The Doubles in Jacques Hotteterre's Airs Et Brunettes (Ca

The Doubles in Jacques Hotteterre's Airs et brunettes (ca. I72I)

David Lasocki

Introduction about the same date - Michel Pignolet de The name of Jacques Hotteterre "le Romain" Monteclair, Brunettes ancienes et modernes (1674-1763) is well known to woodwind players appropriees ala flute traversiere avec une basse today.1 A flautist at the court of Louis XIV, he d'accompagnement ... Premier recueil contenant published the first method for the Baroque type douze suites qui peuvent aussy se jouer sur la flute a of transverse flute (and included instructions for bec, sur Ie violon, haubois, et autres instruments the recorder and oboe), wrote another method (Paris: Boivin, ca. 1720) and Mr. R**, Brunettes ou for the musette and a treatise on the art of petits airs adeux dessus, al'usage de ceux qui preluding, and composed some attractive veulent apprendre ajouer de la flute traversiere chamber music that blended elements of the (Paris: Boivin, Le Clerc, 1725) - and even in a French and Italian styles.2 It is less well known collection of thirty years later: Michel Blavet, that around 1721, after he had finished writing Premier recueil de pieces, petits airs, brunettes, this fairly progressive music, he published a menuets, etc.: avec des doubles et variations, collection of songs arranged for the flute under accomode pour les flutes traversreres, violons, the title Airs et brunettes a deux et trois dessus pour pardessus de viole, &c (Paris: composer, Boivin, Le les flutes traversieres tirez des meilleurs autheurs, Clerc, ca. 1750).5 anciens et modernes, ensembles les airs de Mrs. As the title suggests, the majority of pieces in Lambert, Lully, De Bousset, &c les plus convenables Hotteterre's collection (all notated in the French a la flute traversiere seule, ornez d'agremens par Mr. violin clef) are for two melody lines, with a few Hotteterre Ie Romain et recueillis par M. ++++.3 for three lines, grouped into five suites by key: This means: airs and brunettes for two and three D major/minor, G major/minor, Bb minor, E melody lines for flutes, taken from the best minor/major, and C minor.6 The texts of many composers, old and new; together with airs by of the songs are underlaid. At the beginning of Lambert, Lully, De Bousset, etc. best suited to the first suite, a note states that the treble clef the flute alone, embellished with ornaments by may be used to transpose it into B=, "pour Hotteterre Ie Romain and collected by Monsieur s'accorder avec les voix de dessus" (to accord X. with soprano voices), indicating that one or One of the songs in this purely French-style more lines could in fact be sung rather than, or collection, /lSi c'est un crime que l'aymer," was as well as, played on the flute. The third suite originally published as early as 1621, but most has an indication that it could be similarly appeared in the period 1690-1710. Still, even the transposed into G. most recent song, Jean-Baptiste de Bousset's At the end of the collection comes a series of "Vous qui faites votre modelle," was ten years twenty-one pieces "Pour la Flute Seule" (for old in 1721, and the collection has a more flute alone), grouped into three sets by key: G retrospective cast than Hotteterre's other music. major/minor, D major/minor, and C minor One would be tempted to think that its late although this time they are not actually labeled 7 appearance had something to do with its having IIsuites." Again many of the words are been collected by the anonymous Monsieur underlaid. Four times a transposition into the ++++ - presumably an aristocrat, whose name soprano clef is given at the beginning of a piece, could therefore not be mentioned.4 But but here this seems to indicate only the notation Hotteterre himself was partly responsible for its and key of the original song, since the publication (along with the well-known Parisian transposed versions would be below the range publisher Boivin). Moreover, some of the same of the flute. As the title says, these songs were brunettes, also with ornamental variations, ornamented by Hotteterre. Sometimes appear in two other French flute collections of Hotteterre transcribes the vocal ornamentation

21 of the song; at other times he invents d'allemagne, de la flute a bec, ou flute douce, et du ornamentation more idiomatic for the flute. In haut-bois: divisez par traitez (paris, 1707), he fourteen cases he also supplies doubles, or discussed seven different ornaments: ornamental variations of the entire song.s Three tremblement (trill), double cadence (trill with two of the doubles - for IJDans ces deserts," IJDe mes note termination, tongued or slurred),flattement soupirs," and "Nicolas va voir Jeanne" - are (finger vibrato), battement (lower mordent), port similar to the doubles supplied by the songs' de-voix (appoggiatura from below), coulement composers. All Hotteterre's arrangements are (appoggiatura in a descending third), and accent valuable examples of the French style of (a short note a pitch higher than the written woodwind ornamentation of the early 18th note). He remarked that a port-de-voix is often century. followed by a battement. In the table of The songs that Hotteterre arranged for solo ornaments included with the preface to the flute are of two types: airs de cour and brunettes. second edition of his Pieces pour la flute James R. Anthony has written that traversiere et autres instruments, avec la basse For almost 200 years the air de cour served continue (Paris, 1715), he added the port-de-voix French composers as a primary model for double (double appoggiatura from below), demie their vocal music. Lully consulted it rather cadence apuiee (a trill with a very long port-de than Italian aria and recitative for the airs and voix), tour de gosier (turn), and tour de chant dialogues of his court and comedy ballets and (another kind of turn, apparently made at the his tragedies lyriques; the recits of many approach to a cadence). seventeenth-century motets were nourished In the 1715 preface he remarked that the by it; and, in combination with dance flattement, tremblement, and battement should all measures, its influence was felt in be made faster or slower according to the tempo instrumental music.... Its restricted range and and character of the piece. He also gave advice generally conservative harmony acted as a on where some of his ornaments should be deterrent to the adoption of Italian vocal added when they are not marked by the techniques throughout much of the grand composer. The flattement should be made on siecle.... The formal structure of most airs de almost all long notes. The tremblement must be cour is simple. Short stanzas made up of four made on almost all accident sharps (except on or six lines are arranged musically in a variety very short notes such as eighths and sixteenths). of binary forms; AB, AAB, or AABB are the The double cadence is often made when you most common.... Where meter signs appear, ascend one note after a tremblement. The they have no metric significance and may be coulement must be made in all descending thirds. viewed merely as a convenient way of Finally, the accent is normally made at the end of grouping time units; they must never be a dotted quarter note followed by an eighth note interpreted as depicting strong or weak at the same pitch; also rarely on certain long accents.9 notes. A mid-17th century composer wrote that lithe air proceeds in a free though serious measure In the Principes, Hotteterre said nothing and movement and thus is more proper for the about the length, accentuation, and placement expression of love and the tender emotions of of the port-de-voix and coulement, leaving their pain or of joy that it wakens in the heart. ... "lo performance up to the elusive goUt (good taste) Toward the end of the 17th century, collections that was all-important in the French music of of airs tended to be intermixed with songs in the era. Of course, contemporaries had the lighter vein, including the brunette. The latter benefit of having their taste shaped by hearing generally has a more popular style of melody; these ornaments performed, whereas we have the words tend to be pastoral and amorous, only vague instructions, by Hotteterre and often indeed celebrating the eponymous others. From all these instructions one gets the brunette. impression that for woodwind instruments such ornaments were usually performed short, Hotteterre on Ornaments unstressed, and before the beat. The Airs et Before we discuss the ornamentation in the brunettes, however, suggest that this is not doubles of the Airs et brunettes, it is worth always the case. summarizing what Hotteterre wrote about ornaments, or agrements as he called them. In Ornaments in the Airs et brunettes the Principes de la flute traversiere, ou flute In order to help readers understand both

22 ornaments and freer ornamentation in "Dans ces deserts" C beat 3 (2 times) Hotteterre's Airs et brunettes, the examples at "L'autre jour" 2 beat 1 (8 times) the end of this article reproduce all of the beat 3 (5 times) pieces that have doubles. I have transposed beat 4 (2 times) these examples in order to make them more "Si c' est un crime" 2 beat 4 (1 time) suitable for playing on the alto recorder. "Rochers, vous etes sourds" ¢ beat 1 (4 times) Hotteterre himself recommended playing flute beat 3 (2 times) pieces a minor third higher on the recorder.u "Nicolas va voir Jeanne" ¢ beat 1 (1 time) But this sometimes results in difficult keys beat 3 (1 time) (such as Bb minor), so in those cases I have "Le beau berger" ¢ beat 1 (5 times) transposed by a major second or major third. beat 3 (2 times) Hotteterre's key - and, where known, the "Berger prend soin" ¢ beat 1 (7 times) original key of the song - are stated in each beat 3 (2 times) case. For "Dans ces deserts," "De mes "Rochers, je ne veux point" 3/2beat 1 (6 times) soupirs," and "Nicholas va voir Jeanne," I beat 3 (2 times) have included the doubles from the original "Si c' est un crime" 3/2beat 3 (1 time) songs, so you can readily see that Hotteterre /lSi c'est un crime" 3/2beat 3 (1 time) retained most of them, generally only altering "Ah! vous ne voulez pas" 3/2beat 1 (5 times) the rhythm here and there. beat 2 (2 times) beat 3 (1 time) Hotteterre intended that these songs should "De mes soupirs" 3/2beat 1 (5 times) be played unaccompanied. In my edition I beat 3 (1 time) added the bass lines from the original songs, "Dans ces deserts" 3 beat 1 (5 times) with bass figures when they were available, so "Si c'est un crime" 3 beat 3 (1 time) that the pieces could be played with an "L'amour" 3 beat 1 (6 times) accompaniment if desired. (I have also given beat 3 (4 times) the bass lines here, except for the two pieces I Air 3 beat 1 (1 time) did not include in my edition, "Je suis aime de beat 2 (2 times) celle que j'adore" and "Ruisseau qui dans la beat 3 (1 time) pleine.") In studying the doubles, however, it is worth bearing in mind that the ornamentation might be affected by the intended absence of As well as notating the ornament with a V, this bass line. Hotteterre writes it out as a small quarter note I have also added symbols to indicate the in three situations, always on the first beat: various ornaments and ornamental devices that (1) leading to a dotted half note, half note, or Hotteterre uses in his doubles (see the list of dotted quarter note with a notated battement abbreviations below). These indications are (,Rochers, je ne veux point," 2; ilL' amour," 25; meant to be helpful rather than definitive: each "Si c' est un crime," 25; "Le beau berger Tircis," time I go through the pieces I spot another 1,6); ornament, or one that can be conceived in (2) leading to a dotted quarter note or quarter another way. If they stimulate your own note ("Rochers, je ne veux point," 13; "Dans ces thinking about ornaments, they will have served deserts," 10; ilL'autre jour," 9; "Le beau berger their purpose. Tircis," 9); and (3) leading to a sixteenth note ("Rochers, je ne Port-de-vaix veux point," 7). Less frequently, he writes it out As in his writings, Hotteterre generally notates in regular notation as an eighth note before the the port-de-voix with the sign V. In both duple beat, leading to a half note or quarter note and triple meters, the favored position is on the ("Rochers, vous etes sourds," 10-11; "Dans ces first beat (25 and 28 times, respectively). In deserts," 8-9; "Si c' est un crime," 16-17; "Berger duple meters the ornament also occurs about prend soin," 8-9). half that number of times on the third beat (14 times) and occasionally on the fourth beat (3 Port-de-voix double times); in triple meters the ornament also occurs This ornament is found a few times, leading to about one-third that number of times on the tremblements (ilL'autre jour," 20, 28; "Si c' est un third beat (10 times) and occasionally on the crime," 20) and also to plain notes (ilL' autre second beat (4 times). jour," 2, 6; II Ah! vous ne voulez pas," 3).

23 Coulement at the end of certain long notes. Here it is Hotteterre only once notates the coulement with found twice at the end of a long note (ilL'autre the inverted V, and it occurs in a descending jour," 2, 6) and once anticipating a tremblement second, not a third ("L'autre jour," 3). There it ("Si c' est un crime," 13). It is also found may be intended to be performed short and descending rather than ascending in four

strong. That also seems to be the case with the places ("Dans ces deserts," 16; IIAh! vous ne instance of a coulement notated as a quarter voulez pas," 5; "De mes soupirs," 10; "Le beau note leading to a quarter note on a fourth beat, berger Tircis," 5,8). The ascending type is but where the double has a notated dotted written out in regular notation in the double to sixteenth note ("Berger prend soin," 9). "Rochers, je ne veux point, 5. Otherwise, the short and weak interpretation seems frequent, when the ornament is notated "Accent double" as a small quarter note leading to a half note on A kind of double accent is found in ilL'autre the third beat (" Ah! vous ne voulez pas," 4); to a jour," 2; also, followed by a regular coulement, in quarter note on the first beat ("Si c'est un "De mes soupirs," 5, and "Berger prend soin/' crime," 13; "Le beau berger Tircis," 7); to a 10. quarter note on the second beat or pulse ("Rochers, je ne veux point," 7; "Dans ces Turns deserts," 13); to a quarter note on the third beat In his doubles Hotteterre writes out two different (Air, 8); and to a quarter note on the fourth beat types of turn: four notes (" Ah! vous ne voulez (" Berger prend soin," 4). The same pas," 18) and five notes (" Rochers, je ne veux interpretation seems almost certain when the point," 7; "Le beau berger Tircis," 13). coulement is notated as a small sixteenth note leading to a quarter note or dotted eighth note Freer Ornamentation in the Airs et brunettes (ilL'amour," 4; "Nicolas va voir Jeanne," 9), and The doubles in the Airs et brunettes are generally especially when it leads to the eighth-plus-two so free that they have almost the impression of sixteenths figure which Quantz says should be improvisations. The oldest song, "Si c' est un played short, soft, and before the beat in the crime" (Boesset, 1621 ?), which has more long French style of playing ("Le beau berger Tircis," notes than the others, gives rise to the freest 6).12 ornamentation. Hotteterre was not alone in this Sometimes, however, the positioning of the approach to ornamentation. After studying all ornament suggests a long and strong the surviving 17th-century doubles for keyboard interpretation: a quarter note leading to a dotted and lute, Stuart Cheney wrote: "It is unlikely half note on the first beat (ilL'autre jour," 4, 8; that we shall ever know whether doubles are the double has a notated eighth note in same primarily the result ofcareful composition or position); a quarter note leading to a quarter are improvisations recorded in notation. What note on the third beat in duple meter ("Berger evidence there is leans toward a third possibility prend soin," 9); a quarter note leading to a - some combination of these two, a kind of dotted eighth note on a trill ("Dans ces deserts," ideal improvisation.... We can safely assume 18); and an eighth note leading to a half note on that composers ... took care with those doubles the first beat ("Rochers, vous etes sourds," 7). they presented in printed editions to the public, Another instance might also qualify: a coulement applying the science of composition in order to notated as a quarter leading to a dotted half polish what may have originated spontaneously note on the first beat ("Rochers, je ne veux in performance."13 In any case, this freedom of point," 4), except that the double has a expression means that Hotteterre's ornamen tremblement at this point in a rhythm that tation procedures cannot be generalized into suggests the shortest of appoggiaturas. any method a la Telemann. Yet a number of The coulement also occurs once leaping a useful points can be made. third (" Berger prend soin," 9).

"Coulement double" Appoggiaturas Like the port-de-voix double, this ornament We have seen above that it is possible to make consists of two little notes rather than one. a tentative classification of Hotteterre's ports Hotteterre does not mention it in his writings, de-voix into short and weak, short and strong, but he uses it twice in the doubles of these Airs et and long and strong. Fortunately, no such brunettes: on its own ("Si c'est un crime," 18) indecision exists with his notation of long and leading to a tremblement ("De mes appoggiaturas in his doubles. 14 He makes soupirs," 13). effective use of such ornaments a number of times, generally an eighth note in length: Accent "Rochers, je ne veux point," 9, 14, 15, 16 (eighth, Recall that the accent is a little note that eighth, eighth, passing dotted eighth); "Dans ces Hotteterre says is found in dotted figures and deserts," 7 (eighth); "Si c' est un crime/' 16

24 (dotted eighth); "L'amour," 15, 17 (sixteenth, Escape Tones eighth); " Ah! vous ne voulez pas," 2, 7 (eighth, A prominent feature of Hotteterre's eighth); "De mes soupirs," 4, 6 (eighth, quarter); ornamentation language is the use of echappes, and II Berger prend soin," 13 (quarter). Four or escape tones: non-chord tones which are times he uses what I can only describe as a kind resolved in the opposite direction from that in of double appoggiatura, both below and above which they were approached. The escape tone the following note (JiRochers, je ne veux point," is generally, but not always, higher than the 7, 11; "L'autre jour," 27; "Nicolas va voir previous note. Sometimes the resolution is Jeanne," 1, 8). made directly to a chord tone (" Rochers, vous etes sourds," 12; "Dans ces deserts," 7; ilL'autre Neighbor Tones and Passing Tones jour," 26; "Si c'est un crime," 1; "L'amour," 19; As one would expect, neighbor tones and "Ah! vous ne voulez pas," 17; "De mes soupirs," passing tones are common ornamental devices 3,5; "Nicolas va voir Jeanne," 7; Air, 8, 13; "Le in the doubles. The neighbor tones are beau berger Tircis," 7; "Berger prend soin," 2,5, particularly striking when repeated, as in 13). But sometimes an appoggiatura intervenes ilL'autre jour," 7, 10, or in "Dans ces deserts," ("Rochers, je ne veux point," 15; "Rochers, vous

17 (when they could be considered a repeated etes sourds," 19-20; JlSi c'est un crime," 13; JI Ah! accent). vous ne voulez pas," 4; "Le beau berger Tircis," 3) or there is a more complex resolution Chord Tones (JiRochers, je ne veux point," 13, 18; JlRochers,

Chord tones, too, are common. They make a vous etes sourds," 19; II Nicolas va voir Jeanne," telling effect when unexpected (as in "Dans ces 11). Hotteterre is also fond of a kind of 1/ escape deserts," 2, 17; ilL' autre jour," 12, 14, 20, 22, 26; tone turn" ("Rochers, je ne veux point," 19;

"Si c' est un crime," 19; "L'amour," 17; II Ah! "Dans ces deserts," 11; "Si c'est un crime," 16; vous ne voulez pas," 8) or a seventh is added to "L'amour," 5,17; II Ah! vous ne voulez pas," 11). the chord ("Si c'est un crime," 18; "L'amour," 22). Other Non-chord Tones In two cases, Hotteterre's non-chord tones are so Thirds striking that they may well be engraving Hotteterre rarely creates a pure leap of a third mistakes (ilL'autre jour," 4, 9; "L' amour," 23). involving a non-chord tone, the one in II Berger The d" in "Dans ces deserts," 13, is an antici prend soin," 6b, being an anticipation of a pation of the same note two beats later and similar figure in the song a measure later. But certainly works well without a bass line, when filled-in thirds are common in Hotteterre's the pieces are played solo as Hotteterre primar vocabulary, generally with short-short-Iong ily intended. The a" and f#" in the second rhythm ("Rochers, je ne veux point," 8; double of "Le beau berger Tircis," 9, seem to be JlRochers, vous etes sourds," 10,25; "Dans ces conceived as a displacement of the same notes deserts," 6; "Si c' est un crime," 15; ilL' amour," a beat earlier in the first double. The a' at the 19; "Berger prend soin," 9), sometimes a variant beginning of "Si c'est un crime," 7, also works of long-short-short ("Si c' est un crime," 4; " Ah! well without a bass line, and the whole mea vous ne voulez pas," 8; Air, 7; "Berger prend sure can be seen as an ornamentation of the A soin," 4), sometimes in even rhythm (" De mes C interval, preceded and followed by A's in the soupirs," 9). An attractive figure, filling in a melody. The two non-chord tones in "Ah! third down then a third up, is found in vous ne voulez pas," 17, are perhaps best seen "Rochers, je ne veux point," 9. as the beginning of an extended messanza followed by a continuation of the melodic arc Larger Intervals - again, fine without a bass line. The disso Hotteterre is adept at filling in larger intervals, nant g" in "De mes soupirs," 9, also makes whether they already exist in the melody or he sense as part of a melodic arc. creates them as part of the ornamentation. Even when the melodic material is strictly Compound Ornaments scalar, he is often inventive with rhythms and There are a number of instances of the four-note articulations ("Rochers, je ne veux point," 13; figures that William Pepper found in Tele JlRochers, vous etes sourds, 15, 22; "Dans ces mann's Methodical Sonatas 15: the gruppetto deserts," 2, 8, 9, 16-17; "L'amour," 3-4, 10, 11 ("L' amour," 7; "Nicolas va voir Jeanne," I, 5, 7), 12, 16; "Ah, vous ne voulez pas," 3, 10-11, 14 the half-circle ("Rochers, je ne veux point," 4; 15; "Le beau berger Tircis," 5, 13; "Berger "Dans ces deserts," 10, 18; JlL'autre jour," 20; JlSi prend soin," 10). Often, he adds a twist or two c'est un crime," 12; II Ah! vous ne voulez pas," 8; to the melodic material ("Rochers, je ne veux "De mes soupirs," 13; "Le beau berger Tircis," 3; point," 10, 18; "Dans ces deserts," 14; ilL'autre "Berger prend soin," 2, II), the messanza jour," 3, 7, 12, 14, 20, 22; "Si c'est un crime," 9, ("Rochers, je ne veux point," II, 17; "Dans ces

13; JI De mes soupirs," 5). deserts," 4; J'L'autre jour," 26, 28; "Si c'est un

25 crime," 2, 28; /lL'amour," 12, 23; /I Ah! vous ne and passing tones, thirds, chord tones, escape voulez pas," 5, 17), and the open circle (/lDans tones and other non-chord tones, filled-in ces deserts," 2). intervals, and compound ornaments. For me, the most interesting feature of Hotteterre's Playing with Rhythms ornamentation style is his use of rhythmic For Hotteterre, the rhythms ofsmall figures are displacement, in which the original notes are fair game for transformation. For example, in moved earlier or later in the bar, often to great "L'autre jour," 11/19,15/23, short-long figures expressive effect. are changed to long-short, and dotted to undotted or vice versa. I hope that the transposed versions of Hotteterre's pieces I have provided will Pauses encourage recorder players to perform and Hotteterre's doubles for "L'autre jour" (4-7,11 program them - and of course, teachers to use 12, 14-16, 19-20, 22-24) are noteworthy for his them in lessons. A selection of ornamented airs continual use of expressive pauses. Some of and brunettes, perhaps in conjunction with a them (nun. 6, 16) are similar to Franc;ois singer, should provide a welcome change from

Couperin's aspiration - literally, IIbreath" - a the usual diet of sonatas and suites. cutting short of a long note.16 The rest do behave like the snatching of breath within a As an exercise in analysis, I leave you the

phrase (see also IIAh! vous ne voulez pas," 11). two extra songs without a bass line, "Je suis aime de celIe que j'adore" and "Ruisseau qui Rhythmic Displacement dans la pleine." You and your students could Perhaps the most interesting feature of supply a bass line and try to identify the Hotteterre's ornamentation style is his rhythmic ornamental devices in the doubles. displacement of song notes in his doubles. (I As further exercises, you can make up your have marked all such occurrences with diagonal own doubles to any of the songs. It might be lines in the musical examples.) For example, in helpful to first use Betty Bang Mather's method "Rochers, je ne veux point," the f" and eb" in m. of taking one type of ornamental device at a 4 are both delayed by a beat; and in m. 9 the f#" time - e.g., neighbor tones and passing tones; is delayed by a beat and the g" by half a beat. chord tones - and seeing how it can be There are two particularly fine examples: In the applied to a whole song. When you have these second double of"Le beau berger Tircis," the devices at your fingertips, you can then use a opening five notes are all displaced by half a judicious selection of them along with

beat or a beat. In 1/ Ah! vous ne voulez pas," agrements to produce a pleasing and tasteful 10-11, the opening of the phrase "to express to double. you my desires"17 is delayed by a beat, then Hotteterre further stretches out the phrase with Texts and Translations a filled-in third, a pause, and an escape-tone Rochers, je ne veux point que votre Eco fidelle turn. Less frequently, notes are displaced before Redise les malheurs don't je me plains a vous their position in the song ("Si c'est un crime, 1 Iris est si charmante et ma flame est si belle 2, 8-9), or even both before and after in a kind Qu'en decouvrant ce que je sens pour elle of prolongation ("Rochers, je ne veux point," Vous me feriez mille jaloux. 15). Rocks, I don't want to be only your faithful echo Divisions Tell me again the woes about which I complain Several times Hotteterre literally makes to you divisions by dividing a note (or part of it) into Iris is so charming and my passion is so two or three parts on the same pitch ("Rochers, beautiful je ne veux point," 4; "Rochers, vous etes That in discovering what I feel for her

sourds," 6, 7, 18, 23; 1/ Ah! vous ne voulez pas," You would make me jealous a thousand times. 5; "De mes soupirs," 2, 8; "Le beau berger Tircis," 4; "Berger prend soin," 8). Rochers, vous etes sourds, vous n'avez rien de tendre Conclusions Et sans vous ebranIer vous m'ecoutez icy. The doubles in Jacques Hotteterre's Airs et L'ingrat don't je me plains est un rocher aussy brunettes are fascinating examples of ornamental Mais helas il s'en fuit pour ne me pas entendre. variations in a free, almost improvisatory manner. They provide some insight into where Rocks, you are deaf, you have nothing of the agrements can be added. Even more helpfully, tender they show how an ornamented melody can be And without shaking you, you listen to me here. built up from a combination of agrements and a The ingrate of whom I complain is also a rock vocabulary of appoggiaturas, neighbor tones But alas he runs away so as not to hear me.

26 Das ces deserts paisibles, Ah! you don't want to hear Rochers, que votre sort est doux. The language of my sighs: Vous etes insensible; Love has nothing more tender Trop heureux qui l'est comme vous. To express to you my desires.

In these peaceful deserts, Rocks, how sweet your fate is. De mes softpirs, de rna langueur, You are without feeling; Ecoutez Ie tendre langage: Too happy, whoever is like you. Rien ne sc;auroit exprimer davantage Tout l'amour que vos yeux font sentir a mon L'autre jour rna Cloris, coeur. Pour que mon coeur soupire, De mes soft pirs, &c Avec un doux souris, S'en vint tout bas me dire: Of my sighs, of my languor, Mon berger, mes amours, Listen to the language of tenderness: M'aimerez-vous toujours? Nothing more could express All the love that your eyes make felt by my The other day my Cloris, heart. For whom my heart sighs, Of my sighs, etc. With a sweet smile, Bent very low to ask me: Nicolas va voir Jeanne, My shepherd, my love, Et Jeanne dormez-vous? Will you love me always? Je ne dors, ny ne veille, Et ne pense point a vous; Si c'est un crime que I'aymer, Vous y perdez pas, Nicolas; l'on en doit justement blamer Sont tous pas perdus pour vous. Que les beautes que sont en ene. La faute en est aux Dieux Nicholas is going to see Jeanne, Qui la firent si belle, And Jeanne, are you sleeping? Mais non pas ames yeux. I'm neither sleeping nor waking, And I'm not thinking of you; Ifit's a crime that 1 love, You're not losing anything, Nicholas, One must rightly blame By not having what you want. How beautiful she is. Le beau berger Tircis, The fault is with the Gods Pres de sa chere Annette: Who made her so beautiful, Sur les bords du Loir assis, Not with my eyes. Chantoit dessus sa muzette; Ah! petite brunette, L'amour, Ie seul amour est cause Ah! tu me fais mourir! Que je neglige mon troupeau; Mais comme il est Ie moindre du hameau, The handsome shepherd Tirds, On dira que c'est peu de chose: Near to his dear Annette: Ah! quand j'aurois tous Ie moutons Sitting on the banks of the Loir, Des bergers de nos cantons Playing on his musette; Je les negligerois encore Ah! little brunette, Pour Ie bergere que j'adore. Ah! you make me die!

Love, only love is the cause Berger, prend soin de mon troupeau, That I neglect my flock; Amour me donne trop d'affaires: But as it is the meagerest hamlet Je vais attendre sous l'ormeau People will say that it's nothing: La plus ingratte des bergeres: Ah! if I had all the sheep Ah! quand on est bien amoureux, Of the shepherds of our cantons Tout autre soin paroit facheux. I would neglect them still For the shepherdess whom I adore. Shepherd, take care of my flock, Love is giving me too much trouble: Ah! vous ne voulez pas entendre I'm going to wait under the young elm Le langage de mes soupirs: For the most ungrateful of shepherdesses: l'amour n'en a point de plus tendre Ah! when you are really in love, Pour vous exprimer mes desirs. Every other care appears unfortunate.

27 Je suis aime de celle que j'adore (Amsterdam: Broekmans en Van Poppe!, 1984), C'est un secret charmant qui n'est sceu que de 33-54; and Delpha LeAnn House, "Jacques nous Hotteterre 'Ie Romain': A Study of his Life and Nos plaisirs sont dautant plus doux Compositional Style" (Ph.D. dissertation, The Que tous Ie monde les ignore University of North Carolina at Chapel Hill, Et que nous trompons les jaloux. 1991).

I am loved by the one I adore 2. His writings are: It's a charming secret that's only ours Principes de la flute traversiere, ou flute Our pleasures are all the sweeter d'allemagne, de la flute a bec, ou flute douce, et du Because everyone is ignoring them haut-bois: divisez par traitez (Paris, 1707). And we are deceiving the jealous. Facsimile of Amsterdam ed. (ca. 1710), Kassel: Barenreiter, 1982 (first published 1942). Ruisseau qui dans la pleine Facsimile of 1720 Paris ed., Geneva: Minkoff Precipite ton cours Reprint, 1973. English translation by Paul De la part des amours Marshall Douglas as Principles of the Flute, Va dire a Celimeine Recorder & Oboe (Principes de la flute) (New Les maux que ses beaux yeux York: Dover, 1983; first published 1968). ant cause dans ces lieux. English translation by David Lasocki as Principles of the Flute, Recorder & Oboe (London: Stream who into the plain Barrie & Rockliff; New York: Praeger, 1968). Rushes onwards The preface to his Premier livre de pieces pour On behalf of love la flute-traversiere, et autres instruments avec la Go to tell Celimeine basse ... Oeuvre second. Nouvelle edition.... (Paris, The harm that her beautiful eyes 1715). Have caused in these parts. L'art de preluder sur la flute traversiere, sur la flute-a-bec, sur Ie haubois, et autres instruments de Key to Abbreviations for Musical Examples deflus (Paris, 1719). Facsimile, Geneva: Minkoff A appoggiatura Reprint, 1978. Ac accent Methode pour la musette (Paris, 1738). asp aspiration Facsimile, Geneva: Minkoff Reprint, 1977. C chord tone On Hotteterre's synthesis of the French and D double appoggiatura (not Hotteterre's Italian styles, see House's dissertation and Brian port-de vaix double) Alexander Berryman, "Jacques-Martin div divided note Hotteterre, Les gouts reunis und die Entwicklung E echappe (escape tone) der franzosischen Barockmelodik," Tibia 20, no. G gruppetto 3 (1995): 517-31. H half-circle M messanza 3. One surviving copy of the original print gives N neighbor tone no address for Hotteterre; but another copy has a open circle "rue de Seine a l'Hotel d'Arras," which is also P passing tone found on his arrangement of duets by Robert S suspension Valentine, dated 1721. Yet other publications of T turn Hotteterre's, including one from 1719 and one X non-chord tone from 1722, use the address "rue dauphine au coin de la rue contrescarpe." Thus around 1721 he seems to have been using a temporary Notes address, which in this case gives us our best 1. The most recent studies of Hotteterre's life information on the dating of the Airs et and work are Jane M. Bowers' article on the brunettes. For diplomatic transcriptions of the Hotteterre family in The New Grove Dictionary of appropriate title pages, see Gregory Paul Music and Musicians (London: Macmillan; Dikmans, "The Performance Practice of Early Washington, DC: Grove's Dictionaries of 18th-Century French Flute Music: A Critical Music,1980); her article "The Hotteterre Family Translation of Jacques Hotteterre's Principes de of Woodwind Instrument Makers," in la flute traversiere, Commentary and Recording Concerning the Flute, ed. Rien de Reede of Selected Works," M.A. thesis, La Trobe

28 University, Australia, 1991, vol. 3, pp. 128-48. 13. Cheney, "Observations," 26-27. A facsimile of the Airs et brunettes has been published by Minkoff Reprint (Geneva, 1991). I 14. Hotteterre never uses the Italian term published an edition of the solo pieces only appoggiatura, only the French port-de-voix. But under the title: Ornamented Airs and Brunettes for I find appoggiatura convenient for Solo Flute (Oboe/Violin/Recorder in C) (Basso distinguishing between the long ornament in continuo ad lib.) (London: Nova Music, 1980). regular notation and the indeterminate ornament in small notation. 4. lowe this idea to Donald Fader. 15. William Bloomfield Pepper, II, "The 5. Hotteterre's collection is full of engraving Alternate Embellishment in the Slow errors, large and small, so he clearly did not Movements of Telemann's Methodical Sonatas," supervise the publication carefully. Ph.D. dissertation, The University of Iowa, 1973. For doubles of "Le beau berger Tircis" by Mr. R** and Monreclair, and of "L'autre jour" by 16. L'art de toucher Ie clavecin =The Art of Mr. R** and Blavet, see Betty Bang Mather and Playing the Harpsichord, ed. and trans. Margery David Lasocki, Free Ornamentation in Woodwind Halford ([Sherman Oaks, CA]: Alfred Music, 1700-1775: An Anthology with Introduc Publishing, 1974), 13, 34. tion (New York: McGinnis & Marx, 1976), 120-28. 17. The text of the double at this point is actually "vous l'apprendre par mon trepas" 6. This paragraph and the two following are (you will learn it by my demise), an even more based on the preface to my edition. expressive phrase.

7. When I published my edition, I did not Dr. David Lasocki is Head of Reference realize that the photocopy I was working from Services in the William and Gayle Cook Music was lacking pp. 75-76. As a result, my edition Library at Indiana University. As a is missing three pieces, two of which have musicologist, he has specialized in the history doubles: "Je suis aime de celle que j'adore," of woodwind instruments, their social history, "Ruisseau qui dans la pleine," and "On a repertoire, and performance practice. His most beau feindre." Transposed versions of the two recent books are (with Andrew Ashbee, of these with doubles will be found in the assisted by Peter Holman and Fiona Kisby) A musical examples in this present article. Biographical Dictionary of English Court Musicians, 1485-1714 (Aldershot, Hants. & 8. On the double, see especially Stuart Cheney, Brookfield VT: Ashgate, 1998) and (ed.) A Time "Observations on French Instrumental Variation of Questioning: Proceedings of the International Practices in the Seventeenth Century," The Double-Reed Symposium Utrecht 1994 (Utrecht: Consort no. 54 (Summer 1998): 18-32. STIMU, 1999). He has written "Recorder" and twenty other articles for the second edition of 9. French Baroque Music from Beaujoyeulx to The New Grove Dictionary ofMusic and Rameau, rev. and expanded ed. (Portland, OR: Musicians, due out in late 2000. Amadeus Press, 1997),407,410.

10. Pierre Perrin in a manuscript Recueil de paroles de musique (Paris, Bibliotheque Nationale, fro 2208, ca. 1667), quoted in Anthony, French Baroque Music, 445. 11. In the preface to his Premier livre de pieces pour la flute-traversiere, et autres instruments avec la basse ... Oeuvre second. Nouvelle edition.... (Paris: author, Foucault/author, Boivin, 1715).

12. See Johann Joachim Quantz, Versuch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752), 197; English translation by Edward R. Reilly as On Playing the Flute, 2nd ed. (New York: Schirmer Books, 1985), 228.

29 I: Rochers, je ne veux point Benigne de Bacilly (?) Original key: G major Hotteterre's key: G major

+ V

ne veux point fi- del - Ie Re

Double I~.b ~ l E 1£ {J~: t r+ ~ I! IT" , r CJUf IU U r r ,VI p C CF XXA

4 ~ I J n. - + v • + • tJ - di dont je me plains dont

+ I'i I .. • + ~~~.. _." ~ tJ div C H C Ac Ac C

1.._ n n

a vous I ris est si char

N N sec. T F A NA F C C dom.

F A SM C AcD A N

30 v ~ + +

je sens____ pour el Ie

F E S F ACE C Ac E A Th

16 + + ro p 1m g ~ ~~I' .~ r It I -fez mil Ie ja - loux /vous me rer - '~~.~. ~. f*+ ~. .,. ~:: E ~ ¥ ffffrfftfffr( 4~" ~ ..r ~ #1 Ac N A C M F SEC

18 .,.... ~ ..0..

~- lez ~ k ja - loux. ,.-.. + .fill.. +_" ~~ ~+ ."." ,. ...:. ,. .". .".. f!:. t- f!:.,. ,. ."..".. f'- f'-."..,...,.."..".. ~ ..0..

~' I.I S C P F C E C P ET

I I CI

31 2: Rochers, vaus etes saurds Michel Lambert Lambert's key: C minor Hotteterre's key: G minor

/\ + ,.- ~ r· -& ----- l ¥ PII. n Il '1 ~ !\ Ro - chers YOllS e - tes sourds, /\ ..,..+ f!:- 1ft- -& ------ ~ T --- I Double ~ tJ

,. -f!9 "",. fl- f!:- ~ f!:- ~ [ --, I

6 -- 1ft- J~~!. ofih ¥

YOllS nla vez rien de ten dre Et - *'/~..,.,. _.' - :-+ r j' ~ /C'g IfVtr7t l bY' ~ ---- ;;J diy P diy F C N P P

~-&- -f' _~______d _ LI. ~

I T

II. 10 I'J + v ~+ ,-..+ . .... -.-----rJI tJ I sans VOllS e bran ler YOllS m'e-COll- t~_ + /i -/cy. h + ~_ ia' ----, _. ,. ----±J / _ +

iJ - FCC div L ~"""--f' .. - ..... - /3 12- ....-.... ,------.., ~.p. fl- ~ ,. + 19 ~ L'in - gr.. at dont je ~lains st ~~- ~ / ~ / ~.p. -f' fl-..,.,. it~ ~_. • 1ft ..,.~.. --.J. ~ ~ F p C diy P C f!: #fL ft _. ,. fr o J --.:J. l.L

32 17 -- + c--+ r.;,.--- • .".-....., v ------v " ."...... - . :-. --- + tJ _ un ro cher_ aus-sy ~s he-~as il s'en fuit ~ ~ ,~~ " ... ...". . _. +-~ + ~ ~ I ~~E'-::tFF3- 'er- tJ A C div N A E A E A C • ~ .(lI !1!r .(ll b.". r.; .".. -M

~+ V

pour ne me pas en - ten - dre he - las il s'en .~ , l r r r I[US ura IF j' ~lrb F div N .". • I .". !1!r .p.' .".

11. 112. 25 -e-

me pas en ten - dre.

-e-

F CAe F C -e

33 3: Dans ces deserts paisibles Jean-Baptiste Lully Lully's key: C minor Double probably by Michel Lambert Hotteterre's key: G minor

Tendrement 1\ I V

(t) Dans ces de - serts pai - si bIes, Ro-chers, -- ~ ~+ + DoubleHottete.rre'sI4~b e '1 ~ r-JII·.::L r-~ bf ICi EN r C?t~I.iit '1 P J ~ r I r FOe .....-. F 1'1 I Lully's Double r-JII:F [far rtf r @blqr i uTI iT

#-.f1Lf!:. h. # , #-.

6 6

4 + 11. 112.

vo tre sort_ est doux. Vous +

C? E A p +

4 3 6

6 A V

~~, ~ .~

34 V A ~ • t. - eux qui l'est comme vous; vous ~ -. ~in - sen ~+ •.• ±I~~ ,~~ ~r EJrrrrl~S'irrrg

tJ A H CPCA T Div X E ~ 1'1 t •• !:""\ ~.------+ ~ ~. ; ...~ I; '"' rfi tJ Ii: - · • ~ J I~r

.d. ~ h f.. 14 + ""'-""'1 + $~.f]: I - si - bIe; Trop heureux, trop heur - eux qui A L ,.-- +~

-I = I F N ---P C N ~ ~ CU~W~rl~ii

7 6 " /8 v II~ ft t • V

tJ ---.... l'est~,. com - me vous. ft I .... 1+ .--. v- c A A C .,.... f'j I ~ - ~+ ,. - t. ----b..

35 4: L'autre jour Original key: Bb mjaor Hotteterre's key: D major

L'au - tre jour rna Clo - ris, Pour qui

.~... +-- ~ C· .,.,. -~+ Double P i C· E" J !4 2~ ~ UfL UL L; If P A F C V .P+ 11 _. .f1 ,. 19- ~o A + fI Autre double IiJ ~ft. !'- .... • ..".. .fL' •

V V • ...". j~ ..i~

-y coeur sou- pi re; Vau - tre jour rna Clo

~ V /~~. . - ,-,...... ~·E:d ~ I '~eliXX asp ~ Ac P A V ~ --..~. ~. .,.~ !'-;",. ;!; ,~ r· p r~ P P N asp A .,. asp F ~ f!:. .f/L .,......

7 V",...-.. ~ V

ris, Pour qui sou-pi re, sou - ris___ V~ ,~~+~ ~V ,..~+' + f ~ r c :FE E:1J W 7 ~ tic brl r f± ftlr' Y F C XX asp Ac N V~~ , g~ ~J-q ~., .. :.. • ....f/L.,..f/L.f/L. ~ ~ r tZFfpfrf[Jr· P tiC' i'm' . asp H N N Ac N N !'-. - • ... r.' ~ .p. .... •

36 v

re: ~on ber-

c aspF N ~+ )t

aspC asp H F

14 + ).+

mours, M'ai - me re,L.,Z___ vous tou -

+ -~

asp +

asp

17 v

sou - V~ S'en vinL touL

N asp

continued page 38 ~

37 4: L'autre jour (continued)

20 V v fj .... + ~ ~ n 1fJ- fit.

.; bas me di re: Mon ber

, i~:(!!:. + ~ ... ,~ ~ ~. • • 1fII" fj fIL 1": fIL fIL .-.-j~~-.f"~ l • fit. fIL','f!:. fIL 1fII' • 1fII' fIt..",. ;t fit.

.; H c - asp F N v .",.~~+~ ~ ~ fj .". r- .,.. 1fII' fit. .. ti...",. 1fII" .. Q 11!-' .."... fit.

f.) o c N .".

22 +

mes___ a mours, M'ai - me - reL.Z___ VOllS tOll

/~~~,- +

aspF c asp asp asp

+ ~

F asp

25 fj

.; jours? fj

.; [Petite reprise] r"'. .~ ...~ fj v .---- Fi+~ fit. #flt.t ...",. + •. #_.~..",.. j=I!+ ~ ~.1fJ-~""" ;eFt€: ter" j':!@~ .; F N M extended C E C o M 17\ _. -$

38 5: Si c'est un crime Antoine Boesset Hotteterre's key: D major

,~, + .. "flit ~ . L' ~ ~~~~~~ .... /c'est un eri Si me p:__ l'ay mer, On n'en

a_a ~,...~. ~ --.,~~ ± \ + Double ~. N A E ,M A C ~ 19- I'- .,.. a -e- ~ ~.

4 + + + V

doit just - te - ment bla mer

~ + +

F ..a.

7 ~I + ,~ It.

beau tez Ie. V + ~ + /"',+ + ~Id FUIdiU SEC" atO In :11 C ornamentation ofinterval A-C F

12 I ,+ V 15 .,.. lIi _____~1:L + ~-,. - ~, Ie. La route hn est aUK Dieux Qui la fir - ent ~,~ ~~ V -' ."'fI!I-!!-"'fI!I- •."'fI!I--'!Il + - H F Ell: f frfr~ fmm§l i 4 F C E E -F ~, -(!/i1 til - -"">

continued page 40 -+

39 5: Si c' est un crime ( continued)

16 fj ~ n • ,==I

~ bel Ie, Mais non

fl .:~,,..-~__ •• / ~,-:! -~ ;:--.... ~, 1\ .... "I C ~ , bit c: r; I ~ A c ET C asp - C M 7th

6: L'amour Michel Lambert Hotteterre's key: D major

_0 fl '1

t) L'a-mour, Ie seu} a - mour est cau se 9/e je7neg fl • + ~~ ~ -. Double rr~ ¥ Ir· ~ Eli Ir' ~ [~(F "~iooooo.iiiiiI I'- _ f:-' ~I'- 11'-' ~ ~ .p. f:- '1 ~

5 6 3 5 4 5

5 t\ t\ + ... + v +.

troupeau; Mais est moin - dre du_ ha

~ + ...... -, .i\ + ~·I~ LiiF ~ IT C P N AC ET

3 3 6 5 6 6 6 7 6 5 4 40 10 11. 11 + V Vr:J ~...... V .)~~.:t;F ·1 ~ ;:~ ~ I;G rr'~ ~ Ir meau, di ra que c'est peu de cho se: L'a se: ~+ + V ~ I)~V V 2~a=r tglr' ~ rWD=HPtlr 0/ ~ ·II! ",F f C?P M ~ - r Ir~ tiErtin Ef U :1' * # 5 3 4 6 #

15 +

quand j'au - rois tousles mou tons Des ber gers de nos can + ,-.... ~ ~ + .., t.... V ...... ---r-.... -. itl Efltt t' .JIt.. ____C P C Ac A A PT N A C NC

6 6 6 #6 4

tons Je les ne - gli - fle - rois en - co V + /~ +

5 5 6 #

Pour Ie ber - ge - re que j'a - do reo reo

~V ~,.,

X M ACN

6 4 #

41 7: Ah! vous ne voulez pas Michel Lambert (?) Hotteterre's key: D major

fl ...... -" • + h , hoU - ~ I r •'-.I.' " ... -.> - I I I Ah! vous ne you - lez pas en - ten - dre

~ () ...... I _.,,/" _ r ...... r _ r- ~~ Q ...... ---+ r _ , .. r- r- J I r-. _. , hoU I r- - - I .,. - Double - I - I ... - - Iiiiiiiiiiii... 4U ...a. CF E A N F . - ~ .p.. -e n - .. U r-. , ho.~ I I I I

6 ~6 3 4 6 4 II. J + +

soupirs:

div

6 ~3 4 3q

6 12. + + V +

pirs: Lla - mour nlen a point plus ten dre

~ Y~'. +

A Th H C

6 7 6 5 6 5 # 10 y +

mes de - sirs. L'a +

5 6 5

42 13

mour n'en a

6 6 4 #3

17 12. + Y...

Pour mes de-sirs. L'a sirs. VOllS exzmer + ~ ~ -erE! IF FrErE:! ~ EC x M X N T

6 5 ~6 4 3

43 8: De mes soupirs Jean-Baptiste de Bousset Bousset's key: G major Hotteterre's key: D major

~ n ~" 11/1

De mes sou - pirs, de rna Ian

~,~ Hotteterre's I fl ..:. _ • ... 11/1- • .,.. _ + .:. *.,..~

Double IiJ N P C div AC E V~ ,-, Composer's ttl - .,-.....,• .,... 1fJ-_" + o .,.. ,. 1fJ- .fL .fL~"" .fL .fL Double I'if Alit P 110 -e

7 6lt 6 6 7 4 5

Graces D. C. only I 4 + .,..~ Ii.(';). Fine fl -e- ft." ~ -m_ 11/1- ... .,.. 19-~n Sj gueur, E cou - tez Ie ten dre Ian - ga ge:

~ ;"""". ..--,...... --...... ~ ~ • .It. T" .~ fl~ -n 11/1 -n 1 t-1- ...1I/I-. _ _ •• 11/1 _... I 11/1 ... 19 n (';).

tJ A C F x A

~ ... ,,-... • ....--+ ~ ~~ ...... ,.. ~. +-f!:. 1'- ...... _ .... 1fJ-_, ,.,.. ... "(9 n ...... ;;;;;;::; ~ ill tJ

~ b-e .p. qf!:. f:. 19 F*¥ .n

6 6 5 4

V 8 12. .a.. 19

ge: da-van

C div N Th C

b-e-'

6 5 6 6

44 V 11 -e-~ -e- V '1!ii- -1='+.

ge Tout 1'a - mour V -e- ,l~t.

N A C P H

..0..' -e-'

7 ~ 6

D.C. al Fine

C1I.+

45 9: Nicolas va voir Jeanne Original key: A minor Hotteterre's key: D minor

Gay ....

Ni co - las va voir Jean ne, Et

Hotteterre's Ii ~Ilh~ ¢ * bt t:F I Double - ¥ c N p G D

Original Double

~ 3 .",." ~" ,...---...,.. t:" .",. E ~ E::~ .",. • t+ ~lil' I> Ii iI if rl i I! r

Jean ne dor me~ VOllS? * Je ne dors n~ ne_ vei - He, " ~ .",. ~.fII.~~ ~1i221i {fJ:(1 r fr IE II r r~i! rrcttlF g+ A C C * CG A C M ~ ~~ ~" .",. "f? .,... .",. • .",.].... .",.. _ L ".... 1'1 I • ~:f!: ~:M :f!: ~ ~ i3'

~.rr.~

7 .,... + .... ~', - . • .",.~ • ~ r .fL

Et ne pen - se point_ a VOllS; Vous y /per

.~ ~ .",.~ • .",..fL."..f!:. • .",. + ~ f!: f!:..".. ~.",. ~ ~ _ L • •

C G S C E A N D

~. ~ + .fL t!!:. ;;t= ~ E ! nErf .0 E • ~~~~~=~~I~ i:

46 .--. ~ . .+

Ni - co - las; SonL tous_ pas___ per dus pour vous.

+ ~

N N N E?

10: Air On joue cet air par Echo Hotteterre's key: D major Mod:r: v

Double

V II + + ~~;j::: ~~ I V r &U :T Ir' ~ r r· "-..,, ~ fj ~~ .fL~ .~ + ..:...~ ~ • E ;j::· .~ ] ! , I A N E

continued page 48 ~ 47 I0: Air ( continued)

14 , 11. 12. ~~ .,.. n+ -. . ~ - .. . fI ~ .,..~ + -"-...,, ~~ n - .. . "" ~ p

T _.

I I: Le beau berger Tircis Hotteterre's key: C minor

Le beau ber - ger Tir cis, Pres

v ~ Double

~ Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

48 6 v.> A ,-... + + +

des - sus_ sa muz - et - te; Ah! pe-ti-te bru

+ ~-+ +

c E Ac N x X A

6 6 5 6 6 6

10 II. ~" fj ,w. d±.=:. ~-~ ~.~ ._ - ._ ::t.

-.J net - te, Ah! ______tu me fais mou - rir!

1!JJ.+ ~---~~. . ..",..~. + -.> C A c c ~ JJ. + ~ • ..,. _ -fL .~ - . .~ -.> C? c A C? A • -II I

-.> A + + --.---II! • ------...,..".. --- • .:.. ~ -- ~ IV II -.> F A N • II I 49 12: Berger, prend soin de mon troupeau Hotteterre's key: C minor

ger, prend soin trou peau, A

~ Double N H C E

6 6 4 V 11. 6[2. fl J,j. •• ..,.. + I V .~ • .,. .fL

17 =w I mour me don - ne trop d'af - fai res: Ber ger prend res: Jevais at - V :""\ ~ ~~ c--... ~ ~ .~ -f'I- •• it ". -r f~· ~ • . + .,.~ .- .~ ~ II -u PC P C? ~ C E ~===N! C ~ . .,. ~ . --.-o7K f r C :11 ro if t

6 4 3# 6 6 V V .,.0 .. - J V I ~w~

te des ber - ge - res; Ah!

A F div N F F

6 6

11 V + ±. • .,. .fL &-( r r r Ico k quand on est bien a - Tout au - tre + -/~;~ .,.V .,... .,...7' r' ~ ~ Co &-( r r [ IT ~ ~ r r r I ~ H N F E 12:1( r IT f r r C· ~ IJ 6 6 6 6 6# 6# 6 4

50 soin pa - coit fa - eheux. Je vais at - eheux.

V ~ f Co ~~-= 6.;-r~r I IF 7 P r E A g f C ,¥- [ r J Iro V =lllI II 5q 6 13: Je suis anne Michel Lambert Lambert's key: G minor Hotteterre's key: D minor V + V,~+ ~ P Co ~ t+ ~' ~~\ 3 I' rl1F r I P~ro ll~rr Je suis ai-me de eel - Ie que j'a- do

Double 14~bb 3 r [riF1r-6wc' f~tilte1FM 0Jr1~_~

5 ~+ + ... ~. v It I -f!,r .,....f!:.~ .,...~ •• 1"';_ -f!,r ~ •

.J - re C'est un se eret ehar- mant qui nlest seeu que de

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