Basic performance issues of the full voice accompaniment style in France in 1690–1750 in the light of selected treatises, part 1: France and its musical style

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Basic performance issues of the full voice accompaniment style in France in 1690–1750 in the light of selected treatises, part 1: France and its musical style

Journal Title: Notes Muzyczny - Year 2014, Vol 2, Issue 2

Abstract

Basic performance issues of the full voice accompaniment style in France in 1690–1750 in the light of selected treatises is a cycle of articles based on Daniel Pochwała’s diploma thesis written during his BA studies at the Karol Lipiński Academy of Music in Wrocław under the supervision of Aleksandra Rupocińska, PhD. In the mentioned cycle its author touches on the issues of conscious and stylish execution of basso continuo on the harpsichord in the French music of the end of the 17th century and the first half of the 18th century. In the first article entitled France and its musical style, Pochwała explained the meaning of the notion of basso continuo and proposed the division into the simple and full voice styles of its execution. The styles can be noticed in such historical sources as: Traité d’Acompagnement pour le Theorbe, et le Clavessin by Denis Delair of 1690 and its second extended edition, Nouveau traité d’Acompagnement pour le Theorbe, et le Clavessin, published 30 years later, Principes de l’accompagnement being part of the book Pièces de clavecin by Jean-Henri d’Anglebert of 1689, or Nouveau Traité de l’Accompagnement du Clavecin, de l’Orgue et des autres Instruments of 1707 by Monsieur de Saint-Lambert. Both types of accompaniment existed in the performance practice of the described period parallelly and were equivalent to each other. The first one – simple style – was the fundamental way of execution of the continuo, it was also a basis for learning composition. The second one – full voice style, reflecting the lute and harpsichord idioms – was used for supporting solo parts of parts of a group of soloists even more intensely thanks to the fullest possible and most beautiful sound of accompaniment. It is the history of these two instrument families, i.e., lute and harpsichord, and the history of literature written for them in France during the reign of king Louis XIV, that constitute the essence of the phenomenon of full voice in the history of French basso continuo. However, it is impossible to fully understand the described phenomena without learning about the relevant historical and cultural context. Therefore, the author presents the France of the Sun King and the influence of his reign on arts, music in particular. He also briefly indicates the importance of new artistic movements from Italy, which over the years shaped the full voice style as well.<br/><br/>

Authors and Affiliations

Daniel Pochwała

Keywords

basso continuo toucher treatises Denis Delair Jean-Henry d’Anglebert Michel de Saint-Lambert

EP ID EP518010
DOI -
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