Accompaniment: The Legacy of Johann Baptist Baumgärtner (1723-1782)

Critical Notes

Jemma Thrussell, Historical Cello

SID: 312099525

Master of Music (Performance), Historical Performance Unit

Lecture Recital

Wednesday, February 19th, 2020

6:30 p.m.

Recital Hall East

Sydney Conservatorium of Music

The art of accompaniment is a broad topic of discussion within historically informed performance. Most of the conversation regarding eighteenth-century continuo practices hasfocused upon methods written for keyboard and lute-family instruments. Despite the great importance of bowed string instruments in basso continuo, there has been a considerable lack of attention given to specific techniques for these instruments; however, within the last thirty years or so, this topic has slowly begun to be investigated. Evidence from recent research indicates that continuo practices for bass string instruments were far more sophisticated than what was previously understood. This includes research that suggests that cellists were expected to not only support the bass line by playing what was written in the score but were also encouraged to provide chordal accompaniment, much like their keyboard and lute counterparts.

In this lecture presentation, I present the findings from my Master's research project, which is titled Chordal Cello Accompaniment: Baumgärtner’s Legacy. In the first part of this lecture, I will be establishing what chordal cello realisation is and what has already been researched with regard to this practice. I will also discuss how my research adresses a significant gap in the literature concerning Baumgärtner’s own importance as a cellist and pedagogue by examining the notated evidence available of chordal accompaniment practices and techniques present in his own compositions. As part of the lecture, there will also be a demonstration of the recitative example from Johann Baptist Baumgärtner’s Instructions de musique, théorique et praqtique,

à l‘usage du violoncelle, 1774.1

Following this, I will discuss how eighteenth-century cellist Johann Baptist Baumgärtner described this practice in his method on cello playing. I will be paying particular attention to his chapters on the accompaniment of recitative and the chordal accompaniment of General

Bass as well as the corresponding “Exercises” from his method, which outline to the reader how to perform chordal cello accompaniment.

I will also then present Baumgärtner’s, Extrait des airs françois de plusiers opéras qui ont représentées accomodées pour deux violoncellos, which I studied along with other works of his as part of my research process.2 These Extrait contain evidence of what appear to be notated

1 Johann Baptist Baumgärtner, Instructions de Musique, Théorique et Praqtique, à L’usage du Violoncelle, (Daniel Monnier, The Hague, ca. 1774). 2 Jean Baptiste Baumgärtner, Extrait des airs françois de plusiers opéras qui ont représentées accomodées pour deux violoncelles, (The Hague, ca. 1790). examples of chordal cello realisation in practice. This makes these works of great note within the research on this topic as the practice is thought to have been mostly undocumented due to it being a mostly improvised practice. The third section of this presentation will focus on my performance of excerpts from his Extrait as well as W.A. Mozart’s aria “Batti batti o bel

Masetto.”3 Further discussion on why I have included this particular aria from Don Giovanni in this performance will be given in this section.

Finally, I will provide a summary of the findings, conclusion and overall experience of my research project and suggest further applications possible for this research as well as future avenues for investigation regarding this topic.

1. Recitative Example from, Instructions De Musique, Théorique et Praqtique, à L‘usage

Du Violoncelle, Johann Baptist Baumgärtner, 1774.

Johann Baptist Baumgärtner’s Instructions, 1774, is identified by both Nathan Whittaker4 and

Robert Smith as the first text we have on chordal cello accompaniment from the late eighteenth century.5 They both conclude that the rules and examples detailed in Instructions are the most explicit and direct evidence we have of the practice of chordal playing on the cello; however, my study goes on to demonstrate that Baumgärtner’s Extrait provide us with a notated example of chordal cello accompaniment. Baumgärtner also gives detailed information on the specific practice of the chordal accompaniment of recitative by the cello and the fact this was an integral role for the cello in the Opera.

3 W.A. Mozart, "Batti, batti, oh bel Masetto", No. 12 Aria, K. 527: Act I, Scene XVI, Don Giovanni, 1787. 4 Nathan Whittaker, “Chordal Cello Accompaniment: the Violoncello from 1660-1850”, (DMA dissertation, University of Washington, 2012). 5 Robert Smith, “Basso Continuo Realisation on the Cello and Viol”, (Masters dissertation, Conservatorium van Amsterdam, 2009).

In his “Exercises”, Baumgärtner supplies the reader with various technical examples which the cellist can play through or try out in order to develop their understanding of chordal playing.

The first example is a fugue. Like most eighteenth-century fugues, this exercise, although written for one cello, is music written for many voices which the cellist must play simultaneously. Polyphonic music for the cello is less common than it is for keyboard and lute instruments; however, examples like this and J.S.Bach’s Suites a Violoncello Solo senza, demonstrate that this kind of chordal music is also achievable on bowed string instruments.

This exercise also illustrates precisely what can be achieved in terms of chords on the cello, not just in the standard register of the cello but even in positions above the neck of the cello.6

The following example is from Baumgärtner’s models of cadential realisations from the

Appendix section of his method. These cadence excersises quite clearly show translations of figured bass lines into various versions of cadences within a key. For example, Baumgärtner displays the possible inversions available for a dominant to tonic cadence, from having the tonic, third, dominant and second in the bass and also with changing the positioning of other notes in the chord. This showcases the distinct versatility that the cello can have, even when just realising a cadences.

Excerpt from Des Acords des Cadences, Instructions de Musique, Théorique et Praqtique, à l’usage

du Violoncelle, Johann Baptist Baumgärtner, Daniel Monnier, The Hague,( ca. 1774). p.11.

6 Johann Sebastian Bach, Suites a Violoncello Solo senza Basso, BWV 1007-1012, (Anna Magdalena Bach, Manuscript, ca. 1717-23). This recitative example is perhaps the most striking of the “Exercises”. Here, Baumgärtner provides a short recitative without text, that includes a bass line, notated in the standard style of a recitativo semplice but also a written out chordal cello realisation below. The melodic line is also notated in two clefs, suggesting that two different voice types would perform this recitative. This is perhaps a device used by Baumgärtner to help the learner in adjusting to keeping with the melody line even with changes in clef. It does also aid in helping the cellist to learn to read in different clefs at a faster rate.

Recitatif, from, Instructions de Musique, Théorique et Praqtique, à l’usage du Violoncelle,

Johann Baptist Baumgärtner, Daniel Monnier, The Hague,( ca. 1774 p.12.

This example is an excellent model provided for the leaner-cellist to understand better what is expected when realising a recitative. From the use of simpler double stops, as Baumgärtner suggests should be the standard approach, to the use of fuller quadruple stops on final cadences and at the end of distinct phrases. American researcher, Nathan Whittaker, demonstrates that this kind of pedagogical recitative, without text, can also be seen in the later treatises from the

Paris Conservatoire and French cellists like Baudiot. Nevertheless, Baumgärtner’s example is the earliest case of this kind of exercise for the cello.

In order to adequately perform this recitative extract despite its lack of text, the performers in this recital have chosen a neutral syllable on which to declaim.

2. Don Giovanni, K. 527: Act I, Scene XVI. No. 12 Aria "Batti, batti, oh bel Masetto"

This particular aria,famously known as Zerlina’s aria, it is at the end of the opera and depicts a highly comical yet somewhat distasteful (at least in the eyes of a modern audience) scene. In this scene, the young peasant girl, Zerlina, after being caught up in relationship drama and debauchery with Don Giovanni, (the anti-hero of the story), coercively begs her betrothed,

Masetto, to take her back. If he should decide to take her back, Masetto may do with her whatever he pleases…

The main feature of this aria is a cello obbligato that supports Zerlina’s line in both the Andante grazioso section and in the starkly up-beat allegro. What is fascinating about this obbligato part and why the aria was chosen as a part of this lecture-performance is to suggest that this obbligato cello part may act as another kind of chordal accompaniment. The Alberti bassline style of this obbligato is somewhat unconverntional, seeing at the part does not appear to act as a counter melody to the soprano line yet effectively creates harmonic support for it. Typically a more complex bass line of this style is commonly thought to be less suited to the cello.

However, if one were to consider this obbligato as more than just a solo part, and instead as a more exposed melodic-style harmonic accompaniment, this adds another layer of importance to this part. The scalic movement of this part also seems to relate to a supposed older, seventh- century style of improvised melodic accompaniment style employing “passaggi,” as Australian cellist Noeleen Wright has outlined in her research. 7 Could perhaps this style of accompaniment, as is possibly exemplified in this obbligato, be a second kind of harmonic accompaniment style? In order to highlight the difference between these two accompaniment styles, the performance of this aria also includes part of the previous recitative which uses the

‘vertical’ chordal or block chord approach that is detailed in Baumgärtner’s treatise and as discussed in the previous recitative example above.

Andante grazioso, "Batti, batti, oh bel Masetto", No. 12 Aria, K. 527: Act I, Scene XVI, Don Giovanni, W.A.

Mozart.p.198.

7 Noeleen Wright, “Bass lines for bowed bass or keyboard within string ensemble repertoire from Italian presses; 1660-1700”, (D.M.A dissertation, University of Western Australia, 2013. Allegro, "Batti, batti, oh bel Masetto", No. 12 Aria, K. 527: Act I, Scene XVI, Don Giovanni,1787, W.A.

Mozart. p.203.

3. Extrait des airs françois de plusiers opéras qui ont représentées accomodées pour deux violoncellos

Baumgartner’s Extrait are a selection of twenty-five arias from nine different operas. These

Operas were all performed in French even including the one Italian Opera listed. This may suggest that the patron, Jean-Philip Steenis, about whom this study has not been able to find further information, would have known and understood French. The Extrait were published in

The Hague, the Netherlands, circa 1790.

I. “Le (Du) Deserteur”. Monsigny, 1769.

What is considered one of Monsigny’s masterworks, is his operatic drama, “Le Deserteur.”

The libretto was written by Michel-Jean Sedaine. Le Deserteur is one a few operas that can claim to be based on a real-life event. The plot of the Opera is adapted off of a situation that occurred in 1767 during a military event in France. It was announced that there had been a

“deserter” amongst those gathered and the person in question would be put to death. The wife of a Marechal, a military marshal, in protest to the execution, threw herself at the feet of the camp commandant in order to plea for the man’s life. The plot of the Opera itself is a fictional embellishment of the original event.

Le Deserteur: “Adieu, chere Louise, ma vie étoit a toi.” From Scene 10, Act 3, Page 19.

The original aria is sung by Alexis, Soldat de Milice (In the English version: Henry, a soldier in the militia.) The Aria is divided into three sections: Adagio, allegro, adagio. In this particular scene, the soldiers arrive to take Alexis to his execution. At that moment, Louise runs in and says: “Alexis, your…” before falling and fainting. The aria is signals the dramatic climax of the opera’s narrative.

“Adieu, chere Louise, ma vie étoit a toi”, Extrait des airs françois de plusiers opéras qui ont représentées

accomodées pour deux violoncellos, Johann Baptist Baumgärtner, The Hague, Universitätsbibliothek

Katholische Universität Eichstätt-Ingolstadt, ca. 1790. p.19.

II. “De Zémire et Azor”. Grétry, 1771.

The Opera is an “oriental” version of the Beauty and the Beast tale. After being shipwrecked,

Sander, a Persian merchant with his servant find a lost palace. The palace appears to magical.

Sander comes across a beautiful rose display, from which he cuts a rose to take to one of his daughters, Zémire. However, Azor, a beast (who was once a noble prince) suddenly appears, enraged that Sander has taken one of his prized possessions.

Sander manages to appeal to the Beast. Azor allows Sander to leave the palace but only under the condition that one his daugthers returns to the palace take his place instead.

Zémire, Sander’s youngest daughter bravely takes her father’s place but upon meeting Azor at the palace is horrified by him. Nevertheless, as she comes to know the Beast’s better nature, she befriends him; however, the longer she stays at the place, the more she misses her family.

Azor allows her to watch her family through a magic mirror but after seeing her distress allows her to leave the palace to see them. Before she goes, he makes it known that he loves her.

Despite her family’s objections, Zémire rushes back to palace after being with them. While searching for him, she realises her love for him and calls to him. The fairy responsible for cursing the Beast and his palace in the first place, hears Zémire cries and knowing Zémire true love for him, breaks the curse on Azor and the palace. At the end of the Opera, Zémire and the princely Azor marry.

Zémire et Azor: “Ah, Laisser-faire moi laisses moi pleurer.” From Scene 6, Act 3. Page 11.

In this aria, Azor the beast shows Zémire in the magic mirror a vision of her father and family going about their everyday life. After singing, Zémire longs to be in the arms of her father, but just at that moment, the apparition of her family disappears.

The original aria is sung by Fadmé, Lisbe and Sander (Soprano, soprano baritone.) In the original aria, there is an introduction section with dialogue over the top of the music. The extract arrangement is in 3/4, marked dolce and in Eb major, precisely like the original aria.

The melodies, originally sung between the three characters in harmony, are redistributed between the two cellos. The writing for the cellos also takes cues from material in the original aria that is written in the solo horn parts and clarinets.

An example of some of the chordal techniques used in both parts that directly correlate with the rules stated Baumgärtner are:

• The use of triple stops with the fifths (excluding the third) in the second part.

• Simple thirds in the second part.

• In the second line of the aria: sixths and fifths.

• Cadential chords that prepare cadences.

• In the third line of aria: sixths that alternate between thirds.

In the fourth line of the adaptation, the first cello part takes over the chord playing, creating a wonderful exchanging in the roles between the parts. This is not only an intelligent compositional device but would also add to the enjoyment of playing this piece as a duet.

Seeing as the Extrait were most likely composed for “Liebhaber,” skilled amateur musicians, the main features of these duets like this demonstrate not only Baumgärtner’s skill as a composer but also his appreciation for those who would perform his works.8

III. La buona figliuola: “Le Diable à quarter il faut le soir.” From Scene 4, Act 3. Page 22.

The recitative which we performed before this extract is taken from the original opera. It is performed as another example of the style of chordal cello accompanied, as outlined in

Baumgärtner’s treatise. This particular extract is used in this instance to demonstrate the type

8 Matthew Riley, “Johann Nikolaus Forkel on the Listening Practices of ‘Kenner’ and ‘Liebhaber’,” Music and Letters, 84, no. 3, (August 2003), pp.414–433. https://doi.org/10.1093/ml/84.3.414 of realisation expected in a recitative in conjunction with what Baumgärtner notated as possibly as an aria accompaniment in the extract.

The aria, being a very typical opera buffa aria, is rather straightforward in structure. The aria is marked, Allegro non troppo, aria agitata.The Italian term, Agitata, used here highlights the hilariously frenetic energy portayed the clever orchestration of the scene by the use of Opera

Buffa idioms in this aria. The title in the original opera is marked “Ah, Comme Tutte je consolar.” However, the French title given in the Extrait does not seem to translate to Italian title directly.

Tagliaferro sings the aria a German soldier, who acts as ‘secondo buffo’ and draws comparisons with the earlier comedia dell'arte archetype, The Captain a character that would have been easily recognised by an Italian audience. The original aria also includes trumpets, which invoke a military feeling in the music and also add to the comedic setting by playing up the juxtaposition of a character whose inherent authority as a military figure should display a level of seriousness yet ultimately only adds to buffoonery through his inherent character flaws.

Another key feature of the aria is the stark and sudden changes in dynamics that highlight the agitata direction and that also enhance the comedic element of the aria. The overall simplistic writing style of the aria helps to highlight the text of the aria, as it makes space for the audience to concentrate on Tagliaferro’s outrageous fake German accent. Tagliaferro’s blatant lack of sophistication as highlighted in the libretto.

In terms of the orchestration of the original aria, there is an introduction in which the violins play the theme. There are also trumpets which further add to the military aspect of the aria. The contour of Tagliaferro’s melody also mimics that of the natural trumpets, whose short but buoyant and enthusiastic melody is a prominent feature of the aria. The intent of this aria is to make light of the conventions of Opera Seria by adapting these originally more sombre arias in to lighter, comical pieces designed to delight and amuse the audience.

The cello duet itself is a rather direct translation of the original orchestral accompaniment with the first cello reproducing Tagliaferro’s energetic melody. As discussed in his method, to succesfully capture all of the colourful orchestration of the original aria,, he uses a mixture of thirds and sixths, along with more simple passages in order to support and drive the melody, mimicing the overly enthusiastic and hurried atomsphere portrayed by original the orchestration. There is also an effective use of marked triple stops at the beginning of the central theme which enlivens the music and good use of stark dynamic contrasts between piano and forte in the latter half of the duet which effectively mimic the comedic drama of the original aria.

IV. La Suite de Julie. “Sentir avec ardeur flame discrette.” Andantino, Page 29.

L’erreur d’un moment, ou: La suite de Julie was one of Nicolas Dezède’s most successful operas. Despite this, Dezède, as a composer, received mixed reviews. While some of his supporters very much enjoyed his use of straightforward and uncomplicated melodies, others criticised his works for being too unsophisticated in terms of compositional style and thematic development. His melodies were described as lacking any development, being too far short of conveying anything memorable or distinct. However, this antagonism did not deter Mozart from adapting music from one of the arias from La Suite de Julie into a set of nine variations for pianoforte. This extract, in Baumgärtner’s cello duets, is also short and works well in demonstrating a translating of the aria melody with a realised accompaniment even the space of a relatively short ariette.

Baumgärtner’s adaptation also makes excellent use of the two contrasting major and minor sections of the aria, using a double stop pedal in the second cello part that mimics the sombre mood of the original aria, which is then juxtaposed with short, crisp chords in the second section. It also includes brilliant quadruple stop chords on some the cadences which again recall the fuller orchestration of this section in the original work.

V. Amour, Amour quand ta riguer - Zémire et Azor. Page 28. Tempo Commodo.

This duet is a wonderfully sweet rendition of the aria from Zèmire et Azor, the plot of which was described above. The use of chordal cello accompaniment is very noticeable in this arrangement. Baumgärtner’s uses thirds, sixths and triple stops throughout the moevement. By incorporating these particular chords also with their inverted forms, (as he suggests the cellist can in his method,) Baumgärtner successfully captures the delicate dolce quality created in the original aria.9

Other later duets that are arrangements of Opera arias, like Franz Danzi’s, also show evidence of the chordal accompaniment within the second cello part. 10 This may indicate that the instance of written-out chordal accompaniments in a bass line is not just unique to

Baumgärtner’s Extrait.

9 “Zémire et Azor (‘Zémire and Azor’)”, Grove Music Online, Oxford Music Online, published in print, 2002, published online: 2002. https://doi.org/101093/gmo/97815615992630.article.0003599. 10 Franz Danzi, 24 Kleine Duos nach Opernmelodien, (Zürich: Jean George Naigueli, ca. 1800). http://dx.doi.org/10.3931/e-rara-20959. This lecture-recital has presented in multiple settings, from a realised simple recitative, virtuosic cello obbligato and finally, cleverly adapted and realised cello duets, the various ways in which chordal accompaniment can be achieved. From what is suggested as a valid form of chordal realisation in recitative to what is notated in his Extrait, it is clear to see the advantages and potential scope of chordal cello accompaniment—that it can be replicated in the ways stated in this treatise and even beyond. The possibilities for further application and study of this practice indicate an exciting trajectory for the informed cello performer.

Bibliography

Alexanders, Jospeh. Anleitung zum Violoncellspiel. Breitkopf und Härtel, ca. 1800.

Ashworth, Jack and Paul O’Dette. 2012. “Basso Continuo.” In A Performer's Guide to Seventeenth-Century Music, edited by Jeffery-Kite Powell. Indiana, USA: Indiana University Press, 317.

Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell. Berlin, New York: Norton, 1753-1762.

Barrière, Jean-Baptiste. Sonates pour le Violoncelle, avec la Basse Continue. Livre I. Louise Leclair, Paris, L’Auteur Le St. Bolivian Leclerc. (1773).

Baumgärtner, Johann Baptist. Caprices. Manuscript. Stockholm, Sweden, Musik-och teaterbiblioteket – The Music and Theatre Library of Sweden. (ca.1750).

Baumgärtner, Jean Baptiste. Extrait des airs françois de plusiers opéras qui ont représentées accomodées pour deux violoncelles. The Hague. (ca. 1790).

Baumgärtner, Johann Baptist. Fantasies. Manuscript. Karlsruhe, Badische Landesbibliothek, Musiksammlung, Don Mus.Ms. 163 (ca.1790).

Baumgärtner, Jean. Instructions de Musique, Théorique et Pratique, à l'usage du Violoncelle. Translated by unknown. Den Haag: Daniel Monnier. (1774.)

Baumgärtner, Johann Baptist. Sonatas in C dur. Manuscript. Stockholm, Sweden, Musik-och teaterbiblioteket – The Music and Theatre Library of Sweden. (ca. 1790).

Baumgärtner, Johann Baptist. Sonata in D dur. Manuscript. Stockholm, Sweden, Musik-och teaterbiblioteket – The Music and Theatre Library of Sweden. (ca. 1750).

Danzi, Franz. Vingt quatre petits duos pour deux violoncelles / tirés des divers opéra de Mozart par Dantzi. Zurich: Jean George Naiguelin, n.d. Plate 302. http://dx.doi.org/10.3931/e-rara-20959

Hunter, Mary.“La Buona Figliuola [La cecchina, ossia La Buona figliuola (‘Cecchina, or The Accomplish’d Maid’)]”, Grove Music Online, Oxford Music Online, published in print: 01 December 1992, published online: 2002. https://doi.org/10.1093/gmo/9781561592630.article.O009956.

Gerber, Ernst Ludwig. Historisch-Biographisches Lexicon der Tonkünstler, welches Nachrichten von dem Leben und Werken musikalischer Schriftsteller, berühmter Componisten, Sänger, Meister auf Instrumenten, Dilettanten, Orgel- und Instrumentenmacher, enthält. Leipzig 1790-1792/1. Teil 1790: A-M, 1790.

Graves, Charles Douglas. The Theoretical and Practical Method for Cello by Michel Corrette. Translation, Commentary, and Comparison with Seven Other Eighteenth Century Cello Methods (Volumes I and II). Michigan: Michigan State University, 1972.

Grétry, André-Ernest-Modeste and Jean-François Marmontel. Zemira e Azore. “A new comic opera ; as performed at the King's Theatre in the Hay-Market,” translated into Italian by Signor Verazzi and into English by Mrs. Rigaud; the music by the most celebrated composer Signor Gretry. (London: Printed by G. Bigg, monographic 1779,). https://www.loc.gov/item/2011564270/

Janson, Jean-Baptiste. Six Sonates pour le violoncelle qui peuvent s'exécuter sur le violon, Op. 2. Paris: Mr de la Chevardiere, ca. 1768.

Kauer, Ferdinand. Kurzgefaßte Anweisung das Violoncell zu spielen. Vienna: Johann Cappi, Speyer, 1788

Monsigny, Pierre-Alexander. Le Déserteur, Drame en prose mêlée de musique en trios actes, Paris: Claude Hérissant, c. 1769.

Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. Translated by Editha Knocker. Oxford: Oxford University Press, 1756.

Piccinni, Niccolò and Carlo Goldoni. La Buona figliuola. Manuscript, 1760.

Quantz, Johann Joachim. On Playing the Flute. Translated by Edward R. Reilly. Boston Northeastern University Press, 1752.

Riley, Matthew.“Johann Nikolaus Forkel on the Listening Practices of ‘Kenner’ and ‘Liebhaber’”. Music and Letters, 84, no. 3, (August 2003), pp.414–433. https://doi.org/10.1093/ml/84.3.414.

Sedain, Michel Jean. Le Deserteur, opera-comic en 3 actes, Volume 17, Volume 45, 1769, p.10.

Seifert, Herbert. Baumgartner [Baumgärtner], Johann Baptist [Jean Baptiste]. Grove Music Online, https://doiorg.ezproxy1.library.usyd.edu.au/10.1093/gmo/9781561592630.article .02368.

Smith, Robert.“Basso Continuo Realisation on the Cello and Viol”, Masters diss., Conservatorium van Amsterdam, 2009.

Walden, Valerie. One Hundred Years of the Violoncello: A History of Technique and Performance Practice. Cambridge: Cambridge University Press, 1998..

Whittaker, Nathan H. “Chordal Cello Accompaniment: The Proof and Practice of Figured Bass Realization on the Violoncello from 1660-1850.” DMAdissertation, University of Washington, 2012.

Wright, Noeleen. “Bass Lines for Bowed Bass or Keyboard within String Ensemble Repertoire from Italian Presses; 1660-1700.” DMA dissertation, University of Western Australia, 2013.

Watkin, David. “Corelli's Op. 5 Sonatas: 'Violino e Violone o Cimbalo'?”. Early Music 24, no. 4 (1996): 645‐663.

“Zémire et Azor (‘Zémire and Azor’)”, Grove Music Online, Oxford Music Online, published in print, 2002, published online: 2002. https://doi.org/101093/gmo/97815615992630.article.0003599.