FRANCOIS COUPERIN

Les Goüts-Réunis

Nouveaux ConcertsVolume I/Band I

for Flute/Oboe/Violin(Flute II/Oboe IllViolinII ad lib.)

and Basso Continuo

flir Flóte / Oboe /Violine(F1óte IIlOboe Il/Violine II ad lib.)

und Basso continuo

Prefaceby / von

David Lasocki

Volume I /BandI v-Vlll MR 18324Volu¡ne II / Band II IX-XI. XMR 1832bVolume Ill / Band III X. XIT, XIII MR 1832c

ou

BREITKOPF & HARTELWIESBADEN. LEIPZIG. PARIS

MUSICARARAMR 1832a

Printed in Cerm¡ny

Contents/Scoring

Volumel-MR1832aV for Flute/Oboe/Violin and Basso continuoVl for Flute/Oboe/Violin and Basso continuoVll for Flute/Oboe/Violin and Basso continuoVlll for Flute/Oboe/Viol¡n and Basso continuo

(Flute/Oboe/Violin ll ad l¡bitum MovementrD

Volume ll - MR 1832b

lX for Flute/Oboe/Violin and Basso continuoX for Flute/Oboe/Viol¡n and Basso continuoXl for Flute/Oboe/Violin and Basso conlinuoXIV for Flute/Oboe/Violin and Basso continuo

Volume lll - MR 1832c

Xxtl

Plaint€ for 3 Violas da Gamba/Violoncellos/Bassoonslor 2 Violas da Gamba/Violoncellos/BassoonslBasso continuo ad l¡bitum Movement l)

Xlll for 2 Violas da Gamba/V¡oloncellos/Bassoons

This ¿d¡tion has beeñ prepared fro¡r a copy of the or¡ginat printed édit¡on ¡n rhe Bibtioth¡que Nationate, p¡ris{Vml 1870 I ent¡ t led:

Les Goits{áüni!/ou/NOUVEAUX CONcEFTS/á t'usas€ de toures le_s sortes d,¡nstrumensde l\¡ls¡que/ausmentés d'uñe srande Soñade en Trio./tNTtTULÉE/Le parnasso/ou/L,APOTHEOSE DE CORELLI./Parl[4onrieur Couperin/Orsaniste de ta Chape é dü ROy;ordinaire de lall4usique de la Chambre de sá I¡AJESTE; cvdevant/professeuFmaitre deComposirion, ét d'accompasneñent de/feu MONSEIGNEUR LE DAUPHtN Duc deBoursosn€/er actuellement máiire de l'INFANTE-BElNE./Prix t5 tr. en bta¡c./A pARtS/Chez L'Auteur, au coin de la rue neuve des bons Enfans, proche ta ptace des Victoires/Le Sieur BOIVIN á lá resle d'or, rub St. Honorá, vis; vis ta rue des Eourdonnois/AvecPri\ilége dtr toy./ t724.

The relevant portion of Couperint prefáce is ¡s fottows (my transtat¡oñ):

The title of this new book lof p¡eces] serves not onty to distinguish it from those I havealready published, but aho to show the diversity of expression you wjttf¡nd co ected in it.

The ltalian style and the French style have shared rhe Repubtic of tüusic {in France}fora long time. For rnyself, I have always put value on th¡ngs rhat should merit it, w¡thoutregard for the composer or nat¡on. And the firrt ltalian sonsras that aooeared in Pars morethan th¡rty years ago, and rhat encouraged m€ to compose some afterwards, to mv mind didwrong to noone, neirher to the works of Lulty, norto those of rry ancéstors, which wilt atwaysbe more admirable than imitable. Thus by a r¡ght that giv€s me my neutratity, I alw¿ys s¿ilunder the happy auspices that have guided me untit now.l

Couper¡n thus draw' attention to the twoJold t¡rle of the p¡eces - Les coirs-.4n¡i ou Nouveaux concé.6. Theconcarts are new ¡ñ that they ar€ a continuation of the four Concerb royaux he pubtished two years prev¡ousty2 {1hisis shown further by the number¡ng of the pres€nt works as Coocartr f¡ve to founeen)j and rh€y atso r€present anattempt to reconcile the French sryte and rhe ttatian styte of compos¡tion. An exce ent discussion of thk re-conciliation of styles, as well as d¿iailed co-mments on borh Concéns royáüx and Nouvéaux concc.t¡, wi be foundin Wilfrid [4ellers's book on the composer.r Although rhe French word concerr usu¿ y means concerto, in this case itsign¡fies "concerted music in dance form scored for an enssmble group.......... Compos€d to softeñ and swoeten theKingt melancholy, they áre conceived in a eryte more French than ttatian.......... None the tess the ñus¡c throuahout.......... indicates how deeply Couperin's French ¡d¡orn ¡s impregnatsd with tr3¡ianism.,,4

Thetitle page of the Nouveaux concert3 srater onty that they are "for the use of a sonr of musicat ¡nstrum€nts.,, Abetter clue to ¡nstrumentation ¡s provid€d ¡n the preface to the Concétü roy¡ux (my translation¡.

The p¡eces..........are suitable not only for ¡he harpsichord, but atso for the v¡otin, ftute, oboev¡ola da 9amba, and basoon. I composed them for the tittte chamber conceG ro which LouhXIV summoned me almost every Sunday of th€ y€ar. These pieces were performed bv Duvát,Philidor, Alarius, and Dubois (l played rh€ harpsichord).5

With rhe exception of the second movemsnt of the e¡ghth concort, the thkd movernent of the tenth conceÉ, and thetwelfth and th¡.teenth concérts. the Nouveaux corc€rts are set out ¡n two staves and may be convenientty perform€don the harps¡chord ás they stand.o But Couperin says rhat they are ako suitabte for violin, ftute, obos. v¡ota da gamb¿,dnd bassoon. The virtuosi who originallv pelormed the pieces with him st court were the violin¡st Franqois Ouval orVal,' rhe obo¡rt and ba-ssoonist AndráDanicán Phit¡dor,6 the viota da gamba ptayer Atarius or H¡taire Vertoq€, andthe t¡assooñist Dubois.g "The ideal arrangemenr woutd thus seem to be for two srr¡ns€d instruments, two wrndanstrum€nts, and basso cont¡nuo - the strings ¡nd wind ptaving e¡ther tog€ther or att€rnatety. Th€ choico of¡nstruments should depend on the expressive qu¿lities of the movement in question."l0 Dur¡ng Coup€rin,s tifet¡methe choice of woodwind ¡nstrumenr would also have depended on the kev of the movem€nt: the ftute was most athome ¡n the region of ¡$ hom€ key, D rna¡or; the oboe was more coñlortabte in key signaturss of from one to three

The second movement of the eighth conce( is set out ¡n trio sonata texture for two treble ¡ñstruments. The ed¡torsuggests that it may be omitted át the dircretion of the performers. The thifd movement of the tenth concert ¡s aPla¡nte "for violas da gamba or oth€r unison instruments." The parts are mark€d "t.ere Viole¡"2.eme V¡olé4¡and " Basse, sa ns accords," that is, for two víolas da gámba and a bass ¡nstrument only.ln th ¡s edition ¡t ¡s presented forthr€€ violas da gamba or violoncollos or bassoons. The tw€lfth conc.rt k "for two violas da gamba or other unisoninstruments." Asain, a choice of violas d¿ q¿mba or violoncellos or b.$oons is pres€nted in this edit¡on. The firstmovement has a basso continuo, but we are warned that "although you could add an accompániment of harpsichordor theorbo to th¡s concert, ¡t w¡ll always be best for two violas da gamba or similar inrtruments w¡thout anythingfunher."rr Surpris¡ngly, one passage has bass f¡gures although ¡t ¡s clearly marked unaccompan¡ed. Th¡s paerage isenclos€d in brackets in this edit¡on. Th€ thirteenth concért is for "two unison ¡nstrum€nts," the clefs ernployed againimplyins a cho¡ce of viola, da qamba, violoncellos, or bassoons.

Some Not¿tional Problems

There are ¿ number of places where the upper of Couperint two tines coñtaiñs more than one note. Súcll chordsare not mult ip le stops for the v io l iñ, fo. many are s impty unptayable on the instrument, but r¿ther addi t ions to thesingle melodv line to be used when the music ¡s ptaved on the harpsichord. since the p¡esenr edition ts inrended formelodv instrument and basso continuo¡ the extra ñotes have been put in the r¡ght hand of the basso contiñuo reatizatio¡.

Concerning the repeats norated in rhe piecés, one should note the comments Kenneth citbert has m¿de on thissubject ¡n connection with Couperint harpsichord pieces:

There ú scarcely any evidence to suggest thát repeats in Frenct¡ mus¡c were consideredopt ional . They should norm¿l ly be plaved, i f one is to avoid the imDression of , ,a imiabtem¡n¡atures" often associared with these pjeces. Wirhout repeats, the rñusicat ,,event.' passesby far too quickly for the ear {especiatty the modern ear, being better attuned to theperception of larger musical formt ro grasp sufficientty what is beiñg so concisety offered. ttis a question of proportions; for exampte, a performance of an alemánde or a couranre withall jts repéats is the oñly one capable of presenting the work in its true temporat dimensions.Repeáts may be varied somewhat, in slow or moderate pieces. but one needs to bear ¡n h¡¡dth€ composer's own remárks about this practice, e¡pres5ed in exceptiona y strong tanguage,

'n his pretdce to Book l l l lof h is ha¡psichord Diecesl . lz

For án unde.standinq of the corr¿ct performance ot Couperint many ornaments, we mav b€ guided by the tabteof ornaments at the beginning of h is f r rst book of harrrs ichord pieces (1713) and the instruct¡ons contained in h¡sL'Art do toucher lé c lav.c¡ñ { 1716). r r Unfonunately, many probtems ,emdin unsotved.

Po¡r de vo¡x and cou¡é

Couperin us€s the ornament called in lralian the appoggiatura jn both ascending and descend;ng posrt|ons. In histáble or ornaments we find the noration * for the ascend¡ng variety {which he cá||s port de vo¡x coutío

or s¡mply po|t de voix), without any indication ol how it shoutd be performed. fhe descending variety is absententúely. In L'Art de toucher the descendins variety is catted a coutí and we find the fo ow¡ng ¡nstructions (mytrañslation): "The little grace nore of a port de voix o¡ of_a coutlmust be struck with the harmony; rnat rs to say, atthe time one must pláy the principal note thatfollowsirj'14 Nowhere is there any suggestion of how toñs the orna-

The problem of how long the ornaments should be añd whether they should come on or beforé the beat is bestdiscussed ¡n the larger context of all French instructio¡s from the period in question. Frederick Neumañn has written:

The downb¿at patte.n of French ornamentation tabtes lik€ those of D,Angtebert, Dieupart,Le 8oux, erc. was limited to cedain types of Vo¡scht:se tThe cermán equivatent ofapposgiatura or port de voixl, namely those in the very d€finite metodic harmonic conrexFof a prepared and step-wise resolved dhsonañc€; such Vorschtase were indicated bV ábstractsymboh{mostly hooks) whereas the little ñotes had generatty the nean¡ng suggested by theirpactor¡al symbolismj to be executed beiweér rhe princip¿t nores, hence in anticipation.Downbeat VoBchláise appeared in France ¿tmost exctusivety in ctavier tharpsichordr worKs.yet they were far from standarized €ven in this medium: a number of keyboa.d ptayers inboth the 17th and lSth centur¡es, among th€m Nive6, cigautt, Raison, Saiñt-Lambert, Siret,Luc lvlarchandr def¡n itely favoured the upb€at paftern.......... For the media of rhe vorce andof the melody instruments, añt¡cipation wás the favoured ryte throuqh the tTth ánd thebette. part of the 18th century.rc

From his study of Couperint harpsichord pieces, Neumann came ro the fo|owing conctusions:

General directives can be given onty in the broadest terms a¡d wirh the proverbialgraiñs ofs¿l t , With ruch a proviso i r can be said rhsr rhe do¡ i !ñbeat rute is mosr t i lety to "pptv ro suchcoule! and ports d€ voix Lhar ¿re in the upper voice or voices, rh¿L strike a d.ssonance ¿qainrrrhe bass, dnd th¿t do so on the heavv metncat beats; that Lhe coutí in these cr;drm-stances will be shod, resultíng in a "Lombard" type pattern and witl rarety if ever exteñdto lha¡f the value of the main nore] . On the other hand, the port de vo¡x. especia y in theport d. vo¡x et pincá combiñátioñ, has a wider scope of rhythm¡c freedom and k ñore tiketvto be, on appropriate occasions, of the long, expresive suspension type. Anticipar¡oñ ismost likely to occur on light beats, especiatty on feminine endings; at the stan of a piec€ orphrasej between descend¡¡g thirdsj ¡n the bass linej in añ unaccompañied voice; whereantic¡pat¡o¡ clarifies two or more simulraneous orn¿ments; where downbeat reñdition woutdimpoverish the harmony, or would inteÉere with a rhvthm pattern that is of structurat im-portance¡ or ¡nfr¡nge on th¿ integrity of a ,econd voice that happens to coincide on theembel l ished ñote. In summary. i t can be said th. t anl ic ipdt ion is:ndicated wherever i t ¡favoured by melodic, harmonic. or rhythmic losic. l6

Coup.r¡n makes much us€ of th€ p¡ncó norated ,. . Two varist¡€s ot thé ornament -' the pincl ,impté añd rhépinc6 doublo - ar€ shown in both the rable of ornam€nts in the finr book of harpsichord pieces and in L. Art dGtoüch.r {intérpretations [a] and [b], respectivsty, b€tov,r:

p¡ncó i¡mple

In each cá$ the int€ntion séems to b€ a rapid atternation w¡th the note b€tow !h€ one notated. As to how tong thealternation should last, snd indeed whether oné rhoutd ptay a !¡mpt. or a doubh, Couperin says onty that (myfanslarion) "Generally sp€akiñg, ir is the valus of the notes that must det€rm¡ne tho duration ot pince'¡ doubté3

Couperin commonly combin€s the po.t dc voix and ¡he p¡nd to produce the port dé Ío¡x s¡mpto or port dé

port do voix doüble

Fo. th€ tremblemsnt (shake or t.¡ll) Couperin uses the sigñharp5¡chord pieces he g¡vés sevoral variet¡es of rremblemént:

In the table or or¡aments ¡n h¡s first book of

¡rembl.mént appuyí,ei liá lpr€paredand t ied t r i l l )

tremblément ouvert(open tr i r l )

{c losed tr¡ l l )

tremblém.nt l¡óian,étrc.ppuye ( t r i t t t iedw¡thout being prepared)

trémblement d6tach¿e{d€tached trill)

ln L'An de touchsr, how€ver, Couperin adds the foltowing (my rrans¡arion):

Althougb shakes are ind¡cated by noter of equat vátue ¡n the tabt€ of ornaments ¡n myfirst book, they must ñeverth€les b€gin more slowly than they end: but this sradationshould be imperceptible. On whalever nore a shake may be marked. it must atways beginoñ th€ tone or semitone above. Shakes of any considerabte durarion consist of threecomponent parts, wh¡ch in the execution appéar to bo one and the Same rhiñg: (l) thepreparat¡on to be made on the note above rhe principal note; {2} the r€percussion!; (3) th€

Other shakes .ré arbitrary: thsre are some rhát have the preparat¡on oñ rhe uppérauxal¡ary notej others ro short that thoy havs noither the preparat¡oo nor ths f¡nalstop. One can ¿ven ptay shakes end¡ngwirh an abrupt rest.18

S¡¡ce the sign $ r€pres€nrs ¡ doubls (turn):

the s¡gn t , wh¡ch Coup€r¡n oftens user but never expla¡ns. probablv 4ands for a t.ombl.ma¡t ouven.l9Finally, Couperin class€6 as an ornament, and explóins, what wé should consider an art¡cul.tion ñark:

Noié3 inés¡le3

The French convent¡on of not.3 ¡nágal* applies to the ¡louvlau Conc.ri., of course. Most of rhe appt¡c¿tioñs wit¡be stra¡ghtforward ro th€ pérformer familiar with the convention, but therc are a fsw problerns. When equally.wr¡ttén notes normally eligible for ¡nequal¡ty appéar ¡. th¿ samé movement as notes of the sarne value writt€ñan a dofed rhythm, ¡t is p€rhaps tho wisest solut¡on to play the equ.lly-written noter only slightly unsqual, and toexaggerate ths l€ngth of the dotted notes. lvany not€s slig¡ble for in€quality occur iñ slr¡rréd pa¡rs. In his tabl€ ofornam€nts Couper¡n shows the following figur€

3ñd comrñents {my translation}; "Slurs, the dots of wh¡ch mark that th€ second not€ of.ach beat ñust b€ mor€sustain€d" - a st¿tement that most modern author¡ties taks ro refer to a Lomba.dic Gho.tlong, or in this case,réñiquaveriottsd quaver) rhythm. lñ the op¡n¡on of Kenneth G¡lbert.

The ro-callsd "Lombardic" rhythm, or sho(-loñg pairr of notes in exprossive passages, canbe introducéd freely and, ¡ bsli€v€, far mor€ often thañ lpeciI¡c¿lly ind¡caréd by Coupérin.Ths dot over the second ñote of a pa¡r of slurred quavsrs, as ir appears in the table oforñaments¡ may somerimes hsve beén om¡tted un¡ntentionatly by the enqraver.2o

Th€ tongge¡ng patterns used by Fronch fluts and oboe plsyers of Coupériñ's day produce a form of lur¡ng acro3sthe be.t.zr Unéqual pairs of notos slured with¡r thé beat have to b€ esp€ci.lly po¡nted out Gee the ¡nd¡cationpoinrá+oul; for the first movement of tho twelfth concérr). The ma.king croch.! íqrl.¡, normally uséd to can@lthe inequálity of the qurv€rs in a movement, is us€d by Couperiñ rédundantly on two occ¡sions (the lecond rnovemeñtof rhe f¡fth oonc¡rt and ths second movement of the sixth comé.t), rince ¡n C and y'm*res it is the sém¡quaveB thatare eligible fo¡ ¡néquality. Although 3/2 metre usually indicates thar the crotchets áre eligibl€ for inequaliry, ¡n theCourante lrangoisé of rhe n¡nth ooncort and th6 two Cour.nts of thé elev€nth .oncérr ir h the quavers that ehould beplayed unequally. since the moveñents are rsally written ¡n that mixture of 3/2 and 6/4 metre characterislic of the

"T¡¡liñs"

In mañy movem¿nts couper¡n ¡ncoñs¡stently used on€ o¡ more t.ile too msnl^for don€d fig'./res, for example J.f,The very inconristency argues aga¡nst any sp€cial mean¡ng lor thé overta¡l¡ns.¿¿ Fredérick N€urñann has pointed outthat {nry tranrlat¡on):

Gigault..........employs a s¡m¡lar irrátional ñor¡tioñ. In the advicé to the.eadé.s of h¡s book oforg6n pieces he says: "..........you must ñot let the several-times-ta¡led quavers kighten you,seéing that they must be considered as ¡f rhey were oñly !émiqu.vers." lt ¡s perhaps fromGigault that Couperin adofiéd rhis c¿pr¡ce of notation, which hs €mploys from t¡me to timsin many of his works.......... lt seems to me that a psychologic¿l solut¡on [of thé problém ofwhy he used the notationl can be found. As every teach€r kñows, dotted rhythms aredifficult to perform, and there h álw¿ys the tendency not to hold the dot long enough and tomake a tr¡pler of ¡t.......... lt is poss¡blethat it was ruch experienc€s with pupik that persuadedCouperin to use lrhe krat¡oñal ño¡atioñl for its shock value, ¡n order to iñduce th€ per-formeB at f¡rst s¡lht not to surrsnd€r to tho natural in€rt¡a and to play these notes in a wlldefined rhvthm.¿r

Coup€r¡n's mixture of '?ational" and "irat¡onal" notat¡on has been retaiñed ¡n the prssent ed¡rion.

Coup€rin often as a phrase mark. The rhortñerr of some of the phras€s may come as a surpr¡seto the modern reader. Similar short phrases are indicáted also by Blav€t ¡n his composit¡ons for the fluie.

Ed¡tor¡¡l Commsnt!

For fu.ther ¡nformation on all aspects of Fr€nch Baroque performañco practice, t should like to recommendBeüy Banq f\¡¿ther's exc€llent Int€rpr€tat¡on of Fronch Mu!¡c f¡om 1675 to 1775 for Woodw¡nd and OrhérPerformers (New York: McGinnis & lvlarx, 1973).

ln the pres€nl edition, editorial suqgestions are made in the cufomrry manner by méans of parentheses and dottedslurs. A list of correct¡ons appears b€low.

Tho realization of the basso coñt¡nuo is by Prol€ssor Bichard He.vig (fifth, sixth, seventh, and tenth concertt andProfessor Gerhard Krapf (eighth, niñth, eleventh, twelfth, and fourteenth conc€rts), both of The Un¡verrity oflowa. I should l¡ke to expr€ss my thanks to them for the¡r help in th€ preparation of this edit¡on.

DAVID LASOCKILake Forest/Aurora. lllinois. U.S.A.Ausust 1974

CORRECTIONS

Abbreviations: Capital Bomón numersh = No. of p¡ecéSmall Roman num€rals = No. of movernenlArabic numerals - [4easure (bar) numberfl. = melody instrum€ntb.c, = basso cont¡nuov9. = viola da sambab. = beat

v ¡¡ 8 b.c. b.4. three quavérsv ' l b.c. n.1 '3 A Bt G

43 ll. ñ.24 Semiquáv€f, quaver, semiquaverVI ¡ 5 b.c. bbo only a sürdon

i¡ 10 b.c. n.4-6 two s€m¡quáv€rs, quavervII ¡ 13 fl. bt in b.3 don€d quav€r

ii 2A b.c. AoVIII ii 16 s¡gnature 2/3 and notation in ta¡led m¡nims

vi i ¡ 9 b.c. s lur n.1-2lx ¡ I f l . n.6 d ' !

vi¡ 12 & 13 b.c. n.5-7 quaver, three hemidem¡somiquav€rs19 f l . t r i l lon b.2

XI ¡ notation in tailed m¡n¡ñsiv 12 f l . n.3 '6 dd st b 'c"vi 7 fl.^ n.5

Xu iii 6 vsz n.1 with ta¡l10 vqr n.1 w¡rh ta i l

iv s¡gñature 8/4

FOOfNOTES

1. Le litre- de ce nouveau Livre, non seute ment, s€ruüa ¿ te d istinquer de ceux que i,ay dója donnó; mais convient€ncore á marquer la divers¡te-des caracteres qu/on y trouve¡a rassembtó.

Lp 9o0t ltalien et le- soft Franqgis, ont partagíoepuis ¡onstemps, (en France) r¿ Rípubt¡que de ta [¡usique; ¡mon egard, J'ay toú¡ours estimí l¿s chos€s qui le meritoient; sans acception d,auteurs, ny de Nation; et t€spremiéres Sonades ltali6nes qui parurent ; Paris it y a ptus d€ trente annós, et qui m,encouraq€rent ; encomposer ensuite, ne firenr aucun torr dans moñ esprit, ny alx ouvragei de Monsieur de Lu i, ni ¿ ceux d€mes anc&.et; qui seront roc¡ouls plus ádmirabtes, qu,imitabtes. Aiñri par un dro,r qu€ me oonne maneutralitá, Je vogue too,ours sous tes heureux auspices qu¡ m'ont suidájusqu,apreient.

2. Seo my edi t ion (London: Musica nara, 1974; i ¡ .R. 1648).

3. W¡llrid lüellers, Franqo¡3 Couper¡n and rhe Fronch Ctassicat T'ad¡r¡on (London: Dennis Dobson, 19EO), pp.234.71.

4. lbid.. p.234.

5. Les pieces..........Conviennent non Seulement, au Clavecin; mak aussy au v¡oto¡, a ta Ftute, au hautbo¡s. a taViole, Et au Bassoon, Je les avois fakes pour les petits Concens de chámbre, ou Loijis quatorze me faisoitVen¡r presque toui les dimanches del'an.ée. Ces piíces ótoient Executáes par tvessieurs Duvat, phitidor.Alarius, Et Duboh: J'¿y touchoh le Clavcctrr.

6, The present edition has been designed lor a melody instrument and basso continuo. The Nouveaux concertswill be found in a fo.m suitable lor performance on the harps¡chord in the comptete edition of Couperintworks {Oouvres Complate3 de Franqo¡s Couper¡n. VIII: Mu3iqué dé chsmbre lI, ed. AndrdSchaeffner tparis:Edhions de L'Oiseau lyre, 1933). -

7. See Eugine Borrel , "Duval l , " ¡n Die Mos¡k ¡n ceschichtG und cesenwaÉ,rrr {1950}, cot . 1013;andLionetdelaLa¡irenc¡e, L'ócole fran!¿¡se de v¡olon de Lu y'a V¡otti {Paras: Detagrsve, .1922), Vot. 1, pp.t02-20_

8. See char ler l ¡ ichael Carol l , "Phi l ¡dor," inDieMui¡k¡ncorch¡chtéundc¿sonwart ,X{1962),coh. 1190.1200.9. S€e de la Laurenc¡e, op. c¡t., p.105.

10. l\4ellers, op. c¡t., p.235.

'l 1. Ouoy qu'on puisse joindre un accompagnement de Clávec¡n, oú de Teorbe; ce Concert, il lera toujours mieuxa2Violes, ou deux iñstrumens sembables, sans rien de plus.

12. Kenneth Gilbert, lntrodud¡on to Franqois Couperin: Pi¿c€! de ctayec¡n, prém¡er tivre (paris: Heuget,.1972), p.XVI.

13. For the table of ornaments se€, for example, Piere Citron, Coup€r¡n { [Paris] : Editions du Seu¡r, 1956), pp.Btand 105. Frangpis Co¡rperin, L'Art de toüchér lé cl¿v€c¡n, ed. Anna Liñde, rrañs. t\¡evanway Roberts (Wiesbaden:Breitkopf & H:iftel, 1933).

14. ll faut que l¿ petite note perdüe d'un por-de-voix, ou d'un coutá frape avec L,hármonie: c,est ¿ dire dans tetems qu on d€vroit toucher la note de valeur qui la suit.

15. Frederick Neum¿nn, "Couper¡n and thé Downbeat Doctrine for Appogg¡aturas,,, Acia mu3icotogica XLt/t-2{Jan. - June, i969). p.73.

16. lbid., pp.83-84.

17. C'est la val€ur des notes qui doit, en 0enera¡, d¿terminer la duráe des pincés-doubtes. Co'rp€r¡n, op. c¡t., p.18.

f8. Ouoi que les tremblemens so¡ent marquás e-gaux, dans la rable des agr€inens de mon prem¡er t¡vre, ¡ts doiventdojvent cepe¡dant commoncer plus lentement qu'ils ne finissent: mais, cette gradation doitétre imperceptibte.Sur quelque note qu'un trembloment soit marqué, il faut toujou6 te commencer sur te ron, ou sur te demitonau dessus. Les femblemenr d'une valeur un peu cons¡derable, renferment tro¡s objets, que dans L,executioñ neparohseñt qu'une meme chose. 1.o L'appuy que se doit former sur ta not€ au dessus de L.essenri¡te. 2.o Le!batemens. 3.o Le point¡'arést.

A L'egÁrd de! aut.es tremblemens ils ront arb¡traires. ll y en á d'appuyés; d.autres si courts qu,its n,ont nváppuy, ny point d'arest. On en peut fáire mám€ d'asp¡rís. Coup€r¡n, op. cir., pp.t7-18.

19. Hotteterre, who calk such an omam€nt a double cadence, 'r!ee

rhis sign of Coup€rint for h. See JacquesHotteterre le Romain, Pr¡nc¡pl6 of th. Flu¡s, Rocorder and Ob@, t.an! and ed. Dav'd Lasocki (London:Barrie & Rockl¡ff; New York: Praeser, 1968tp-65.

20. Gilben, op. c¡t., pp. XX.

21 . See Hotteterre, op. cit., pp.21 -23.

22. Mellers {op. c¡r., p.299) says that "ln pássaqes in wh¡ch a dotted noto is follow€d by a group of very rap¡d notes,the value of the dot k v.riable. The quick notes should take exactly as long as is ind¡cat¿d by the numb€r of't¿ih" affixed to them, the dot being stretched out/ or con¡racted, in ord€r to r€gutar¡ze the me.sure.,, ¡believe th€re is no evideñce in favour of this orácrice-

23. Fredorick Neumann, "La noté po¡ntée er la soi-dktánt 'm¡n¡eie fran$he,"' aevüc de mu¡¡cotoq¡o Ltlt fi965),oo. 82-83.