French harpsichord music in the first decade of the 18th century

Carol Henry Bates

French harpsichord music in the first decade of the18th century

1 Louis-Nicolas Clerambault engraving by L'Empereur after ananonymous portrait (Bibliotheque Nationale. Paris)

Although many writers have sketched in broadoutlines the history of French harpsichord music, onlyone has systematically traced the piece de clavecin fromits beginnings around 1630 through its decline in thelate 1700s. The most comprehensive study to date ofthis rich and varied legacy is one by David Fuller1

which shows that the first decade of the 18th centurywas one of the most productive periods in the historyof the literature. Ten collections, all of them antedatingFrancois Couperin's first book of 1713, provide aremarkably unified picture of the French harpsichord

suite between the time of Jean-Henry d'Anglebert, onthe one hand, and that of Couperin, on the other,2

Comprised almost exclusively of dances, these tenvolumes reflect the trend toward some consistentorder in the clavecin suite, a trend that was abruptlycurtailed by Couperin's cultivation of the genre piece.3

After surveying the contents and internal organizationof these ten collections, this article will examine thetypes of suite movements encountered therein.

Contents of the ten collectionsFrancois Dieuparts Six suittes de clavessin4 may havebeen the first harpsichord book issued in thisremarkably productive decade. No date appears on thetitle page but, since Estienne Roger of Amsterdamlisted Dieuparfs volume in his catalogue of 1702,Marc Pincherle concludes that the collection waspublished sometime between 1700 and 17O2.5 Dieu-part, who emigrated to England in 1700, reveals aninternational rather than a narrowly French perspec-tive. The contrapuntal workmanship of his suites andtheir uniform arrangement (introductory movement,allemande. courante, sarabande, optional dances andgigue) demonstrate the composer's familiarity withGerman keyboard music. Moreover, combining variousingredients he consistently employs French overturesand turns to Italianate gigues. To increase the numberof performance possibilities, Dieupart published hissuites with two separate parts for other instruments.One of these, for violin and flute', was virtuallyidentical to the top line of the harpsichord score. Theother, for 'bass viol and archlute'. was a simpler,figured version of the harpsichord bass. When thesuites were performed en concert, the other instrumentsnot only reinforced the outer lines of the harpsichordpart but also filled in the harmony.6 A table ofornaments placed after the harpsichord score givesthe name of each sign in English as well as inFrench.

The Pieces de clavecin of the well-known Frenchorganist Louis Marchand were published in two books

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in 1702.7 The first volume contains nine pieces; thesecond, eight Neither book uses the term 'suitte', butFuller points out that the word 'livre' is, in thisinstance, analogous to 'suitte'8 Marchand's twosuites, in D minor and G minor respectively, unfold asfollows prelude, allemande, courante(s), sarabande,gigue and optional dances. The second book includesa poetic tribute to the composer by Monsieur de SaintLambert, author of two important didactic books—Lespnnapes du clavecin of 1702 and the Nouveau tratte deI'accompagnement published five years later The latteris a comprehensive exposition of French figured-basspractices.

Around 1704 Louis-Nicolas Clerambault, also anorganist, issued his Ier livre de pieces de clavecin,9 hisonly publication for harpsichord This volume contains14 pieces arranged in two key groups. The first suite, inC major, employs the same pattern of succession asthat used by Marchand, except that optional dancesappear both before and after the gigue That the orderof pieces in French harpsichord publications did notalways reflect composers' intentions is evident inClerambaulfs second suite, this one in C minor.Although the printed sequence is allemande, gigue,prelude, courante and sarabande grave, the performeris instructed to play the movements as followsprelude, allemande, courante, sarabande grave andgigue—in other words, in the traditional order

Jean-Francois Dandrieu was another of the severalcomposers who cultivated the piece de clavecin in thefirst decade of the 18th century Three books—thefirst of them available to the general public, thesecond and third intended primarily for his students-comprise Dandrieu's little-known but significant earlycontribution to the French harpsichord literature Themost thorough investigation to date of these interestingvolumes is one by Brigitte Francois-Sappey10 whoconcludes that Dandrieu published the first of hisbooks around 1704. The second and third volumes, onthe other hand, though probably composed within thenext three years, were not published, it appears, untilsometime between 1710 and 1720 Several years laterDandrieu apparently tried to dissociate himself fromthese youthful works, presumably because theyembraced a style by then considered obsolete Entitled'Premier livre', 'Second livre', and 'Troisieme livre'respectively, his harpsichord books of 1724, 1728 and1734 include, however, several pieces that are simplyrecastings of the earlier works newly supplied withdescriptive titles."

Dandrieu's Livre de clavecin of 1704 contains 12pieces, all in D minor, and is arranged as follows twopreludes, allemande, two courantes, sarabande,passacaille, gigue, two gavottes and two minuets.12

Dandrieu here generally conforms to the prevailingFrench sequence but, by placing optional movementsboth before and after the gigue, utilizes an arrangementencountered heretofore only in Clerambaulf s C-majorsuite The inclusion of two preludes in this first book isalso noteworthy, none of Dandrieu's contemporariesincorporates more than one per suite His passacaille,moreover, is the only such piece in the Frenchharpsichord repertory of this particular decade

Dandrieu's second livre de clavecin, in G minor,contains 11 pieces " Arranged in the 'classical' order,the four 'core' dances of the keyboard suite are herepreceded by a single prelude and followed by sixoptional movements—a chaconne, a rondeau, agavotte and three minuets. Set in opposite modes, thelast two minuets presumably form a dance pair, thefirst one being repeated after the second The use ofparallel modalities within a suite—a procedureestablished by Jacques Champion de Chambonnieresand Nicolas-Antoine Lebegue—is one of severalfeatures that distinguish Dandrieu's writing from thatof his immediate predecessors.

Dandrieu's third harpsichord collection, Pieces declavecin courtes et factles de quatre tons differents,consists of 29 pieces arranged in four key groups (C, c,d and D) The didactic purpose of this volume is quiteobvious' not only does Dandrieu provide examples offingerings and ornaments in a brief 'Avertissemenf,but he also marks numerous fingerings in the piecesthemselves. Furthermore, whereas his first and secondbooks correspond closely in content and distributionto other French harpsichord collections of this period,Dandrieu's third book is compiled rather differentlyPresumably in consideration of the technical limi-tations of his students, Dandrieu in this third volumegives but token representation to complicated danceslike the allemande and courante and favours insteadless difficult pieces like the gavotte and minuet As forthe sequence of movements in this collection, each ofthe four suites begins with a prelude and ends witheither a minuet or a gavotte Dandrieu's inclusion ofonly six 'core' dances (one allemande, one courante,two sarabandes and two gigues) prevents makinggeneralizations about the arrangement of the inter-vening movements In three of the four suites,however, he places a 'core' dance immediately after

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the prelude The fourth suite in this collection isunusual in that it incorporates a gigue14 with fort-douxindications and a bourree, the only such piece inFrench harpsichord music of this decade Cast inparallel modalities, the two rigaudons of Suite I arepresumably to be linked in performance, the secondone being followed by a repetition of the first.

Although Gaspard Le Roux's Pieces de clavessin1*were probably composed before 1700, they were notpublished until 1705. In a brief preface that follows atable of ornaments, this celebrated harpsichordistdiscloses the unusual format of his collection—namely, versions for two melody instruments andfigured bass appear directly below most of theharpsichord pieces (see lllus 1) These settings notonly give practical expression to the composer's desirefor alternate methods of performance but also providevaluable insight into his transcription procedures LeRoux further demonstrates the adaptability of hispieces by appending to the collection a secondharpsichord part for five of the solo works. The editionproper consists of 41 harpsichord pieces arranged inseven key groups (d, D, a, A, F, ft and g) and a gigue in Gmajor for two harpsichords The suites are notconstituted uniformly, a feature that distinguishes LeRoux's volume from those of Dieupart, Marchand andClerambault Four of the suites, the odd-numberedones, begin with preludes Only two suites havegigues, whereas five contain allemandes, courantesand sarabandes Although the published order, asnoted earlier, was not necessarily definitive, it isinteresting to observe that the first suite ends with acourante and the fifth with an allemande Sevencompositions in Le Roux's collection have eitherdescriptive or dedicatory titles.16 Four are standarddance movements, their titles presumably patternedon those of Chambonnieres. The remaining three—' Lafavontte', 'La Bel-ebaf, and 'La Piece sans Titre'—onthe other hand, are non-dance pieces, the first of manysuch works with descriptive titles that were to followin the 18th-century French clavecin literature

Comprised of a single suite in A minor, Jean-Phihppe Rameau's Premier livre de pieces de clavecin'1

appeared in 1706, when he was 23 years of age The tenpieces in this publication are arranged as followsprelude, two allemandes, courante, gigue, two sara-bandes, 'Venitienne', gavotte and minuet Except forplacing the gigue before rather than after thesarabandes, Rameau here adheres to the favouredFrench sequence Unique among his harpsichord

works is the prelude in this book, for none occurs ineither his 1724 or 1731 collection Eight of the tenpieces in Rameau's first book are traditional dancesbut in later years the composer abandoned thisemphasis in favour of less stylized dances and genrepieces Only one descriptive piece, 'Venitienne',appears in the 1706 publication, it is in the tonicmajor Although pairs of sarabandes do not oftenoccur in the French harpsichord repertory, Rameauincludes one such set in his earliest collection Set inparallel modalities, they presumably form an ABAdesign, the first sarabande being repeated after thesecond Included at the end of Rameau's publication isa table of ornaments

In 1707 the renowned clavecintste Elizabeth Jacquetde la Guerre published the final harpsichord collectionof the decade, namely, her Pieces de clavecin qui peuventse jouer sur le viollon 18 In this, her second harpsichordbook—the first one was issued in 168719-La Guerreincludes 14 pieces that divide into two key groups (dand G) Except for lacking an introductory movement,the suites conform to the prevailing French patternThey begin with the four 'core' dances, arranged in the'classical' order, and conclude with a variety of otherpieces 20 The suite in D minor, which opens with anallemande entitled 'La Flamande', is unusual in that itcontains a pair of gigues, the only such set in Frenchharpsichord music of the decade Like Dandneu andRameau, La Guerre sometimes turns to the oppositemode to provide tonal contrast in the suite in G majorshe casts the concluding movement, a rondeau, in theparallel minor, in the suite in D minor the last twomovements—the second ngaudon (which forms adance pair with the preceding ngaudon) and thechaconne—are in D major As do Dieupart and LeRoux, La Guerre reveals flexibility with respect to theinstrumentation of her pieces. The title of thecollection indicates that the compositions can beperformed with violin accompaniment Although LaGuerre suggests this option, she does not supply aseparate part for the violin. Presumably the violinistwould read from the harpsichordist's part and softlyreinforce the treble line

Suite movementsTable 1, which itemizes the contents of the ten booksunder consideration (but excludes Le Roux's gigue fortwo harpsichords), shows that the two kinds ofintroductory movements employed in the early 18th-century French harpsichord suite are the overture and



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2 Allemande 'La Vauverf by Gaspard Le Roux, from Pieces de clavessin (Paris, 1705) (Paris. Bibliotheque Nationale)

the prelude. Only one composer, namely, Dieupart,cultivated the overture, and his six pieces are the. veryfirst such works in the French clavecin repertory.Dieupart consistently appropriates the form establishedby Jean-Baptiste Lully and closes all but the second ofhis pieces with a slow passage reminiscent of thebeginning.

The prelude, on the other hand, appeared frequentlyand in many different forms in the French harpsichordliterature of the early 1700s. Presumably modelledafter the works of Louis Couperin, the four preludes ofLe Roux are unmeasured and written throughout insemibreves, which have no set value but provide abasis for improvisation. The preludes in Le Roux"s firstand fifth suites differ from Couperin's pieces, however,in that they occasionally include what look likethoroughbass figures. 'Since no notes are to be added',Davitt Moroney points out, these figures have nocontinuo function; rather, they 'define the harmonieswhich the printed notes must form'.21 The influence ofboth Louis Couperin and Elizabeth Jacquet de la

Guerre—the only 17th-century French harpsichordcomposers known to have incorporated measuredpassages in otherwise unmeasured pieces—is apparentin the single prelude by Rameau, where an initialunmeasured section is followed by a measuredpassage in 12/8 metre. It is interesting to note thatalthough Couperin notates the unmeasured sectionsof his preludes in semibreves throughout La Guerreand Rameau use a variety of note values and thus givesome rhythmic guidance to the performer. In Mar-chand's second book and in Clerambaulf s two suitesthe preludes are wholly unmeasured, like those of LeRoux. However, by employing mixed note valuesinstead of an unrelieved series of semibreves, Mar-chand and Clerambault provide helpful interpretativedirection. Clerambaulfs preludes, moreover, usevertical dotted lines both to mark coincidencesbetween the hands and to indicate where certainpitches—especially in the bass—should enter alone.Similar markings accompany the four unmeasuredpreludes in Dandrieu's third harpsichord book. Here,



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Table 1 Contents of the ten early eighteenth-century French harpsichord collections

prelude

overture

allemande(double)

courante(double)

sarabande

gigue(double)

minuet(double)

gavotte(double)

chaconne

descriptive piece

passepied

rondeau

ngaudon

bourree

passacaille

Dieupart

6

6

6

6

6

5

6

1

MarchandI II

I 1

1 1

2 1

1 1

1 1

1 2

1 1

1

Clerambault

2

2

(1)

2

3

2

2

1

(1)

Le Roux

4

8

8

(1)

6

2

5

(3)

2

1

3

2

DandneuI II

2 1

1 1

2 1

1 I

1 1

(1)

2 3

2 1

1

1

1

III

4

1

1

2

2

6

7

1

2

2

1

Rameau

1

2

1

2

1

1

1

1

La Guerre

2(1)

2

(1)

2

3

(1)

1

1

1

2

Ex.1 Jean-Framjois Dandneu, Pieces courtes et faciles de quatretons differents (Paris, c 1710-20), Prelude in D minor, opening

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as seen in ex 1, dotted lines serve not only to markconcurrences between the hands but also to helpdelineate the metrical framework of each piece, for,despite their being notated throughout in semibreves,all four of Dandrieu's unmeasured preludes readilylend themselves to a strictly metrical interpretationOver against these pieces, the first measured preludein the 18th-century French harpsichord repertory—the one in Marchand's suite in D minor—adapts wellto a free rhythmic rendition (see ex 2).22 The freerhythmic style of Marchand's piece is not typical of theearly 18th-century measured prelude, however, in-asmuch as the three remaining pieces in this category—all of them by Dandrieu—demand rhythmic pre-

cision The large number of unmeasured preludes inthe literature at hand is of special interest, for laterFrench harpsichord composers gave considerably lessattention to the form. Indeed, by the mid-1730s theprelude non mesure had become obsolete.

Most of the allemandes in the ten harpsichordbooks being discussed correspond closely to their17th-century prototypes. They are pseudopolyphonic,with occasional points of imitation, and exhibitcontinuous quaver and semiquaver motion withoutclear phrase delineation A number of early 18th-century allemandes are altogether different, howeverSeveral of Le Roux's compositions, for example, aswell as La Guerre's Allemande in G major areessentially homophonic with but little contrapuntalactivity A few such pieces feature extensive melodicembellishment; the allemande in Le Roux's seventhsuite is especially notable in this regard.

Whether homophonic or polyphonic, most alle-mandes in the early 18th-century French harpsichordliterature use the time signature C and are moderate intempo Two pieces by Le Roux, however, as well as



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Ex 2 Louis Marchand, Livre premier. Pieces de clavecin {Paris,1702), Prelude in D minor, bars 1-8

Ex.3 Jean-Philippe Rameau. Premier livre de pieces de clavecin(Pans. 1706). Allemande II in A minor, bars 1-7

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Clerambaulfs Allemande in C major employ a Csignature but are marked 'Gay(e)'. Several otherallemandes, which move primarily in crotchets andquavers rather than in the usual quavers and semi-quavers, are written in either (f: or 2 metre Althoughthese time signatures might seem to suggest moreanimated movement, such is not necessarily the caseFor example, two of the three allemandes by Le Rouxthat are in 2 metre are marked 'Grave' Three otherallemandes, moreover—the two in Dandneu's secondand third books and Marchand's piece in G minor—are 'hardly to be distinguished from a normalallemande with doubled time-values and halvedbars'.23 Fashioned quite differently from these pieces,however, is the second allemande in Rameau's book.Here, as ex 3 shows, the two-beat measures lendthemselves readily to faster movement The Itahanatecharacter of this piece—with its energetic rhythm, itssequential repetitions, and its descending series of 6thchords embellished by suspensions—contrastsmarkedly with the first allemande in Rameau'scollection, which is conceived in the traditionalFrench manner La Guerre's 'La Flamande', by contrastwhich is notated in C metre, combines time-honouredtechniques like the style bnse with more progressiveprocedures such as chains of suspensions and 7thchords.

All courantes composed during the first decade ofthe 18th century and those of the 17th-century Frenchharpsichordists are very similar. Written in moderate

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triple metre, principally in 3/2, they characteristicallyexhibit free contrapuntal textures, asymmetricalphrase structures, and complex rhythmic frameworksin which the intermittent use of hemiola tends toproduce a sense of rhythmic instability Although the17th-century courante was frequently cultivated inpairs, that of the early 18th century almost alwaysappears singly Only three of the 26 suites at hand—Dandrieu's first in D minor and those in the same keyby Marchand and Le Roux—incorporate two courantes.It is noteworthy that in Le Roux's dance group thesecond courante—which in keeping with its title,'Courante luthee', features the broken style of lutemusic—does not immediately follow the first butoccurs, rather, at the very end of the suite The onecourante by Rameau is interesting in that it beginswith a descending chromatic bass line and concludeswith a chain of 7 th chords exhibiting root movementdown a 5th and up a 4th

All the courantes in the early 18th-century Frenchharpsichord literature are uniformly structured; thesarabandes, however, are not. Those that conform tothe model established by the 17th-century Frenchharpsichordists are in slow triple metre, employ simplebinary form, utilize four-bar phrases, incorporatefeminine phrase endings, and reiterate standardized



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rhythmic patterns, patterns that sometimes result inhemiolas The two sarabandes of La Guerre holdspecial interest because they display greater rhythmiclatitude than do those of her contemporaries In her D-minor sarabande, for instance, La Guerre clearlyestablishes the pattern

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in the first section but substantially alters andeventually discards it altogether in the second Thepetite reprise plays a decisive role in this dissolutionprocess As seen in ex 4, it bears little resemblance tothe initial rhythmic idea Dieupart shows originality inthe sarabande of his third suite by building upon a'running' quaver bass and by employing rounded-binary form 24 the last six bars of the first section arerestated at the end of the second.

Ex 4 Elizabeth Jacquet de la Guerre, Pieces de clavecin quipeuvent se jouer sur le viollon (Pans, 1707), Sarabande in Dminor, bars 25-8

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The most innovative of all sarabande composers ofthe early 18th century, however, was Le Roux, whosepieces utilize a variety of formal schemes Thesarabande of his seventh suite, for example, isfollowed by a set of variations That of his sixth suite,on the other hand, is designated 'en rondeau' Despiteits title, this piece does not use a recurring refrain butinstead employs a rounded-binary design Apparentlythe idea of restating part of the thematic material ofthe first section in the closing measures of the secondone 'appeared so novel to Le Roux that he labelled[this piece] "sarabande grave en rondeau"'25 Whilethe second sarabande in Le Roux's third suite is alsodesignated 'en rondeau', it is more difficult to classifyHere the complete return of the initial eight bars afteran 18- bar digression yields an ABA scheme This piece

thus resembles the ternary designs of the period, itsmiddle section is considerably longer and moredevelopmental, however, than that of the typicalthree-part form. In Le Roux's second suite the unusualfeature of the sarabande, a simple binary structure, isits being marked 'Gaye' Of the early 18th-centuryFrench harpsichord composers, only three—Le Roux,Clerambault and Rameau—included a pair of sara-bandes in a single suite And of these only Rameaucast his two pieces in opposite modes

The gigues in the harpsichord books being examinedalso reveal various approaches About one-third of thepieces are modelled after the two main kinds of giguescultivated by the 17th-century French harpsichordistsAccording to Fuller, the first of these types wasimitative, 'moved chiefly in quarters and eighths', andbegan 'with a rhythmic pattern

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or some modification [thereof], usually in the form of asnatch of unaccompanied melody, in the manner of afugue'. The second type could be either imitative ornonimitative, 'showed a preference for movement inhalves and quarters', and generally 'began with a chordlasting a half note or dotted half-note'26 The first ofthese two types was cultivated by a number of early18th-century harpsichord composers, but the secondfound less favour The former is perhaps bestrepresented by the gigue in Marchand's suite in Dminor, the latter, albeit faintly, by the same composer'sgigue in G minor Both of these French types werenormally in 6/4 metre and featured dotted rhythms.The giga of the Italians, by contrast, showed apreference not only for 6/8 or 12/8 metre but also formovement in even quavers In addition, the Italiantype differed from the French by being essentiallyhomophonic Clerambaulfs Gigue in C minor, thebeginning of which is shown in ex 5, and La Guerre'ssecond gigue in D minor are good early 18th-centuryFrench representatives of this species AlthoughDieuparf s gigues likewise manifest Italian influence,their contrapuntal workmanship demonstrates hisindebtedness also to the German keyboard repertory

Whatever their stylistic heritage, almost all of thegigues are simple binary structures, the only exceptionbeing three pieces by Dandrieu His gigues in G minorand in C major, designated 'en rondeau', are ternaryforms, the former follows the repetition schemeII v4il BA'W, the latter, a simple ABA design The gigue inD major of Dandneu's third book, on the other hand.



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Ex 5 Louis-Nicolas Clerambault le' livre de pieces de clavecin(Pans, c 1704), Gigue in C minor, bars 1-3

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employs a rounded-binary structureThe optional movements in the suites being

considered range from traditional dances used exten-sively by the 17th-century French harpsichordists tonew types of pieces that ultimately assumed animportant role in French harpsichord music of the18th century The first category of more traditionalpieces includes the minuet, gavotte, chaconne andpassacaille, the second includes the ngaudon, rondeauand descriptive piece. Although the bourree andpassepied are also represented in the collectionsunder study, neither of these dances appearedfrequently in French keyboard music of either the 17 thor the 18th century and for that reason they are notdiscussed here

Outnumbering all other optional movements in theearly 18th-century French harpsichord suite areminuets and gavottes Although their 17th-centuryprototypes were almost always in simple binary form,only two-thirds of the minuets and gavottes composedin the early 1700s are thus constituted The remainingone-third employ rounded-binary, ternary or rondeauform Rounded-binary structure occurs only twice, inthe last minuet in Dandneu's suite in G minor, and inthe single minuet by Rameau Ternary form, on theother hand, is used in six works, all of them minuetsAlthough two of the six pieces exhibit a simple ABAdesign, the remaining four incorporate additionalrepetition, the most common scheme being \\.A II BA II "The only early 18th-century minuet that can beconsidered a genuine rondeau is the one in F major(Suite V) by Dieupart Unlike many dances of thisperiod that bear a 'rondeau' designation but areactually ternary in structure, Dieupaifs piece employsa recurring refrain that alternates with two contrasting

couplets as follows RC\RC2R'R This rondeau structureis rather unusual in that it closes with two statementsof the refrain, the first is a varied return, the second, anexact repetition of the original presentation

The early 18th-century gavotte shows less structuralvariety than does the minuet Of the 22 gavottes 15 arein simple binary form, the remaining seven employrondeau structure Each of the gavottes en rondeaudisplays the same pattern of alternation, namely,RC\RC2R, and in most of these pieces the refraincomprises two four-bar phrases, the second being avaried repetition of the first28 The adjoining coupletscorrespond in length to the refrain and are eitherthrough-composed or repetitive Rameau's gavotte isinteresting in that it has a Double de la Basse, a variantnot of the entire piece but of the refrain only. It seemsthat at the performer's discretion the double can besubstituted for the second or third refrain statement29

Of the remaining movements in the suites at handthe chaconnes merit special attention. Cultivated byseveral composers in a variety of ways, they lendthemselves readily to a comparative study As might beexpected, a majority of the chaconnes—three of thefive—employ rondeau form One of these pieces,Marchand's Chaconne in D minor, builds on an eight-bar refrain that alternates with four contrastingcouplets Like the grand couplet in many 17th-centurychaconnes en rondeau, the refrain consists of two four-bar phrases, the second being a variant of the firstAs seen in ex 6, both phrases display chordal textureand utilize a fixed pattern in the bass, namely,1-7-6-4-5-1 30 Ranging in length from 16 to 19 bars,the four couplets are variously constituted' the firstand third are chordal and feature sarabande rhythms,

Ex 6 Louis Marchand, Livre premier, Pieces de clavecin,Chaconne in D minor, bars 1—8

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the second and fourth are imitative and devoid ofstereotyped dance rhythms. Dandneu's Chaconne in Cminor is more compact than Marchand's and dividesinto five sections, namely RC\RC2R Like Marchand,Dandrieu uses two four-bar units to fashion hisrefrain, the second unit being a varied presentation ofthe first He does not, however, employ a fixed patternin the bass. Both of the couplets in his chaconne areeight bars long and utilize the principal rhythmicmotive of the refrain Despite these similarities to therefrain, the couplets differ by being contrapuntalrather than homophonic The one other chaconne enrondeau is La Guerre's Chaconne in D major, the formof which is C1C2C1C3C1C4C1C5C1 Considerably longerthan most other grands couplets, the chaconne refrain(C1)31 comprises 14 bars, two of them being of doublelength because they are hemiola patterns (see ex.7)32

The refrain is noteworthy also in being through-composed' it does not depend on the repetition eitherof phrases or of bass patterns, except for concludingwith a varied repetition of bars 8-11. Although manyFrench composers—Marchand and Dandrieu amongthem—use only chordal textures in their chaconnerefrains, La Guerre employs both imitative andhomophonic writing. Her exploitation of the lowregister of the keyboard is in keeping, however, withan established practice. Contrary to the usual French

custom of indicating refrain repetitions by means ofrenvois, La Guerre writes out and varies the first threerecurrences of the refrain and designates only thefinal return by a renvot Containing from 12 to 15 bars,the contrasting couplets (C2 through C5) are through-composed and exhibit contrapuntal textures 33

The Chaconne in F major of Le Roux, whosestructural ingenuity has already been noted, juxtaposesrondeau and ostinato procedures The piece dividesinto two parts, each containing 68 bars The first partbuilds on a refrain and four couplets, the second, onostinato patterns The eight-bar refrain of part oneconsists of a single four-bar phrase that is repeatedwith variation Like the refrains of many 17th-centurychaconnes en rondeau, it displays homophonic textureand utilizes the bass pattern 3-4—5-1. Every recurrenceof the refrain is written out and varied. Ranging inlength from six to eight bars, all four couplets beginimitatively and thus contrast effectively with therefrain The second part of the chaconne utilizes four-bar phrases throughout, and in free successionemploys three ostinato patterns, namely, the descend-ing tetrachord, the ascending pentachord, and thefigure 1-7-6-3-4-5-1.

Although entitled 'Chaconne en rondeau', the oneremaining chaconne—that in G minor by Dandrieu—fuses ostinato and rondeau procedures. Divided into

Ex 7 Elizabeth Jacquet de la Guerre. Pieces de clavecin qui peuvent se jouer sur le violloa Chaconne in D major, bars 1-14



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four-bar units, the bass utilizes one principal ostinato,the figure 1-7-1-5-6-4-5-1; this figure is varied inthe course of the work and presented in freesuccession with other fixed patterns The upper part,on the other hand, employs an eight-bar melody—afour-bar phrase repeated with variation—that recurswith figuration every other eight bars in the manner ofa refrain By presenting the third and fifth statementsof this melody in Bfc major and in D minor respectively,Dandneu enhances the refrain procedure

Another of Dandneu's compositions that usesostinato patterns is the Passacaille in D minor Like hischaconne, it builds primarily on one bass figure—inthis case, the ascending pentachord—while drawingupon other patterns as well, most notably on variousforms of the descending tetrachord,

Dandrieu and La Guerre were the only 18th-centuryFrench harpsichord composers before FrancoisCoupenn to include the rigaudon in their suites. Eachof them wrote a pair of ngaudons in which the secondpiece contrasts in mode to the first In simple binaryform, all four compositions are notable for thintextures and tonal simplicity. Dandneu's ngaudonsare unusual in that they cadence in the tonic at the endof the first section Unlike La Guerre's pieces, whichuse contrasting moods and thematic ideas, those ofDandneu employ similar rhythmic and melodicmotives

Although several early 18th-century French com-posers utilized rondeau structure in their dances,Dandrieu and La Guerre were the only harpsichordcomposers of the first decade to cultivate the rondeauas an independent form Their pieces, in fact, are thefirst of many such works that eventually entered the18th-century French clavecin repertory The Rondeauin D major of Dandrieu, despite its title, displays asimple ABA design His rondeaux in G minor and Cmajor, on the other hand, as well as the single rondeauof La Guerre build on a refrain and two contrastingcouplets. In all of these compositions the refraincomprises two four-bar phrases, the second being avariant of the first The couplets, also eight bars long,are through-composed Unlike Dandrieu, who indi-cates repetitions of the refrain by means of renvots, LaGuerre writes out every refrain statement and altersthe third presentation by embellishing both themelody and the bass In the original publication, itshould be noted, La Guerre's rondeau ends with anincomplete measure and custos (on d") at the conclusionof the embellished refrain statement (see bar 40 in the

Pupitre edition) I believe that this piece should beextended by reiterating the initial presentation of therefrain The resulting scheme, RC\RC2R'R, is the sameone used by Dieupart in his menuet en rondeau in Fmajor, where in the original print only the final refrainrecurrence is indicated by a renvoi.

To be complete this article must also mention thefour non-dance pieces that bear descriptive titles Twosuch compositions by Le Roux—'La Bel-ebaf and 'Lafavontte'—are in simple binary form. Although theydiffer in metre and tempo, they employ the samerhythmic idea and derive cohesion from its constantreiteration 'La favoritte' gains additional unity byusing similar melodic motives throughout Then thereis Le Roux's 'La Piece sans Titre', whose seeminglyjocular title may in itself indicate the composition'snon-dance origins. Ternary in form, this piece followsthe repetition schemell AII .BA'W. Its middle {B) sectionis noteworthy both because its imitative texturecontrasts sharply with the homophonic outer sectionsand also, as ex 8 shows, because it concludes with atransition to A' that features imitative treatment of anidea derived from the composition's opening motiveItalian influence is apparent in the final section of thepiece, where sequential repetitions extend the motivicmaterial (see bars 26-32 in ex.8) The fourth com-position that is not a dance is Rameau's 'Venitienne',whose rondeau design is RC\RC2R. The refrain iscomprised of two eight-bar units, the second being avaried repetition of the first The couplets, 16 and 20bars long respectively, are through-composed. Cuth-bert Girdlestone points out that, had Rameau wantedto evoke a particular person or thing, he would haveentitled this composition 'La Venitienne'. Girdlestonebelieves that the rondeau 'was intended', rather, 'as akind of gondolier's song, a barcarolle'3*

The preceding discussion clearly shows that the early18th-century French harpsichord composers followeda common practice with regard to the content anddistribution of the suite Almost all of them regularlyemployed a nucleus of four specific dances—theallemande, courante, sarabande and gigue—that werepractically always arranged in the 'classical' orderThis dance nucleus was generally preceded by anintroductory movement and followed by a variety ofother pieces. Only three early 18th-century Frenchharpsichord collections do not conform to thispattern. They are (1) Dandrieu's Pieces de clavecincourtes etfaales de quaere tons differents, which contains



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Ex 8 Gaspard Le Roux, Pieces de clavessin (Pans, 1705), suite vn. "La Piece sans Titre'. (a) bars 1-5 (b) bars 20-32

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only a handful of 'core' dances, (2) Le Roux's Pieces declavessin, which favours a nucleus of three dances—the allemande, courante and sarabande; and (3)Dieuparf s Six swttes de clavessin, which, in keepingwith German practice, consistently uses the gigue asthe concluding movement

Despite their general similarity of content anddistribution, the ten harpsichord books at handexhibit considerable formal diversity From un-measured preludes to descriptive pieces, they are acompendium of both the old and the new Althoughthe increased number of rondeau designations in thisperiod may suggest a common adoption of rondeauprocedure, an examination of the pieces themselveshas demonstrated how loosely this appellation wasapplied. Only a few dances—gavottes and chaconnesin particular—employ genuine rondeau structureUnlike the 17th-century French harpsichordists whowere largely insulated from foreign influence, theearly 18th-century composers freely incorporatedfeatures of the Italian style into the basic traditions oftheir predecessors Apparent primarily in matters oftexture and harmony, this foreign influence sub-stantially increased the number of options available tocomposers.

After 1710 French harpsichord music became

increasingly diverse Several composers did, indeed,continue to cultivate the suite as a composite musicalform and, influenced by their immediate predecessors,relied primarily upon titled dances and traditionalordenngs A larger group became inspired by FrancoisCoupenn's popularization of the genre piece, however,and wrote suites of a more modern kind. These suites,containing few, if any, dances and following noconsistent organizational plan, demonstrate a growinginterest in motivic unification, increasing popularityof rondeau form, and a new penchant for descriptivewriting Still other composers, perhaps stimulated byDieuparf s Six suittes de clavessin or La Guerre's Pieces declavecin qui peuvent se jouer sur le viollon, explored thepossibilities of the accompanied keyboard piece.

All ten early 18th-century collections examined inthis article are significant for an overall understandingand evaluation of the French harpsichord literatureNot only did they markedly advance the trend towardstandardization of the dance suite initiated by the late17th-century French harpsichordists, but by theirformal and stylistic innovations they also influencedthe efforts of an emerging new generation of composersOur heritage, as a consequence, is a remarkablyuniform yet unusually vaned repertory, one worthy ofincreased attention, enjoyment and performance 35



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Carol Henry Bates, a graduate of Wheaton College (Illinois)and Indiana University, is Teaching Associate at theUniversity of South Carolina m Columbia

'D R. Fuller, Eighteenth-Century French Harpsichord Music (PhDdiss , Harvard U, 1965)

!This article does not attempt to establish a definitive chronologyof the ten collections under consideration Some were undoubtedlywritten in the late 1600s Others were composed in the opening yearsof the 18th century but not published until a later time Despitevarying circumstances of formulation and promulgation, however,all ten collections found circulation within the first decade of the18th century and for that reason are included here The 'GeoffroyMS' (Pans Bibliotheque Nationale [F-Pn], Fonds du Conservatoire,Res 475) has been excluded from consideration even though it mayfall within the chronological scope of this study (Martine Rochebelieves that the MS was completed sometime between 1689 and1702, 'Un livre de clavecin francais de la fin du XVIIe siecle',Recherches sur la musique francaise classique, vn (1967), p 62 ) For onething, its contents'seem not to have circulated at all' B Gustafson,French Harpsichord Music of the 17th Century a Thematic Catalog of theSources with Commentary (Ann Arbor, 1979), l. p 108 Then, too, asDavid Fuller observes, 'some of the compositions are so excessivelyodd as to make one wonder whether they are experiments, spoofs orvery wrongly copied' see Fuller's review of J R Anthony, FrenchBaroque Music from Beaujoyeulx to Rameau. in JAMS, xxvm (Summer1975), p378

3The term 'genre piece' is here used according to the definitiongiven by Cuthbert Girdlestone, who divides French harpsichordcompositions of the early 18th century into two broad categories asfollows '[There are] the pieces derived from dances, with no aimother than to evoke, in addition to their musical entertainment, akind of vicarious pleasure of the dance, and what may be calledgenre pieces, whose extra-musical appeal consisted in calling tomind some external object person, thing, situation, event Thedivision was not hard and fast, some dances had evocative names,and many genre pieces, even when not called dances, were cast inobvious dance rhythms' Jean-Philippe Rameau his Life and Work (NewYork, 2/1969), pp 14-15

4For a modern edition see [Frangois] Dieupart. Six suites pourclavecin, ed P Brunold, rev K Gilbert (Monaco. 1979) Dieupart'ssuites are in A, D, b, e, F and f respectively Of the composers whoseworks are considered, only Dieupart uses the word 'suitte' in the titleof his publication The term is encountered elsewhere only inDandneu's Pieces de clavecin courtes et faciles de quatre tons differents,where each key group bears a 'suitte' designation, and inClerambaulr/s second group of pieces where the heading 'Augmen-tation de la Suitte en C solutb mol'sets off three pieces apparentlyadded at a later time

!M Pincherle, 'Les Pieces de clavecin en sonates'. introductorychapter \n Mondonville Pieces de clavecin en sonates. Publications de laSociete Franc.aise de Musicologie, 1st series, IX (Pans, 1935), p 18,fn 1

'According to Pincherle, ibid. Roger's catalogue assigns twodifferent numbers to these suites, the first indicates the price of thecomplete work, the second, the price of the keyboard score withoutthe other instrumental parts These two purchase options clearlysupport the performance methods described above David Fuller,however, expresses musical reservations about the performance ofDieupart's pieces in concerted style Among other things, he noteslittle discrepancies between the instrumental parts and thekeyboard version' that look carefully calculated to improve the bassfor a continuo accompaniment intended to substitute for thekeyboard original At other points, the continuo line jumps an

octave over the harpsichord bass, producing ugly doublings' Fullerdoes not rule out the possibility that Dieupart's suites may indeed be'true examples' of the accompanied keyboard piece but is inclinedtoward a performance either by solo harpsichord or by melodyinstrument and continuo See Accompanied Keyboard Music', MQ,lx (April 1974), pp 233-4 Kenneth Gilbert mentions the possibilityof performing the suites with one or both treble instruments andcontinuo and suggests that 'if a harpsichord is used instead of, or inaddition to, an archlute, it would play from the figured bass partrather than from the wntten-out keyboard version' Gilbert alsonotes that in the violin part each suite is preceded by transpositioninstructions for alternate performance on a recorder See the'Revisor's Note' in Dieupart. Sur suites pour clavecin

'See Louis Marchand, Pieces de clavecin, ed T Dart (Monaco,1960) A revised edition (by Davin Moroney) was issued aftercompletion of this article

8D Fuller, French Harpsichord Music, l, p 233'The year of publication cannot be fully established from the title

page In the note preceding his revised edition of Clerambaulfsharpsichord pieces, Thurston Dart indicates 'After Roussel's (theengraver's] name appears 1703, at the foot of the page 1704, andboth dates appear to have been corrected on the page from 1702'SeeL-N Clerambault, Pieces de clavecin, ed P Brunold, rev T Dart(Monaco, 1964)

10B Francois-Sappey, 'L'Oeuvre de clavecin de Jean-FrancoisDandneu (1682-1738) trois livres de jeunesse', Recherches sur lamusique francaise classique. xiv(1974), pp 154-235 The first modernscholar to establish the existence of Dandneu's three early bookswas Paul Brunold 'Trois livres de pieces de clavecin de J FDandneu', Revue de musicologie. xm (1932), pp 147-51 His findingsare summarized and updated by Francois-Sappey, who also includesan analysis of Dandneu's early pieces For supplementary insightsas well as information about a recently discovered compositepublication of the three early books see B Frangois-Sappey, Jean-Francois Dandneu (Pans, 1982), pp73-6, 115-21

"Francois-Sappey. 'L'Oeuvre de clavecin', pp 156-66'^Interestingly, only the initial printing of this volume (Pans

Bibliotheque Nationale [F-Pn\. Vm71877) includes the two minuets"In her article (p 178) Francois-Sappey considers the untitled

piece in G major found at the end of this suite a middle section (ortrio) of the preceding minuet, she therefore tallies only ten pieces inthis collection In her modern edition of Dandneu's early books,however, she lists the piece in G major as a separate minuet, not as acomponent of the preceding one Jean-Franc,ois Dandneu. Trotslivres de clavecin de jeunesse, ed B Francois-Sappey, Publications dela Societe Francaise de Musicologie, 1st series, xxi (Pans, 1975)

14Cunously, in her article on Dandneu's early harpsichord books(p 195) Frangois-Sappey states that this composition has no title butthat its dotted rhythm brings to mind a canane or perhaps a gigueAccordingly, in her modem edition she editorially supplies the title'Canane ou Gigue' Carl Dolmetsch indicates, however, that in theonly extant copy of the music [GB-HAdolmetsch, MS II B16 1) thispiece clearly bears the title 'Gigue' and that this caption wasundoubtedly 'engraved at the same time as other such titles in thebook' (personal letter to the writer, 30 April 1986)

"For a modern edition see Gaspard Le Roux, Pieces for Harpsichord.ed A Fuller (New York, 1959)

"One of the titles, 'Allemande Grave la Lorenzany' (Suite II,movement 1), may not have originated with Le Roux Albert Fullerpoints out that, although all three extant copies of the music givethe title 'Allemande Grave', only one has the additional designationla Lorenzany1, and this has been added by hand (see theIntroduction' in Fuller's modern edition of the Le Roux pieces,pv)

"See Jean-Philippe Rameau, Pieces de clavecin ed K Gilbert Lepupitre, lix (Pans, 1979)

"The pieces were issued in a double volume together with La



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Guerre's six Sonates pour le vtollon etpour le clavean According to thetitle page before the harpsichord pieces, the two collections couldbe purchased either separately or as a unit

"For a modern edition of both books see Elisabeth-ClaudeJacquet de la Guerre, Pieces de clavean, ed C H Bates, Le pupitre,lxvi (Pans, 1986) The 1687 book, which for many years waspresumed lost, is discussed in C H Bates, 'Elizabeth Jacquet de laGuerre a New Source of Seventeenth-Century French HarpsichordMusic', Recherches sur la mustque francaise classique, xxn(1984), pp 7-49

20Several scholars have mistakenly stated that La Guerre'sharpsichord pieces of 1707 were engraved in a rather random order,one that presumably did not reflect her intentions regardingperformance This error stems from Paul Brunold's modern edition,which, besides including only 12 of the 14 pieces, substantiallyaltered La Guerre's ordering without explanation Elizabeth Jacquetde La Guerre, Pieces de clavean, ed P Brunold (Pans, 1938) Thisaltered arrangement was carried over into Thurston Darf s revisededition, which made use of the printing plates designed for BrunoldAlthough in Darf s edition the table of contents does indeed indicatethe original sequence of the pieces, the layout of the musiccorresponds to that in Brunold's publication Included at the end ofDart's edition are the two pieces omitted by Brunold ElizabethJacquet de La Guerre, Pieces de clavecin, ed P Brunold, rev T Dart(Monaco, 1965)

2ID Moroney, 'The Performance of Unmeasured HarpsichordPreludes', EM, IV (April 1976). p 145

22Wilh Apel states that this prelude 'is probably the first exampleof the type that Francois Coupenn calls mesure in his L Art de toucherle clavean (1717), but which must nevertheless be played "d'unemaniere aisee sans trop s'attacher a la precision des mouvements" '(in a free manner without attaching too much importance to theexact time) The History of Keyboard Music to 1700, trans and rev HTischler (Bloomington, 1972), p 719

23D Fuller, French Harpsichord Music, I, p 259 Fuller's observationis made in reference only to the Marchand allemande but seemsapplicable as well to the two Dandneu pieces

"Some writers prefer the term 'incipient ternary'25J R Anthony, French Baroque Music from Beaujoyeulx to Rameau

(New York, rev 2/1978), p 25726D Fuller, French Harpsichord Music, l, p 274"Ternary form is used in Marchand's second minuet in G minor,

in Clerambaulfs second minuet in C ma]or, in Le Roux's secondminuet in A minor, in the pair of minuets in Dandrieu's first book,and in the first minuet in Dandrieu's second book Interestinglyenough, four of these works bear a 'rondeau' designation Althoughthe cited minuets of Marchand and Clerambault employ therepetition scheme A BA . Darf s modern editions of these piecesutilize formats that do not correspond fully to those in the originalsources Some analysts may see in these two minuets a rounded-binary rather than ternary structure

28Marchand's Gavotte in D minor, Rameau's Gavotte in A minor.Le Roux's gavottes in A minor and D major, the initial gavotte inDandrieu's first harpsichord book, the single gavotte in Dandrieu'ssecond book, and the second gavone in D minor in Dandrieu's thirdbook

"Kenneth Gilbert, in his edition of Rameau's pieces (open, p IX),observes that the 'Fin' marking at the end of the first statement of therefrain (bar 8) may indicate that the double should 'not necessarilycome at the end of the piece, but perhaps after the 1 st Reprise' (I e ,after the first contrasting couplet)

'"According to David Fuller, most refrains in the 17th-centuryFrench chaconne-en-rondeau literature comprise one or two four-barphrases and utilize stereotyped bass patterns, the most common ofthese is 3-4-5-1 French Harpsichord Music, l, pp 101-2

]'The terminology used by French harpsichord composers todelineate the sections of the chaconne en rondeau varies considerably

Louis Coupenn, for example, frequently employs the term grandcouplef for the chaconne refrain and differentiates the remainingsections by means of numbers Marchand, on the other hand, omitsspecific reference to the refrain but, like Coupenn, numbers thecontrasting couplets In La Guerre's Chaconne in D major, bycontrast, the refrain constitutes the first couplet

!2In these hemiola patterns La Guerre replaces the basic crotchetpulse of the refrain with a minim unit and thus effects a change from3/4 metre to 3/2 Although subsequent statements of the refrain areidentical in length, the fourth contains two additional bars becauseof the different barring of the hemiolas Here, because La Guerreretains the basic crotchet unit instead of changing to a minim pulse,the hemiola patterns embrace two bars rather than one

"Perhaps the most noteworthy feature of La Guerre's chaconne isits rhythmic organisation, which at the beginning of the fourthcouplet shifts from simple to compound triple metre—specifically,from 3/4 to 9/8 (Interestingly, to indicate the shift to triple divisionof the beat, La Guerre uses the signature 6/8) The triple beatdivisions introduced in this couplet are earned over into thepenultimate statement of the refrain Although this presentationbegins and ends in 3/4 metre, it unfolds primarily in 9/8 and thuscontrasts markedly with the four other refrain statements

"See Girdlestone, op at, p 18, as well as Appendix B, p 596"This article consists of revised and expanded material from the

writer's doctoral dissertation, The Instrumental Music of Elizabeth-Claude Jacquet de la Guerre (Indiana U , 1978)

VIRGINIAPLEASANTSFORTEPIANO

Mozart among His ContemporariesMozart

Kozeluch ClementiWagenseil Dussek

Purcell Room14 June 1989

8.00pm



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RENCONTRES INTERNATIONALES DEMUSIQUE BAROQUE ET CLASSIQUE BEAUNE 89.

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Documents

French harpsichord music in the first decade of the 18th century