Shepherds of the Regency: a Study and Critical Edition of François Campion’s Avantures Pastorales Op.3 (1719) by Konstantin R. Bozhinov Master of Music, McGill University, 2013 Bachelor of Music, University of British Columbia, 2011 Diploma in Performing Arts, Douglas College, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music, University of Victoria Konstantin R. Bozhinov, 2017 University of Victoria All rights reserved. This may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. dissertation ii Supervisory Committee Shepherds of the Regency: a Study and Critical Edition of François Campion’s Avantures Pastorales Op.3 (1719) by Konstantin R. Bozhinov Master of Music, McGill University, 2013 Bachelor of Music, University of British Columbia, 2011 Diploma in Performing Arts, Douglas College, 2009 Supervisory Committee Dr. Susan Lewis, Dean, Faculty of Fine Arts Supervisor Dr. Elissa Poole, School of Music Departmental Member Dr. Jennifer Wise, Theatre Department Outside Member iii Abstract This dissertation is the first study of François Campion’s (1686-1747) Avantures Pastorales Op.3 (1719), a collection of airs, interspersed within a connecting narrative. The story is a retelling of the myth of Damon and Philis, while the fifty-two interspersed airs are typical for the genre in the early-eighteenth century and provide emotional depth and commentary on the protagonists’ relationship. The dissertation features a critical analysis of the music, context and plot, alongside a critical edition. I will argue that although the Ballard firm held monopoly over the air publishing business, Campion found a market niche in the wealthy Parisian salons by publishing Avantures Pastorales in an innovative and creative format. He repackaged a very familiar product by adding a continuous, connecting narrative based on an ancient love myth to a collection of airs. In my guide for staging and performance, I argue that this collection would have had great appeal and most likely could have been performed at one of the Parisian salons, or in another intimate domestic context. The air had a central place during salon gatherings, as its performance allowed participants to express emotions of passionate love and courting that were socially prohibited in conversation. I also provide incipits and annotations that reveal the airs to be stylistically generic. Analyzing the expressed affects, however, showed that a rich representation of emotions complement and enhance the story, while also compensating for the overall quality of the music. I argue that the collection takes approximately three hours to perform and can be staged with a minimum of four singers, one narrator, and a harpsichord. In the Appendices, I provide a transcription, translation and a critical performing edition of Avantures Pastorales. This dissertation fills an important gap in the literature on François Campion and contributes to a complete picture of the history of the French air. iv Table of Contents Supervisory Committee ............................................................................................................ ii Abstract.................................................................................................................................... iii Table of Contents ..................................................................................................................... iv Acknowledgments .....................................................................................................................v Dedication ................................................................................................................................ vi Introduction ...............................................................................................................................1 Chapter 1: Avantures Pastorales .............................................................................................. 18 I. Aristotle, part 1 - Plot ....................................................................................................... 23 Sources for the myth ........................................................................................................ 23 Campion’s plot ................................................................................................................. 26 II. Aristotle, part 2 – Thought .............................................................................................. 31 The Airs - background ..................................................................................................... 32 The Airs – commentary ................................................................................................... 46 III. Aristotle, part 3 – Music and the Passions ..................................................................... 73 The Agitated Passions ...................................................................................................... 75 The Modest Passions ....................................................................................................... 81 The Neutral Passion ......................................................................................................... 85 Chapter 2: Performance .......................................................................................................... 88 I. Aristotle, part 4 – Staging ................................................................................................. 89 Voice types ....................................................................................................................... 89 Narration .......................................................................................................................... 91 Continuo accompaniment ................................................................................................ 92 Staging .............................................................................................................................. 94 II. Performing the airs.......................................................................................................... 96 Tempo .............................................................................................................................. 97 Phrasing and Articulation ................................................................................................ 99 Ornamentation ............................................................................................................... 101 Chapter 3: The Edition .......................................................................................................... 113 I. Types of editions and their history ................................................................................ 113 II. Critical notes and editorial challenges in Avantures Pastorales ................................... 119 Editing the score ............................................................................................................ 120 Editing the text and lyrics .............................................................................................. 131 Conclusions ............................................................................................................................ 135 Bibliography .......................................................................................................................... 144 Appendix A - Characters ........................................................................................................ 154 Appendix B - Original text ..................................................................................................... 163 Appendix C - Translated text ................................................................................................. 199 Appendix D - Score ................................................................................................................ 237 Errata ............................................................................................................................. 317 v Acknowledgments I would like to express my sincere gratitude to Susan Lewis. I could not have completed this dissertation without her expertise and encouragement. She gave me the greatest weapon there is – the power of the written word. I would like to thank Elissa Poole for her patience, eye for detail, and guidance. Her expertise in French baroque music has been inspirational to me. I would like to thank Jennifer Wise for her support and our fascinating and long conversations that generated a lot of the ideas in this dissertation. I am grateful for the unending support of my family, who encouraged me throughout. vi Dedication To my mother Zdravka for her unending support, love, and care To the loving memory of my father Ruslan Introduction This dissertation is a study of François Campion’s collection of airs Avantures Pastorales Op. 3 (1719). Unexplored by previous scholars, this publication consists of fifty- four airs interspersed in a prose narrative. The single surviving copy in the Bibliothèque Nationale de France bears no dedication, first performance date, or preface.1 The well- preserved, leather-bound book is in two parts: the first thirty-eight pages contain just the text and lyrics, while the airs appear in the following forty-seven pages. The story is a retelling of the myth of