Some of the information in this section is derived from Bruce Gustafson’s valuable French Harpsichord Music of the 17th Century (Ann Arbor: UMI Research Press, 1977). Table 1 gives the location of D’Anglebert’s harpsichord pieces (numbered by Gustafson through 93) in the Pieces de clavecin and the autograph manuscript Res. 89ter. The letters T and D preceding the Gustafson numbers indicate “transcription” and “double” respectively; those in parentheses following the names of the pieces refer to the keys—capital for major, lower case for minor.
D’Anglebert’s Harpsichord Pieces
Rés. 89ter MS
|3a||Double de la Courante (G)||3a|
|4||2e. Courante (G)||4|
|5||3e. Courante (G)||5|
|9||Chaconne Rondeau (G)||9|
|T12||Ouuerture de Cadmus (G)||12|
|T13||Ritournelle des Fees de Rolland (G)||13|
|T14||Menuet. dans nos bois (G)||14|
|T15||Chaconne de Phaeton (G)||15|
|16||2e Gigue (G)||16||37|
|20||2e. Courante (g)||20|
|T21||Courante Mr de Lully (g)||21||42d|
|21a||Double de Ia Courante (g)||21a||42e|
|T23||Sarabande Dieu des Enfers (g)||23|
|T25||Gigue Mr de Lully (g)||25|
|T28||Menuet Ia Jeune Iris (g)||28|
|29||Gavotte. Ou estes vous ailé (g)||29|
|30||Gavotte. le beau berger Tirsis (g)||30|
|31||La Bergere Anette.Vaudeville (g)||31|
|T32||Ouverture de Ia Mascarade (g)||32||42b|
|T33||Les Sourdines d’ Armide (g)||33|
|T34||Les Songes agreables d’ Atys (g)||34||43|
|T35||Air d’ Apollon du Triomphe de I’Amour||35|
|36||Menuet de Poitou. Vaudeville (g)||36|
|T37||Passacaille d’ Armide (g)||37|
|40a||Double de Ia Courante (d)||40a|
|41||2e. Courante (d)||41|
|42||Sarabande grave (d)||42|
|T48||Ouuerture de Proserpine (d)||48|
|49||Variations sur les folies d’Espagne (d)||49||21|
|52||2e. Courante (D)||52|
|T55||Chaconne de Galatee (D)||55|
|56||Chaconne Rondeau (D)||56|
|57||Tombeau de Mr. de Chambonnieres (D)||57|
|D60||(Courante/Chambonnieres) Double (C)||2a|
|D61||(Courante/Chambonnieres) Double (C)||3a|
|T62||Sarabande. Pinel (C)||4|
|D63||(Gigue La Verdinguette/Chambonnieres) Double (C)||5a|
|T66||Bouree. Air de Ballet pd Les Basques (C)||8|
|T67||Les Demons. Air de Ballet (C)||9|
|T68||2e. Air des Demons (C)||9a|
|T69||Air de Ballet. Marche (C)||10|
|T70||Gigue du Vieux Gautier (C)||11|
|T71||Courante du Vieux Gautier (C)||12|
|T72||Courante du Vieux Gautier (C)||13|
|T73||Sarabande. Mezengeot (C)||14|
|T74||Courante du Vieux Gautier (C)||15|
|T75||Allemande du Vieux Gautier (La Vestemponade) (C)||16|
|T76||Courante du Vieux Gautier (C)||17|
|T77||Chaconne du Vieux Gautier (C)||18|
|D79||(Sarabande O beau jardin/Chambonnieres) Double (F)||22a|
|T80||Courante du Vieux Gautier (Les Larmes) (d)||25|
|T81||Courante du Vieux Gautier (La petite bergere) (d)||26|
|T82||Sarabande du Vieux Gautier (d)||27|
|T83||Gigue du Vieux Gautier (d)||28|
|T84||Courante du Vieux Gautier. L’Immortelle (d)||29|
|T85||Sarabande.Gautier le Jeune (d)||30|
|D86||(Allemande/Couperin) Double (G)||33a|
|D87||(Courante/Chambonnieres) Double (G)||34a|
|D88||(Courante/Chambonnieres) Double (G)||35a|
|D89||(Sarabande/Chambonnieres, Jeunes zephirs) Double (G)||36a|
|D90||(Sarabande/Richard) Double (G)||41a|
|T91||Sarabande. Marais (G)||42|
|T92||Ouuerture d’Isis (g)||42c|
|93||Courante (C), Oldham MS, #4|
|94||Courante (a), Roper MS, #32|
|95||Sarabande (a), Roper MS, #33|
|95a||Double (a), Roper MS, #33a|
|96||Gigue (a), Roper MS, #34|
|97||Sarabande (C), Troyes MS|
D’Anglebert’s known works (97 for harpsichord and six for organ) are contained in the following primary sources: two issues of the first edition of the Pièces de clavecin (1689), published by the composer; a second edition published by Christophe Ballard in 1703; a third edition, with the preludes omitted, pirated in Amsterdam by Estienne Roger in 1704-1705; and twelve manuscripts (eight French, two German, and two English), including one in the composer’s hand. The 1703 Ballard edition uses the same watermark as the second issue of the first edition and, according to Gustafson (p. 137), is identical except for the title page. Therefore, Ballard did not use the old plates to run a new issue, but used a new type-set title page on the remaining stock of the second 1689 issue.
The Pièces de clavecin, in oblong quarto format with a plate size of 19 x 21.5 cm., contains 128 pages with an additional seven pages of preliminary material (title page, dedication, portrait, preface, ornamentation table, and king’s privilege). Gustafson lists the following distinguishing variants in the two 1689 issues:
|First issue||Second issue|
|p.a||“Ruë Ste. Anne”||“Rüe St. Honore”|
|“Au bout de la Rue du hazard”||No notation|
|p. 127||“Fin du premier Livre”||No notation|
|p. 128||No notation||“Fin du 1.er Livre/Reveu et corrige”|
Gustafson provides the locations of sixteen copies; in addition Harvard University owns a copy of the Ballard edition, and the Gemeente Museum, The Hague, has a copy of the Amsterdam edition. Marguerite Rosegen-Champion, in her edition of D’Anglebert’s Pièces de clavecin (Paris: Publications de la Société française de musicologie, 1934), lists other copies at the Landes Bibliothek, Dresden; at the Städtische Bibliothek, Leipzig; and in Henry Prunirès’s and her personal collections.
The manuscript in D’Anglebert’s hand, F-Pn Rés. 89ter (166os-late 1670s), contains three preliminary leaves, 93 numbered leaves, and one unnumbered leaf at the end (oblong quarto format (17.7 x 23.2 cm.). According to Gustafson, there are actually 91 leaves, since Nos.59-60 are cut out. An additional three leaves, moreover, have been torn out at this location, and another leaf has been removed after the fugue fragment at No. 19a. The manuscript is bound in gilt-tooled full red morocco leather with multicolored marbled pastedowns and end papers. A folded piece of paper from more modern times, glued in the front of the volume, gives information about the contents, but the writer errs in stating that only D’Anglebert’s Variations are included from his edition. Since only the numbering of Nos.1 and 2 appears to be in D’Anglebert’s hand, Table 2 follows Gustafson’s numbering system.
Contents of Rés. 89ter
|5||Gigue. /La Verdinguette. /Chambonnieres|
|8||Bouree./Air de Ballet por./Les Basques. (Lully)||T66|
|9||Les Demons./Air de Ballet. (Lully)||T67|
|9a||2e. Air des Demons. (Lully)||T68|
|10||Air de Ballet./Marche.||T69|
|11||Gigue du Vieux/Gautier.||T70|
|12||Courante du/Vieux Gautier.||T71|
|13||Courante du Vieux/Gautier. (La Superbe)||T72|
|15||Courante du/Vieux Gautier.||T74|
|16||Allemande/du Vieux Gautier. (La Vestemponade)||T75|
|17||Courante du/Vieux Gautier.||T76|
|18||Chaconne du/Vieux Gautier.||T77|
|19||Air/De M. Lambert (voice and figured bass), followed by miscellaneous anonymous fragments in another hand|
|20||Gaillarde./D’ Angle bert||78|
|20a||Anonymous untitled gigue, a blank page, a fragment in another hand, and seven blank pages|
|21||Variations sur/les folies d’Espagne./D’ Anglebert||49|
|22||O beau jardin/Sarabande. (Chambonnières)|
|23||Prelude./D’ Angle bert.||38|
|23a||Two blank pages, followed by melodic line in another hand|
|24||Sarabande./D’ Angle bert.||43|
|24a||Melody marked "presto"|
|25||Courante duNieux Gautier. (Les Larmes)||T8o|
|26||Courante du/Vieux Gautier. (La petite bergère)||T81|
|27||Sarabande du/Vieux Gautier||T82|
|28||Gigue du Vieux/Gautier. (La Paste)||T83|
|29||Courante duNieux Gautier./L’Immortelle.||T84|
|30||Sarabande./Gautier le Jeune||T85|
|31||Anonymous air for voice and figured bass (Non printemps) in another hand|
|36||Sarabande./Chambonnieres. (Jeunes zéphirs)|
|42a||Prelude. D’ Angle bert.||17|
|42b||Ouuertuor dela/Mascarade (Lully)||T32|
|43||Air de Ballet.lles Songes agreables. (Lully)||T34|
Pieces contained in both the autograph manuscript and the 1689 edition are remarkably similar except in details of ornamentation and the spacing of voices. Ornament symbols in the manuscript are generally confined to the simple trill, mordent, one-note grace, and slide, with occasional use of the arpeggio, cadence, double cheute, and trill-mordent combination. A simple trill in the manuscript is often replaced with a trill appuyé or a cadence in the edition. Turns are written out in the manuscript, rather than being designated by a symbol. One might speculate, therefore, that much of this manuscript might have been compiled in the 1660s, because Chambonnires’s books of 1670 include the symbol for the five-note turn. In general, the edition employs more ornament symbols than does the manuscript, although it occasionally removes agréments found in the manuscript. Sometimes the edition sustains a note or notes (usually in the lower register), thereby creating an extra voice or voices and increasing the sonority. A summary of the major variants in the two sources follows:
Variations. In addition to many substitutions of a cadence or a trill appuyé for a simple trill, the edition adds arpeggios, détachés, and sometimes a one-note grace between two mordents. The manuscript Variations do not begin on the downbeat; the left hand starts on the second beat, the right hand on the second half of the first beat. The second couplet of the edition incorporates revised voice leading in the lower register for three bars—a change that recurs in numerous later couplets. The notation of the 21st couplet differs considerably (see p.61). Two mordents in the bass voice of the last couplet of the manuscript version are removed in the edition.
Sarabande in D minor. Trills appuye and arpeggios are added in the edition, while a recurring ornamental figure of an eighth and two sixteenth notes in the manuscript is altered to a dotted eighth and two 32nd notes in the edition. The one-note graces of m.6 are added in the edition. M.24 of the edition contains a written-out one-note grace before the third beat of the soprano voice, while m.26 contains one written out on the beat. Mm. 19 and 26 include examples of dotted eighth and sixteenth notes (left hand) that are written as equal eighth notes in the manuscript. Many small ornamentation changes occur in the reprise.
Gigue in G major. The time signature is 3 in the manuscript (barred in 3/4) but 6/4 in the edition. The two readings are close except for added detaches in the edition end the use of a symbol in the edition to indicate arpeggios written out in the manuscript (see p.80).
Gaillarde in G major. The time signature is 3 in the manuscript but 3/2 in the edition. Turns indicated by symbol in the edition are written out in the manuscript (mm.1 and 4, see p. 102). Some one-note graces indicated by symbol in the manuscript are written out (both before and on the beat) in the edition (mm.5, 15, 18, 19, 20, and 22). Examples of pairs of equal notes in the manuscript that are dotted in the edition occur in mm.21 and 23. An arpeggio symbol is placed on the note stem in m.2 of the edition but between the staves in the manuscript; and a mordent on the first tenor note of this measure is removed in the edition. The melodic line of mm.3, 15, and 16 is slightly different in the two sources. The slide on the first beat of m.12 is between D# and F# in the manuscript (which may be a stronger reading), instead of between F# and A. The rhythm of the alto line in the first part of m.22 is altered in the edition. The edition adds many arpeggios and makes numerous small changes and additions of ornamentation.
Gavotte in G major. The time signature is in the manuscript but C in the edition with the instruction Lentement added. All dotted eighth-and sixteenth-note groupings in the edition are written as equal eighth notes in the manuscript. A cheute is written out in m.5, and many one-note graces are added in the edition. Small melodic changes occur in mm.2, 3, 10, and 11.
Passacaille. The manuscript includes only the first four couplets. M.2 of the edition contains a written-out one-note grace in the bass before the second beat and an added one on the last beat. The first two notes of the bass (m.3) are dotted in the print but equal in the manuscript. Ornamentation is added in the edition, and small changes in the left-hand voicing give increased sonority.
Préludes. Many cadences are written out in the manuscript. In the edition, a trill appuyé is often substituted for a simple trill, occasional bar lines are added, and the slurring is more precise. Three whole notes in the edition version of the Prelude in G major (system 5 of the Gilbert edition, A-D-A) omit the slurs (probably an oversight). In two instances, notes in the right hand are written as a chord in the manuscript but separated in the edition: Prelude in G minor, D-A-C (p.28 of the Gilbert edition, system 4) and the Prelude in D minor, A-F-C (p.48, system 1). The G before the final F# of the Prelude in G minor is not found in the manuscript.
D’Anglebert’s Pieces in Other Manuscripts
A few miscellaneous pieces and transcriptions by D’Anglebert are contained in eleven other manuscripts (see Table 3). The Bauyn Manuscript (F-Pn, Vm7 674-675), the most significant single source of harpsichord music in seventeenth-century France, was compiled in three volumes by one unidentified professional scribe. The coat of arms of the Bauyn d’Angervilliers and Mathefelon families appears on the covers of the volumes. Bauyn-I contains works by Chambonnières only, Bauyn-II those of Louis Couperin; but Bauyn-III includes works by J. J. Froberger, G. Frescobaldi, H. Du Mont, E. Richard, and other composers of this period. Recent external evidence obtained by Gustafson indicates that this manuscript could not have been compiled earlier than 1676, despite its contents from an earlier period. Further information about the dating of this manuscript can be found in Bruce Gustafson and Peter Wolf, editors, The Bauyn Manuscript (New York: Broude Bros., forthcoming), Preface by Bruce Gustafson.
D’Anglebert is represented in the Bauyn Manuscript only by a Sarabande graue en forme de gaillarde, No.63 (G. 64), which corresponds to the Gaillarde in C major (Res. 89ter, No.6). In general, the setting in the Bauyn Manuscript shows simpler ornamentation, thinner texture, wide spacing between the hands at cadences, and less rhythmic movement. A peculiarity of this manuscript is the careful crossing out with the letter d of many titles and even one complete piece; de gaillarde is crossed out in the title of D’Anglebert’s piece.
The Oldham Manuscript, now in London and largely unpublished, bears dates from the 1650s on individual pieces. Its contents are described in Guy Oldham’s article in Recherches I (1960): 51-59. The manuscript is an important source for the organ music of Louis Couperin. It also contains works by several other composers, including two by D’Anglebert, probably in his own hand (Gustafson, p.267): a Courante in C major, found in no other source, and a Sarabande, façon de Gaillarde in G minor (G. 26). These pieces employ a type of French letter notation closely related to lute tablature (Gutafson, p.94).
Gustafson, one of the few scholars to gain access to the Oldham Manuscript, observes that the reading of this gaillarde has less melodic figuration and a thinner left-hand texture than that in D’Anglebert’s edition (personal communication). D’Anglebert’s hand is also seen in a Courante by Monnard and a Sarabande by Richard, both also in the Bauyn Manuscript. The Oldham readings are close, but not identical, to those in Bauyn according to Gustafson, for there are small figurations in the melodic lines, and the voicing of chords is somewhat altered.
The Dart Manuscript, of French origin after 1687, contains miscellaneous harpsichord pieces and transcriptions. At the present time, it is in the estate of the late Thurston Dart, care of Kings College, London. D’Anglebert is represented only by the Chaconne in C major (G. 65), which is incomplete after m.28 since the next two leaves of the manuscript have been cut out.
The Parville Manuscript (US-BE, MS 778), a major seventeenth-century collection of keyboard music, served as the main source for Alan Curtis’s edition of Louis Couperin’s works. Although Couperin’s pieces form the bulk of the manuscript, it also includes many works by Lully and Chambonnières, and fewer pieces by numerous other composers. Gustafson dates the manuscript post 1686 because of the inclusion of a transcription from Lully’s Acis et Galatée. Parville contains D’Anglebert’s Chaconne in C major (G. 65) and several of his transcriptions. The arrangements from his Pièces de clavecin (all but Nos. 17 and 65) show only slight variants, which could be attributed to scribal error or preference. These pieces could therefore have been copied directly from the edition, thus dating this manuscript as post 1689. Because of the large number of variants, Nos. 17 and 65 probably were copied from a source other than Rés. 89ter. Gustafson suggests that Nos. 110 and 111 might be D’Anglebert transcriptions because of the ornamentation style, but the resemblance is mostly visual. The scribe begins all trills and mordents with a flourish that resembles D’Anglebert’s cadence, but the context indicates a simple ornament. The hook before the note to designate a one-note grace is turned in the opposite direction (see St.-Lambert, p.93 above). The pieces also lack D’Anglebert’s distinctive style luthé treatment.
The Menetou Manuscript (US-BE, MS 777, post c.1689), entitled Airs de mademoiselle Menetou, contains mostly transcriptions of Lully’s works, including D’Anglebert’s arrangement of his Courante in G minor (G. T21) and Les Songes agreables (G. T34, not noted by Gustafson). The errors in these pieces, probably copied from D’Anglebert’s 1689 edition, indicate carelessness on the part of the scribe rather than variants.
Gustafson dates the La Barre-11 Manuscript “post 1724 with additions post 1753” (US-BE, MS 775). A mixture of keyboard and vocal scores, its 352 pages include keyboard works by D’Anglebert, François Couperin, Lully, and others. The D’Anglebert transcriptions from Lully (G. T14 and T55) are virtually exact copies of D’Anglebert’s 1689 edition, except for simplified ornamentation. Curiously, this manuscript contains two versions of D’Anglebert’s Chaconne in C major (G. 65), both by the same copyist, indicating that the scribe might have considered the variants significant enough to warrant making a second entry (this chaconne received wide circulation, appearing in six known manuscripts). Since the La Barre copies were probably made more than 30 years after D’Anglebert’s death, their accuracy is questionable. The copyist did not know the meaning of D’Anglebert’s cheute and coulé symbols, for they are often rendered as the wavy arpeggio symbol.
Of the foreign manuscripts, one from Weimar (D-ddr, Bds, Mus. Ms. Bach P 801, c.1712 to post 1731, named “Walther” by Gustafson), a large source for the music of J. S. Bach and various German and French composers, is of especial interest, for the scribes were from the Bach circle: J. G. Walther, J. T. Krebs, and J. L. Krebs. According to Gustafson (p.77), Walther is the scribe for D’Anglebert’s suite in D minor, which appears to have been copied from the Pièces de clavecin, since it is identical except for a few errors and changes of ornamentation.
A much later German manuscript, Berlin 30,206 (D-ddr, Bds, Mus. Ms. 30,206, c. 1750-1770), includes D’Anglebert’s Variatio’ns sur les folies d’Espagne. D’Anglebert is the only Frenchman represented in this company of Galuppi, Hiller, and Wagenseil, and he is older than the others by a century. This manuscript too copies D’Anglebert’s edition, but all the ornamentation is omitted except a t (trill) at the final cadence.
The Babell Manuscript (GB-Lbm, Add. 39569) was copied by Charles Babell, a London musician and francophile. This important 360-page collection of keyboard works originated in London (1702) and includes works by numerous French composers. D’Anglebert is represented by the Chaconne in C major (G. 65), but the variations are ordered differently. Since many pieces are unattributed, there may be others by D’Anglebert, particularly some transcriptions from Lully.
The newly discovered pieces by D’Anglebert from the Roper Manuscript (US-Cn, Case VM 2.3 E58r, c.1691), an English household manuscript also containing French and English keyboard pieces, are given in Appendix 2. While they have no attribution, the style and ornamentation clearly point to D’Anglebert as the composer.
A previously unknown Sarabande in C major by D’Anglebert appears in a manuscript from Troyes, France (F-T, MS 2682) of mostly organ works by Nivers, Raison, Lebègue, and Boyvin. Despite its attribution, the style of this sarabande lacks the polish of D’Anglebert’s known works. The Menuet immediately following the Sarabande has no attribution but could be D’Anglebert’s since it is grouped with his other pieces. The Troyes Manuscript also contains his Chaconne in C major (G. 65) and Quatuor for organ.
Marguerite Roesgen-Champion’s edition of D’Anglebert’s Pièces de clavecin of 1934 was the first complete publication since those of 1689-1704. Kenneth Gilbert’s performing edition of D’Anglebert’s works was published in 1975 (Paris: Heugel) with brief biographical notes, information regarding the 1689 edition and the autograph manuscript, performance practice suggestions, editorial policy, the table of ornaments, facsimile pages, and a critical commentary listing editorial changes. Gilbert included all of D’Anglebert’s known oeuvre in this volume, with the exception of the Courante in C major, found only in the inaccessible Oldham Manuscript, and the recently discovered pieces in the Roper and Troyes manuscripts. He rearranged the contents of the 1689 edition by placing the fifteen transcriptions from Lully and the four from anonymous sources together in two sections following D’Anglebert’s suites. Gilbert also changed the order of some lute pieces in the manuscript to produce the allemande-courante-sarabande-gigue suite order. He supplied repeat signs where they are lacking in the edition—almost exclusively in the small forms of gavotte, menuet, and vaudeville.
Only occasionally may Gilbert’s editorial judgment be open to question. In some cases, he indicates an editorial preference by an accidental above the note, but at other times he makes such a change without notice and lists it in the Critical Commentary. Gilbert changes the barring of the Courantes du Vieux Gautier and the Gigue La Verdinguette from the 3/4 time of the manuscript to 6/4 (noted in the Commentary). A few variants in Gilbert’s edition, located in a comparison with the 1689 edition (second issue) and the manuscript, are listed in Table 4. For pieces contained in both the 1689 edition and the autograph manuscript, only the print has been used for comparison.
Gilbert Edition of D’Anglebert’s Works
Variants in a comparison with the 1689 edition
(second issue) and the autograph manuscript
S A T B: soprano, alto, tenor, or bass voice
RH, LH: right hand or left hand
p.250, 5 S7: the seventh note in the soprano voice of m.5 on p.250 of the Gilbert edition.
The items marked with an asterisk are also included in Gilbert’s Critical Commentary, but are given again because of their possible significance.
p. 14, 8 RH chord, no sharp on re*
p.30, 4 A4 si-flat
p.41, 45 LH3 no trill*
p.47, system 6 B last slur goes to re (p. 48)
p.48, system 1 B another la (semibreve) after fifth note*
p.53, 8 S1 no trill*
p.60, 1 B2 cheute before do-sharp
p.60, 14 S7 no flat on si*
p.61, 21 RH1 no arpeggio*
p.83, 39 RH1 no arpeggio
p.94, 43 RH1 slide on right, not left
p.96, 14 B2 no flat on mi*
p.98, 4 S1 trill under note as well as cadence above
p. 107, 25 S4-5 eighth notes*
p. 111, 104 S1 mordent
p. 114, 16 S1 trill
p. 121, 10 B arpeggio on 2, not 1 (although this location for the arpeggio seems dubious, placing it on the first chord does not appear to be the proper solution either)*
p. 123, 8 S3 no mordent
p. 125, 17 S7 fl-natural
p. 127, 28 S5 do-natural
p. 128, 8 RH3 si-natural
p. 129, 24 RH2 la may be tied, not slurred
p. 147, 13 LH last note is sol*
p. 148, 6 S2-4 sixteenth notes, D’Anglebert error?
p. 150, 4 RH2 port de voix, not slide, before do
p. 153, 12 S1-3 rhythm is dotted quarter and two sixteenth notes
p. 154, barred in 3/4 time*
p. 155, barred in 3/4 time*
p. 157, 13 S5 pitch is sol*
p. 160, 13 LH1 no mordent
p. 167, partially barred in 3/4 time
p. 168, barred in 3/4 time*
p. 169, barred in 3/4 time*
p. 170, barred in 3/4 time*
p. 170, 2 LH1 A middle voice begins on tenor sol also, and is barred together with the following mi as two eighth notes.
p. 171, 23 T2 trill
p. 176, 8 S1-2 eighth notes*
p. 179, 11 B2 no mordent after trill
p. 180, barred in 3/4 time*
p. 181, barred in 3/4 time*
p. 181, 10 B1-2 eighth notes
p. 182, barred in 3/4 time*
p. 183, 14 S5 no trill*
p. 183, 14 T3 no flat*
p. 185, 7 S8 mordent instead of port de voix
p. 187, 12 RH last chord, cheute before la instead of slide
p. 187, 18 A6 cheute before do
p. 190, 8 S4 quarter note
p. 193, 4 B4 stemmed separately
p. 193, 17 S turn written as five 32nd notes with no slur
Principal Sources for Other Composers
|Two editions of 1670: Les Pieces de clauessin|
F-Psg, Gen. 2348/53
Miscellaneous pieces in sixteen other manuscripts
Miscellaneous pieces in twelve other manuscripts
|Editions:||Les Pièces de clauessin (1677)|
Second liure de clavessin (1687)
|Manuscripts:||Miscellaneous pieces in numerous French and foreign manuscripts; all identified pieces by Lebègue appear to be in his two editions.|
|Elisabeth-Claude Jacquet de La Guerre:|
|Editions:||Les Pièces de clauessin . . . premier livre (c.1687)|
Pièces de clauecin (1707)