Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING

Music for the Countess of Sandwich Six Suites for Flûte du Voix and Harpsichord Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING A rare opportunity to experience the unusual, haunting colours of the “voice flute”. Includes two suites copied by J.S. Bach. First release of the Linda Kent Ruth Wilkinson complete suites of Charles Dieupart. Six Suites for Flûte du Voix and Harpsichord (1701) by Charles Dieupart Music for the Countess of Sandwich P 1995 MOVE RECORDS Suitte 1 A major (13’35”) Suitte 4 e minor (12’23”) AUSTRALIA Siutte 2 D major (10’10”) Suitte 3 b minor (12’44”) Suitte 6 f minor (13’46”) Suitte 5 F major (14’19”) move.com.au harles Dieupart was of the 17th century for her health: a French violinist, it was possible that she became C harpsichordist and Dieupart’s harpsichord pupil composer who spent the last before returning to England. 40 years of his life in England. Two versions of the Suites He was known as Charles to his were published simultaneously contemporaries in England but about his final years. One story in Amsterdam by Estienne there is some evidence from letters claimed that Dieupart was on the Roger: one for solo harpsichord signed by Dieupart that he was known brink of going to the Indies to follow and the other with separate parts as Francois in his native France. He a surgeon who proposed using music for violin or flute with a continuo was active in the operatic world: as an anaesthetic for lithotomies. part for bass viol or theorbo and we learn from Sir John Hawkins Hawkins gives us the following figured bass. It was not unusual at that he played the harpsichord account: this time for works originally written in musical productions of M.A. Dieupart betook himself wholly for harpsichord to be performed on Bononcini’s Trionfo di Camilla at to teaching the harpsichord and in the other suitable instruments: Francois Drury Lane in 1706 and two years capacity of a master of that instrument Couperin’s Concerts Royaux (1722), later in A. Scarlatti’s Pyrrhus and had admission into some of the best for example, were intended for Demetrius at the Haymarket. He is families in the kingdom. In the latter ensemble performance, but were not first mentioned in England as the part of his life he grew negligent, and published with separate instrumental composer of interlude music for frequented concerts performed at ale parts. Roger’s publication of the Motteaux’s Britain’s Happiness and houses in obscure parts of the town and Dieupart Suittes seems to have been in the preface to this work Motteaux distinguished himself not more there, the first publication with which says that any success will owe not a than he would have done in an assembly the instrumental parts were issued little to Mr Dieupart, for his share in of the best judges, by his neat and elegant separately. the contrivance of the entertainments manner of playing the solos of Corelli. In fine print at the beginning of and his supplying what recitative and He died in advanced years, and in very the first four suites is an indication other music was necessary. necessitated circumstances. that, when played on the flute (i.e. It seems that these Drury In 1701 Dieupart dedicated recorder), the instrument chosen Lane enterprises did not survive the the six suites in this collection to should be the flute de voix (voice popularity of Handel’s Operas after Elizabeth, Countess of Sandwich, flute) in transposition a minor third 1711 and Dieupart’s career went into daughter of the Earl of Rochester. higher. Siutte 1 in A states for general decline. There is uncertainty She went to France towards the end example: se doit jouer en C sol ut sur une flûte de voix; movements of earlier French (when playing the suite harpsichord suites varied in the dances on a voice flute it is to and the order in which they appeared, be played in C major). Dieupart’s suites consistently open This instruction is easily with an overture followed by the executed if played in same dance movements in always alto recorder fingering, the same order: each begins with an thus not necessitating overture followed by an allemande, any transposition in the courante, sarabande the optional accompanying figured dances (minuet, passepied, gavotte) bass part. Another and gigue. Dieupart created within example of this practice these strict forms music which is both is demonstrated in a original and surprising to the listener. Quintet in b minor Perhaps it is his imaginative, urbane by a member of the and witty melodic and harmonic turns Loeillet family for which attracted Johann Sebastian two transverse flutes, Bach to copy two of the suites for two voice flutes and his personal library (A major and f continuo: the voice flute minor). In fact, the opening of Bach’s parts are notated in d English Suite in A major is so closely minor which sound in aligned to material in Dieupart’s b minor if played with first suite that it might be considered alto recorder fingering. another of Bach’s ‘borrowings’ from The remaining fifth his contemporaries. and sixth suites may be played sur une flûte uth Wilkinson has been du quatre (a recorder involved in Early music in Bb, a fourth above Rperformance as a recorder the alto), or, as in this and viol player for many years in recording, in their solo Australia. Her musical expertise is harpsichord version. based on the performance of music While the from the 12th century to the 18th century with two of Australia’s most with many Australian established early music ensembles, baroque orchestras. La Romanesca and Capella Corelli. With these ensembles she has toured inda Kent arrived throughout Australia, Europe and in Melbourne South East Asia and has made several L in 1984 after recordings for Move Records. She has completing a Bachelor explored music of the 18th century of Music degree from with the Melbourne-based group, the University of North Elyisium Ensemble and in the present Carolina as an organist. recording of the suites of Charles She received the degree Dieupart. of Master of Music Her playing commitments are from the University complemented by teaching recorder of Melbourne and has and viola da gamba at the Universi- specialised in early ty of Melbourne and as Director of music performance. Junior School music at St Michael’s Linda is a core Grammar School. member of the Elysium She completed her music degree at Ensemble and the University of Queensland after performs regularly which she began her professional with artists from career as a double bass player in the Australia and Europe. Queensland Symphony Orchestra. She has participated She later studied at the Schola in many Australian Cantorum Basiliensis (Switzerland) music festivals as on recorder with Hans-Martin Linde soloist and associate and viola da gamba with Jordi Savall. artist and regularly During her years in Switzerland records for broadcasts she played violone with the Schola with the ABC. Her Cantorum baroque orchestra under playing has been the direction of Jaap Schroeder and critically acclaimed continues to play this instrument for its sensitivity, insight, and sense of style. Her Six Suites for Flûte du Voix and 16 Allemande 3’16” teaching appointments in Australia Harpsichord 17 Courante 1’39” have included the University of 18 Sarabande 1’52” Charles Dieupart (c1667-c1740) 19 Gavotte 0’45” Melbourne, the Victorian College of 20 Menuet 1’28” the Arts, and La Trobe University. 21 Gigue 1’17” With thanks to Roger Wilkinson for Suitte 4 in e minor (12’23”) translations from the French, John 22 Ouverture 3’29” Stinson and especially Julie. 23 Allemande 2’17” Music for the 24 Courante 1’09” 25 Sarabande 1’51” The voice flute is a recorder in Countess of Sandwich 26 Gavotte and Menuet 2’02” D, a third below the treble or 27 Gigue 1’25” alto recorder. Its plaintive and Suitte 1 in A Major (13’35”) Suitte 3 in b minor (12’44”) haunting sound has much in 1 Ouverture: 28 Ouverture 2’31” common with the transverse flute Gravement:Gay:Lentement 2’26” 29 Allemande 2’23” so popular in the 18th century. 2 Allemande 3’59” 30 Courante 1’26” 3 Courante 1’57” 31 Sarabande 1’39” 4 Sarabande 1’56” 32 Gavotte 0’55” Recorded at Move Records studio, 5 Gavotte 0’46” Melbourne 33 Menuet Serieux 1’49” 6 Menuet 0’48” 34 Gigue 1’51” Digital recording and post-production: 7 Gigue 1’32” Martin Wright Suitte 5 in F Major (14’19”) Digital editing: Vaughan McAlley Siutte 2 in D Major (10’10”) Front cover artwork by Peter Green – based 35 Ouverture 3’37” 8 Ouverture 2’07” 36 Allemande 2’55” on painting of Elizabeth, 3rd Countess of 9 Allemande 2’02” Sandwich by Michael Dahl 37 Courante 1’36” 10 Courante 1’14” 38 Sarabande 1’57” 11 Sarabande 1’38” 39 Gavotte 1’11” P 1995 MOVE RECORDS 12 Gavotte 0’47” AUSTRALIA 40 Menuet en Rondeau 1’46” 13 Passepied 0’58” 41 Gigue 1’14” 14 Gigue 1’14” move.com.au Suitte 6 in f minor (13’46”) 15 Ouverture: Gravement:Gay:Lentement 3’25” .

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