Harpsichord Pieces, Book 1, Suite 2, No.10: Rigaudon Premiere and Seconde Partie

Domenico Scarlatti - Sonata in F major, K. Sonata in a minor, K. Sonata in E major, K. Johann Kaspar Ferdinand Fischer - Passacaglia in D Minor. Scherzo Allegro con brio. Felix Mendelssohn - Bohuslav Martinu - Variations on a Theme of Rossini. Introduction and Polonaise, Op. Hungarian Wedding Dance Lakodalmas. Le Sacre du Printemps. Igor Stravinsky - L'Adoration de la Terre. Les augures printaniers - Danses des adolescentes.

Dance of the Earth. Piano Concerto; Richard Strauss: John Corigliano -. Mercury was one of the first labels to give many details which the true collector loves: All this is provided in the note booklet. Somehow the most delicate sounds come through more clearly than most of the multi-miced digital recordings that the major labels have been making.

Que demander de plus? Sommermorgen an einem See 3: Das obligate Rezitativ 3: The Dove La colomba 4: The Hen La gallina 3: The Nightingale L'usignolo 4: Song and Dance 4: The Triton Fountain La fontana di Tritone al mattino 2: The Fountain of Trevi La fontana di Trevi al meriggio 3: The Pines near a Catacomb Pini presso una catacomba 5: The Pines of the Janiculum I pini del Gianicolo 5: Introduzione Andante non troppo - Allegro vivace 9: Giuoco della coppie Allegretto scherzando 6: Elegia Andante, non troppo 7: Intermezzo interrotto Allegretto 4: Finale Pesante - Presto 9: Balletto detto "Il Conte Orlando" 3: Passo mezzo e Mascherada 4: Campanae parisienses - Aria 5: Allegro con brio 9: Allegretto grazioso - Molto vivace 5: Allegro ma non troppo 9: An American in Paris Saturday Night Waltz 4: Little Blue Devil 3: An Eerie Moment 2: Contrasts For Orchestra Erik Satie - 1.

Allegro con forza 4: Scherzo Allegro ma non troppo 4: Allegro marciale - Presto 4: Adagio - Allegro non troppo Allegro con grazia 7: Allegro molto vivace 8: Finale Adagio lamentoso - Andante 9: Romeo and Juliet, TH 42 Dance of the Princess in the Forest 4: Dance of the Trees 4: Dance of the Waves Dance of the Princess with the Wooden Doll The Princess pulls and tugs at the Wooden Prince and tries to make him dance 1: She tries to attract the real Prince with her seductive dancing 1: Dismayed, the Princess attempts to hurry after the Prince, but the Forest bars her way 6: The first tramp searches his pockets for money 1: First decoy game 1: The shabby old rake enters 2: Second decoy game 1: The shy young man appears in the door 1: Third decoy game 1: Horrified, they see a weird figure in the street 0: The Mandarin enters 0: At last she overcomes her reluctance and begins a hesitant dance 3: The girl sinks down to embrace him 0: She flees from him 1: The Mandarin catches the girl, and they fight 0: The tramps leap out 0: The tramps decide to kill the Mandarin 1: Suddenly the Mandarin's head appears 1: The tramps master their horror; they drag the Mandarin out and stab him with a sword 1: Suddenly he draws himself up and leaps at the girl 0: They drag the resisting Mandarin to the center of the room 1: The body of the Mandarin begins to glow with a greenish blue light 1: The Mandarin falls on the floor 1: The Mandarin's longing is now stilled 0: Allegro non troppo 8: Lento, ma non troppo 5: Allegro non troppo 6: Andante sostenuto - Moderato con anima - Moderato assai, quasi Andante - Allegro vivo Andantino in modo di canzone 9: Pizzicato ostinato - Allegro 5: Finale Allegro con fuoco 8: Allegro con brio 7: Andante con moto 8: Allegro ma non troppo Andante molto mosso Lustiges Zusammensein der Landleute Allegro 4: Gewitter, Sturm Allegro 3: El Corpus en Sevilla 7: Dance of the Persian Slaves 6: Dance of the Comedians 4: Das obligate Recetativ 3: Poco sostenuto - Vivace Presto - Assai meno presto 8: Coda Allegro vivace 1: Intrada - Valse 1: Coda Allegro molto vivace 1: Intrada moderato assai 1: Tempo di bolero 2: Danse russe Moderato 4: Entr'acte - Valse 1: Belle Of The Ball 2: Horse and Buggy 3: The Waltzing Cat 2: Song of the Bells 3: The Syncopated Clock 2: The Girl in Satin 2: Plink Plank Plunk 2: The Bluebells of Scotland 1: The First Day of Spring 2: Song of Jupiter 4: Lisbon Sailor's Song 1: Rufford Park Poachers Poaching Song 3: The brisk young Sailor returned to wed his True Love 1: Lord Melbourne War Song 2: The Lost Lady found Dance Song 2: Adagio - Allegro 5: Hartley - Concerto for 23 Winds Andante - Allegro non troppo 5: Dance with Pennons 3: Dance with Swords 3: Allegro con brio 4: The Three Elizabeths Percy Grainger - 1.

The Immovable Do 4: Handel in the Strand 4: My Robin is to the Greenwood Gone 4: Molly on the Shore 4: Springtime in Angus 8: Youth of Britain 4: Hands Across the Sea 2: The Golden Ear 3: US Field Artillery 2: The Stars and Stripes Forever 3: On the Mall 3: Barnum and Bailey's Favorite 2: Covent Garden Tarantelle 5: Eastwards Eastern dance 2: A Christmas Festival - Overture 7: The Irish Washerwoman 2: The Minstrel Boy 3: The Rakes of Mallow 2: The Wearing of the Green 3: The Last Rose of Summer 3: The Girl I Left Behind 3: Ludwig Fancy Six-Eight 4. Burns Moore Connecticut Half Time The American Flag 0: No Slum Today 0: Largo - Allegro molto 8: Romanze Adagio - Allegretto - Adagio 6: Thema con 6 variazioni Andante Finale Molto allegro 3: Gustav Holst - Suite No.

Song without Words 2: Song of the Blacksmith 1: Fantasia on the Dargason 2: Seventeen Come Sunday 3: My Bonny Boy 3: Folk Songs from Somerset 3: Prelude and Aztec Dance 9: Andante solenne - Allegro con forza Andante teneramente, con semplicita 5: Allegro con fuoco 9: Adagio - Allegro moderato Andante con tenerezza 6: Song of Democracy Medea Morton Gould - Spirituals 1. A Little Bit of Sin 1: Prologue and Waltzes 3: Medea and Jason 4: The Young Princess - Jason 3: Shaw and his Colored Regiment 8: Putnam's Camp, Redding, Connecticut 5: Old Folks Gatherin' Andante maestoso 7: Children's Day Allegro moderato 7: Be Glad Then, America 5: When Jesus Wept 7: Largamente e pesante 9: The Lament for Beowulf Allegro ma non troppo 7: Allegro con brio 5: Siesta in the Market Place 1: Entrance of the Vendors 2: Entrance of the Customers 0: Tango of the Merchant's Daughters 3: Arrival of the Circus 0: Eight o'clock strikes 0: Poem for Flute and Orchestra 9: Il Campo dei Fiori 2: Furious Dance of the Bearded Russians 2: Scene Agitato molto 7: Finale Andante moderato un poco agitato 4: Introduction and Allegro 7: The Feast of Love 7: Boyhood at Bethel 2: The Tinder-Box Soldier 1: The Song of Rapunzel 2: The Story of a Darning Needle 1: Dance of the Twelve Princesses 3: In the end, i t was the advantages of engraving that undermined Ballard's primacy.

He clung to the typographical method, although he did intro duce some engraving. While the diamond-shaped notes in Heudelinne's first book, Trois suites de pieces were not unusual in France, else-where in Europe the style and format of Ballard's printing in would probably have been considered old-fashioned.

Estienne Roger's second, engraved edition of the Premier livre is, by contrast with Ballard's first edition, more elegant and much more legible. The catalogues published during his lifetime show how successfully he realized his two aims: Roger never dated his editions, since the plates could be used again and again with correc-tions and changes made as needed. Lesure was able to glean much of his information from Roger's non-musical pub-lications which were dated and often contained avertissements for musical works. This is the case for Heudelinne's two books, advertised in various non-musical publications and also included in Roger's 25 catalogue.

It appears that both books were published in Amsterdam a year after their i n i t i a l appearance in Paris: No copies of the latter are extant. Foucault, responsible for the first issue of Heudelinne's Second livre in , had begun his publishing business in and soon was 26 amongst those challenging Christophe Ballard's monopoly.

He worked 27 with the engraver De Baussen and printed music without the advantage 28 of ia privilege from the King, even after losing a court case to Ballard. However, the new engraving process and the rapidly increasing market for most musical publications eventually forced Ballard to cooperate with 29 Foucault, instead of prosecuting him. The "extrait du Privilege" at the end of Heudelinne's Second livre de pieces was issued to "Sieur Heudelinne," not to Foucault, and gave the composer permission to have his Livre engraved and printed, as well as sold and distributed to the 30 public.

It is likely that Heudelinne paid Foucault to have this book published, because i t was a contemporary custom for French composers to have their works engraved at their own expense. It was also common 31 practice for composers to sell their works in their own homes, and the t i t l e page of Heudelinne's Second livre de pieces refers to its distribution by "l'Auteur" in Rouen. Concerning Ballard's re-issue of the Second livre, we must assume that he had Heudelinne's permission for re-publication, since the com-poser's ten-year privilege of had not yet expired and the re-issue does not include a privilege.

With regard to details, i t is. There is no engraver named in the re-issue, although the one re-engraved page appears to be in the same hand as the original engraving. Ownership of Extant Volumes The history of two extant copies of Heudelinne's volumes can be traced back to the early eighteenth century. A copy of the first edi-tion of the Premier livre presently resides in the collection of the Bibliotheque du Conservatoire.

Thus, it appears that the copy in the Conservatoire collection was either Philidor's own or was intended for the King's library from the outset. It seems more likely that such a typeset addition would have been made in a copy intended for the Royal rather than a private library. The other volume under consideration is the only extant copy of Roger's second edition of the Premier livre.

Heudelinne's Premier livre was acquired by Philip Falle , prebendary of Durham Cathedral, an amateur viol player and the copyist of the Durham Bass 50 34 Viol Manuscript. He possessed an impressive collection of music by English, Dutch, and French composers and donated his "musick books" to the Durham Cathedral Library in Falle's manuscript contains a selection of pieces by Marais, Heudelinne, and others , presumably his favourites, from the printed volumes and manuscript sources in his library.

The prebendary must have been an accomplished performer on the bass viol, judging from the technical difficulty of the music and the variety of the 35 pieces in his manuscript. The pieces are a l l grouped according to key, and usually have both solo and bass parts. There are six of Heude-linne' s pieces in the manuscript; four are from the third suite in Book I in G minor and two from the first suite in D minor.

Four of the pieces from the third suite appear twice in the manuscript, the first time alone and in score, the second time only the solo part, but with the entire suite. Apparently Falle played Heudelinne's music on the bass viol, rather than the treble, since he transposed the pieces down an octave using bass and alto clefs.

Some of the pieces have "pro viola minore" written after them, but there is no evidence that Falle played any of the music on the dessus de viole. Copies of Heudelinne's published music apparently continued to be available throughout the first half of the century, at least in the Amsterdam editions. As we have seen, these were advertised by Roger 36 himself in , and between and they appeared in several 37 catalogues of the Parisian publisher, Leclerc.

Both volumes were also mentioned by Johann Gottfried Walther, in , in his Musikaliches 38 Lexikon. However, by the time of Michel Corrette's method for the pardessus in , i t seems that the stock had been depleted. Although Corrette listed Heudelinne's Premier livre and Second livre among the 51 four volumes of music written expressly for the pardessus [sic], he 39 indicated that they were no longer available. The section on formal aspects deals with the suite genre and the structures of individual movements, with an emphasis on the sonate as an increasingly important feature in early eighteenth-century French music.

The final two sections deal with the basse continue and performance practice questions, such as ornamentation and fingering. The chapter closes with conclusions on the musical and historical sig-nificance of Heudelinne's music. Formal Aspects Heudelinne's Book I, Trois suites de pieces a deux violes qui se 2 peuvent jouer sur le Clavessin et sur le Violon contains thirty-four pieces for dessus de viole.

The pieces are arranged by key into three groups which Heudelinne designates as Premier, Seconde and Troisieme Suites. The keys of the suites are D minor, A major, and G minor, with the first and third suites including a few movements in the parallel 52 53 major mode. Book II, the Second livre de pieces pour le dessus et basse de violle et pour le violon et clavessin contains sixty pieces, almost twice 3 as many as in Book I.

There are no unaccompanied pieces in Book II, al l the music is for dessus de viole and basse continue. The pieces are grouped by key into five suites, but unlike the first book, the term "suite" is not used and there is no specific demarcation between the successive groupings of movements by key. These keys are D major, G minor, E minor, A major, and D minor; the second, third, and fourth suites include a few movements in the parallel mode.

Tables IV-1 and IV-2 l i s t , for both books, the movements in each suite along with direc-tions or affect markings. The Suite Genre and Heudelinne's Suites The term "suite" seems to have been first applied to a collection 4 of dances in Attaignant's seventh volume of dances Paris, It was used throughout the seventeenth and eighteenth centuries in France, Germany, and England, and soon included non-dance movements as well.

The music for dessus de viole of Louis Heudelinne (fl. c. ) - UBC Library Open Collections

German suites and the Italian sonata da camera began to become standard-ized in the late seventeenth century, but the French had a more flexible approach regarding the number and kinds of movements and their sequence. Marin Marais used the term only in his fourth volume of Pieces de violes , for instance, and Francois Couperin employed the term "ordre" instead of "suite" throughout his four volumes of Pieces de Clavecin Prelude D T C Fantaisiet T C Le Grande Rondeau R 3. Sarabande Grave B [Quatrieme Suite] 6.

Prelude A T C 7. Menuet Double du Sarabande B Menuet B Menuet a- B Menuet A B La Mariee B Bourasque T C Fantaisie T C Trio tendrement T C Sarabande Grave B Trio T C Menuet G B [Cinquieme Suite] Rondo Champestre G R Prelude co- T C Menuet G B Fantaisie e- T C Gigue a langloise T C Menuet B la Gracieuse B La Bourine holandoise B Rondeau T C Sonate legerement T C Heudelinne's suites can be long, ranging from eight to seventeen pieces, with an average of eleven or twelve movements in each.

They never- approach the length of Marais's suites, however, which have from seven to as many as thirty-two movements. Both composers include several types of movements repre-sented by two or more examples, which suggests that performers might choose a group of pieces from: Modern commentators state that it is unlikely that Marais's suites were ever meant to be performed in their entirety at one time, but there seems to be no eighteenth-century evidence to support this. James Anthony suggests that the performer was expected to pick and choose on 8 the basis of taste and technical proficiency.

Bonney McDowell agrees, but suggests that Marais's five shorter suites seem to be cyclical and thus intended for performance complete and in the order in which they 9 were published. Some of Heudelinne's suites probably require a 57 selection of movements for performance, or at least the exclusion of some movements, particularly in the second book since each suite has several menuets. It is possible that some of Heudelinne's pieces might stand on their own outside the context of the suites in which they are found, but there is no specific information about the performance of the music to substantiate this.

The suites in Heudelinne's first book are much more clearly defined than those in his second book, not only by their titles, "Premiere Suite," "Deuxieme Suite," etc. The traditional group of four movements: These move-ments are followed by six or seven further dances such as gavottes, XG menuets, rigaudons, and chaconnes.

The latter include rondeau, sonates and one piece caracterisee called "La Petite Marquise. In only two suites are the traditional four movements present, the other suites containing only one or two of the four, while the menuet and the piece caracterisee play a more prominent role.

The number of move-ments in the suites of the second book also varies much more than in Book I; there are from eight to seventeen pieces per suite as compared to eleven or twelve in the earlier volume. Only three out of the five suites in Book II have preludes and only two of the five have sonates as their closing movements. Thus, Heudelinne has a relatively systematic and traditional ordering for the suites in Book I,, in contrast to the looser organization of Book II. The Structure of the Individual Movements The three most common formal procedures for individual movements in French suites are: Tables IV-3 and IV-4 show the number and percentage of movements in the various forms in Heudelinne's suites.

The bipartite form is clearly the most common, with the through-composed, rondeau, and variation forms following in order of their frequency of appearance. Dances There are fifty-four movements out of the total of ninety-four pieces in Heudelinne's two books. Table IV-5 lists the number of each dance and non-dance type. The ensuing discussion of the formal aspects of the dances is brief compared to the non-dance pieces owing to the predictability of their bipartite structure. The only non-bipartite dance is the "Gavotte en rondeau" I, Generally, with the exception of the menuets and rigaudons, the dances are twenty to thirty bars long.

They are approximately one-quarter the length of the longest pieces in the suites, the chaconnes, 12 rondeau, and sonates. The menuets and rigaudons are often the short-est dances in Heudelinne's suites. While they maintain the usual bipartite form, some are just eight bars in length. These tiny move-ments are usually grouped together, for example, in Book I the "Rigau-dons" I, 52, 53, and 54 and in Book II the "Menuets" II, 8, 9, 10, and 11; 39, 40, 41, and 42; 54, 55, and Formally, there are only minor differences between the traditional group of four dances—the allemandes, courantes, sarabandes, and gigues— and the other dances added to the suite.

The traditional dances are sometimes longer and tend to have binary sections of irregular length, avoiding the predictable eight bar phrases of the newer dances. Also, the second section of the traditional group of dances is often headed "Reprise" in Book T, although the use of this term does not reflect any difference in the form. The gavottes, menuets, and rigaudons are usually somewhat shorter than the other dances, but they have the same basic bipartite structure.

The longer B section returns to the tonic within eight bars and is extended by four bars with the addition of a "Petit reprise. The "Petit reprise" is simply an extension of the B section. It often involves material from the rest of the dance, but sometimes i t is just a closing formula which brings the movements to a satisfactory close. The "Petit reprise" in the "Gavotte" II, 35 mentioned above is the latter type. Heudelinne adds a short sequential figure at the end of the B section m. In bipartite dance structures, the two halves can be of the same length, but often the second part is longer and has more modulatory activity than the first half.

There are many examples of both of these structures in Heudelinne's dances. The shorter dances like the menuets and rigaudons tend to have equal halves which are repeated, for instance, the "Menuet" II, 8, 9, 10, and 11 and the "Rigaudons" I, 52, 53, and The longer dances, the allemandes, courantes, etc. Both of these dances modulate to the dominant minor at the end of the first section and back to the tonic in.

The "Gigue" I, 45 following this "Allemande" and "Sarabande" is more exceptional with a first sec-tion of twelve bars and a second section of twenty-six bars, but it s t i l l follows the same modulatory pattern. The second section, entitled "Reprise," begins in. The "Gigue" is unified'by the similar melodic contour at the open-ing of each section and by the rhythmic character of the dance. Like most of Heudelinne's dances, there is no actual thematic link between the two sections.

In this, Heudelinne follows the practice of Marais and the previous generation of viol composers, whose bipartite pieces usually lack any specific melodic connections between the halves. The only composer who proves an exception to this is Forqueray, whose 13 bipartite movements employ clear thematic iteration.

Non-dance Pieces The non-dance pieces in Heudelinne's suites number forty out of the total of ninety-four pieces in the two "books. They consist of preludes, pieces caracterisees, sonates, rondeau, fantaisies, chaconnes, song-related pieces and trios see Table IV Because of the diversity of forms used—through-composed, rondeau, variation, as' well as bipartite forms—the present section is of, necessity much longer than the corres-ponding one on dance forms. The most frequent non-dance pieces are the preludes. Unlike the traditional unmeasured seventeenth-century harpsichord preludes, viol composers generally prefaced their' suites with measured, preludes.

While al l of Heudelinne's preludes are measured, they vary considerably in complexity and length. There are tfour preludes with a rhythmically straightforward division-style writing a l l "a'-joiier. There are also preludes written in a style which invites a rhythmically-freer interpretation owing to the presence of unmeasured melodic flourishes, as well as the nature of the melodic line itself II, 1, 31, and Two of these and two of the division-style preludes are included in Appendix III pp.

All of Heudelinne's preludes are through-composed and they consti tute half of the through-composed pieces in the two books. The first of the rhythmically-freer preludes in Appendix II in D major II, 1 is divided into three main phrases of irregular length. Neither has any formal repetition of material; they rely on motivic elaboration for unification. The division-style prelude in Appendix III also II, 42 , the second prelude in the fifth suite, is 64 through-composed like the more complex preludes, but its twenty bars are simply a continuous flow of eighth notes.

Unlike most of the pieces in Heudelinne's two books of music, the phrasing is almost arbitrary in a number of places. It is dependent on how the performer chooses to articulate the implied counterpoint in the line.

The three fantaisies, a l l in Book II, are through-composed like the preludes. They either follow an opening prelude, or begin a suite them-selves. Both genres apparently come from the instrumental tradition of improvisational pieces for the bass viol. The bass line is at its most independent in Heudelinne's fantaisies and acts as an equal much of the time in imitation between the two lines. The next group of non-dance pieces consists of seven pieces caracterisees. These pieces, named after a person, place, object, or style, became increasingly popular among French composers during the early years of the century.

Composers found in them a. Four of Heudelinne's character pieces are through-composed, while the remaining three use the bipartite dance form. The four through-composed character pieces' in Book II are particu-larly significant because of their stylistic similarities to pieces by the same name in Marais's Pieces de violes Second livre, Marais's "La Vilageoise" and "Fantaisie luthee" have binary structures instead of being through-composed, but the similarities between these four pieces and Heudelinne's pieces are striking, arid lead us to believe 18 that Heudelinne was familiar with Marais's recent Second livre.

The third most common type of nonrdance piece that occurs in Heudelinne's music is the sonate. The presence of sonates suggests that Heudelinne was influenced by Italianate music, in addition to that of 19 Marais. As was noted earlier, Italian music had been performed in Paris in the late seventeenth century, but the sonata;was much, slower to gain acceptance in France than elsewhere. Heudelinne may have been attracted to the sonata through contact with French composers writing sonatas, or he may have.

In any case, the question of what Heudelinne and his French contemporaries meant by the term "sonate" is an important one in discussing Heudelinne's contributions to the genre. The term "sonate" begins to appear more and more frequently in France c. It is almost impos-sible to generalize about the various types of movements and groups of movements called sonates in France at this time. Some French composers used the term for the introductory movement, to a suite and some called a whole group of dance movements. Others tended to follow Corelli's plan of the sonata da chiesa in their sonates, using the standard slow-fast-slow-fast sequence of movements with tempo and descriptive titles,, as well as dance and dance-related titles.

Francois Couperin, for instance, retained the four core movements of the Italian church sonata, in his early sonatas later published as "introductions" to the suites in Les Nations []. He promoted the French and Italian "gout reiinis" by keeping the usual slow-fast-slow-fast alternation of the movements, but inserted one or two moderately paced "Air gracieusement" towards the end of each sonate.

Couperin used no dance titles, no binary forms with repeats, no rondeau or chaconnes in these early sonatas. However, other composers in France publishing "Sonates" in the first decade of the century, such as Francois Duval, Michelle Mascitti, Jean-Fery Rebel, and Joseph Marchand 20 did use more of these elements of the suite. Whereas Couperin's titles are the non-programmatic "Gravement," "Vivement," etc.

Mascitti's "Allegro" closing the second sonata of Op. Of those French composers experimenting with the sonata and the Italian style, i t is significant that only Heudelinne uses the term "sonate" for a single movement that concludes a suite of; dance and non-dance pieces.

Five of Heudelinne's six sonates are placed as closing movements of suites, while the. The placement of the sonates as closing movements allows Heudelinne to keep the suite reasonably intact by traditional standards. Heudelinne's sonates are generally sectionalized, but none have a bipartite form. Table IV-6 gives the length and form of each sonate. The form of the "Sonate" I, 28 at the end of the first suite, for instance, is A A' B C, a compromise between the bipartite structure and the through-composed pieces in the suites. This is also true of the "Sonate" I, 84 at the end of the third suite in Book I which has a similar: The "Sonate" from the third suite, for example, the shortest of a l l 37 bars , is entirely through-composed with three long phrases of'continuous eighth notes in both'parts.

This movement seems to have l i t t l e in common with other more sectionalized sonate forms. Rather, i t has more the character of a "fantaisie" or a "bourasque" as described earlier. The French formal influence in Heudelinne's sonates is evident in.

The "Sonate en Chaconne" is by far the longest of a l l Heudelinne's sonates bars. Troisieme Suite I, 84 The rather short first section is the "sonate" 38 bars , followed by a long "chaconne" bars and concluding with the return of the "sonate. The "Sonate" II, 11 22 also reflects French formal influence in its modified rondeau form. It is not the usual rondeau form because the B and C sections imitate the opening rhythm of the A section and the rondeau statement is varied greatly the third time i t is repeated.

As can be seen from Table IV-6, Heudelinne's sonates have a variety of forms. We have mentioned that the sonates in Book IT are shorter and and not as obviously sectionalized as those in Book I, but beyond this observation, i t is difficult to generalize about them. In fact, as with a number of Heudelinne's contemporaries, these six movements are not sonates because of any particular formal structure.

They are sonates because they are not dances, because they make some attempt to imitate the Italian sonata stylistically and because French composers enjoyed the novelty of the term. The next most popular types of non-dance pieces in Heudelinne's two books are the rondeaux and chaeonnes. While the seven rondeaux are divided between the two books, the two chaeonnes and the "Sonate en Chaconne," occur only in Book I. Heudelinne places the rondeaux and chaeonnes near the end of the suites between the dances and the sonate, with the rondeaux preceding the chaeonnes.

Like most rondeaux, Heudelinne's are based on repeated eight or six-teen-bar refrains. These are separated by contrasting sections, each of which, along with the following refrain, is referred to as a couplet. Table IV-7 gives the form of the rondeaux, including the number of couplets 70 in each. Four of Heudelinne's rondeaux are rather short and simple, hav-ing from three to five couplets: These two rondeau and the "Gavotte en Rondeau" I, 13 have the pattern: The application of the rondeau principle to dances, as in Heudelinne's "Gavotte en Rondeau," was becoming quite common in the early years of the eighteenth century.

By the time of Francois Couperin, a quarter of a l l his harpsichord pieces are in rondeau form and of course this includes many 25 dances "en rondeau. As the number of dances in the suite increased, the number in rondeau form did also. Comparing the percentage of movements in rondeau form in Heudelinne and Marais's works see Table IV-4 , we can see that Marais reflects the trend towards more use of the rondeau form through his five books Thus, the first book has, on the average, about the same percentage of rondeau form as Marais; the second book has a much lower percentage.

Gavotte en Rondeau D minor 2. Rondeau 18 96 56 "a jouer seul" D minor Deuxieme Suite 50 72 32 3. Rondeau A major Troisieme Suite 75 4. C A j: C A Le Grand Rondeau 27 No.

Pièces de Clavecin, Livre 2 (Siret, Nicolas)

The chaconne and passacaille forms are the only variation forms frequently 27 associated with French baroque music. The chaconne was actively used as a stage dance throughout this period, but its organization into four bar units with a repeating harmonic pattern, sets it apart from the other 28 dances. Of Heudelinne's chaconnes, only the one in the middle of the 29 "Sonate en Chaconne" has the same bass line throughout.

This is a three bar pattern rather than the usual four bars. Heudelinne, "Sonate en Chaconne," I, 55 , m. The "Chaconne" in the first suite has two eight-note patterns which outline four chords each: The "Chaconne" in the third suite has repeating chord patterns rather than a repeating bass line. It divides into four sections plus an ending cadential phrase and each section has its own progression, e.

The only procedure common to a l l sections is the cadential ending iv v i. The next non-dance movements to be considered are the two song-related movements found in Book II. Formally, just short binary movements like the dances, they are set apart from Heudelinne's other, more instrumentally-conceived pieces, by their more limited range and greater preponderance of conjunct motion.

The three trios II, 39 [2] and 46 [1] are interesting stylistic-ally because of the addition of the second dessus, however, their forms are surprisingly simple and short. The two trios on p. The third trio on p. It is also in binary form rather than through-composed with a change of meter in the B section from C t o g- The trios are more significant stylistically than formally because of a l l the interest in the trio sonata texture at this 31 time. They will be discussed in this regard in the following section.

Stylistic Analysis The following analysis discusses important stylistic features of Heudelinne's music and compares i t with similar works by important con-temporaries. However, there is such a limited amount of solo music for the dessus de viole see Chapter I, p. Therefore, although the music is idiomatic for the dessus de viole, we must draw on the most closely related instrumental tradi-tions—that of the bass viol and the violin. In this thesis, the music for bass viol of Marin Marais provides the basis for comparison, with occasional reference to the music of other bass viol composers.

The sonatas of Archangelo Corelli provide the basis for a comparison with violin music, because Corelli's sonatas were the most influential solo 32 violin music in France at the time of Heudelinne's publications. Also considered will be the music of two of the most important French composers of music for violin at the time, Frangois Couperin and Jean Fery Rebel, both influenced by Italian music but to different degrees.

József Gát (harpsichord) François Couperin: Pièces de clavecin Ordre 1 & 2

As we saw in Chapter I pp. Unlike the basse de viole, which gained a good part of its solo status from chordal playing or the jeu d'harmonie, the dessus was always used more for the playing of melodies or the jeu de melodie. Both instruments had, of course, been associated with voices and vocal music in the earlier part of the seventeenth century.

However, while the basse de viole developed and maintained loose ties with the style brise of the lute, the music for the dessus de viole continued to be vocally oriented. In Heudelinne's two books, the jeu de melodie does predominate, but i t is sometimes combined with both division-style writing and the jeu d'harmonie.

Heudelinne's chordal writing, idiomatic for the dessus, almost always involves an accompanied melody rather than the free-voiced 34 counterpoint found in some complex bass viol compositions. The jeu de melodie requires great s k i l l in order to shape the line vocally and negotiate the ornamentation with delicacy and grace, and when the jeu d'harmonie does appear, it makes performance of the music even more challenging.

Before we go on to consider Heudelinne's melodic and harmonic writ-ing, his brief comments about the style and performance of his music need some consideration. The ti t l e pages of both books designate the violin and harpsichord as possible alternatives and Heudelinne says in the avertissement in Book I: I have here a collection of a number of Pieces to be played alone, and others with the basse continue but a l l can be played on the harpsichord and on the violin, and also put together as an ensemble. It seems that the unaccompanied pieces can be played alone on the violin and the remainder played as solo music on the harpsichord or the two instruments could play together as an ensemble.

For the latter case, i t is unclear if Heudelinne intended that the bass viol should also play the basse continue. The practice of making keyboard solos or duets out of chamber ensemble music was a traditional one by this time, recalling the seven teenth-century publications of Henry Du Mont and Louis Couperin. The designation of the violin as an alternate solo instrument was not yet a usual practice, however, and implies that Heudelinne was influenced by Italian violin music, or at least that he was astute enough to see the rising interest in the violin as a solo instrument in France.

There is stylistic evidence to support the first implication, as we will see in the following discussion; the second implication also seems likely in view of the tremendous popularity of the violin in. Sonata in E Major, K. The World's Great Classical Music. Online audio is accessed at halleonard. Toccata from Sonata No.

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Sonata in G Major, L. Intermediate Level Schirmer Performance Editions. Gavotte in D minor from Children's Album, Op. Selections from 25 Progressive Studies, Op. Prelude in E minor, Op. Selections from Five Little Dances, Op. Selections from Albumleaves for the Young, Op. Allegro from Sonata in C Major, Hob. Mountain Lullaby from Mountain Idylls, Op. Selections from 30 Pieces for Children, Op. Selections from Scenes from Childhood, Op. Selections from Music for Children, Op. Birthday from Children's Notebook for Piano, Op. Selections from Album for the Young, Op. This collection of baroque organ pieces is an excellent source of repertoire for any organist.

Purvis has brought together works by Bach, Arne, d'Andrieu, and Rameau. Each piece has its own characteristic, but all have that same baroque style and flair. Cardle Song, Waltz in Ab, Op. Christmas December from The Seasons, Op. Prestissimo from Flying Leaves, Op. Baroque Flute Anthology Volume 1: A collection of 17th and 18th century works for flute by leading baroque composers including Bach, Handel and Rameau , as well as lesser-known and rarely available pieces from a range of other composers.

Composer biorgraphies are included. Pieces are graded and presented in a progressive order complete with practice notes for each piece. Baroque Flute Anthology Volume 2: A collection of 17th and 18th century works by Boismortier, Loeillet and Rameau , as well rarely available pieces from a range of other composers. Composer biographies are included. Includes composer biographies, performance tips, and a CD of full performances by early music specialist Robin Bigwood.

Waltz in D minor from 24 Pieces for Children, Op. Minuet in C Major, K. Melody Melodie from Album for the Young, Op.

Couperin - Ordres for Harpsichord

All four main periods are represented. The final section of the Rachmaninoff prelude is presented on one visually-accessible page; the Chopin waltz Op. This fun and educational set has everything the developing player needs for a great solo experience: De Mondonville was successful in his day, Dominues Regnavit being no exception.

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Dominus Regnavit was composed in and is a Large Motet based on Psalm With a typical performance lasting about 23 minutes, de Mondonville's Dominus Regnavit for choir is a sublime addition to the repertoire. A compilation of pleasant, easy piano pieces for beginners, with a broad selection of pieces from the Baroque, Classical, Romantic and Modern eras.

Rainer Mohrs, Monica Twelsiek. This volume contains Baroque, Classical, and Romantic piano pieces at the late beginner to early intermediate level, perfectly suited for the first concert of young pianists. Ancient French Song, Op. Arranged by Henry Aaron Following in the successful footsteps of the woodwind quintets, this collection puts Mr. Aaron's magic to work in the Brass Quintet idiom! Perfect for concert or contest. This collection puts Mr.

Andante Cantibile from String Quartet No. Quirky juxtapositions and intriguing pieces of music. Contemporary miniatures sit next to classic repertoire from Mozart and Tchaikovsky. Dance movements by Telemann, Schubert, Rameau , Jirovec and Zilcher all have something unexpected about them, although they are technically straightforward and a joy to play. I thoroughly enjoyed the contrasting styles in each volume. All periods from the 16th-century to modern are present. The volumes include some familiar works, such as Franck's 'Doll's Complaint', but a clear majority of the pieces are new and at times refreshing.

It features twenty famous themes, regrouped and arranged for the instrument by Rose-Marie Janzen. Using a range not too high, this book can be used by any young player or teacher and features tunes more or less difficult that correspond to different level of difficulty.

Te Deum, extract, by Marc-Antoine Charpentier 2. Tambourin, extract, by Jean-Philippe Rameau 4. Passion selon Saint Matthieu, choral, by J. Une petite musique de nuit, minuet theme, by Mozart 9. La chasse du jeune Henri, extract, by E. Concerto de Violon, Rondo theme, by Beethoven La truite by Schubert Le gai laboureur by Schumann Berceuse by Johannes Brahms For this publication, Robert van Beringen has selected twelve elegant and expressive pieces from the Baroque period and arranged them appropriately for a variety of instruments.