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Home , Antonio Caldara, Arcangelo Corelli, Francesco Geminiani, Georg Muffat, Johann Joachim Quantz, Johan Helmich Roman

Ornaments for Corelli's , op.5 Author(s): Neal Zaslaw Source: Early Music, Vol. 24, No. 1, Music in Purcell's II (Feb., 1996), pp. 95-116 Published by: Stable URL: http://www.jstor.org/stable/3128452 . Accessed: 26/10/2011 17:04

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http://www.jstor.org Neal Zaslaw

Ornamentsfor Corelli'sViolin Sonatas,op.5

he letter of dedication of 's Sonate a violino e M violoneo cimbalo,op.5, is datedRome, 1January 1700.1 According to _ information CharlesBurney collected in , Corellihad spent three years revising these compositions for the press;2and from what is known of Corelli'sworking habits we may guess that they were prob- ably composed over a much longer period.3Thus, these sonatas may originallyhave been written in the 1680sand 9os-some possibly even ? Nr earlier.4Following their publication they attainedthe status of classics, and by 18oo had been republishedmore than 50 times, in , , Florence, London, Madrid, , , , Rome, Rouen and .5No other set of works enjoyed a comparablerecep- tion in the 18thcentury. This frequent republication,along with the survivalof hundreds of 1 Detail from the title-pageof The manuscriptcopies and dozens of arrangements,document the fact that Division-Violin,printed by John Play- the op.5 sonatas continued to be performedand to be used as teaching ford (London, 1684) pieces. Their pedagogicalvalue lay, presumably,in three areas: (1) as etudes-op.5 contains a body of finely wrought music many move- ments of which were within the reach of novice violinists;6(2) as com- positional models-most of the sonatas (or 'solos' or 'lessons') for one violin with composed and performedin the first seven or eight decades of the century may be viewed as attempts to enlarge upon or modernize op.5;7(3) as a basis for improvisation-the plain- ness of certain movements made them ideal vehicles for practising ornamentation. This ornamentation took two principal forms: through-composedmelodic paraphraseof primarilyslow movements, and sets of variationsbased on shorterdance movements.8The present articleis concerned mainly with the former type of ornamentation. The through-composedornamentation itself is likewiseof two types, for in the musical textbooks of the 18th century a distinction is made between the small or so-called 'necessary'ornaments, and the freer, large-scale ornamentation or musical paraphrase,which was under- stood to be optional. The former, called agrements, wesentliche Manierenor abbellimenti,consist of trills, turns, slides, appoggiaturas and similar items which leave the contours of a melody intact. The lat- Neal Zaslaw is the Herbert Gussman ter, called doubles,willkiirliche Veriinderungen or passaggi,are more like Professorof Music at Cornell University. some practicesin jazz, where almost anything that works with the set With RobertSeletsky he is preparing an chord can be substituted. The former-the edition ornamented versions progressions 'necessary' of of in slow or and in Corelli'sop.5 for Oxford University ornaments-belong any movement, fast, any perfor- Press. mance, even that of a tyro; the latter-melodic paraphrase-belongs

EARLY MUSIC FEBRUARY 1996 95 PARTE PRIMA ments would serve better.1'Violinists with modest techniques could perform with simple ornaments, SONATE A VIOLINO E 0 CIMBALO DEDICATE ALL ALTEZZA SERENISSIMA ELETTORALEDI whereasvirtuosos could make the music their own." SOFIA CARLOTTA Allowing violinists their freedom meant that, as ELETTRICE DIBRANDENBVRGO styles and tastesvaried from individualto individual PRINCIPESSA DI BRVNSCICHET LVNEBVRGODVCHESSADI and from place to place, or evolved from decade to PRVSSIAE DI MAGDEEVRGOCLEVES GIVLIERS BERGA STETINO ornaments POMERANIACASSVBIAE DE VANDALI IN SILESIACROSSEN decade, new permitted the music to be BVRGRAVIADI NORIMBERGPRINCIPESSA DI HALBERSTATT suited to new demands. This is demonstrated by MINDENE CAMIN CONTESSADI HOHENZOLLERNE Tartini'sand Galeazzi'sornaments for op.5;Tartini's RAVENSPVRGRAVENSTAIN LAVEN13VRG E BVTTAV tend to break down the DA ARCANGELOCOR•lLI DA PFSIGCNMO Fortspinnung into OPERAQVINTA shorter segments resembling the galant style, '""**** whereasGaleazzi's introduce to the melody a kind of 2 The firsttitle-page of the firstedition of Corelli'sop.5 chromaticismquite alien to both Corelli'sand Tar- (Rome, 1700). Sonatasnos.7-12 had a differenttitle-page. tini's music, but idiomatic in music of the late 18th century. expressed this characteristic especially in adagios and in performancesof virtu- thus: 'Corelliis so plain & simple that he can always osos with a thorough grounding in harmony and be made modern.''" . Table 1 identifies all known sets of ornaments, Becauseof the ubiquityof Corelli'sop.5 a number with their sources. Not included are wholesale re- of sets of notated ornaments for it survive. Some of compositions of op.5, such as Shuttleworth's or these represent the fumblings of beginners, others Geminiani'sarrangements of the sonatas as concerti are teaching manuscripts,and still others reveal at- grossi and Veracini's Dissertazioni sopra l' tempts to record the ornamentationof well-known Quintadel Corelli.'3Also necessarilyexcluded are or- violinists. Most of the surviving manuscript and naments perhapsnever notated as well as others cer- printed sets of ornaments were listed by Hans tainly notated but apparentlylost. Examplesof the Joachim Marx in his excellent Corelli catalogue of former include Blainville'saccount of Pietro Loca- 1980, and many of these have long been known, if telli's performingthe opening Adagio of the fourth perhaps not fully understood.9In this article I have of op.5 so ravishinglythat 'it would cause a been able to add a few sets of ornaments to those canaryto fall from its perch in a swoon of pleasure','4 chronicled by Marx, to correct a few errors, and to and the remark of Haydn's London impresario begin to answer such questions as: who wrote each Johann Peter Salomon upon the death of Frangois- set?, when?, for what purpose?-and what con- Hippolyte Barthdl1monin 18o8:'We have lost our nection, if any, may it have had with Corelli's own Corelli!There is nobody left now to play those sub- practices? lime solos.'15(From this and other evidence it is clear Most modern violin instructionis so stronglyori- that the ability to ornament Corelli's sonatas was entated to the literal reproductionof fixed pieces of one way in which 18th-century violinists were music that it may not be amiss to remind ourselves judged.) of possible advantages of a type of training that As an example of certainlynotated but lost orna- stressed freely improvised ornamentation. One ad- ments for op.5 one can cite , Jr. vantage is that no two performanceswould ever be Quantz acquired a manuscript of Matteis's orna- the same, lending an air of adventure sometimes ments for the 12 adagios of the first six sonatas lacking in modern concerts. Another is flexibilityin around 1720,16 but my enquiriesin the places where adjusting the music to varying circumstances: in Matteis worked (London and ) and where larger, more resonant venues or on solemn occa- Quantz's manuscripts have come to rest (Berlin, sions fewer and slower ornamentswould work well; ,Krak6w) have failed to turn up a copy.'7 in smallervenues, in front of connoisseursor on fes- Another instanceis a manuscriptowned by the com- tive occasions more profuse and more rapid orna- poser John Cousser (Johann Kusser) of ornaments

96 EARLY MUSIC FEBRUARY 1996 Table 1 Extantsets of free ornaments for Corelli's op.5 +0

'- O c + 0 B bc ,+0+ )+,,QoO++++> ,,o<+++,+'++,<+ ,,

Parte Prima. Sonate a violino e violone o cimbalo ... opera quinta Sonata I [] 1 Grave- Allegro- * Adagio- N Grave- *FI Allegro- * Adagio 2 Allegro. [Fuga]- Adagio 3 Allegro 4 Adagio 5 Allegro. [Fuga] Sonata II [F major] 1 Grave P 2 Allegro. [Fuga]- Adagio 3 Vivace 4 Adagio 5 Vivace. [Fuga] Sonata III [C major] 1 Adagio 2 Allegro. [Fuga]- Adagio 3 Adagio **t 4 Allegro- Adagio 5 Allegro Sonata IV [F major] 0 E.s 1 Adagio H 2 Allegro. [Fuga]- 4 O AdagioI 3Vivace vggegoR

SonataV [G minor] 1 Adagio IJ1 I*s. 2 Vivace. [Fuga]- Adagio cc * 3 Adagio M 4 Vivace . , .N 5 Giga.Allegrot

EARLY MUSIC FEBRUARY 1996 97 0

+~?P ' ?- Ltg s? oo: +00+0 ), %QO+0 0 0 0 0 0 0Ay 0 C) 8~13.t'e i i~ae9- ~

Sonata VI [A major] 1 Grave E 2 Allegro.[Fuga]- Adagio cc 3 Allegro 4 Adagio 5 Allegro. [Fuga] Parte Seconda.Preludii, Allemande, Correnti,Gighe, , e Follia Sonata VII [D minor] /R 1 Preludio.Vivace 2 Corrente.Allegro 3 Sarabanda.Largo 4 Giga.Allegro .114,. SonataVIII [E minor] I 1 Preludio.Largo MN, E 2Allemanda. Allegro Y _ 3 Sarabanda.Largo g * 4 Giga.Allegro. Sonata IX [A major] 1 Preludio.Largo * 2 Giga.Allegro * 3 Adagio 4 Tempodi Gavotta. Allegro * Sonata X [F major] 1 Preludio.Adagio ** *. * * 2 Allemanda.Allegro N * *• 3 Sarabanda.Largo 4 Gavotta.Allegrot * 5 Giga.Allegro ... SonataXI[E major] * 1 Preludio.Adagio ON 2 Allegro 3 Adagio 4 Vivace 5 Gavotta.Allegrot v [SonataXII, D minor: Variationson La] Follia

* free ornamentation v set of variations(only those in MSS containing free ornaments-see RobertSeletsky's article elsewhere in this issue) c cadenzaor close t ornamentsby Michael Festing,discovered by HarryJohnstone as this articlewent to press

98 EARLY MUSIC FEBRUARY 1996 Tablei-Sources

PEZ ANON A Secondcollection of /SONATAS / fortwo / coveredby HarryJohnstone, who is preparinga studyof and a BASS, / by / SignrChristopher Pez, / to thisnew source. SomeExcellent SOLO'S out of the whichis added/ First TARTINI PaduaBiblioteca Antoniana, Ms. 1896, possi- Partof Corelli'sFifth OP / and / ERA; Artfullytranspos'd bly in GiuseppeTartini's hand, probably used in his fittedto a FLUTEand a BASS,/ yet Continu'din the violinteaching. sameKey they were Compos'd in; / thewhole fairly Engraven./ London Printed for I. WalshServt to Her TENBURY FormerlySt. Michael's College, Tenbury, Marieat the Harpand Hoboy in KatherineStreet near Ms.752, now Oxford, Bodleian Library. Ornamented SomersetHouse in y' Strand/ I. HareInstrumentmaker arrangementsfor keyboard solo, probably from the at ye GoldenViol and in Cornhillnear ye Royal mid-18thcentury. English provenance. Exchange,and P. RandallInstrument: / seller at ye CAMBRIDGE CambridgeUniversity Library Add. Ms. andLute by Paulsgrave head Court with out Temple 7059, a miscellany,probably from the 1730sand 1740s. Barrin the Strand [1707; RISMP1689, Marx, Die Thetwo Corellimovements are of Englishprovence; Uberlieferung,pp.314-15, no.2]. SonataIX is forviolin, Sonata VII for keyboard solo. Frenchlute tablature of 1712: in thelibrary of in to MarcPincherle MANCHESTER ManchesterPublic Library (Newman Julestcorcheville 1927according Ms. withother I havebeen unable to tracethis FlowerCollection), 130, manuscripts (seen.30). manuscript. fromHandel's circle; claimedto CORELLI SONATE / a Violinoe Violoneo Cimbalo/ improbably preserve the ornamentsof Corelli'spupil Pietro Castrucci DE ARCANGELO CORELLI / Da / OPERA (1679-1752), ?c.1750. QUINTA ... TroisiemeEdition ou l'on a joint les agree- mens [sic] / des Adagio de cet ouvrage,composez [sic] GALEAZZI Published in the engraved plates accompany- par/ Mr.A. Corellicomme il les joue./ A AMSTERDAM ing the second edition of FrancescoGaleazzi, Elementi / ChezESTIENNE ROGERMarchand Libraire [1710; teorico-praticidi musicacon un saggiosopra l'arte di RISMC3812; Marx, Die Uberlieferung,pp.176-7, no.11]. suonareil violinoanalizzata, ed a dimostrabiliprincipi ri- BL17,853 BritishLibrary, Add. Ms. 17,853: a common- dotta, 2 vols. (Rome, 1791-6): Editione seconda ricorretta, placebook of Englishprovenance, written in several e considerabilmentedall' autoreaccresciuta coll'aggiunta handsbetween 1694 and the 1730s;the Corellientries di molte,e nuovetavole in rame,e specialmentedi quattro wereprobably made before 1720. gran prospetti concernenti l'arte dell'arco, only vol. I pub- DUBOURG 'Corelli's/ Solos / Grac'dby / Doburg'[sic]. lished (Ascoli, 1817). This manuscript,preserving ornaments by Handel's EASTMAN ANON Written into a copy of Jean-Baptiste concertmasterand Geminiani's Matthew pupil Dubourg Cartier's L'art du violon (Paris, 3/[c.1803]) in the Sibley (1703-67),belonged to AlfredCortot, to AlbiRosenthal Library,Eastman School of Music, Rochester(Vault MT andthen to MarcPincherle. It waspurchased by an 260 C327), p.63. unknownparty at the saleof Pincherle'slibrary March Itscontents datefrom FORLIANON Writteninto a copyof a Walshedition of (3-5 1975). apparently in the Bibliotecacommunale Aurelio before 1721. op.5 Saffi,Forli (Piancastelli ROMANStockholm Kungelige Musikaliska Akademiens 103). Bibliotek,Roman Collection Mss.61 and 97. Two manu- WALTHERJohann Gottfried Walther, 'Alcuni variationi scriptsin the handof JohanHelmich Roman (1694- sopr'unbasso continuo del SignrCorelli.' Only the first 1758),apparently written during his yearsof studyin variationkeeps Corelli's melody. ,C.1715-21. Someof Roman'sornaments were BL British Add.Ms. a learner's from 38,188 Library 38,188: copied Dubourg's. notebookof songsand keyboard works, with a series WALSH ANON A manuscriptbound into a London of re-edition Walsh& Hare RISM easy,fingered pieces. English provenance, perhaps of op.5by (c.1711; C3816; dating from the 1740s. Marx, no.14). owned David pp.177-8, Formerly by MADAN Boyden, now in the Music Libraryof the Universityof Writtenby (or for)Martin Madan, Alumnus of California,Berkeley (uncatalogued). For keyboard solo; Oxford,into a copyof a Walsh& Hareedition (London, of = Englishprovenance, c.1720 [Marx, Die Uberlieferung, c.1711) op.5(RISM3816 Marx,Die Uberlieferung, PP-177-8,no.14), in the privatelibrary of Michael p.322, no.B(a)l]. D'Andrea. GEMINIANIThe manuscript of op.5,no.9 by Corelli's pupilFrancesco Geminiani is lost,but it waspublished GIPEN Writtenby (or for)Anna Sophia Gipen into a in JohnHawkins, A GeneralHistory of theScience and copyof a Walshedition (London, 1740) of op.5(RISM Practiceof Music (London, 1776). C3827= Marx,Die Oberlieferung,pp.181-2, no.26), in FESTING Ornamentsby Michael Festingrecently dis- the privatelibrary of MichaelD'Andrea.

EARLY MUSIC FEBRUARY 1996 99 Ex.1 Corelli, Sonata,op.5 no.9, first movement, with various sets of ornamentation

Preludio Largo

Geminiani L. .__,_-

Tartini. 3......

Walsh Anon.

Cambridge Anon..

N ir I I I I Dubourg

ir

Manchester Anon. I

Manchester Anon. II

Corelli 1700

Walsh Anon. bass

for op.5 by his colleague, the violinist fast, light notes may intervene; other ornamenters William Viner.' Geminianiand Galeazziapparently have nearly smothered Corelli's melodies, although both ornamentedmuch of op.5, but from the former the structural notes can usually still be spotted. we have only one sonata, and from the latter only These differentphilosophies of ornamentationmay one movement. have arisen from the personal tastes of given orna- Ex.i contains a movement from one of the sonate menters, from considerationsof a given performer's da camera of op.5 for which a number of orna- technique, or from the nature of the occasions for mented versionssurvive. Even a superficialexamina- which the ornaments were set down on paper. But tion of these ornaments revealsa wide range of ap- there is also another factor at work here: generally proaches. Some of the ornamentersworked in such speaking,as the 18thcentury progressed, the notated a way that the principal notes of Corelli's melody ornaments for op.5 grew denser. This chronological are still readily perceptible, no matter how many development of ever denser ornamentation can

100 EARLY MUSIC FEBRUARY 1996 Geminiani

Tartini

WalshAnon.A

.1 141 Ntr t CambridgeAnon.

Ar

ManchesterAnon. IFIO fnwI r I p! ManchesterAnon. wr .t . ,, &, ,r, .

ManchestrAnon.

7 6 4 6 6 5 5 4 3

WalshAnon. bass

-of be corroborated by evidence that is completely in- Second, this apparentattempt of each subsequent of these dependent Corelli ornaments.'9What can generationto out-ornament its teachers'generation this mean? would of course eventually reach a point of First of it means that all, the sonatas were being diminishing returns. That point can perhaps be ever slower as played the century progressed. Not sensed in the extravagant,late 18th-centuryorna- does the only tempo slow down, but in places the ments for a Tartini Adagio, the first page of which of the must break player accompaniment the tempo was reproduced in Early music (Jan 1979), vii, p.51.21 entirely,waiting until the violinist has completed his Third, the progress of ornamentation toward flourishing;both Roger North in the second decade its most extreme forms coincided with the rise of of the and in century Quantz the sixth condemned a the newer galant and classicalstyles and the gradual of ornamentation for density Corelli's sonatas that abandonment of the solo accompanied by basso requiredplayers of the bass line to pause.20 continuo. Viewed in this light, the ever more

EARLY MUSIC FEBRUARY 1996 lol Ex.i cont. 5

Geminiani

Tartini

Walsh Anon. 3

tr

CambridgeAnon. o.

Dubourg

Manchester Anon. I

ManchesterAnon.I M jw

Corelli 1700

Walsh Anon. bass

elaborateornamentation may have been the resultof Corelli's sonatas from the 1720O onward, but what attempts to sustain an increasingly old-fashioned evidence is there for Corelli'sown practices?The an- style in the face of growing criticismor lack of inter- swer to this question is that there are two important est. And the galant predilection may also explain if ambiguous types of evidence: the already-men- why the early policy of Corelli, Petz and Matteis to tioned set of ornaments attributed to Corelli and ornament only the adagios of the sonate da chiesa some descriptionsof him performing. (nos.i-6) was abandonedin later sourcesto embrace The edition of op.5 with ornaments for the ada- also fast movements and the sonate da camera gios of the first six sonatas 'composed by Corelli as (nos.7-11). he plays them' was published in Amsterdam in 1710 Finally,the history of this trend towarddenser or- and almost immediately republished in London.22 namentation leaves open the crucial question of These highly idiomatic ornaments create a maxi- what Corelli himself had in mind when he or one of mum of effect with a minimum of effortby avoiding his colleagues or pupils performed a sonata from shifting during each passage. They are well known, op.5. That is to say, the extant sets of ornamentspro- for they were included in the old complete works of vide plenty of evidence for how some famous violin- Corelli edited by Joseph Joachim and Friedrich ists and other musicians may have played or taught Chrysander;23but doubt has been cast on their

102 EARLY MUSIC FEBRUARY 1996 (6)

Geminiani I F

Tartini

Walsh Anon.

CambridgeAnon. .-"

Dubourg F______Op_.. --"_. .

Manchester Anon. I w

M anchester A non . _•,, .o-- ,,.

II----

Corelli 1700

7 7 7

WalshAnon. bass

genuineness. The earliest sceptic was Roger North, sound plain. Some presumerhath published a continuall who, although he had never visited ,knew a few course of this sort of stuff in score with Corelly'ssolos. ... good Italian violinists working in London. When Upon the bareview of the printany one would wonderhow North saw these ornaments aftertheir London so much vermincould creepinto the work of such a master. pub- And nothing can resolve it but the ambition lication in must have ignorant of 1710-11they contradicted what learners,and the knavishinvention of the musick sellersto he understood about Corelli's practices, for he profit thereby.Judicious architects abominate any thing of wrote: imbroideryupon a structurethat is to appeargreat, and tri- fling aboutan harmoniouscomposition is no less absurd.24 It would be endlessto call in all those elegantturnes of voices and instrumentswhich are taughtby the Itallianmasters ... Scepticismabout the genuinenessof these orna- [and]accounted glorious ornaments, and to subjectthem to ments attributedto Corelli must have been ex- a resolution. are such as I terme They may curlinggraces, pressedin other quartersas well, for in 1716 their and are often at applyed ,and other principallpas- Amsterdam Estienne felt sages, resembling a neat Lesson contracted with a soft publisher, Roger, the slurre[,]more or less as thereis occasionor time to lett it in. need to appendto an advertisementof his edition Theseare shewedas fine thingsneer [at] hand solo,but have the followingoffer: '... those who are curiousto no use or effect at [a] distanceor in consort, and for that see Mr. Corelli'soriginal, with his letterswritten reason the best masters in such cases decline them, and on this subject,may see them at EstienneRoger's

EARLY MUSIC FEBRUARY 1996 103 Ex.icont. 8- Geminiani

Rr tr7 TartiniI1t Ann.• •-.

WalshAnon. bass ___ _lift._____ R_,

i4.

R F Cambridge FF do Anon...

Dubourg 1

ManchesterAnon. I 'FI

Manchester Anon.Anon II ..

Corelli 1700

7 7 6 6 4 # 5 4

WalshAnon. bass I.do LL1"

establishment.''2Although it is undeniablythe better alreadynegotiating the publication of Corelli's op.6 part of wisdom to be cautious in acceptingthe claims concerti grossi. of publishers on title-pages and in advertisements, This last remarkleads to three interrelatedhypo- Roger would have had to be extraordinarilyfoolish theses as to why Corelliwould have been publishing to have made this offer if he had not had Corelli's in Amsterdam instead of Rome or Venice: (1) the manuscript and authenticating letter in his shop. differences between the obsolete music-printing But, it has been objected,by 1716when Rogerinvited technology in Italy (Renaissancemoveable type) and curious parties to examine his Corelli autographs, the modern technology in Holland (engraving);(2) Corelli was dead, and no one in Amsterdamwould the superior placement of the Amsterdam mer- have been in a position to authenticatehis writing.26 chants to distribute their publications throughout On the contrary,I suspect there were people in Am- Europe, given the decline of Italy in international sterdam (among them Locatelli)who, by handwrit- trade;and (3) a gradualshift of the centres of Euro- ing and paper, would have known the difference pean wealth, culture and power to north of the Alps, between a Dutch forgery and an Italian original. with a concomitant rise of markets there for pub- The ornaments, after all, were published during lished music.27 Corelli's lifetime at a moment when Roger was Whatever the reasons, Corelli between his op.5

104 EARLY MUSIC FEBRUARY 1996 ...... V60V6?

J00il AP r I Z V dp

91 IF'4%, F AV A"2'W "

...... ;* ~?-~- IFNIz- rrrr itF1R1 1 p0 . : oil~

3 Ornamentedversion of Corelli op.5, no.9, Preludio:Largo (Cambridge, University Library, Add. Ms. 7059, f.67r)

(Rome, 1700) and op.6 (Amsterdam, 1714), Albinoni and as a result are neither European nor Chinese, and have between his op.3 (Venice, 1701)and op.4 (Amster- no determined style. It is like a literal translation, which can never the author's dam, c.1709), Marcello between his op.i (Venice, represent spirit. If they [the Chinese airs] were notated in the Chinese 1708) and (Amsterdam, before 1717), Valentini op.2 manner-that is to say, with the entire assemblage of Chi- between his op.8 (Rome, 1714)and the Concertia 5 e nese inflections, accents, national styles and articulations; 6 stromenti(Amsterdam, 1716), and Vivaldi between with all their connections to dances, to declamation, to ges- his op.2 (Venice, 1709) and op.3 (Amsterdam,1711) ture, to movements of the head, throat, shoulders, and each decidedto in Amsterdamrather than at hands, to the very turn of mind, and to the country's manner publish of would doubtless like them even less. As home. I take all this as circumstantialevidence for thinking-we they are, they appear merely flat and without expression. Who- the of the much probable genuineness maligned ever notated the pieces and charmed the Chinese by playing ornaments attributedto Corelli. them was unaware (and was unable to perceive) that he The publication of the ornaments attributed to hadn't put the Chinese spirit and taste into his notes that he had into his Corelli raised a few astonishinglymodern-sounding (also unaware) put playing. qualms on the part of the anti-Newtonian, pro- At this point in his polemic, Castelrecalled the orna- Cartesian Jesuit scientist Louis-Bertrand Castel ments attributedto Corelli: (1688-1757), known to music historians for his It was doubtless after the fact that Corelli had theoretical with Rameauand for his colour only composed disputes a separate volume, which I have seen, of all the appoggiat- . Castel (who had never been outside uras, passing tones, and small and large ornaments which he ,much less outside Europe) wrote a critique added to his sonatas when playing them, but which he had of an attempt to notate Chinese music publishedby not thought to provide when he first gave the sonatas to the are never with the a contemporaryof his who had travelledin Asia: public. happy way people per- form their works. In what way, then, have they put their into the We wouldlike to knowhow to appreciatethe Chineseairs spirit notes?28 that are runningaround Paris since the publicationin four Castel's is, of course, the one large volumes of the new and very curious Histoire de la question question-the Chine, written by the Reverend Father du Halde. that the early-musicmovement came into being to These airs are notated in the French or European manner try to answer.

EARLY MUSIC FEBRUARY 1996 105 Ex.2 Corelli,Sonata, op.5 no.4, first movement, as ornamentedby Corelli,the Pez anonymous and Roman

Adagio

Roman 97

'Corelli . i 1710 ' .

Corelli1700

6 7 7 6

Roman 97

Pez ......

Corelli 1700

9 7 7 6 6 5 S4

Roman 97

Pez

'Corelli'3LOP1710

Corelli 1700

6

o16 EARLY MUSIC FEBRUARY 1996 Roman-6 i 97 69

Pez

'Corelli 1710

Corelli 1700

6 6 6 6 7 4

9

Roman 97

Pez

'Corelli' 1710

Corelli 1700

6 6 3 6 6 5 5

Roman Op f I 97

Pez

'Corelli' L1F 1710

Corelli 1700

7 6 7 6 7 6

EARLY MUSIC FEBRUARY 1996 107 Ex.2 cont. 13 97Roman g __L_ _ _ _

Pez

'Corelli' 1710

Corelli 1700

6 6 4 3 6 6 5

15

Roman 97

Pez

W 'Corelli' F* FP

Corelli 1700

6 6 5 3 5 4 6 4 4 2

17 Roman 97

Pez

'Corelli _3 L_ 1710 9M

Corelli 1700

6 5 4 3

108 EARLY MUSIC FEBRUARY 1996 The only other ornaments for op.5 resembling suggests that on various occasions Corelli himself those attributedto Corelli are in two sonatas 'illus- would have played more notes than (and, certainly, trated throughout with proper Graces, by an emi- some different from) those found in his published nent Master',published in a 1707volume of sonatas ornaments, it does not necessarilymean, however, by ChristopherPe[t]z.29 These have a style, density that he would have favoured the kinds of orna- and function similar to Corelli's ornaments, even ments that became fashionableonly in the decades though they are for recorderrather than for violin. after his death. They are also the only other extant set of ornaments from Corelli'slifetime, all the others apparentlyhav- W e come now to descriptionsof Corelliper- ing originated later.30Ex.2 shows an Adagio from forming. The Frenchman FranqoisRaguenet one of the sonate da chiesaas graced by Corelli and (c.1660-1722) was in Rome in 1698, when the two by the Pe[t]z anonymous of 1707. most prominent violinists were Corelliand his pupil But what could it possibly mean that these are and life companion Matteo Fornari. Returning Corelli's ornaments 'as he played them', given that home, Raguenetwrote of the violin playing he had we believe that he would not have played them the witnessed in Rome: same in acoustics and for way varying differing If a Storm,or is to be describ'din a their occasions?In to answerthis we Rage, Symphony, attempting question Notes gives us so naturalan Idea of it, that our Souls can should not forget a fundamentaldifference between hardlyreceive a strongerImpression from the Realitythan music in manuscript and published music: in gen- they do from the Description;every thing is so brisk and eral, music in manuscriptwas tailored to the tastes piercing,so impetuousand affecting,that the Imagination, the Senses,the Soul, and the it self are all into and requirements of a particular time and place; Body betray'd a generalTransport; 'tis impossiblenot to be born down with music, on the had to be calcu- published contrary, the Rapidityof these Movements:A Symphonyof Furies lated for many tastes and requirementsin unknown shakesthe Soul;it underminesand overthrowsit in spite of times and places. Common sense suggests, there- all its Care;the Artisthimself, whilst he is performingit, is fore, that any ornaments Corelli sent to Amsterdam seiz'd with an unavoidableAgony, he tortureshis Violin, he rackshis he is no Masterof to be would have been minimal, Body; longer himself,but is agi- published all-pur- tatedlike one with an irresistableMotion. that could work for of possest pose examples many types If, on the other side, the Symphonyis to expressa Calm violinists in a variety of venues. These would have and Tranquility,which requiresa quite differentStyle, they been intended primarily for inexperienced players howeverexecute it with an equal Success:Here the Notes who needed to be shown what was wanted in this descend so low, that the Soul is swallow'dwith 'em in the of music, not for virtuosos, who would be well profoundAbyss. Every String [recte stroke] of the Bow is of type an infinite on a which able to take care of themselves in that Length,ling'ring dyingSound, decays department. gradually'till at last it absolutelyexpires.34 This emerges not only from a general understand- ing of the function of ornamented editions,3'but The anonymous author of this translation, from Roger'sannouncement, while his ornamented published in 1709, appended a note to this passage, edition of op.5 was being prepared,that, which readsas follows: ... he is the ornamentsof the presentlyengraving adagiosof I nevermet with any Man that suffer'dhis Passionsto these sonatas,which Mr. himselfhas been hurry Corelli good him awayso much, whilst he was playingon the Violin, as enoughto composecompletely afresh, as he playsthem. the famous Corelli;whose will sometimes Thesewill be trueviolin lessons for all Arcangelo Eyes amateurs.32 turn as red as Fire:his Countenancewill be distorted,his roll as in an and he in so much to Furthermore,by six years after Roger published Eye-Balls Agony, gives what he is doing that he doth not look like the same Man.35 Corelli's ornaments, when (as we have seen) their authenticity was apparently being questioned, he An Englishmanwho owned a copy of this translation took the trouble to alter his wording from 'the of Raguenet,and who apparentlyhad heard Corelli ornaments ... as [Corelli] plays them' to 'the orna- perform, glossed the translator's gloss with the ments ... as Mr. Corelli wishes that people play words: 'Corelliis a conceited fellow[,] half madd for them.'33'People' here means amateurs. If all this all hee is so great a master.'36

EARLY MUSIC FEBRUARY 1996 109 4 The frontispieceof the first edition of Corelli'sop.5. An allegoricalfigure presents Corelli's music to a warriorholding the escutcheon of Sophie Charlotteof Hanover,Electress of Brandenburg,to whom op.5 is dedicated.On the left are the instrumentsof war, to the right, symbolizingthe arts and sciences, musical instrumentsand a classicalpavilion.

A final descriptionof Corelliperforming does not the followingsommeil. pretend to be an eye-witnessaccount. Rather,it is an 6 The Musesawaken Corelli and seat him next to Apollo. Corelli'sthanks.37 account of his peculiargifts as imaginedby a distant 7 admirer;we may suppose that it is based on hearsay For the present inquiry, the relevant movements and on a sensitive estimate of what would convey are the third and fourth. The 'Hippocrene spring' Corelli's greatness to French auditors. This is of the third movement is so called because, FrangoisCouperin's Le Parnasse,ou L'Apothedosede according to Greek mythology, it had gushed forth Corelli,published in Paris in 1724, a in under the hoof of the winged horse Pegasus; it seven movements bearing the following program- was said to have the virtue of conferring poetic matic inscriptions: inspiration on those who drank its water. The results of Corelli's can then be heard in 1 At the foot of Mount Parnassus,Corelli beseechesthe imbibing Musesto accepthim amongthem. the fourth movement, where the word 'enthusiasm' 2 Delightedby the favourablereception given him on Par- is of course used in its original sense of 'possession nassus,Corelli indicates his pleasure.He proceedswith his by a god, supernatural inspiration, prophetic or followers. The evidence of ex.i that Corelli from the his follow- poetic frenzy'. suggests 3 drinking Hippocrenespring, was not the admirer of ers proceed. Couperin only 18th-century 4 Corelli'senthusiasm, caused by the Hippocrene'swaters. Corelli who equated poetic frenzy with demisemi- 5 Afterhis enthusiasm,Corelli sleeps; and his troupe plays quavers.

110 EARLY MUSIC FEBRUARY 1996 Given the relativelysimple, apparentlyApollon- that he not only played,but looked like one inspired.His ian nature of Corelli'smusic, it has seemed to some eyes were fixed,his underlip fell, and drops of effervescence distilledfrom his countenance.41 modern commentators that the Dionysian wildness just describedcan be accountedfor only by astound- Beethoven in Vienna in 1799: ing ornamentation, more like that documented in In his improvisations... Beethovendid not deny his ten- the later 18th-centurysources than that attributedto dency toward the mysteriousand gloomy. When once he Corelli himself. These wild descriptionshave there- began to revel in the infiniteworld of tones, he was trans- also aboveall fore been brought forward to cast increased doubt ported earthlythings; - his spirithad burstall bonds, shaken off the of servitude, on the modest ornaments attributed restricting yokes and relatively 1710 soaredtriumphantly and jubilantlyinto the luminousspaces to Corelli. On the contrary,I should like to raise the of the higheraether. Now his playingtore alonglike a wildly question of the nature of these supposedly eye-wit- foaming cataract,and the conjurerconstrained his instru- ness testimonies. ment to an utteranceso forcefulthat the stoutest structure was able In a review of a book containing numerous eye- scarcely to withstandit; and anon he sank down, witness accounts of CharlesRosen exhausted,exhaling gentle plaints, dissolving in melancholy. Chopin, pointed Againthe spiritwould soar aloft,triumphing over transitory out a main truth that is often overlooked:what audi- terrestrialsufferings, turn its glance upward in reverent ences see and hear is profoundly influencedby what sounds and find rest and comforton the innocentbosom of they are expecting to see and hear.38If a performer's holy nature.42 reputation precedes him, it is likely to alter power- Paganini in Paris in 1831: of his Received notions fully perceptions playing. The extraordinaryexpression of his face, his livid about the nature of will paleness, inspiration likewise exert his dark and penetratingeyes, together with the sardonic their influenceon perceptions.The wild descriptions smile which occasionallyplayed upon his lips, appearedto of Corelli performing must, therefore,be evaluated the vulgar,and to certaindiseased minds, unmistakable evid- ence of a Satanic in the context of similardescriptions. Here, then, are origin.43 accounts of some other instrumentalistsornament- But the most famous 18th-centurydescription of or ing improvising. musical possession is Diderot's fictional portrayalof Locatelli in Kassel in 1728: Jean-Philippe Rameau's nephew, Jean-Frangois, written in the The scene is a Parisian Whatdoes the common man know about to which 1760s. caf6. precisely a discussion of music grimacesinspiration can tempt one?If grimacesand inspira- During reminiscent of the tion wereentirely inseparable, then one might ratherwish to disputes of the Guerre des Bouffons of the early become less of a highflyerand to remainmore in controlof 175Os,Rameau's nephew has gone into a trance and, oneself.... who heardLocatelli Anyone improvise... knows with his voice alone, performs from what occurredon that before passages grimaces occasion; coming out famous church music and of the of his trancehe from time to time shouted,'Ah!, que dites- period, vous de cela?'39 while everyone else in the caf6 has ceased eating, drinking,or playing chess and stares at him: Mozart in London in 1765: ... he noticed nothing, he kept on, in the grips of mental Findingthat he was in humour, and as it were inspired,I possession,an enthusiasmso closeto madnessthat it seemed then desiredhim to compose a Songof Rage,such as might doubtfulwhether he would recover.... [H]e apedthe differ- be for the proper opera stage. The boy again looked back ent instruments.With swollencheeks and a somberthroaty with much archness,and began five or six lines of a jargon sound, he would give us the horns and . For the to proper precede a Song of Anger.This lasted he assumeda shrillyet nasalvoice, then speededup about the same time with the [previouslyrequested] Song of the emissionof sound to an incredibledegree for the strings, and in the middle Love; of it, he had workedhimself up to for whose tones he found close analogues.He whistledpic- such a that he beat his pitch, harpsichordlike a personpos- colos and warbledtransverse flutes, singing,shouting, wav- sometimesin his sessed,rising chair.40 ing about like a madman. ... He wept, laughed, sighed, looked or or C. P. E. Bach in placid melting enraged.... He had completely Hamburg in 1772: lost his senses.44 Afterdinner ... [he sat] down againto a ,and he played, with little intermission,till near eleven o'clock at That these descriptions of musical inspiration or night. Duringthis time, he grew so animatedand possessed, possession are so strikinglysimilar from one to the

EARLY MUSIC FEBRUARY 1996 111 next, and to descriptionsof people in states of mad- observers,coloured their descriptions and explana- ness or of religious or sexual ecstasy, signals the tions of what they witnessed, privileging certain presence of a historical topos.That is, the vocabu- aspects and renderingothers invisible. lary and the imageryfor describingsuch states were One can counter the wild descriptionsof Corelli pre-existent, and may have been used more-or-less with his pupil Geminiani'sreport to automaticallyby writers to whom they seemed the that the style of Corelli'sperformance 'was learned, proper way of dealing with certain mysterious elegant and pathetic, and his tone firm and even', aspects of human behaviour.45This is not to suggest resembling 'a sweet trumpet'. Hawkins adds that that performers, when exerting themselves to 'Corelli is said to have been remarkable for the improvise, did not make grimaces or become mildness of his temper and the modesty of his abstracted, but rather that the topos of demonic deportment.'46Here is another topos that could be possession, firmly entrenched in the minds of the documented:Arcangelo Corelli as archangel.47

Thisarticle is a revisedversion of a paper nariodalla morte, 1913 (Bologna, 1914), movements,see RobertSeletsky's givenat theInternational Baroque Vio- p.39;M. Pincherle,Corelli et son temps articleelsewhere in this issue. lin Symposiumsponsored by theSticht- (Paris,1954), trans. H. E. M. Russellas ing voorMuziekhistorische Uitvoering- Corelli,his life,his work(New York, 9 Marx,Die Uberlieferung,pp.176-7, spraktijkas part of the1989 Utrecht 1956),p.85). Some early solo sonatas, 322-3. Festival.The initial research was under- whichmay be by Corellibut arenot takenin preparationfor a graduatesem- relatedto op.5,are published in Arcan- io RogerNorth on music:being a selec- inargiven at CornellUniversity in the gelo Corelli:Historisch-kritische Gesam- tionfrom his essays written during the springof1983. I shouldlike to acknow- tausgabeder musikalischen Werke, v: years c.1695-1728,ed. J. Wilson (Lon- ledgethe contributions of themembers of Werkeohne Opuszahl (Cologne, 1976). don, 1959), p.161; H.-P. Schmitz, Die thatseminar: Ruth Berry, Glenn Bur- Kunstder Verzierungim 18.Jahrhundert dette,Caryl Clark, Sarah Gray, Ruth 5 H. J.Marx, Die Oberlieferungder (Kassel,1955), P.28. Johnsonand RobertSeletsky, as wellas WerkeArcangelo Corellis. Catalogue raisonn Die 11 In this contextit be worth mycolleague Sonya Monosoff. [hereafter iberlieferung] might = ArcangeloCorelli: Historisch-kritische recallingtwo early17th-century writers 1 Facsimiles of the editions of Rome Gesamtausgabeder musikalischen who suggestedthat unornamentedver- 1700 and Amsterdam 1710are found Werke,Supplementband (Cologne, sions servenovices with limitedtech- in Archivummusicum: Collana di testi 1980),pp.165-84, 314-22; RISM, Serie nique as well as trueartists, who will rari, xxi (Florence, 1979). Another fac- A, supplement,CC3841b. add theirown ornaments,whereas ver- simile of the Rome 1700 edition is in sions with written-outornaments are Corelliand his contemporaries,ed. J. 6 Burney,General History, iii, P.556; for performerswith big techniquesbut Adas, The Eighteenth-Century Con- ed. Mercer,ii, p.442.In a manuscript smallunderstanding (Bartolomeo Bar- tinuo Sonata, i (New York, 1991). of op.5in Forlidated 1842 (Biblioteca barino,II secondo libro delli motetti ... communaleAurelio Saffi, MS 1/95) a una vocesola (Venice, 1614), preface; 2 Charles Burney, A GeneralHistory of the sonatasare called 'lezionj'; in the EnricoRadesca di Foggia,II Quinto Musicfrom theEarliest Ages to thePre- Bolognaedition of 1711(RISM C380s; librodelle canzonette, madrigali et arie, sent (London, 1776-89), iii, P.556; ed. Marx,Die Oberlieferung,p.177, no.13) a tre,a una,et a duevoci (Venice, 1617), F. Mercer (New York, 1957), ii, P.442. they aresaid on the title-pageto be preface;quoted in R. Donington, 'Al'Insegna del Violino'. 'Monteverdi'sfirst opera', The Monte- 3 E.g. heard some of verdicompanion, ed. D. Arnoldand Corelli's concerti grossi when he was 7 Hawkins,General History, ii, p.678; N. Fortune(New York,1968), p.267n). in Rome in the 168os, but they were Burney,General History, iii, p.87n;ed. not published until 1714.See also Sir Mercer,ii, pp.442f. Consideralso Paolo 12 Letterof 21Jan 1774 to Thomas JohnHawkins, A GeneralHistory of the BenedettoBellinzani, 12 Suonate da Twining,The letters of Dr Charles Scienceand Practiceof Music(London, chiesaa 3 ... ad imitazioned'Arcangello Burney,ed. A. Ribeiro(Oxford, 1991), 1776;R/New York, 1963), ii, p.677. Corelli;William Topham, Six Sonata's i, p.164. ... compos'din imitationofArchangelo 4 On 3 June 1679 Corelli sent a sonata Corelli... operaterza; and Georg 13 Marx,Die Uberlieferung,pp.323-4. for violin and lute or violone to one PhilippTelemann, Corellisierenden Count Laderchi (C. Pinacastelli, In Sonaten. 14 Charles-Henride Blainville,Histoire Onoredi ArcangeloCorelli, Fusignano generale,critique etphilosophique de la ad ArcangeloCorelli nel secondocente- 8 Forthe variationsfor shortdance musique(Paris, 1767), p.46.

112 EARLY MUSIC FEBRUARY 1996 On the 15 N. Zaslaw, 'Barthdlemon, Frangois Quantz, playing flute, pp.179- 0 New Grove. 80. Likewise, in the music notebook of Valft-ollifer Farls"1111,51t, Hippolyte', it an English harpsi- early 18th-century ra off life I:esfilfal 16 , Versuch chord pupil, John Barrett, after expla- flrf?q einerAnweisung, die Fl6tetraversibre zu nations of the two of principal types August4 - August16, 1996: spielen (Berlin, 1752;R/Leipzig, 1983), ornaments apparently dictated by his p.151-2;trans. E. Reilly as On playing teacher, is the remark: 'But (Nb.) MedLwval Programme theflute (London, 1966), pp.179-8o). whether they be Beats, or Shakes,you "TheEssential Middle Ages" must be sure to 'em in time; a 2-weekcourse foradvanced participants, conducted by 17 studied the play Burney reported having otherwise had better the violin and French with Nicola Matteis, you play only Sequenlia (K8In): plain notes' (London, British Library, Barbara Thornton voice Jr in Shrewsbury in the early 1740s, Add. Ms. 41,205). voice& adding: 'He played Corelli's solos with Benmra n Bagby harp more and than Gayer bowedstrings simplicity elegance any 21 Adagiode Mr. Tartini.Varie de Eliabef•s performer I ever heard' (General His- tresutiles Memoirs Dr. Charles plusieursfaqonsdifferentes, 21 - 2, 1996: tory,ii, p.41on; of aux veulentapprendre July August ed. S. G. personnesqui a Burney, 1726-1769, Klima, destraits sous chaque notte de Bowers and K. S. Grant faire Baroque Programme (Lincoln, 1988), l'Harmonie, in J. B. Cartier, L'art de "Paths to But died in Vienna Bach" PP.33-5). Matteis, Jr violin (Paris, [1798]; R/New a2-week course foradvanced participants, focusing on and was buried in the of Sankt 3/c.18o3; the17 parish York, 1973);also reprinted in Schmitz, Germanmusic of l8thcenturies-conductedh by on October Jakob, Penzing, 23 1737 Die Kunstder Verzierung, insert; and in DavidDouglass violin (A. D. McCredie, 'Nicola Matteis, the R. Donington, The interpretationof Elen Hargis voice Caldara's collaborator and Younger: earlymusic: new version (London, violin ballet in the service of the MoniMaHuggelt 1975), pp.602-5. Ray Nurse practice emperor, Charles VI', , performance Paul O ette lute essayson his lifeand times,ed. B. W. 22 Marx, Die Oberlieferungen, Pritchard Byron Sc*setrknl keyboard (Aldershot, 1987), PP.156-82). PP-176-7. My sources are the 1979 fac- Margret viol So the man Burney studied with must simile of the 1710Amsterdam edition "n emas have been a son of Matteis, Elisabelh Wrightkeyboard Jr-prob- (see n.1 above) and a copy of the 1711 ably the 'Mr J Nichola Mattees' who London edition from it, in the pirated 28 - 1996: died in Shrewsbury in 1760 and was Cornell University Music Library July August2, buried in St Chad's parish (N. Zaslaw, (Locked Press ML M219 C79++ op.5). Lute Society 'The violinist: Nicola Matteis Workshop vanishing "SummerWorkshop West of the the Younger', Country life (24 March 23 CEuvresde ArcangelloCorelli, 5 vols. Lute Society of America, Iinc." 1988), clxxxii, p.176). (London, 1888-91). a I-weekworkshopfor lulenists ofall levels - conducted by Paul O'Dele, Ray Nurse, 18 Yale University, Beinecke Libarary, 24 RogerNorth on music, pp.16o-61. &others tba Mus. ms. 16 (Cousser's commonplace StephenStubbs book). 25 In the publisher's catalogue at the back of Denis Vairasse, Histoire des Mid-Julyto mid-August,1996: 19 Lettrede M. l'AbbdCarbasus a M. Sevarambes(Amsterdam, 1716),as *** Vancouver Early Musk de auteur du Temple du gout, sur la reported in Pincherle, Corelli, his life, 1996 modedes instrumens de musique,avec his work, '... ceux qui seront Festival p.llO: series l'originede la vielle,ouvrage curieux & curieux de voir de M. Corelli anoutstanding ofconcerls featuringfaculty members l'original andguest artists and ensembles, with appearances by interessantpour les amateurs de l'har- avec ses lettres a ecrites ce sujet peu- 1The "g's Noyse &others monie (Paris, 1739), as quoted in the vent les voir chez Estienne Roger.' The Mercure de France, June 1739,PP-1,357- entire contents of the 1716catalogue are 61; Louis Bollioud de Mermet, De la reproduced in F. Lesure, Bibliographie Other Programmes corruptiondu goustdans la musique deseditions musicales publiees par Esti- a one-weekEarly Music & Dance Workshop, frangois (Lyons, 1746;R/New York, enneRoger et Michel-CharlesLe C0ne anda series of weekend workshops forsingers 1978); Quantz, Versuch,pp.308-9, (Amsterdam1696-1743) (Paris, 1969), &instrumentalists ofall levels, tba 318-19 (On playing the flute, pp.322, pp.55-87. Esteban Le rivoluzioni del 331); Arteaga, Fora detailedbrochure, contact teatromusicale italiano dalla sua origine 26 M. , 'I1problema degli fino al present (Venice, 2/1785), iii, abbellimenti nell' Op. V di Corelli', Vancouver Early Music pp.5-6; Burney, GeneralHistory, ii, Quadernidell' Accademia Chigiana Programmte & Festival p.814;anon., Wahrheitendie Musik (1947), x, pp.5-25. See also M. Rinaldo, 1254West 7th Avenue betreffend,gerade herausgesagt von ArcangelloCorelli (Milan, 1953), VancouverBC, Canada V6H IB6 einemteutschen Biedermann (Frank- pp.221-33. Tel:(604) 732-1610 I Fax:(604) 732-1602 furt, 1777),pp.71-2. E-mail: des [email protected] 27 Lesure, Bibliographie edditions CompuServe:74200,347 20 RogerNorth on music, p.162; musicales,pp.9-31.

EARLY MUSIC FEBRUARY 1996 113 28 'Suite& CinquikmePartie de Nou- here 41-2: '... il [Roger] grave actuelle- vellesExperiences d'Optique & ment les Agreements [sic] des Adagios d'Acoustique:adressees ~ M. le Presi- de ces Sonates,que Mr.Corelli lui Music dent de Montesquieu,par le P&reCas- meme a eu la bont6de composertout tel Jesuite', Mimoires pour l'histoiredes nouvellementcomme il les joue. Ce EarAy scienceset des beaux-arts (the so-called serontde veritables de violon lemons Workshop 'Journal de Trevoux'), xxxv (Nov 1735), pourtous les Amateurs.' pp.2,364-6. 33 The 'l'on a les FACULTY: 1710title-page's joint 29 Christopher Pe[t]z, A Second collec- agremensdes Adagiode cet ouvrage, JOHNBABOUKIS,vocalensemble tion of/s ONATAS, for two / FLUTES composez par Mr. A. Corelli comme il SYLVAINBERGERON, lute and aBASS /... to which is added / les joue' has becomein the 1716notice, FRANCISCOLPRON, recorder Some ExcellentSOLO 's out of the First '... avec les agrements marques pour CLAIREGUIMOND, baroque flute Part of/ Corelli'sFifth OPERA;/Art- les adagio,comme M. Corelliveut and to a FLUTE les VALERIEKINSLOW, voice fully transpos'd fitted qu'on joue.' and a BASS, Continu'd in the same DOUGLAS / yet Key they were Compos'din (London: 34 FranCoisRaguenet, Parallkledes KIRK, cornetto& Walsh & The italiens et des en ce qui regarde Hare, [1707]). phrase francois HANKKNOX, continuo 'illustratedthroughout with proper la musique et les opera (Paris, 1702; BETSY Graces,by an eminentMaster' comes R/Geneva, 1976), PP.43-5: '... s'il faut faire une la MACMILLAN, da not fromthe publicationitself but symphonie qui exprime gamba froman advertisementfor it in the Post tempete, la fureur, ils en impriment si NATALIEMICHAUD, recorder Man (12-15Apr 1707). The likeliest bien le caract&redans leurs Airs, que MARIE-FRANCE candidatefor authorshipof theseorna- souventla realit6n'agit pas plus forte- RICHARD, baroqueoboe mentsis one of two recordervirtuosos: ment surl'ame; tout y est si vif, si aigu, JohnPaisible (active in Londonc.1674- si pergant, si impetueux & si remuant, Special Guests: 1721)or John Loeillet (active in London que l'imagination, les sens, I'ame, & le KENNEHGILBERT, c.1705-30). corps meme en sont entrainez d'un harpsichord commun on ne se S , vilin transport; peut rANLEYRmTCHTIbaroque 30 There is, however, also a modestly defendre de suivre la rapidite de ces Forthis fourthyear of the ornamentedSarabande from op.5, mouvements; un symphonie de Furies the no.7, in a Frenchlute manuscript, agite l'ame, la renvers, la culbute Workshop, harpsichord which dates from le de violon classeswith Kenneth Gilbert apparently 1712(see malgre elle; JoUeur qui M. Pincherle,'De l'ornamentationdes l'Execute ne peut s'empecher d'en etre willfocus on Book II of the sonates de Corelli', Feuillets d'histoire transporte & d'en prendre la fureur, FrescobaldiToccattas, among du violon (Paris, 1927), PP-133-43,here il tourmente son violon, son corps, il otherworks. 139-40). According to Quantz (see n.16 n'est plus maitre de luimeme, il s'agite The willrun above)Matteis's ornaments were simi- comme un possede, il ne sauroit faire workshop larto Corelli'sbut somewhatmore autrement. fromFriday, May 31", to elaborate.The ornamentsattributed to Sunday, June 9bh1996. The Corelli'spupils Castrucci and Gemini- 'Si la Symphonie doit exprimer le basiccost is CDN$345, with ani seem to come from their years in calme & le repos, quoi qu'elle demande roomand board extra. Englandrather than from their un caractere tout oppose, ils ne l'exe- de ce Mr.Gilbert's apprenticeships in Rome, although cutent pas avec moins succes; harpsichord sont des tons descendent si bas, classes be to this is uncertain. qui will open auditors qu'ils abiment l'ame avec eux dans leur for $210. 31 For instance, Georg Philipp Tele- profondeur; ce sont des coups d'archet For a brochureor more mann, Sonate methodichea violino solo d'une longueur infinie, trainez d'un call or o flauto traverso,op.13 (Hamburg, son mourant qui s'affoiblit toujours information,please entierement.' writeto: 1728);Carlo Zaccari, The True Method jusqu'a ce qu'il expire of Playing an Adagio made Easy by Hank Knox A between the French TwelveExamples (London, c.1765); 35 comparison 555 SherbrookeSt. West Pietro Nardini, VII Sonates ... avec les and Italian musick and opera's. Trans- lated the with some Montreal,QC H3A 1E3 Adagios brodes... apr6sles manuscrits from French; remarks.To which is added a critical originaux de l'auteur (Paris, n.d.); and Canada and the TartiniAdagio cited in n.21above. discourseupon opera's in England, EMAIL:[email protected] a means proposedfor their improvement Tel:(514) 398-4548, x 5683 32 F. Lesure, 'Estienne Roger et Pierre [trans. attrib. J. E. Galliard, perhaps Fax:(514) 398-8061 Mortier: un episode de la guerre des wrongly as Galliard is not known to Universit contrefagons g Amsterdam', Revue de have visited Italy] (London, 1709), Mc~Cll musicologie(1956), xxxviii, pp.33-48, pp.20-21. The reprint, ed. C. Cudworth

114 EARLY MUSIC FEBRUARY 1996 (Farnborough, 1968), is of an anony- Beethoven:impressions by his contempo- Baroquebassoons mously annotated copy at Cambridge raries (New York, 1926), PP.35-47, here afterI.C. Denner University. p.36. (d =440, 415 Hz) A between the French and Rottenburgh(415) 36 comparison 43 Frangois-Joseph FRtis,Biographical and and Italian musick and opera's,p.21. notice of Nicolo Paganini (London, Renaissanceflutes 37 Le Parnasse, ou de 1852), P.59. by L'Apotheose BARBARASTANLEY Corelli (Paris, 1724). 'Corelli au du pied Denis Diderot, Rameau's & 21 BroadStreet Parnasse les Muses de le recevoir 44 nephew prie other works,trans. J. Barzun and R. H. Clifton parmi elles. Corelli, charme de la Bowen (Indianapolis, 1964), pp.67-8. BedsSG17 5RJ bonne r&ceptionqu'on lui fait au Par- England nasse, en sa Il continue marque joye. 45 M. Barasch, 'The tossed-back head: avec ceux Corelli qui l'accompagnent. the of a in Renais- buvant Ala source sa ambiguity gesture d'Hypocrene, sance art', und Gleichnis:Fest- continue. Entouziasme de Spiegel Troupe Jacob Taubes,ed. N. Bolz Corelli cause les eaux schriftfiir par d'Hypocrene. and W. Hubener 1983), Corelli, apres son Entouziasme, (Wtirzburg, pp.11-22; G. Rouget, Music and trance: s'endort; et sa le Sommeil Troupe joue a theoryof the relations between music suivant. Les Muses reveillent Corelli, et Baroqueand Renaissance and possession(Chicago, 1985);G. Fla- le placent aupres d'Apollon. Remerci- curtals/dulcians herty, 'Transport, ecstasy and enthusi- ment de Corelli.' Couperin was a col- (d = 440, 465 Hz) asm', French musical thought, 16oo- and league at the French court of Corelli's 18oo, ed. G. Cowart (Ann Arbor, MI, MersenneBasson pupil, Jean-Baptiste Anet. 1989), pp.81-93. The classical text on by 38 C. Rosen, 'The Chopin touch', this subject is Plato's dialogue Ion. For G&M LYNDON-JONES New Yorkreview of books,28 May 1987, a clear18th-century statement, see The book in is Charles Batteux, Les beaux arts reduit ta 20 QueenStreet pp.9-11. question J.-J. St Albans and teacher un meme principe (1746) (Paris, 1773), Eigeldinger, Chopin:pianist HertsAL3 4PJ as seen his PP-51-7,164-9. by pupils (Cambridge, 1986). England 39 Jacob Wilhelm Lustig, annotation 46 Hawkins, GeneralHistory, to his Dutch translation of Charles pp.674-6. Burney, The Present State of Music in Charles Wells , the Netherlands, and United 47 The following works, not cited Early Woodwinds (7 Provinces(London, 1773)as Rijkgestof- above, were also consulted: G. Bur- 'I feerd verhaal van de eigenlijkegesteld- dette, 'New finds in violin music of the heid der hedendaagscheToonkunst... Corelli School', Music researchforum: Maker of transverse flutes of (Groningen, 1786), p.389: 'Wat heeft journal of graduate student research, the renaissance, baroque het gemeen juist te weeten, tot wat Universityof Cincinnati College- and classical periods. grijnzingen de geestdrijving konne ConservatoryofMusic (Winter 1987), verleiden? Waren dezelve daarvan ii/1,pp.7-21; M.Betz, 'Verzierungs- volstrekt onafscheidelijk, so mogt men praxisim italienischenStil am Beispiel Models include: liever wenschen, een minder soort van der Sonate von A. Corelli', Tibia Baroqueflutes after op.5/9 Hotteterre& Schuchart. overvlieger te worden en in 't bezit te (1983), viii, PP.343-50; D. Boyden, Classical flutes after van zich zelven...... 'Corelli's solo violin sonatas blijven [W]ie "grac'd" Metzler & Kirst. Locatelli heeft hooren fantaiseeren, by Dubourg', FestskriftJens Peter Also: die weet, wat Grimassen daar voor- Larsen,ed. N. and H. Glahn bij Schiorring Renaissance flutes vielen: aleer Hij, weer tot zich zelven (Copenhagen, 1972), pp.113-25; komende, "Ah!, D. 'The Corelli "solo" sonatas Classical zomwijlen uitriep: que Boyden, French flageolets dites-vous de cela?"' and their ornamental additions by Repairs and restorations. Corelli, Geminiani, Dubourg, Tartini, Daines 'Account of a 40 Barrington, and the "Walsh Anonymous"', Very Remarkable Young Musician', Musica antiqua europceorientalis, iii Brochure f rom: Philosophicaltransactions the of Royal (Bydgoszcz, 1972), pp.591-607; SForge Cottage, 32 Manor Road, Society (London, 1771), Ix, pp.54-64. S. Fikentscher, 'Die Verzierungen zu Hatfield, Doncaster, DN7 6SD Corellis England. 41 Charles Burney, The Present State Arcangelo Op. 5 Violinsonaten STelephone:1011302 846492 of Music in Germany, the Netherlands, und ihr Beziehung zwischen Notation and United Provinces,ii, p.260. und Realisation', typescript, 1992;H. J. ....:.•--3 Marx, 'Some unknown embellishments 42 Ignaz von Seyfried, Beethoven's of Corelli's violin sonatas', Musical Studien (1832), trans. O. G. Sonneck as quarterly(1975), Ixi, pp.65-76.

EARLY MUSIC FEBRUARY 1996 115 February23,1745 Marriage ceremony of Louis, Dauphin of France, and Maria Theresa, Infanta of Spain Hennin col. - Photo: BNF

116 EARLY MUSIC FEBRUARY 1996