1. The Times

1. Robert M. Isherwood, Music in the Service of the King (Ithaca: Cornell University Press, 1973), p.250.

2. Jacques Bonnet, Histoire de la musique, facsimile of 1715 Paris edition (Geneva: Slatkine, 1969), p.330.

3. L’État de la France (Paris, 1686), p. 162. For an interesting review of French musical institutions and organizations, see James R. Anthony, French Baroque Music, rev. ed. (New York: Norton, 1981), chapter 1.

4. Quoted by Marcelle Benoit, Versailles et les musiciens du roi 1661-1773 (Paris: Picard, 1971), p.42. Letters of 29 July 1676 and 12 February 1683.

5. Marcelle Benoit, Musiques de cour, chapelle, chambre, écurie: recueil de documents 1661-1733 (Paris: Picard, 1971), pp.76-77.

6. Benoit, Versailles . . ., pp.97-145.

7. Maria Kroll, translator and editor, Letters from Liselotte (New York: McCall Publishing Company, 1971), p.40. Liselotte (also called Madame or the Duchesse d’Orléans) was married to the king’s only brother (referred to as Monsieur or the Due d’Orléans).

8. L’État de la France (Paris, 1687), pp.232-233.

9. Quoted by A. P. Mirimonde, L’Iconographie musicale sous les rois Bourbons (Paris: Picard, 1975), I, p. 183.

10. Bonnet, pp.335-339.

11. L’État de la France (Paris, 1687), p.201.

12. Ibid., pp.234-245.

13. Benoit, Versailles . . ., p.212.

14. Marin Mersenne, Harmonie universelle, facsimile of 1636 Paris edition (Paris: Éditions du Centre national de la recherche scientifique, 1965), “Liure troisiesme des instrumens,” pp.111, 108. The engravings of a clavecin and an épinette appear also in Mersenne’s Harmonicorum Libri XII, facsimile of 1648 Paris edition (Geneva: Minkoff, 1972), pp.61, 59. Frank Hubbard, in Three Centuries of Harpsichord Making (Cambridge: Harvard University Press, 1965), pp.98-99, notes that the keys of Mersenne’s épinette are mislabeled, and that the range as drawn is perhaps short-octave G or A to f” at four-foot pitch. The instrument, valued for its portability, is about 2-1/2’ × 16” × 4-1/2”.

15. Jean-Baptiste-Charles de La Rousselière, Traitté des languettes impérialles, facsimile of 1679 Paris edition (Geneva: Minkoff, 1972), p.27.

16. The noted builder William Dowd knows of fifteen surviving seventeenth-century French harpsichords, of which only one is a single (personal communication).

17. In C short-octave, the lowest note, E, = C, F# = D, and G# = E, while in G short-octave, the lowest note, BB, = GG, C# = AA, and D# = BB; or the split halves of CH could furnish GG and AA, and D#, BB. Jacques Ozanam, Dictionaire mathématique (Amsterdam: Huguetan, 1691), p.667, describes clavecins with one, two, and sometimes three keyboards, one over the other, ordinarily with two or three choirs of strings. According to Ozanam, the épinette, a type of small clavecin with only one set of strings and one keyboard, differs from the clavecin in its shape and in the location of its keyboard.

18. Monsieur de Saint-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), p.6.

19. M^r Ancelet, Observations sur la musique, les musiciens, et les instrumens, facsimile of 1757 Amsterdam edition (Geneva: Minkoff, 1984), p.39.

20. W. J. A. Jonckbloet and J. P. N. Land, editors, Musique et musiciens au XVII^e siècle. Correspondance et oeuvre musicales de Constantin Huygens (Leyden: E. J. Brill, 1882), p.26. For further reading about concerts of the period, see Anthony, pp.289-292.

21. Quoted by John Lough, An Introduction to Seventeenth Century France (London: Longmans, Green & Co., 1954), p. 170.

2. D’Anglebert—Life and Works

1. Auguste Jal, Dictionnaire critique de biographie et d’histoire, facsimile of 1872 Paris edition (Geneva: Slatkine, 1970), p.51.

2. Ibid., p.538. “En 1609, Jacques Champion, s^r de la Chapelle, etait ‘joueur d’épinette de la chambre du Roy’; il avait encore cette charge en 1633, ayant à survivance pour sa charge ‘Jean-Henri d’Anglebert,’ qui était alors enfant, et que son père fit pourvoir de l’emploi d’épinette, longtemps avant qu’on sût s’il serait un jour capable de l’honorer par son talent, et quitte a l’en demettre s’il ne realisait pas les espérances que Claude-Henri d’Anglebert, son père, avait conçues.”

3. Archives nationales, Paris, Z 472 f 207, courtesy of Madeleine Jurgens.

4.François-Joseph Fetis, Biographie universelle des musiciens, facsimile of 1878 Paris edition (Brussels: Culture et civilisation, 1972), Supplement, vol. IX, p.17.

5. Information regarding the children is taken from Jal, pp.51-52, and Yolande de Brossard’s compilation of Léon de Laborde’s records: Musiciens de Paris 1535-1792. Actes d’état civil d’aprés le fichier Laborde de la Bibliothèque nationale (Paris: Picard, 1965), pp.9-10. At the time of his marriage, D’Anglebert, described as a “bourgeois de Paris,” lived on rue des Bourdonnais at the Hôtel de Villeroy, but shortly moved to rue Saint-Honoré near Les Pères de l’Oratoire, then to the Hotel de la Monnoye by the time of Jean-Baptiste Henry’s baptism, and to rue de l’Arbre Sec by the time of François’s baptism. The title page of the first issue of Pièces de clavecin (1689) lists him as living on the rue Ste.-Anne, while the second issue of 1689 gives his address as rue St.-Honore. The Ste.-Anne address, however, is given at the time of his death. In 1720, Jean-Henry (son) married Marguerite Fournier; the ceremony was witnessed by Jean-Baptiste Henry, François, Magdelaine, and cousin Henri (Archives nationales XVI, 657, 4 May 1720). D’Anglebert’s widow died on 27 February 1724, at the age of 84, and was buried at St. Roch in the Chapel of the Virgin. Her property was divided between François and Jean, with Jean-Baptiste Henry, d’Alexandre, and Magdelaine renouncing their rights (Archives nationales LIII, 225, 23 March 1724). Another division of property among three survivors occurred after François died a bachelor (Archives nationales LIII, 266, 2 October 1733). In a will dated 20 May 1733, Jean-Baptiste Henry left his property to Jean-Henry and Catherine-Magdelaine. A posthumous inventory of Jean-Henry’s possessions (he owned a grand clavecin) divided his property between his sister and cousin Henry Henri (the priest—presumably d’Alexandre of Bar-le-Duc—having renounced his rights; Archives nationales LIII, 319, 15 September 1747).

6. Archives nationales, Min. cent., LIII, 104 (8 May 1691). Cousin Henry-Henri d’Anglebert, son of Claude-Henri d’Anglebert and Anne Macquart, was born in 1666 and baptized at Notre Dame in Bar-le-Duc. A master of the clavecin, he resided on rue St.-Honore in Paris. As guardian for the younger D’Anglebert children, he was a representative of the priest of Barle-Duc (d’Alexandre-Marie).

7. The godparents of the D’Anglebert children include: for Magdelaine Renee: Guillaume de Botru (Bautru; Count of Serrant, Adviser to the King, and Chancellor of the Duke of Anjou—the king’s brother); for Jean-Baptiste Henry: Jean-Baptiste Lully and Charlotte Peston; for d’Alexandre: Alexandre Bontemps (first Valet de Chambre of the King) and Marie de Bousteron; for François: François Annibal d’Estrées (Knight and the Marquis of Coeuvres, Lieutenant General of the armies of the King, and Governor of l’lle de France) and Françoise de Brancas (daughter of Charles de Brancas, Knight of Honor of the Queen Mother); for Nicolas: Nicolas Pinçon, S^r de Villargenne (Con^er of the King) and Charlotte Champagne (wife of François Roberday, Valet de Chambre of the Queen); for Jean: Jean Champagne Demery (bourgeois of Paris) and Barbe Perier (wife of the Honorable Blaise Champagne, bourgeois of Paris). Listed by Andre Tessier in “Notes et documents,” Revue de musicologie IX (1928):271-272.

8. Maria Kroll, translator and editor, Letters from Liselotte (New York: McCall Publishing Company, 1971), p. 155.

9. This post is presumably the same as the 1633 position of joueur d’épinette referred to above, but with a different title to reflect the ascendance of the clavecin over the épinette. Clavecin and épinette appear to be used indiscriminately in the musicians’ titles in payment records through the end of the century.

10. Frances Mossiker, Madame de Sévigné (New York: Alfred Knopf, 1983), p.371. For musicians’ salaries, see numerous listings in Marcelle Benoit, Musiques de cour, chapelle, chambre, écurie: recueil de documents 1661-1733 (Paris: Picard, 1971). The abbreviation It signifies livres tournois, a measure of currency that later became equivalent to the French franc. W. H. Lewis gives an approximate value of 1 livre (silver) = 1 franc (17th cent.) = 1 franc (1914) = $.20 (1914). See The Splendid Century (Garden City: Doubleday, 1953), p.viii. Three livres = 1 écu, and 24 livres = 1 louis, while 1 livre = 20 sous.

11. Archives nationales, Min. cent. XLV, 213. Reprinted in Michel le Möel, “Les dernières années de Champion de Chambonnières,” Recherches I (1960)40.

12. François Lesure, “Une querelle sur le jeu de la viole en 1688: J. Rousseau contre Demachy,” Revue de musicologie XLVI (1960):183.

13. Évrard Titon du Tillet, Le Parnasse françois, facsimile of 1732 Paris edition (Geneva: Slatkine, 1971), p.402.

14. Le Möel, pp.41-42. Archives rationales CXV, 183.

15. L’État de la France (Paris, 1686), pp.589-590.

16. Ibid., p.529.

17. Marcelle Benoit, Versailles and les musiciens du roi 1661-1773 (Paris: Picard, 1971), p. 198.

18. Archives nationales, O¹80, f° 168, 1736. Quoted by Benoit, Versailles . . ., p. 199.

19. Archives nationales, O¹18, f. 29V⁰. Reprinted in Charles Bouvet, “Les deux d’Angleberts,” Revue de musicologie IX (1928):86.

20. Jal, p.52.

21. J. Henry D’Anglebert, Pièces de clavecin, facsimile of 1689 Paris edition (second issue) (New York: Broude Bros., 1965).

22. Nancy Mitford, The Sun King (New York: Crescent Books, 1966), p.128.

23. François Couperin, Pièces de clavecin, facsimile of 1713 Paris edition (New York: Broude Bros., 1973), Preface.

24. Jean-Henry D’Anglebert, Pièces de clavecin, edited by Kenneth Gilbert (Paris: Heugel, 1975), p.vii.

25. Bruce Gustafson, French Harpsichord Music of the 17th Century (Ann Arbor: UMI Research Press, 1977), pp.94-95.

26. Ernst Ludwig Gerber, Historisch-biographisches Lexikon der Tonkiinstler, facsimile of 1790-1792 edition (Graz: Akademische Druck-u. Verlagsanstalt, 1977), I, p.46.

27. Archives nationales, Min. cent., LIII, 104 (May 8, 1691). Reprinted in Benoit, Versailles . . ., p. 164.

28. Ibid., pp.358-359.

29. Titon du Tillet, p.403.

30. Gustafson, pp. 107-109. For a further discussion of this manuscript, see Martine Roche, “Un livre de clavecin français de la fin du XVII^e siècle,” Recherches VII (1967):39-73.

31. Titon du Tillet, pp.635-636.

32. Antoine de Leris, Dictionnaire portatif des théâtres (Paris: Jombert, 1754), p.465.

3. Style and Tempo

1. Luigi Riccoboni, Reflections upon Declamation, translated from the French edition of 1738 (London, 1741). Quoted in James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, revised edition (New York: Norton, 1981), p. 101.

2. Monsieur de Saint-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), pp.33-34.

3. Manfred Bukofzer, Music in the Baroque Era (New York: Norton, 1947), p. 165; Johann Gottfried Walther, Musikalisches Lexikon, facsimile of 1732 edition (Kassel: Bärenreiter, 1953), p. 189.

4. Demoz de la Salle, Méthode de musique selon un nouveau systeme (Paris: Pierre Simon, 1728), p. 172.

5. Material in this section is derived from St.-Lambert, pp. 15-25 (my translation). Although Rebecca Harris-Warrick, in Principles of the Harpsichord (Cambridge: Cambridge University Press, 1984, pp.32-45), has rendered a most helpful service by translating this treatise, I believe that she has misinterpreted St.-Lambert’s remarks about 6/8 time to mean a doubling (actually half again as fast) of 6/4 time beat in his first manner (two beats per measure) instead of his second manner (six beats per measure). As Rousseau states (see p.34), each half of a 6/8 measure is equivalent to one 3/8 measure. Harris-Warrick also may have read St.-Lambert’s remarks about courante tempo to mean three fast beats per measure instead of per half measure. St.-Lambert’s pertinent passages follow:

Aux Pieces marquees du Signe de six pour huit, la Mesure se bat encore à deux temps, tout de même qu’en la premiere maniére de six pour quatre, excepté seulement que les temps de six pour huit doivent aller une fois plus vîte que ceux de six pour quatre, parce que la Mesure n’est composée que de six Croches, au lieu que l’autre est de six Noires; à cela pres, ces deux Mesures n’ont aucune difference.

Tous nos Maîtres de Clavecin ne mettent aux Courantes que le Signe de triple simple 3, au lieu qu’ils devroient y mettre le Signe de triple double 3/2, puis que la Mesure est composée de trois Blanches, & non pas de trois Noires. II est vray qu’il y a des Courantes dont la Mesure se peut battre à trois temps legeres en faisant deux Mesures d’une; & il semble que c’est-là ce que ces Maîtres veulent signifier, quand ils ne les marquent que du triple simple; mais de quelque facon qu ils puissent l’entendre, c’est toujours aller contre la regie: car s’ils veulent qu’on batte ces Pièces a trois temps legers, ils doivent couper les Mesures en deux; & s’ils pretendent qu’on les doit battre a trois temps lents, il faut done qu’ils les marquent du triple double.

6. Michel L’Affilard, Principes très faciles pour bien apprendre la musique, facsimile of 1705 Paris fifth edition (Geneva: Minkoff, 1971), p. 123; Sébastien de Brossard, Dictionaire de musique, facsimile of 1705 Paris second edition (Hilversum: Frits Knuf, 1965), p. 186.

7. Jean Rousseau, Methode claire certaine et facile pour apprendre a chanter la musique, facsimile of c.1710 Amsterdam “fifth” (actually sixth) edition (Geneva: Minkoff, 1976), pp.35-37, 40, 44-45. The signatures 3/4, 3/8, 6/4, and 6/8 are also found in his 1683 edition.

8. Jean Rousseau, Traite de la viole, facsimile of 1687 Paris edition with Introduction by François Lesure (Geneva: Minkoff, 1975), p.82.

9. Etienne Loulie, Elements ou principes de la musique, facsimile of 1696 Paris edition (Geneva: Minkoff, 1971), pp.60-61. Loulié’s treatise also describes the Chronometre, a large pendulum device that he invented to indicate tempo. His examples of its use include one in 3/2 time (set at “30” = half note) and another in 6/4 time (set at “16” = dotted half note), pp.81-88.

10. Demoz de la Salle, pp. 154-158, 161-166.

11. Jacques Hotteterre, L’Art de preluder sur la flûte traversiere, sur la flûte a bee, sur le hautbois et autres instrumens de dessus, facsimile of 1719 Paris edition (Geneva: Minkoff, 1978), p.57.

12. Michel-Pignolet de Monteclair, Principes de musique, facsimile of 1736 Paris edition (Geneva: Minkoff, 1972), pp. 116-118, 132-133.

13. St.-Lambert, facsimile edition, p.25.

14. Charles Masson, Nouveau traité des règies pour la composition de la musique, facsimile of 1699 Paris edition with Introduction by Imogene Horsley (New York: Da Capo, 1967), pp.7-8.

15. Louis Pecour, Recueil de danses and La Nouvelle gaillarde, facsimile of 1700 Paris editions (n.p.: Gregg International Publishers Ltd., 1970).

16. Demoz de la Salle, pp.149, 169-170.

17. Nicholas Siret, Pièces de clavecin, facsimile of 1710 Paris edition (Geneva: Minkoff, 1982), Avertissement.

18. Brossard, p.56.

19. Rousseau, Methode claire . . ., pp.86-87.

20. François Couperin, L’Art de toucher le clavecin (1717), edited by Anna Linde (Wiesbaden: Breitkopf & Hartel, 1933), p.24 (translation mine).

21. Benigne de Bacilly, L’Art de bien chanter, facsimile of 1679 Paris second edition (Geneva: Minkoff, 1974), pp. 199-200.

22. Jean-Philippe Rameau, Pièces de clavecin, edited by Kenneth Gilbert (Paris: Heugel, 1979) p.60. From Preface to Nouvelles suites de Pièces de clavecin, 1728.

23. Jean Le Gallois, Lettre . . . a Mademoiselle Regnault de Solier touchant la musique, facsimile of 1680 Paris edition (Geneva: Minkoff, 1984), pp.55, 68-69, 75-80. The first paragraph from Le Gallois is my translation, while subsequent passages are translated by David Fuller in “French harpsichord playing in the 17th century—after Le Gallois,” Early Music IV (1976):22-26.

24. Pierre-Claude Foucquet, Pièces de clavecin, I and II, facsimile of 1751 Paris editions (Geneva: Minkoff, 1982), Preface to book II.

25. M^r Ancelet, Observations sur la musique, les musiciens, et les instruments, facsimile of 1757 Amsterdam edition (Geneva: Minkoff, 1984), p.7.

26. Brossard, p. 115.

27. Johann Joachim Quantz, On Playing the Flute, translation of 1752 editions by Edward R. Reilly (New York: Schirmer Books, 1966), p.335.

28. François Couperin, Pièces de clavecin I (1713), edited by Kenneth Gilbert (Paris: Heugel, 1972), p.xxiii.

29. Rousseau, Traite de la viole, pp.56-58.

30. Laurence Boulay, “Reflexions sur François Couperin,” in Melanges François Couperin (Paris: Picard, 1968), p. 119.

31. French music has a pleasing advantage Of never producing a harsh or barbarous sound, Sweetness and gracefulness accompany its songs, They are tender, pleasing, expressive and moving.

“Musique,” quoted by Eugene Borrel, in L’ Interprétation de la musique française, reprint of 1934 Paris edition with Introduction by Erich Schwandt (New York: AMS Press, 1978), p. 149.

4. Ornamentation

1. Marin Mersenne, “Liure sixiesme des orgues,” in Harmonie universelle, facsimile of 1636 Paris edition (Paris: Éditions du Centre national de la recherche scientifique, 1965), vol.3, pp. 394-395.

2. Mersenne, “Liure second des instrumens,” vol.3, pp.79-82, and “Liure troisiesme des instrumens a chordes,” vol.3, p. 162. For further information, see Janet Dodge, “Ornamentation as indicated by Signs in Lute Tablature,” Sammelbande der Internationalen Musikgesellschaft IX (1907-1908) 1318-335-

3. Mersenne, “Liure sixiesme de l’art de bien chanter,” vol.2, pp.355-356.

4. Jean Denis, Traité de l’accord de l’espinette, facsimile of 1650 Paris edition with Introduction by Alan Curtis (New York: Da Capo, 1969), p.37.

5. Jean Titelouze, Hymnes de I’église pour toucher sur l’orgue avec les fugues et recherches sur leur plain-chant (1624), edited by Norbert Dufourcq (Paris: Bornemann, 1965), Preface: “je fais des cadences qui sont communes ainsi que chacun sçait.”

6. Mersenne, “Liure sixiesme des orgues,” vol.3, p-39²-

7. W. J. A. Jonckbloet and J. P. N. Land, editors, Musique et musiciens au XVIT siècle. Correspondance et oeuvre musicales de Constantin Huygens (Leyden: E. J. Brill, 1882), p.23: “apporte des aggreemens qu’on a de la peine a bien exprimer en Tablature.”

8. Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music (Princeton: Princeton University Press, 1978).

9. Benigne de Bacilly, L’Art de bien chanter, facsimile of 1679 Paris second edition (Geneva: Minkoff, 1971) p 135-

10. Guillaume-Gabriel Nivers, Livre d’orgue, facsimile of Preface (1665) reprinted in modern edition, edited by Norbert Dufourcq (Paris: Bornemann, 1963).

11. Denis, p.37.

12. Nicolas-Antoine Lebègue, Les Pièces de clauessin (Paris, 1677), Preface.

13. André Raison, Livre d’orgue (Paris, 1688), Preface.

14. Monsieur Dieupart, Six suittes de clavessin (Amsterdam: E. Roger, c.1702), Preface.

15. Georg von Dadelsen, Beiträge zur Chronologie der Werke Johann Sebastian Bachs (Trössingen: Höhner-Verlag, 1958), pp.73-76.

16. Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus. Ms. 40,644, 143V.

17. Gaspard Le Roux, Pièces de clavessin, facsimile of 1705 Paris edition (Geneva: Minkoff, 1982), Preface.

18. Jean-Philippe Rameau, Premier livre de Pièces de clavecin (Paris, 1706), Preface; and Pièces de clavessin (Paris, 1724), reprinted in facsimile (New York: Broude Bros., 1967), Preface.

19. Monsieur de St.-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), pp. 13-14, 61-62.

20. François Couperin, Pièces de clavecin . . . premier livre, facsimile of 1713 Paris edition (New York: Broude Bros., 1973), pp.74-75. Pièces de clavecin, I-IV, edited by Kenneth Gilbert (Paris: Heugel, 1969-1972).

21. Johann Sebastian Bach, Clavier-Büchlein vor Wilhelm Friedemann Bach, facsimile of 1720 manuscript with Preface by Ralph Kirkpatrick (New Haven: Yale University Press, 1959).

22. J. S. Bach, Clavier-Büchlein vor Wilhelm Friedemann Bach, in Neue Ausgabe sämtlicher Werke, V/5, edited by Wolfgang Plath (Kassel: Bärenreiter, 1962), p.45. See also Kritischer Bericht, p.66, for a discussion of the authorship of No.29.

23. Stadtund Universitatsbibliothek Frankfurt/Main, Mus. Hs. 1538, Livre d’orgue of Nicolas de Grigny, manuscript copy in the hand of J. S. Bach.

5. Ornament Performance

1. Monsieur de St.-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), p.42 (translation mine). This treatise is also available in an English translation by Rebecca Harris-Warrick, Principles of the Harpsichord by Monsieur de Saint Lambert (Cambridge: Cambridge University Press, 1984).

2. Ibid., facsimile edition, pp.46-47, 49. A printing error omits the tie of the trill appuyé in St.-Lambert’s treatise.

3. Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music (Princeton: Princeton University Press, 1978), pp.244-286.

4. Bénigne de Bacilly, L’Art de bien chanter, facsimile of 1679 Paris second edition (Geneva: Minkoff, 1974), pp. 178-179; translated in Neumann, pp. 248-249.

5. Jean Rousseau, Methode claire, certaine et facile pour apprendre chanter la musique, facsimile of c.1710 Amsterdam sixth edition (Geneva: Minkoff, 1976), P 54-

6. Jean Rousseau, Traité de la viole, facsimile of 1687 Paris edition with Introduction by François Lesure (Geneva: Minkoff, 1975), pp-77-79

7. Rousseau, Méthode, p.55.

8. Rousseau, Traité, pp.83-84.

9. Rousseau, Méthode, p.51.

10. Ibid., pp.56-57.

11. Rousseau, Méthode, pp.85-86.

12. Pierre-Claude Foucquet, Pièces de clavecin, facsimile of 1751 Paris editions (Geneva: Minkoff, 1982), pp.5-6. M. Bérard’s vocal treatise from this period, L’Art du chant, also defines trills with and without preparation; facsimile of 1755 Paris edition (Geneva: Minkoff, 1972), pp. 114-115.

13. Michel Pignolet de Monteclair, Principes de musique, facsimile of 1736 Paris edition (Geneva: Minkoff, 1972), p.82.

14. Jean-François Dandrieu, Pièces de clavecin courtes et faciles de quatres tons differents (Paris: Author, Foucault, n.d.), Preface.

15. Jean Denis, Traité de l’accord de I’espinette, facsimile of 1650 Paris edition with Introduction by Alan Curtis (New York: Da Capo, 1969), p.xv.

16. St.-Lambert, facsimile edition, p.44.

17. Etienne Loulie, Éléments ou principes de la musique, facsimile of 1696 Paris edition (Geneva: Minkoff, 1971), p.70.

18. Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments (1753), translated and edited by William J. Mitchell (New York: Norton, 1949), p. 160.

19. James Grassineau, A Musical Dictionary, facsimile of 1740 London edition (New York: Broude Bros., 1966), p.99.

20. S^r Perrine, Pièces de luth en musique, facsimile of 1680 Paris edition (Geneva: Minkoff, 1982), Preface.

21. St.-Lambert, facsimile edition, p.55.

22. Nicolas-Antoine Lebègue, Les Pièces de clauessin (Paris, 1677), Preface.

23. Monsieur de St.-Lambert, Nouveau traité de l’accompagnement du clavecin, de l’orgue et des autres instruments, facsimile of 1707 Paris edition (Geneva: Minkoff, 1972), p.62.

24. St.-Lambert, Principes, facsimile edition, p.55.

25. Ibid., p.52-53.

26. Ibid., p.54.

27. Ibid., p.51.

28. Loulie, pp.68-69.

29. François Couperin, L’Art de toucher le clavecin (Paris, 1716), p.22: “Il faut que la petite note perdue d’un port-de-voix ou d’un coule, frape avec L’harmonie: c’est a dire dans le tems qu’on devroit toucher la note de valeur qui la suit.” Translated by Frederick Neumann, in Essays in Performance Practice (Ann Arbor: UMI Research Press, 1982), p.227.

30. Neumann, Ornamentation, pp.54-55.

31. Benigne de Bacilly, A Commentary upon The Art of Proper Singing, translated and edited by Austin B. Caswell (Brooklyn: Institute of Mediaeval Music, 1968).

32. S^r Danoville, L’Art de toucher le dessus et basse de violle, facsimile of 1687 Paris edition (Geneva: Minkoff, 1972), p.42.

33. Lambert Chaumont, Pièces d’orgue, edited by Jean Ferrard (Paris: Heugel, 1970), Preface.

34. Rousseau, Traité, pp.85-87, 93-96.

35. Rousseau, Méthode, pp.50-53. My translation is a paraphrase of a knotty passage.

36. Ibid., pp.60-61.

37. Loulie, pp.66-67.

38. St.-Lambert, Principes, facsimile edition, pp.49-51.

39. Ibid., pp.56-57.

40. A facsimile of the ornament table is contained in the modern edition of Jacques Boyvin, Premier livre d’orgue (c.1690), edited by Jean Bonfils (Paris: Les Éditions ouvrieres, 1969), Preface.

41. C. P. E. Bach, pp.91-92.

42. Johann Joachin Quantz, On Playing the Flute (1752), translated by Edward R. Reilly (New York: Schirmer Books, 1966), pp. 227-228.

43. Jean Jacques Rousseau, Dictionnaire de musique, facsimile of 1768 Paris edition (New York: Johnson Reprint Corp., 1969), Table B, Fig. 13.

44. Neumann, Ornamentation, pp.54-55.

45. St.-Lambert, Principes, facsimile edition, p.48.

46. US-BE, MS 778; in Louis Couperin, Pièces de clavecin, edited by Alan Curtis (Paris: Heugel, 1970), p. 13.

47. St.-Lambert, Principes, facsimile edition, p.56.

48. Ibid., p.57.

49. F. Couperin, Troisieme livre de Pièces de clavecin (1722), edited and translated by Kenneth Gilbert (Paris: Heugel, 1969), p.x.

50. Rousseau, Traité, pp.74-75.

51. Michel-Pignolet de Monteclair, Principes de musique, facsimile of 1736 Paris edition (Geneva: Minkoff, 1972), pp.86-87.

52. C. P. E. Bach, pp.31, 79.

53. Quantz, pp.113, 162-163.

54. Marin Mersenne, “Liure troisiesme des instrumens a chordes,” in Harmonie universelle, facsimile of 1636 Paris edition (Paris: Éditions du Centre national de la recherche scientifique, 1965), vol.3, p. 162.

6. Transcriptions, Arrangements, and Variations (Doubles)

1. Bruce Gustafson, French Harpsichord Music of the 17th Century (Ann Arbor: UMI Research Press, 1977), p. 139. Some keyboard transcriptions are readily obtained in Almonte C. Howell, Jr., editor, Nine seventeenth-century organ transcriptions from the operas of Lully (Lexington: The University of Kentucky Press, 1963).

2. Nos.11, 12, 15, 16, 17, and 18 in the list of transcriptions in Appendix 3.

3. Evrard Titon du Tillet, Le Parnasse françois, facsimile of 1732 Paris edition (Geneva: Slatkine, 1971), pp.405-406.

4. Ibid., pp.393-395-

5. On this aspect of harpsichord technique, see Monsieur de St.-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), pp.28-29.

6. Jacques Hotteterre, L’Art de preluder . . ., facsimile of 1719 Paris edition (Geneva: Minkoff, 1978), p.58.

7. Sebastien de Brossard, Dictionaire de musique, facsimile of 1705 Paris edition (Hilversum: Frits Knuf, 1968), p. 116.

7. The Organ Works

1. M^r Ancelet, Observations sur la musique, les musiciens, et les instrumens, facsimile of 1757 Amsterdam edition (Geneva: Minkoff, 1984), p.26.

2. Wilfred Mellers writes that D’Anglebert’s “five organ fugues on variants of a common subject show great contrapuntal science, combined with an extremely rich and flexible chromatic harmony; they too must be accounted one of the most impressive examples of this technique in baroque organ music”) Grove’s Dictionary of Music and Musicians, 5th ed., vol.1, p. 158); and François-Joseph Fetis remarks that “les meilleurs organistes allemands et italiens, contemporains de d’Anglebert, auraient pu se faire honneur de ces morceaux”) Biographie universelle des musiciens . . ., facsimile of 1873 Paris edition [Brussels: Culture et civilisation, 1972], vol.1, p. 109).

3. François Roberday, Fugues et caprices, edited by Jean Ferrard, Le Pupitre 44 (Paris: Heugel, 1972).

4. Guillaume-Gabriel Nivers, Traité de la composition de musique (Paris: Ballard, 1667), p.49.

5. Given in Marin Mersenne, Harmonie universelle, facsimile of 1636 Paris edition (Paris: Éditions du Centre national de la recherche scientifique, 1965), “Liure sixiesme des orgues,” vol.3, between pp.392 and 393. See also Andre Tessier, “Une Piece d’orgue de Charles Raquet et le Mersenne de la Bibliothèque des Minimes de Paris,” Revue de musicologie X (1929):275-283.

6. Guy Oldham, “Louis Couperin: A New Source of French Keyboard Music of the Mid Seventeenth Century,” Recherches I (196o):5i-59.

7. Reprinted in Carl Krebs, “J. J. Froberger in Paris,” Vierteljahrschrift fur Musikwissenschaft X (1894):232-234.

8. Johann-Jakob Froberger, Oeuvres completes pour clavecin, I, edited by Howard Schott, Le Pupitre 57 (Paris: Heugel, 1979).

9. Norbert Dufourcq, “Recent Researches into French Organ-building from the Fifteenth to the Seventeenth Century,” The Galpin Society Journal X (May 1957):66-81 (includes the text of Enoc’s contract). See also Dufourcq’s Le Livre de l’orgue français, III (Paris: Picard, 1978), p.41.

10. Guillaume-Gabriel Nivers, Premier livre d’orgue, edited by Norbert Dufourcq (Paris: Bornemann, 1963), facsimile of 1665 Preface.

11. Nicolas-Antoine Lebègue, Oeuvres completes d’orgue in Archives des Maîtres de l’orgue, edited by A. Guilmant (Paris: Durand, 1909), p.5.

12. Antoine Furetiere, Essais d’un dictionaire universel (Amsterdam: Desbordes, 1685), p. 112.

13. Jacques Boyvin, Oeuvres completes d’orgue in Archives des maîtres de Vorgue, edited by A. Guilmant (Paris: Durand, 1905), p.x.

14. Lambert Chaumont, Pièces d’orgue sur les 8 tons, edited by Jean Ferard, Le Pupitre 25 (Paris: Heugel, 1970). Includes reprint of 1695 Preface.

15. William Pruitt, “The Organ Works of G.-G. Nivers,” Recherches XIV (1974):81.

16. Dom Bedos de Celles, L’Art du facteur d’orgues II/III, facsimile of 1770 Paris edition (Kassel: Barenreiter, 1965), pp.528-529.

8. Classical Suite Order in France

1. According to Bruce Gustafson, external evidence has now established that the Bauyn Manuscript, previously thought to be c.1660, originated after 1676 (personal communication).

2. David Fuller, “Suite,” in The New Grove Dictionary of Music and Musicians, 6th ed., edited by Stanley Sadie, 1980, vol.XVIII, p.342.

9. The Unmeasured Preludes

1. Pièces de luth de Denis Gaultier sur trois differens modes nouveaux, facsimile of c.1670 Paris edition (Geneva: Minkoff, 1975), p.66. See also Denis Gaultier, La Rhétorique des dieux . . ., edited by André Tessier, Publications de la Société française de musicologie, vol. 6 (Paris: Droz, 1932-1933), p. 112. For further information regarding the lute prelude, see Alan Curtis, “Unmeasured Preludes in French Baroque Instrumental Music,” M. Mus. Thesis, University of Illinois, 1956.

2. Thomas Mace, Musick’s monument, facsimile of 1676 London edition (Paris: Éditions du Centre national de la recherche scientifique, 1966), p.128.

3. The preludes of the Parville Manuscript appear in Louis Couperin, Pièces de clavecin, edited by Alan Curtis (Paris: Heugel, 1970); the preludes of the Bauyn Manuscript are included in Louis Couperin, Pièces de clavecin, edited by Paul Brunold, revised by Thurston Dart (Monaco: L’Oiseau-Lyre, 1959). The anonymous prelude that Curtis suggests may be by D’Anglebert (p.22) does not resemble his style.

4. Monsieur de St.-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), pp. 12-14.

5. Bruce Gustafson, “A Letter from Mr Lebègue Concerning His Preludes” Recherches XVII (1977)7-14 (translation mine).

6. Nicolas-Antoine Lebègue, Les Pièces de clauessin (Paris, 1677), Preface.

7. Two variants in Kenneth Gilbert’s edition of D’Anglebert’s Prelude in D minor deserve mention. The last slur in the left hand (p.47) should extend to the re on p.48, thus allowing the re to be played as an aspiration (see p.94). Continuing with this system at the top of p.48, an additional semibreve la in the left hand, found in both the edition and the manuscript, is missing after the fifth note. One might also note that, while the semibreve la-re-la of the Prelude in G major (p.2, sys. 4, right hand) lacks slurring in the 1689 edition, each note carries a slur in D’Anglebert’s manuscript. The absence of slurs in the edition appears to be an oversight.

8. Elisabeth-Claude Jacquet de La Guerre, Les Pièces de clauessin (Paris, c.1687). Not yet published in a modern edition, as of this writing.

9. Jean-François Dandrieu, Trois livres de clavecin de jeunesse, edited by Brigitte François-Sappey (Paris: Heugel, 1975), Avertissement to Pièces de clavecin courtes et faciles . . . .

10. François Couperin, L’Art de toucher le clavecin, edited by Anna Linde (Wiesbaden: Breitkopf & Hartel, 1933), p.33 (translation mine).

11.Davitt Moroney, “Prelude non mesure,” in The New Grove Dictionary of Music and Musicians, 6th ed., edited by Stanley Sadie, 1980, vol.XV, pp.212-214.

12. Girolamo Frescobaldi, Toccate e partite (Rome, 1615), Preface.

13.Moroney, pp.212.

14.L. Couperin, edited by Curtis, Preface.

15.F. Couperin, p.28 (translation mine).

16.Pierre Richelet, Dictionnaire françois, facsimile of 1680 Geneva edition (Geneva: Slatkine, 1970), vol.II, p.207; and Jacques Ozanam, Dictionaire mathematique (Amsterdam, 1691), p.664.

10. The Keyboard Dances

1. Michel de Pure, Idee des spectacles anciens et nouveaux, facsimile of 1668 Paris edition (Geneva: Minkoff, 1972), p.273.

2. W. J. A. Jonckbloet and J. P. N. Land, Musique et musiciens au XVII^e siècle. Correspondance et oeuvre musicales de Constantin Huygens (Leyden: E. J. Brill, 1882), pp.23-24.

3. Denis Gaultier, La Rhetorique des dieux et autres Pieces de luth, edited by André Tessier, Publications de Ia Societe française de musicologie, vol.7 (Paris: Droz, 1932-33), p.112. The other Allemande grave markings (pp.9, 16, 67) appear to be Tessier’s.

4. Thomas Mace, Musick’s monument, facsimile of 1676 London edition (Paris: Éditions du Centre national de Ia recherche scientifique, 1966), p.129.

5. Sebastien de Brossard, Dictionaire de musique, facsimile of 1705 Paris second edition (Hilversum: Frits Knuf, 1965), p.5; Jacques Ozanam, Dictionaire mathematique (Amsterdam: Huguetan, 1691), p.665.

6. Jean Jacques Rousseau, Dictionnaire de musique, facsimile of 1768 Paris edition (New York: Johnson Reprint Corp., 1969), p.31.

7. Johann Mattheson, Der vollkommene Capellmeister, facsimile of 1739 Hamburg edition (Kassel: Barenreiter, 1954), p.232.

8. Pierre Rameau, Le Maitre a danser, facsimile of 1725 Paris edition (New York: Broude Bros., 1967), p. 110.

9. A detailed explanation of courante rhythmic patterns is found in the Foreword to Jules Ecorchville, Vingt suites d’orchestre du XVII^e siècle français (Paris: Marcel Fortin, 1906).

10. Curt Sachs, World History of the Dance, translated by Bessie Schonberg (New York: Norton, 1937), p.363; Rameau, p. 110.

11. Jacques Bonnet, Histoire générate de la danse, facsimile of 1723 Paris edition (Geneva: Slatkine, 1969), pp. 125, 133-134, 62.

12. Quoted by Daniel Devoto, “De la zarabanda a la sarabande,” Recherches VI (1965)45.

13. J. G. Walther, Musikalisches Lexikon, facsimile of 1732 Leipzig edition (Kassel: Barenreiter, 1953), p. 189.

14. Mattheson, p.231.

15. This transformation is well documented in Daniel Devoto, “La folle sarabande,” Revue de musicologie XLVI (196o):145–180.

16. Quoted, ibid., p. 161.

17. Ibid., p.164.

18. Marin Mersenne, Harmonie universelle, facsimile of 1636 Paris edition (Paris: Éditions du Centre national de la recherche scientifique, 1965), “Liure second des chants,” vol.2, p. 166; “Liure second des instrumens,” vol.3, P-9 7-

19. Pierre Richelet, Dictionnaire françois, facsimile of 1680 Geneva edition (Geneva: Slatkine, 1970), vol.11, p.345.

20. Quoted by Devoto, “De la zarabanda . . .”, p.45.

21. Mace, p. 129.

22. Brossard, p.300.

23. Michel L’Affilard, Principes tres faciles pour bien apprendre la musique, facsimile of 1705 Paris edition (Geneva: Minkoff, 1971), p.86.

24. Gaultier, p.28. Other similar references in this volume appear to be Tessier’s. For further information about the French duple-meter gigue, see Werner Danckert, Geschichte der Gigue (Leipzig: Kistner & Siegel, 1924), chapter 2.

25. S^r. Perrine, Pièces de luth en musique auec des regles pour les toucher parfaitem sur le luth, et sur le claussin, facsimile of 1680 Paris edition (Geneva: Minkoff, 1973), Nos.3 and 7.

26. Ozanam, p.666.

27. Thomas Corneille, Dictionnaire des arts et des sciences (Paris, 1694), p.490.

28. Noted in Bruce Gustafson, French Harpsichord Music of the 17th Century (Ann Arbor: UMI Research Press, 1977), pp.408, 418, 420. The Bauyn Manuscript is published in facsimile as Manuscrit Bauyn. Pièces de clavecin c. 1660, with an Introduction by François Lesure (Geneva: Minkoff, 1977). No.32 (p.340) = No.66 (p.376), and No.34 (p-342) = No.61 (p.371).

29. Manuscrit Bauyn, p.22.

30. Ibid., pp.400, 403.

31. Catalogued in H. W. Hitchcock, Les Oeuvres de Marc-Antoine Charpentier (Paris: Picard, 1982), No.545, p.401.

32. M. E. Little, “Gigue,” in The New Grove Dictionary of Music and Musicians, 6th ed., 1980, vol.VII, p.370.

33. Gilles Menage, Dictionaire etymologique (Paris, 1694), p. 358.

34. Monsieur de St.-Lambert, Les Principes du clavecin, facsimile of 1702 Paris edition (Geneva: Minkoff, 1972), p.65.

35. Mattheson, p.228.

36. J. J. Rousseau, p.231.

37. Thomas Morley, A Plain and Easy Introduction to Practical Music (1597), edited by R. Alec Harman (New York: W. W. Norton, 1973), pp.296-297.

38. Mace, p. 129.

39. Mersenne, “Liure second des chants,” p. 165.

40. Brossard, p.264.

41. Mace, vol.II, commentary by Jean Jacquot and transcriptions by André Souris (1966), p.32 (compare with my transcription).

42. Gaultier, p. 112.

43. For example, see T. Walker, “Ciaccona and Passacaglia: Remarks on Their Origin and Early History,” Journal of the American Musicological Society XXI (1968):300-320.

44. Brossard, pp.13, 72.

45. Corneille, vol.I, p. 184; vol.II, p. 175.

46. J. J. Rousseau, p.366.

47. Gaultier, p.69.

48. Ozanam, p.664.

49. Noted by Gustafson, p.368. Modern edition in Seventeenth-Century Keyboard Music in the Chigi Manuscripts of the Vatican Library, Corpus of Early Keyboard Music, III, 32, edited by Harry B. Lincoln (n.p.: American Institute of Musicology, 1968), p.60.

50. Brossard, p.45.

51. Ozanam, p.666.

52. Walther, p.398.

53. St.-Lambert, p. 19.

54. J. J. Rousseau, p.277. ,

55. Jean-Henry D’Anglebert, Pièces de clavecin, edited by Kenneth Gilbert (Paris: Heugel, 1975), pp.27, 63.

56. Mersenne, “Liure second des chants,” vol.2, p. 168.

57. Brossard, p.29.

58. Walther, p.274.

59. J. J. Rousseau, p.227.

60. Richelet, vol.I, p.367.

61. For a description and examples of the early and later folia, see Richard Hudson, “Folia,” in The New Grove Dictionary of Music and Musicians, 6th ed., edited by Stanley Sadie, 1980, vol. VI, pp.690-692.

62. Richard Hudson, The Folia, the Saraband, the Passacaglia, and the Chaconne, American Institute of Musicology (Neuhausen-Stuttgart: Hanssler, 1982), vol.I, p.xxvi.

63. Andréas Moser, “Zur Genesis der Folies d’Espagne,” Archiv fur Musikwissenschaft I (1918/19):362.

64. Sachs, p.408.

65. Raoul Auger Feuillet, Choregraphie and Recueil de dances, facsimile of 1700 Paris editions (New York: Broude Bros., 1968), pp.33, 102.

66. Kurt von Fischer, “Variations,” in The New Grove Dictionary of Music and Musicians, 6th ed., edited by Stanley Sadie, 1980, vol.XIX, p.542.

Conclusion

1. Willi Apel, Masters of the Keyboard (Cambridge: Harvard University Press, 1947), p.97.