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‰ Œ œ

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(a) œM œ œ œ œM œ œ œ œ

˙ ‰ jœ œ‰ Jœ œ ˙

(a) œM œ œm œ œm œm

œ œ œ œ œ œ œ œ˙

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5 .œM ‰

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œM œ œm œ œM œ .œm œ.˙ Œ

œ œ œ œ Jœ Jœ

..œœ .œ

.œŒ Jœfine

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.131

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

RigaudonAcis et Galatée, 1686

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 8, fol. 9vLWV 73/6

© David Chung, 2014

(a) dots after a” (mm. 2 and 3) removed

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

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p. 3

Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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p. 4

Critical Notes No. 8 (fol. 9v), Rigaudon (C) [Rigaudon, from Acis et Galatée (1686) LWV 73/6 (C)] M. 5 rh5 dot after a” removed M. 6 rh5 dot after a” removed

lhU2, 4 rests missing lhL3, 5 rests missing M. 7 lhL1 rest missing lhL4 note missing M. 9 lhU4, 6 rests missing lhL4, 6 rests missing M. 10 lhL1 rests missing lhL4 note missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.131

&

?

C

C

..

..

..

..

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‰ Jœ œ œ œ œ

œ œ œ œ œ œ œm œ œM œ

œ œ œ œ œ œ œ œ

.œ ..œœ‰ jœ.œ

Jœ œm œ œM œ

Jœ œ œ œ œ

&?

5 œ œ œ œ œ œ œ#m œM œ œ#m

‰ jœ œ œ œ œ œ œœ

..œœ Jœ œm œ œm œ.œœ œ œ œ œ œ œ œ

œ œ œ œ jœ Jœ œM œ .œm œ

‰ jœ œ œ œ œ œ œœ

..œœ .œ

.œŒ Jœ

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.132

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

Second RigaudonAcis et Galatée, 1686

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 9, fol. 10rLWV 73/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.132

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 1–3, 5–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 9 (fol. 10r), Second Rigaudon (C) [Rigaudon from Acis et Galatée (1686) LWV 73/7 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.132

&

?

#

#

3

3

œM œ œ..˙ œ

M œ

œ œ œ

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˙ œ.˙

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&?

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#

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6 M œ

.˙ œ

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.m

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M œ.œ œ œ

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12 .œm œ œ œŒ ˙˙ œ

œM œ œŒ œ œ.˙

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.˙ .˙ .˙Œ œ œ.˙

fine

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Suivons l’amour (Menuet D amadis) Amadis, 1684

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 14, fol. 14rLWV 63/12

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.133

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Critical Notes No. 14 (fol. 14r), Menuet D amdis En G re Sol # (G) [Suivons l’amour (menuet) from Amadis (1684) LWV 63/12 (G)] M. 1 time signatures missing M. 5 lhU1 dots missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.133

&

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œm .œ jœ˙.˙ œ

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œ˙#

˙ œŒ ˙

œm œ œM

œ˙

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7 œm .œ jœ˙.˙ œ

œ .œm œ œœœ ˙#

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œ ˙

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13 .œm œ œM œ

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19 Œ œ œœœ.˙ .˙

œ œ .œm œ œ

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œ ˙

Œ œ œM

œ ˙œ ˙n

Œ œ œg œœ.˙ .˙

œ œ .œm

œ œ

œ ˙œ Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Chaconne (Chaconne de phaëton)Phaéton, 1683

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 15, fols. 14v–18vLWV 61/40

© David Chung, 2014

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25

œ œm œ œ

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32 .œm Jœ œ

˙ œŒ ˙

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œ ˙nm.œ

g œ œM

œ..˙Œ œ œ.˙

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39 .œg œ œM

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#

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45 œ œ œ œ œ œ

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œ œ œ œ œ œŒ œ œ.˙

(a)

œ œ œ œ œ œ

.˙ œ

œ œ .œm

œ œ

œ ˙œ Œ œ

œ ˙

œ œ# œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.134

p. 2

(a) a third lower: d

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50 Œ ˙Œ ˙Œ ˙

œ œ œ œ œ œ

Œ ˙Œ ˙Œ ˙

œ œ œ œ œ œ

Œ .œ jœŒ ˙Œ ˙œ œ œ œ œ œ

œm

œ ˙œ œ œ œ œ œ

Œ ˙Œ ˙

œ œ œ œ œ œ(b)

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55 Œ œ œ œ

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œ ˙

œM .œm JœŒ Œ œœ ˙n

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61 œm œ œœ œ

œ ˙

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˙ œŒ ˙

œ œ œ œ œ

œ ˙

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&

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67 œM œ œ œ œ

œ œ œ#.˙

œM œ œ œ œ

˙ œŒ ˙

œM .œ jœ˙

œ œ œ œ œ œ œ

œ .œn jœœœ ˙œ œ œ œ œ œ œ

œ .œ jœœœ ˙œ œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 3

(b) a second higher: b”

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77

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88 Œ œ œ œ œ

Œ œ# œ œ œ#.˙

œm œ œŒ œ œ

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œn œ œ

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œ œ œ

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Œ œ# œ œ œ.˙

œm œM œ œ

œ˙

œ˙?

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.134

p. 4

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94 œm œ œ œ

.˙ ..˙

œm œg

œm œ˙.˙ œ

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101

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107 .œ œ œ œJœ ˙ Jœœ ˙

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‰ jœ ˙.œ Jœ œ

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113 œ .œ jœ˙

˙ œ

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Œ œ œ.˙

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119 œ œ œ œ œ œ

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œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.134

p. 5

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124 œ œ .œm œ œ

˙ œ?

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129 Œ œ œ œ œ

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134 .œM œ œ œ

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œn œ œM

Œ ˙.˙ .˙

œm œ œM

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œ Œ œœ ˙

.‰ Jœ ˙

.Œ ‰ Jœ œfin

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.134

p. 6

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 8

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 9–12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 15 (fols. 14v–18v), Chaconne de phaëton (G) [Chaconne from Phaéton (1683) LWV 61/40 (G)] M. 46 lhL1 a third lower: d M. 54 rhL2 a second higher: b” M. 153 “mon pauvre pere” after last measure

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.134

&

?

3

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œ œ œ

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11 œm

œ œ œ œœ œ œ œ œ˙ œ

œm

œ œ œ œœ œ œ œ œ˙ œ

œm

œ .œm jœœ œ ˙œ œ œ

..˙ .˙fine.˙ [ ]Œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.135

Menuet en Trio (menuet En trio)Roland, 1685

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 20, fol. 22vLWV 65/63

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.135

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1, 3–4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

Critical Notes

No. 20 (fol. 22v), Menuet En Trio (C) [Menuet from Roland (1685) LWV 65/63 (C)] M. 1 time signatures missing M. 14 lhU1 dot missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.135

&

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(a)

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Œ œ œ.˙

œ œ œM œ œ œ œ

Œ œ œ.˙

.m

Œ œ œ.˙ &

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.136

Trompettes (Descente de Mars)Thésée, 1675

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 23, fols. 24v–25rLWV 51/5

(a) incorrect rhythm (see critical notes)

(b) incorrect rhythm (see critical notes)

© David Chung, 2014

&

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23 .œm Jœ œ

œ œ œ.˙

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31 œM œ œ œ œ œ œ

Œ œ œ.˙(c)

œM œ œM œ œM œŒ œ œ.˙

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Œ œ œ.˙

œm œ œM œ œ œ

Œ œ œ.˙

œM œ œM œ œ œ œ

Œ œ œ.˙

.m

Œ œ œ.˙fin

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.136

(c) incorrect rhythm (see critical notes)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 8–9, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 23 (fols. 24v–25r), Descente de Mars (C) [Trompettes from Thésée (1675) LWV 51/5 (C)] M. 1 time signatures missing

M. 1–6 incorrect rhythm: M. 20–2 incorrect rhythm (same as mm. 1–6) M. 30 lhL1 rest missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

M. 31–4 incorrect rhythm (same as mm. 1–6) M. 35–6 supplied from mm. 5–6 (measures missing)

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.136

&?

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6 œm œ œ œ œ œ œŒ œ ˙w

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16 œM œ .œm Jœ

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.˙%

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.137

Marche (Marche des trompettes de L’opera de thesée)Thésée, 1675

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 24, fols. 25v–26rLWV 51/30

© David Chung, 2014

&?

20 œ œ œm œ œM œ œ˙ ˙œ œ œ ˙

œm œ œM œ œ

˙ ˙œ œ œ ˙

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25 .œ#m Jœ# œM œm

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29 œM œ œ œ œ œ

Œ œ ˙w

œm œ œ œ œŒ œ ˙w

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m œ œ œ

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33 œm œ œ œ œ œ œŒ œ ˙w

(a)

œM œ œ œ œ

Œ œ ˙w

œm œ œ œ œ œ œŒ œ ˙w

œM œ .œm Jœœ œ ˙œ œ Œ œ

.˙ .˙ .˙

.Œ œ œ[fin]

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.137

(a) mm. 33–7 supplied from mm. 6–10

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.137

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 24 (fols. 25v–26r), Marche des trompettes de L’opera de thesée [Marche from Thésée (1675) LWV 51/30 (C)] M. 33–7 supplied from mm. 6–10

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.137

&?

C

C

œM œ œ œ œ œm œ .œ œ˙ ˙˙ ˙

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7 œ œ œ œ œ œ œ ˙

˙ œ œ œ œ œ œ œJœ

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œ œ œ œ œ œ œ Œ œ˙Reprise

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10 .œM œ .œm œ .œm œ œ

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œ œ ˙œ œ# œ œ

œm œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ˙ œ œœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.138

Marche des Sacrificateurs (Le Sacrifice de Mars)Cadmus et Hermione, 1673

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 25, fols. 26v–27rLWV 49/42

© David Chung, 2014

&?

..

..

14 œm œ œ œ œ œ œ œ œ œ œ œjœ œ

jœ œ œœ œ œ œ

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1.

œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ Œ œ˙

2.

w‰ Jœ .˙‰ Œ jœ ˙w

fin

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.138

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.138

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 25 (fols 26v–27r), Le sacrifice de Mars (C) [Marche des Sacrificateurs from Cadmus et Hermione (1673) LWV 49/42 (C)] M. 4 lhU2 rest missing M. 15 lhU4 rest missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.138

&?

C

CJœ œM œm œ œ

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.œMJœ œM œm

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œM œ œm œ œM œ .œm œ

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..œœ .œ

.œ‰ Jœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.139

RigaudonAcis et Galatée, 1686

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 36, fol. 40vLWV 73/6

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.139

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

Critical Notes

No. 36 (fol. 40v), Rigaudon (C) [Rigaudon, from Acis et Galatée (1686) LWV 73/6 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.139

&?

C

C

..

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Jœ œm œ œM œ

Jœ œ œ œ œ

œ œ œ œ œ œ œm œ œM œ

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.œm

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&?

5 œ œ œ œ œ œ œ#m œ œ œ#m

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œ œ œ œ œ œ œM œ .œm œ

‰ jœ œ œ œ œ œ œœ

..œœ .œ

.œ‰ Jœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.140

Second RigaudonAcis et Galatée, 1686

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 37, fol. 41rLWV 73/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.140

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 1–3, 5–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 37 (fol. 41r), Second Rigaudon (C) [Rigaudon from Acis et Galatée (1686) LWV 73/7 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.140

&?

3

3

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.Œ œ œ?

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.141

Trompettes (Descente de Mars)Thésée, 1675

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 48, fols. 10v–11rLWV 51/5

La basse du bruit de guerre doit-estre Continüe

© David Chung, 2014

&?

20 œM œ œ œ œ œ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.141

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.141

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 8–9, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 48 (fols. 10v–11r), Descente de Mars (C) [Trompettes from Thésée (1675) LWV 51/5 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.141

&?

3

3

œ œ œ œ œ

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m œ

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.M

.Œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.142

Ritournelle (Menüet)Thésée, 1675

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 49, fol. 11vLWV 51/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.142

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1, 3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 49 (fol. 11v), Menüet [Ritournelle from Thésée (1675) LWV 51/7 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.142

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.143

Marche (Marche)Thésée, 1675

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 50, fols. 12r–vLWV 51/30

(a) “Il est a Remarquer dans cette marche que tous les qrands accords d’ut se touche a Loctaue en bas”

© David Chung, 2014

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.143

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Editorial Remarks

This piece is in rondeau form and editorial reprise symbols, indicated by , have been supplied to clarify the repetition scheme. The editorial suggestion to play the bass part of mm. 1–8 an octave lower derives from the marginal notes: “Il est a Remarquer dans cette marche que tous les grands accords d’ut se touche a Loctaue en bas”.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 2–8, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Critical Notes

No. 50 (fols. 12r–v), Marche (C) [Marche from Thésée (1675) LWV 51/30 (C)] M. 1 “ ” missing M. 15 lhU1 dot missing M. 26 lhU1 dot mssing M. 28 “ ” missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.143

&?

C

CJœ œM œm œ œ

˙Œ œ

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‰ œ œ œ ‰ jœ œ˙ ˙

œM œ œ œ œM œ œ œ œ

˙ ‰ jœ œ‰ Jœ œ ˙

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œM œ œm œ .œM œ .œm œ

œ œ œ œ œ œ(a)

..œœ .œ

.œ‰ Jœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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RigaudonAcis et Galatée, 1686

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 51, fol. 13rLWV 73/6

© David Chung, 2014

(a) first two bass notes (e and c) notated as eighth notes

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 51 (fol. 13r), Rigaudon (C) [Rigaudon, from Acis et Galatée (1686) LWV 73/6 (C)] M. 6 lhU1 rest missing M. 11 lhL1–2 eighth notes

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.144

&?

C

C

..

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Jœ œm œ œM œ

Jœ œ œ œ œ

œ œ œ œ œ œ œm œ œM œ

œ œ œ œ œ œ œ œ

.œm

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Jœ œm œ œM œ

Jœ œ œ œ œ

&?

5 œ œ œ œ œ œ œ#m œ œ œ#m

œ œ œ œ œ œ œ œ..œœ Jœ œm œ œm œ.œ

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œ œ œ œ œ œ œM œ .œm œ

‰ jœ œ œ œ œ œ œœ

..œœ .œ

.œ‰ Jœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Rigaudon (2e. Rigaudon)Acis et Galatée, 1686

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 52, fol. 13vLWV 73/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.145

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 1–2, and 4–7) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 52 (fol. 13v), 2e. Rigaudon (C) [Rigaudon from Acis et Galatée (1686) LWV 73/7 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.145

&?

C

C

œ œ œ ˙g

.œm œ œ˙˙ ˙˙ ˙

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w ˙

˙g

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&?

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6 œ œM œm œ

œ œ œ œœ œ œ œœm œ œ œ œ

wŒ œ œ œ œ

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˙

Œ œ

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œ œ œ œ œ œ œ œ

˙ ˙˙ ˙

m ‰ œ œ œw ˙

m .œm œ œ

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&?

15 œ œ œ œ œ œM

.œ jœ ˙#˙ ˙

œm œ œ œ œm œ œ

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œ .œM œ .œm Jœ

œ œ ˙œ œ Œ œ

˙

Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.146

Marche (Marche des Mousquetaires)Première Marche des Mousquetaires, 1658

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 59, fols. 20v–21rLWV 10

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.146

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 1, 4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 59 (fols. 20v–21r), Marche des Mousquetaires (C) [Marche from Première Marche des Mousquetaires (1658) LWV 10 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.146

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œ œ .œm

œ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.147

Chaconne (Chaconne de Phaëton)Phaéton, 1683

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 63, fols. 23v–28rLWV 61/40

© David Chung, 2014

(a) half notes for g’ and e’

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45 œ œ œ œ œ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.147

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50 Œ ˙Œ ˙Œ ˙

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55 Œ œ œ œ

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61 œm œ œœ œ

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67 œM œ œ œ œŒ œ œ#.˙

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 3

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.147

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73 œM .œm Jœ

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84 œ œ .œm Jœ

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90 Œ œ œŒ œ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 4

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.147

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Œ ˙˙ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 5

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.147

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fin de La chaconne

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 6

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p. 7

Source

F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730.

Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 8

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 9–16, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 63 (fols. 23v–28r), Chaconne de Phaëton [Chaconne from Phaéton (1683) LWV 61/40 (G)] M. 19 rhL1 half notes for g’ and e’

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Suivons l’amour (Menüet)Amadis, 1684

F-Pn Rés. Vmd. ms. 18 (LaPierre), no. 66, fol. 29vLWV 63/12

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source F-Pn: Paris, Bibliothèque Nationale de France, Rés. Vmd. ms. 18. France (Paris?), 1687–1730. Eighteen arrangements, entered by one primary French hand, presumably the teacher of Mademoiselle La Pierre and Mademoiselle Le Noble.

This source illustrates that Lully arrangements, alongside original compositions such as those by Chambonnières, Favier, Hardel, La Barre, and Monnard (the other composers identified in this manuscript), were used as teaching materials for the music education of aristocratic ladies. The music was entered from both ends of the book, and many of the pieces in the later sections were copied, some in quite different versions, from the 1687 end by the same hand, which probably belongs to the teacher. Concordances among the Lully pieces are as follows:

First Second Third Title LWV key

8 36 51 Rigaudon 73/6 C

9 37 52 Second Rigaudon 73/7 C

14 66 Menuet 63/12 G

15 63 Chaconne 61/40 G

23 48 Descente de Mars 51/5 C

24 50 Marche 51/30 C

Literature: Manuscrit de Mademoiselle de La Pierre, facsimile edition, introduction by Pierre Féruselle [François Lesure] (Geneva: Minkoff, 1983; Gustafson 1979, 1:112–3, 3:109–16; Gustafson-Fuller 1990, 387–94.

Edition: WLSCM, eighteen pieces (nos. 8–9, 14–5, 20, 23–5, 36–7, 48–52, 59, 63, 66). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (m. 12) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 66 (fol. 29v), Menüet (G) [Suivons l’amour (menuet) from Amadis (1684) LWV 63/12 (G)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.148

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Menuet (Lamour malade)Ballet de L’Amour malade, 1657

US-BEm MS 778 (Parville), no. 24, p. 41LWV 8/35

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 9–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

Critical Notes

No. 24 (p. 41, Hand A), Lamour malade (d) [Menuet from Ballet de L’Amour malade (1657) LWV 8/35 (d)] M. 2 lhL1 dot missing M. 14 lhL1 dot missing M. 20 lhU1 dots missing M. 23 lhU2-3 tie, note missing

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Chaconne (Chaconne de galatée)Acis et Galatée, 1686

US-BEm MS 778 (Parville), no. 29, pp. 52–3LWV 73/32

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 4, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 29 (pp. 52–3, Hand A), Chaconne de galatée (D) [Chaconne from Acis et Galatée (1686) (D) LWV 73/32] M. 1 lhU2 a third lower: d M. 8 rh2 a third higher: g”

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.150

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.151

Courante de Lulli (Courante de Mr Lully)

US-BEm MS 778 (Parville), no. 41, p. 72LWV 75/24

© David Chung, 2014

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.˙ .˙‰ Jœ ˙ .˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 41 (p. 72, Hand A), Courante de Mr Lully (g) [Courante de Lully, after d’Anglebert/Lully (1689) LWV 75/24 (g)] M. 3 lhU3 rest missing M. 4 lhU1 dot missing M. 8 lhU6 rest missing M. 13 rh2 flat missing M. 15 rhL1 sharp missing rhU2 flat missing M. 17 rhL5 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.151

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˙ ˙#

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œM .œmbJœ

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œb .œ Jœ

˙ œ

.œm Jœœ

˙b œbŒ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Ouverture (Ouuerture disis)Isis, 1677

US-BEm MS 778 (Parville), no. 42, pp. 74–6LWV 54/1

(a) The flat sign (above the tremblement) is original, not editorial.

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.152

p. 2

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60 œm .œ Jœ

œ œ# œ

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71 .œM Jœb œ œŒ ˙œ œ œ

œb .œm Jœ

œ ˙˙ œ˙b

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œ[ ]I œ œœ œ œ

œ œ .œm jœœ ˙#œ œ œ

.˙ .˙ .˙Œ ‰ jœ œ.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.152

p. 3

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Eighth notes in conjunct motion (mm. 2–3, 17–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 42 (pp. 74–6, Hand A), Ouuerture disis (g) [Ouverture from Isis (1677) LWV 54/1 (g)] M. 44 lhU1 dot missing M. 60 lhU1 sharp missing M. 61 lhL2 natural missing M. 66 lhU1 dot missing M. 73 lhU1 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.152

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.œm œ œ .œggjœ˙

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.œ jœ.œ#m œ œ ˙˙ ˙.˙ œ

.œ jœ ˙m

˙ ˙˙ œ œ œ œ

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œbm œ .œm jœ˙œ œ ˙œ œ œb Œ œ

˙ œM œ œ˙‰ œ œ œ ˙˙ ˙

.œm œ œ .œM JœŒ œ ˙˙n Œ œ.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Entrée d’Apollon (Entree dapollon)Le Triomphe de l’Amour, 1681

US-BEm MS 778 (Parville), no. 43, pp. 76–7LWV 59/58

© David Chung, 2014

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˙ ˙˙ Œ œ

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m jœ˙ ˙#˙ ˙œb œ Œ œ

˙n

Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.153

p. 2

(a) The petite reprise in mm. 30–6 is copied from mm. 22–8.

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “2” time, eighth notes in conjunct motion (mm. 7–9, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

Critical Notes

No. 43 (pp. 76–7, Hand A), Entree dappollon (g) [Entrée d’Apollon from Le Triomphe de l’Amour (1681) LWV 59/58 (g)] M. 30–6 The petite reprise is supplied from mm. 22–8.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.153

&?

C

C

œ .œ jœœm œ œ œ

œ œ œ œ

.œm jœ œ œ˙

œ.˙ œ

.œm Jœ œ œ œŒ œ ˙˙# ˙

.˙ œœ œ œ œ œ œ œ œ

&?

..

..

..

..

6

.œ jœ .œm jœ˙ ˙

œm œ .˙.œ#

m jœ# œ˙˙ ˙œ .˙

œœ# œ

Reprise

.œMJœ .œ#m œ œ#

œ œ œ œ

.˙ œ

œœ# œ œ œ ˙

&?

11 œ œ .œm œ œ

.œ jœ ˙#œ# œ ˙

.œM œ œ œ œ œwœ œ ˙#

œ œ œ .œm Jœœ œœ ˙˙ ˙

..˙ œ%.˙‰ œ œ œ ˙.˙ œ œ œ

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&?

..

..

16 .œm jœ œ#m

œ# œ.œ# jœ# ˙˙ œ œ œ œ

œM œ œ œ .œm jœ

wœ œ ˙

1, 3.

..˙ .˙#Œ œ œ.˙

[fin]

2.

..˙ œ%

.˙#Œ œ œ.˙ œ

nœ œ

(a)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Entrée. Gavotte (Gauotte le Dieu qui nous engage)Psyché, 1671

US-BEm MS 778 (Parville), no. 51, p. 97LWV 45/25

© David Chung, 2014

(a) Editorial petite reprise supplied from Lully’s prototype (F-Pn Rés. F. 1706)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.154

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “ ” time, eighth notes in conjunct motion (mm. 5–6, 10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 51 (p. 97, Hand A), Gauotte le Dieu qui nous engage [Entrée, (gavotte) from Psyché (1671) LWV 45/25 (d)] M. 19 Editorial petite reprise supplied from Lully’s prototype (F-Pn Rés. F. 1706)

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3

3

Œ .œ Jœ

‰ œ œ ˙˙ œ

œ .œm Jœ‰ jœ ˙˙ œ

(a)

œm jœ œ œŒ œ œœ.˙

.œM œ œ œ

œ œ œœ ˙

œ .œm Jœ

≈ œ œ œ ˙˙ œ

œ .œm Jœ

‰ jœ ˙˙ œ

&

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7 œm Jœ œ œM œ œm œ .œm Jœ

Œ œ ˙ ˙˙ ˙ ˙

œœ œ œ œ œœ‰ œ œ ˙˙ œ

Jœ œ .œm œ œŒ œ œœ˙ ‰ Jœ

œ .œm Jœ

Œ œ œœ#˙ ‰ Jœ

œ œ œ œM œœœœ ˙œ ˙

œm œ œ œ œ

‰ jœ ˙˙ œ

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13

Jœ œ .œm œ œ

Œ œ œœ˙ ‰ Jœ

œ .œm Jœ

Œ œ œ#.˙

œ œ œ œ œ

˙ œœ‰ jœ œ

.œm œ .œ œ .œm œ

œ œ œ

.œ œ .œ œ .œm œŒ œ œœ˙b œ

.œ œ .œ œ .œm œŒ ˙˙ œ

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19 .œ œ .œ œ .œ œ

Œ œ œœ œ œ

.œ œ .œ œ .œm œ

Œ ˙˙ œ

.œm œ .œ œ .œm œ

Œ ˙˙b œœœ

œ œ œ œ œ œ œ .œm Jœ

Œ ˙[ ]. ‰ œ œ œœœ˙ œ œ ˙

œ .œ œ .œm œ

.œ œ .œ œœ œ œ&

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Chaconne (Chaconne damadis)Amadis, 1684

US-BEm MS 778 (Parville), no. 66, pp. 126–37LWV 63/67

© David Chung, 2014

(a) a second lower: c’

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24 .œ œ .œ œ .œm œ

.œ œ .œ œ .œ œ˙b œ

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.œ œ .œ œ .œ œ˙ œ

.œ œ .œ œ .œ œ

.œ œ .œ œ .œ œ.˙

.œ œ .œ œ .œm œ

.œ œ .œ œ .œ œœ œ œ

.œ œ .œ œ .œm œ

.œ œ .œ œ .œ œ˙b œ

&

&

29 .œm Jœ œm œ œ .œm Jœ

˙ œœ œœ œ œ˙ œ œ œ œ

œ œM œM

‰ œ œ œœœ[ ]œ ˙?

œMJœ œ Jœ œm

Œ ˙˙ ‰ Jœœ

jœ œ œ œ œ œm

Œ œ œœœ ˙

œ œ .œm Jœœœ œ œœ œ œ

œ œM œ

‰ œ œ ˙˙ œ

&

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35 œMJœ œ Jœ œm

Œ œ œœ˙ ‰ Jœ

jœ œm œM œ œ œM

Œ œ œœ.˙

œ œ .œm Jœœœ œ œœ œ œ

.œ œ .œ œœ œ Jœ

Œ œœ .œ Jœ&

œ .œ œ .œ œœ .œ Jœ

Œ ˙˙ ‰ Jœ

.œm œ œ œœ œ Jœ

Œ ˙.œ œ œ œ

œ œ œ .œ jœœ .œm Jœ

œ ˙Œ ˙

&

&

41 œ .œ œ .œ œœ œ[ ]. Jœ

‰ œ œ ˙˙ ‰ Jœ

œ .œ œ .œ œœ .œ Jœ

Œ ˙œ .œ Jœ

.œ œ œ œœ œ Jœ

Œ ˙.œ œ œ œ

œ .œm jœœ .œ

˙œ ˙

œ .œm jœ˙

œ .œ Jœ?

.œ œ œ œ œ

Œ œ œœœ .œ Jœ

œ .œM jœ

Œ œ œœ#œ .œ Jœ

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48 œ Jœ œ jœ œ˙

‰ JœŒ œ œœ

œ .œm jœ‰ jœ ˙œ .œ Jœ

.œ œ œ œ œ

Œ œ œœ˙ ‰ Jœ

œ .œM jœ

Œ œ œœ#˙ ‰ Jœ

œ Jœ œm jœ œm

˙ œ˙ ‰ JœŒ œ

œ œM œ œ œ

‰ jœ ˙˙ œ

M œŒ œ œ.˙ [ ]

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55 œ .œ#m œ œ#‰ jœ ˙˙ œ

œ œn œ œ œ œ œ

œ œ œœ ˙

œm œ œ œ œ

‰ jœ ˙˙ œ

M œ

˙ .Œ œ œœ

œ .œ#m œ œ#

‰ jœ ˙.˙

œ œn œ œ œ œ œ

‰ œ œ ˙˙ œ

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61 œ .œMJœ

œ œ œ œ œ œ

œ .œbm jœ

œ œ œ œ œ œ

œm .œ jœ˙

œ œ œ œ œ œ

œ .œm jœ˙

œ œ œ œ œ œ

œm .œM Jœ

œ œ œ œ œ œ œ

œm .œ jœ˙

œ œ œ œ œ œ œ

&

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67 œ .œM jœ˙

œ œ œ œ œ œ œ

.œMœ œ œ˙

œ œ œ œ œ œ œ

œm .œM Jœ

œ œ œ œ œ œ œ

œm .œ jœœ œ œ œ œ œ œ

œM jœ œ œM

œ œ œ œ œ œ œ

œ œ .œm Jœ

œ œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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73 œ œ œ œ œ

œ˙œ œ

œm œM œ œ œœœœ œœœ œ œ œ

œ œ œ œ œ

˙ œœ œ œ œ œ˙

œm œM œ œ œœœ ˙œ ˙

œ œ œ œ œ

‰ œ œ ˙˙ œ

œm œ œ œ œ

œœ œœ œœœ œ œ

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79 œ œ œ œ œ œ œ œ .œm Jœ

˙ ˙ ˙g˙ ˙ ˙

œ .œMJœ

Œ ˙˙ ‰ Jœ

œ .œm Jœ JœŒ ˙˙ œ

m œŒ ˙˙b œ

œ .œn œ œnœœ œ œœ ˙

œ .œb Jœ

‰ œ œ ˙˙ œ

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85 œm œ Jœ œ

˙ œ˙ œŒ ˙

m œ

œ ˙˙b œ

œ .œnm œ œn

‰ œn œ ˙.˙(b)

œ œMJœ œ

≈ œ œ œ ˙œ ˙

œ œ œ

˙ œœn ˙b

.œ Jœb œm

Œ ˙˙b œ

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91 ˙ œ.œn Jœ œ

œ œ œ œn œn œ

Œ œMJœ œ

˙ œœ ˙

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.œm Jœb œm

Œ ˙˙b œb

˙ œœn [ ]. Jœ œ

œ œ œ œn œn œ

Œ œM œ œ

Œ ˙˙ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 4

(b) a second higher: e-flat

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97 œm œ œM œ‰ jœ ˙œn œb œœ

œ .œm œ œ‰ jœ ˙œ œb œ

œ œn œ œ

œ œœœn œœ œ œ

œ œM œ œ

‰ jœ ˙˙ œ

œm œ œM œ‰ jœ ˙œn œb œœ

œm .œ œ œŒ Œ œœ ˙b

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103 œb œnmm œ œ

œ œœœn œœ œ œ

œ œ œ œ œ œ

Œ œ œœ.˙

œ .œm JœŒ ˙˙ œ

œ œm œ œ œŒ ˙˙b œ

˙nm œ œ œn

œ œb œ œ œ œ

œ œ œ œ œ œ

Œ œ œ˙

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109 œ .œm Jœ

Œ ˙˙ œ

œ œ œ œ œŒ ˙˙b œ

.œnm œ œ œ œ

œ œb œ œ œ œ

œMœ

mœ œ

‰ œ œ ˙˙ œ

œ jœ .œ jœŒ ˙˙ œ

œM .œm œ œ

Œ ˙˙b œ

&

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115 œ .œm œ œ

‰ œ[ ]n œ ˙˙ œ

œ œm

œ œ œ‰ jœ ˙˙ œ

œ .œm jœ‰ jœ ˙˙ œ

œM .œm œ œ

˙ œ˙b œ œŒ ˙

œ .œm Jœ

‰ œn œ ˙˙ œ

œ œ œ œbM

œ œ œœ œb b œ œ&

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 5

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121 Œ œ œ œ

œ œ œœ œ œ œ

Œ œ œ œ

œ œ œœb œ œ œ

Œ œ œ œ œ

Œ œn œ œ œn.˙

œM œ œ œb

œ œ œ œœ œ œ œ

œ œ œ œ

œ œ œ œœ œ œ

œ œ œ œ

œ œ œ œœb œ œ

œ œ .œm Jœ

œn œ ˙nœ œ œ

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128 œ .œMJœ

˙œ .œ Jœ?

œ œ œ œ œ œbŒ œ œ˙ ‰ Jœ

œ M

˙ .œ œ œ œ

œ œn œ œ œn

.Œ ˙

œ .œM Jœ

‰ œ œ ˙œ .œ Jœ

œ œ œ œ œ œbŒ œ œœœ .œ Jœ

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134

œmM

˙ .œ œ œ œ

œ œ .œm Jœ

œn ˙nœ ˙

œ œ œ œ

œ œ œœ œ œ œ œ&

œ œ œ œb

œ œ œ œœ œ œ œ œ

œM œ œ œ

œ œ œ œœb œ œ œ œ

œ œ œ œ œ œ

œn œ œn œ œ œn.˙

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140 œM œ œ œ

œ œ œ œ œœ œ œ œ œ

œ œ œ œb

œ œ œ œœ œ œ œ œ

œ œ œ œ

œ œ œ œœb œ œ œ œ

œ œ .œm Jœ

œn œ Œ Œ.˙ ˙

œ œbœ ˙

œœ œn œ œ?

œm œ œ

œn œ œb œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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146 m œ œ œ

œ œ œb œ œb œ

œM .œ Jœ

œ œ œ œb œ œ

œ œbœ ˙

œ œn œ œ œ œ

œm œ œ

œn œ œb œ œb œ

m œ œ œ

œ œ œb œ œb œ

œ .œm Jœ

œ œ# œ œn œn œ

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152 .œ œ œ œ

œ œ[ ]n œ œ œ œ

Jœ œ œm œ œ

œ œ œ œb œ œ

œ œ œ œ œ

œb œ œb œ œb œ

œM .œm Jœ

œ œ œ œb œ œ

œ œbœ ˙

œ œ œ[ ]n œ œ&

œb .œ jœœ .œ Jœ

œn œ œb œ œb œ

&

&

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158 œ .œm Jœ

œ œ œb œ œb œ

œ .œ jœœn ˙

œ œ œ œb œ œ

œ .œ jœ.œ Jœ˙

œ œ[ ]n œ œ œ œ

œ .œ jœœ ˙

œ œ œ œ œ œ

œ .œ jœœ œ œ

œb œ œb œ œb œ

œ œ .œm jœœn œ ˙n

œ œ œ œb œ œ

&

&

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164 œ œM œ œb

œ˙ .œ Jœ

?

œ .œM œb œ

Œ ˙˙nœ

.œbM œ œ œ

Œ œ œœ.˙

œm œM œ œ œ‰ jœ ˙n˙ œŒ

œ œM œ œb œ

Œ ˙œ ˙

œ .œ œb œ

Œ œ œœœn .œ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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170 œb Jœ œ Jœ œŒ œ[ ]b œ˙ ‰ Jœ

Jœ œ .œm Jœœ œœœn œœ œ œ

œ

œ

œM œ œ

‰ jœ œ˙

œM .œ œ œŒ œ œ.˙

œ .œM jœŒ œ œ#.˙

œ M

.œ œ œ œŒ ˙

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176 Œ œ œ œ

‰ œ œ ˙˙ œ

œ .œMœ œ

Œ œ œ.˙

œ .œM œ œ

Œ œ œœ.˙

œ .œm Jœ

œ ˙œ œ œ œ œ

œ œM œ œ œ

‰ jœ ˙œ ˙

œ œ œ œ œŒ œ œ˙ ‰ Jœ

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182 œ œ œ œ œŒ œ œ#œ .œ Jœ

œm œ œ œ œ œ˙ œ˙ œ

œ œ œ œ œ

‰ jœ ˙œ .œ Jœ

œ œ œ œ œ

Œ œ œœœ .œ Jœ

œ œ œ œ œ

Œ œ œœœ .œ Jœ

œ œ .œm œ œ

œ ˙œ ˙

œ œ œ œ œ

œ œœ œ œ œ œ&

&

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189 œ .œm Jœ

œ .œb jœœ œ œ œ œ œ

œ .œMJœ

œ œ œ œ œ œ

œm .œMJœ

œ œ œ œ œ œ

œœ œ œ œ œ

œ ˙œ œ œ œ œ

œ .œMJœ

œ ˙bœ œ œ œ œ œ

œ .œM Jœ

œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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195 œ .œm Jœ

œ œ œ œ œ œ ?

œ œ œ œ˙œ œ œ œ œ

œ œ œ œ˙œ œ œ œ œ œ

œ œ œ œM

œ œ œ œ œ œ

œ œ .œm Jœ

˙ œŒ ˙

œm œ œ œ

˙œ œ œ œ œ

&

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201 œ œ œ œ˙

œ œ œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ

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‰ œ œ ˙.˙

.œ œ .œ œ .œ œ

Œ œ œœ.˙

.œ œ .œ œ .œ œŒ ˙œ .œ Jœ

.œ œ .œ œ .œ œŒ ˙œ .œ Jœ

&

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207 .œ œ .œ œ .œ œ

œ œ œœ ˙

.œ œ .œ œ .œ œ

Œ œ œœœ .œ Jœ

.œ œ .œ œ .œ œ

Œ œ œœ .œ Jœ

.œ œ .œ œ .œ œ

Œ œ œœœ .œ Jœ

.œ œ .œm Jœ

œ ˙œ ˙

œ œM œ

œ œ œ œ œ œ

&

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213 Œ œ œ

œ œ œ œ œ œ

Œ œ œ

œ œ œ œ œ œ

Œ œ œ œ œ

˙ œŒ ‰ jœ

œ œM œ

œ œ œ œ œ œ

Œ œ œ

œ œ œ œ œ œ

Œ œ œ

œ œ œ œ œ œ

Œ œ œ œ œ

˙ œŒ ‰ jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 9

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220 œ œM œ œ

˙œ œ œ&

œ .œM Jœ

˙ œœœ œ œ

.œm JœœM

˙ œœ˙ œ

œ .œm œ œ

œœ œ ‰ jœœ œ œ

œ œ œ œ

‰ œ œ ˙.˙

œ .œM Jœ

˙ œœœ œ œ

.œm JœœM

˙ œœ˙ œ

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227 œ .œm Jœ

œœ œ Œœ ˙ œ

?

.œ œ œ œ œŒ œ œœœ .œ Jœ

.œM œ œ œ œŒ ˙˙ œ

.œMœ œ œ œ

Œ ˙˙ œ

.œM œ œ œ œ œ

œœ œ œœ œ œ

.œm œ œ œ œ

Œ œ œœœ .œ Jœ

&

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233 .œ œ œ œM œ

Œ ˙˙ œ

.œMœ œ œ œ

Œ ˙˙ œ

œM œm .œ œ

œœ ˙œ ˙

œ œ œ œ œ

Œ œ œœœ ˙

œ œ œ œ œŒ ˙˙ œ

œ jœ œ œM

Œ ˙˙ œœ

Jœ œ Jœ .œ Jœ

œ ˙œ ˙

&

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240 œ œ œ œ œŒ œ œœœ .œ Jœ

œ œ œ œ œŒ ˙˙ œ

.Jœ Rœ œ œM

Œ ˙˙ œ

œ œ .œm Jœœ œ œœ œ œ œ

œ œ œ œ œ œ

œ œ œ&

œb .œbMJœ

œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 10

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246 œ œb œ œ œ œ

œ œ œ œ œ œ

œ œ .œm Jœ

œ ˙œ ˙

œ œ œ œ œ œ

œ œ œ

œb .œ Jœ

œ œ œ œ œ œ

œ œb œ œ œ œ

œ œ œ œ œ œ

œ œ .œm Jœ

œ ˙œ ˙?

&

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252 œ .œM Jœ˙œ ˙

˙ œ œŒ œ œœ.˙

œ .œm Jœ

Œ œ œœ#.˙

œ œM .œ œœœœ ˙œ ˙

œm .œMJœ

‰ jœ ˙˙ ‰ Jœ

˙ œ œ

Œ œ œœ.˙

œ .œm Jœ

Œ œ œ#.˙

&

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259 œ œ .œM œ

‰ œ œ ˙.˙

.œm œ œ œ

Œ œ œ.˙

.œm œ œ œ‰ jœ ˙œ ˙b

œ œ œ œ œ œŒ ˙˙ œ

.˙ .œ Jœ œ

œ œ œ œ œ œ

&

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264 œ .œ œ .œ œ.˙

œ œ œ œ œ œ

.œ œ œ œ œ œ

œ œ œ œ œ œ

.œ œ œ œ.˙

œ œ œ œb œ œ

œ œ .œm Jœ

˙œ Œ œ

.œm œ œ œ

Œ œ œœ.˙

.œm œ œ œ

‰ jœ ˙œ ˙b

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p. 11

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 12

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 13

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.155

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 14

In “3” time, eighth notes in conjunct motion (mm. 4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 66 (pp. 126–37, Hand A), Chaconne damadis (C) [Chaconne from Amadis (1684) LWV 63/67 (C)] M. 2 lhU2 a second lower: c’ M. 22 lhU2 dot missing M. 30 lh e missing from last chord M. 39–40 2 measures crossed out between measures 39 and 40 M. 41 rhL2 dot missing rhL3 note missing M. 50 r5 slur to c” missing M. 54 lhL1 dot missing M. 87 lhU3 a second higher: e-flat M. 95 rhL1 dot missing rhL2 note missing M. 104 lhU2 tie missing M. 115 lhU2 natural missing M. 116 lhU2 tie missing M. 119 lhU3 tie missing M. 132 lhU2–3 ties missing

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 15

M. 152 lh2 accidental missing M. 160 lh2 accidental missing M. 168 lhU1 rest missing M. 170 lhU2 flat missing M. 176 lhU2 tie missing M. 203 lhU2 tie missing M. 228 lhU2 tie missing M. 259 lhU2–3 ties missing M. 283 lhU3 tie missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.155

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.156

Rigaudons (Riguaudon. Suitte du Riguaudon)Acis et Galatée, 1686

US-BEm MS 778 (Parville), no. 67, pp. 138–9LWV 73/6–7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 67 (pp. 138–9, Hand A), Riguaudon | Suitte du Riguaudon (C) [Rigaudons from Acis et Galatée (1686) LWV 73/6–7 (C)] M. 16 lh1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.156

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.157

Passepied de Lully

US-BEm MS 778 (Parville), no. 108, p. 210

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Editorial Remarks This piece has the repetition scheme AABBAB. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.157

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In this piece, sixteenth notes in conjunct motion (mm. 2, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 108 (p. 210, Hand B), Passepied de Lully (G) [not in LWV] M. 8 rhU3–4 notes missing M. 18 lhL1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.157

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Dans nos bois (Menuet dans nos bois. Mr. de Lully)Trios de la Chambre du Roi

US-BEm MS 778 (Parville), no. 109, p. 211LWV 35/4

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Editorial Remarks This piece is essentially a copy of D’Anglebert-1689. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.158

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 2–3, 6–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 109 (p, 211, Hand B), Menuet dans nos bois. Mr. de Lully (C) [Dans nos bois (menuet) from Trios de la Chambre du Roi (n.d.) LWV 35/4 (C)] M. 18 lhU3 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.158

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Vous ne devez plus attendre (Trio d’Amadis)Amadis, 1684

US-BEm MS 778 (Parville), no. 110, pp. 212–3LWV 63/36

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.159

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.159

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 14, 17, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 110 (pp. 212–3, Hand C), Trio d’Amadis | vous ne devez plus attendre (g) [Vous ne devez plus attendre from Amadis (1684) LWV 63/36 (g)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.159

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m œ˙ œ)

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.160

Trio “Aimons, aimons” (Trio de Theseé | aimons nous)Thésée, 1675

US-BEm MS 778 (Parville), no. 111, p. 214LWV 51/65

© David Chung, 2014

(a) a second lower: F

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.160

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.160

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 2, 4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 111 (p. 214, Hand C), Trio de Thesée | aimons nous (C) [Trio “Aimons, aimons” from Thésée (1675) LWV 51/65 (C)] M. 10 lhL1 ornament between c” and f-sharp’ M. 16 lh1 a second lower: F

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.160

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.161

Menuet Proserpine, 1680

US-BEm MS 778 (Parville), no. 112, p. 215LWV 58/13

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.161

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (mm. 2–3, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 112 (p. 215, Hand D), Menuet (d) [Menuet from Proserpine (1680) LWV 58/13 (d)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.161

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œ œ .œm jœœ .œ# Jœ

œ œ œb œ œ œ .˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Les Sourdines (Air D’Armide)Armide, 1686

US-BEm MS 778 (Parville), no. 115, pp. 218–9LWV 71/39

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.162

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.162

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “6/4” time, eighth notes in conjunct motion (mm. 6, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 115 (pp. 218–9, Hand D), Air D’Armide (g) [Les Sourdines from Armide (1686) LWV 71/39 (g)] M. 17 rhL3 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.162

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.163

Chaconne (Air des Sorciers) Ballet des Muses, 1666

US-BEm MS 778 (Parville), no. 116, pp. 220–1LWV 32/–

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.163

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (mm. 1, 3–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 116 (pp. 220–1, Hand D), Air des Sorciers (B) [Chaconne from Ballet des Muses (1666) LWV 32/- (B)] M. 16 lhU1–2 rests missing M. 25 lh2 natural missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.163

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.164

Les Songes agréables (Les Songes agreables d’Atys)Atys, 1676

US-BEm MS 778 (Parville), no. 117, pp. 222–3LWV 53/58

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.164

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (mm. 3, 6, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 117 (pp. 222–3, Hand D), Les Songes agreables d’Atys (g) [Les Songes agréables from Atys (1676) LWV 53/58 (g)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.164

&?

3

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˙ œœ œ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.165

Menuet d’AtysAtys, 1676

US-BEm MS 778 (Parville), no. 118, p. 224LWV 53/–

© David Chung, 2014

(a) a second higher: d

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.165

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (mm. 4, 9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 118 (p. 224, Hand D), Menuet d’Atys (C) [“Menuet d’Atys” (1676) LWV 53/– (C)] M. 13 lhL1 a second higher: d

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.165

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.166

Les SacrificateursPersée, 1682

US-BEm MS 778 (Parville), no. 119, p. 225LWV 60/77

© David Chung, 2014

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.166

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.166

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 2, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 119 (p. 225, Hand D), Les Sacrificateurs (a) [Les Sacrificateurs from Persée (1682) LWV 60/77 (a)] M. 26 notes missing except top a’

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.166

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Air pour les hautbois, Passepied (Passepied de Persée)Persée, 1682

US-BEm MS 778 (Parville), no. 120, pp. 226–7LWV 60/5

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.167

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.167

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3/8” time, sixteenth notes in conjunct motion (mm. 9–10, 16, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 120 (pp. 226–7, Hand D), Passepied de Persée (a) [Air pour les hautbois (passepied) from Persée (1682) LWV 60/5 (d)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.167

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Ouverture (Ouuerture de la grotte de Versailles)La Grotte de Versailles, 1668

US-BEm MS 778 (Parville), no. 121, pp. 228–9LWV 39/1

© David Chung, 2014

(a) a second higher: b-flat”

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.168

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.168

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In both “ ” and “3” time, eighth notes in conjunct motion (mm. 2, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 121 (pp. 228–9, Hand D), Ouuerture de la grotte de Versailles (g) [Ouverture from La Grotte de Versailles (1668) LWV 39/1 (g)] M. 9 rhL1 a second higher: b-flat” M. 39 lhU2 d’ covered by the same note of the lower voice and thus appears to be a quarter note M. 44 lhU2 quarter note

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.168

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.169

Le Marié et la mariée (La Mariée)Ballet des plaisirs, 1655

US-BEm MS 778 (Parville), no. 122, pp. 230–1LWV 2/4

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.169

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.169

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “ ” time, eighth notes in conjunct motion (mm. 1–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 122 (pp. 230–1, Hand D), La Mariée (G) [Le Marié et la mariée (entrée) from Ballet des plaisirs (1655) LWV 2/4 (G)] M. 16 lhL2 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.169

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.170

Trompettes (Les fanfares de Psiché)Psyché, 1671

US-BEm MS 778 (Parville), no. 123, p. 232LWV 45/36

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.170

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.170

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 123 (p. 232, Hand D), Les fanfares de Psiché (C) [Trompettes from Psyché (1671) LWV 45/36 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.170

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.171

MenuetBallet de Flore, 1669

US-BEm MS 778 (Parville), no. 124, p. 233LWV 40/39

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.171

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 124 (p. 233, Hand D), Menuet [Menuet from Ballet de Flore (1669) LWV 40/39 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.171

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.172

MenuetThésée, 1675

US-BEm MS 778 (Parville), no. 125, p. 234LWV 51/67

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.172

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (m. 9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 125 (p. 234, Hand D), Menuet (C) [Menuet from Thésée (1675) LWV 51/67 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.172

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.173

MenuetIsis, 1677

US-BEm MS 778 (Parville), no. 127, pp. 236–7LWV 54/11

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.173

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.173

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 2–3, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 127 (pp. 236–7, Hand D), Menuet (g) [Second Air (menuet) from Isis (1677) LWV 54/11 (g)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.173

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.174

Premier Air pour la Jeunesse (Air pour la Jeunesse)Le Triomphe de l’Amour, 1681

US-BEm MS 778 (Parville), no. 128, pp. 238–9LWV 59/69

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.174

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.174

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 18, 30, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 128 (pp. 238–9, Hand D), Air pour la Jeunesse (g) [Premier Air pour la Jeunesse from Le Triomphe de l’Amour (1681) LWV 59/69) (g)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.174

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.175

Air des Espagnols, Sarabande (Les Espagnols)Le Bourgeois Gentilhomme, 1670

US-BEm MS 778 (Parville), no. 130, p. 241LWV 43/27

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.175

p. 2

(a) see editorial remarks

(b) “fin” copied from m. 25

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Editorial Remarks

The following repeats, designated by the pair of reprise symbols , have been written out in full in this edition: mm. 5–8 copied from mm. 1–4; mm. 13–16 copied from mm. 9–12; mm. 25–33 copied from mm.17–25.

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.175

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 10–1, 14–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 130 (p. 241, Hand D), Les Espagnols (B) [Air des Espagnols (sarabande) from Le Bourgeois Gentilhomme (1670) LWV 43/27 (B)] M. 13 lhU1 rest missing M. 17 lhU1 rest missing M. 33 “fin” copied from m. 25

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.175

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.176

Trompettes (la descente de Mars)Thésée, 1671

US-BEm MS 778 (Parville), no. 131, p. 242LWV 51/5

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.176

p. 2

(a) Instrumentation supplied from Lully’s first edition (Paris, 1688; Facs. ed. Broude International Editions, 2001)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Editorial Remarks Instrumentation of Lully’s prototype, indicated within brackets, are supplied from the first edition (Paris, 1688; Facs. ed. Broude International Editions, 2001) Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.176

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 7, 23, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 131 (p. 242, Hand D), la descente de Mars (C) [Trompettes from Thésée (1675) LWV 51/5 (C)] M. 7 lhU1–2 rests missing M. 8 lhU1–2 rests missing M. 9 lhU1–2 rests missing M. 11 lhU1–2 rests missing M. 13 lhU3 rest missing M. 15 lhU2 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.176

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.177

Ritournelle (Menuet)Thésée, 1675

US-BEm MS 778 (Parville), no. 132, p. 243LWV 51/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.177

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (mm. 1, 3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 132 (p. 243, Hand D), Menuet (C) [Ritournelle from Thésée (1675) LWV 51/7 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.177

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.178

Marche (La Marche de Theseé)Thésée, 1675

US-BEm MS 778 (Parville), no. 133, pp. 244–5LWV 51/30

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “ ” time, eighth notes in conjunct motion (mm. 2, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 133 (pp. 244–5, Hand D), La Marche de Theseé (C) [Marche from Thésée (1675) LWV 51/30 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.178

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Entrée (Entree)Hercule amoureux, 1662

US-BEm MS 778 (Parville), no. 135, pp. 248–9LWV 17/1

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.179

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 135 (pp. 248–9, Hand D), Entree (g) [Entrée from Hercule amoureux (1662) LWV 17/1 (g)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.179

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Gavotte (Gauotte)Ballet des Muses, 1666

US-BEm MS 778 (Parville), no. 136, p. 250LWV 32/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.180

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “2” time, eighth notes in conjunct motion (m. 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 136 (p. 250, Hand D), Gauotte (B) [Gavotte from Ballet des Muses (1666) LWV 32/7 (B)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.180

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Menuet en rondeauBallet des Muses, 1666

US-BEm MS 778 (Parville), no. 137, p. 251LWV 32/9

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.181

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.181

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (m. 25, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

Critical Notes

No. 137 (p. 251, Hand D), Menuet en Rondeau (B) [Menuet en rondeau from Ballet des Muses (1666) LWV 32/9 (B)][No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.181

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Dieu des enfers (Dieu des Enfers)Ballet de la Naissance de Venus, 1665

US-BEm MS 778 (Parville), no. 141, pp. 256–7LWV 27/41

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686).

Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149).

Editorial Remarks

The piece is essentially a copy of D’Anglebert-1689.

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.182

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

In “3” time, eighth notes in conjunct motion (mm. 6–7, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 141 (pp. 256–7, Hand E), Dieu des Enfers (g) [Dieu des enfers (sarabande) from Ballet de la Naissance de Venus (1665) LWV 27/41 (g)]

M. 22 rhU Source:

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.182

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.183

Les Sourdines (Sourdinnes de’Amide)Armide, 1686

US-BEm MS 778 (Parville), no. 149, pp. 282–3LWV 71/39

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

p. 2

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 778 (post-1686). Thirty-six arrangements entered by seven unidentified French hands (Hands A, B, C, D, E, G, and I). Hand I is the same as Hand A of LaBarre-6, Hand A of LaBarre-11, and Hand B of Menetou.

The arrangements entered by Hand A are dispersed among the compiled suites, which are organized by key. Those by Hand D (nos. 115–137) constitute a major section of arrangements. The Lully pieces by other hands form a miscellaneous collection. “Dans nos bois” (Hand B, no. 109) and “Dieu des enfers” (Hand E, no. 141) are copies of D’Anglebert-1689, but with simplified ornaments.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:105–7, 2:429–88; Gustafson-Fuller 1990, 356, 383–4.

Editions: Harris 2009, two pieces (nos. 41, 109); UT Opheus, one piece (no. 127); WLSCM, thirty-five pieces (nos. 24, 29 41–3, 51, 66–7, 108–12, 115–25, 127–8, 130–3, 135–7, 141, 149). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

In “3” time, eighth notes in conjunct motion (mm. 11, 14, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 149 (pp. 282–3, Hand I), Sourdinnes de’Amide (g) [Les Sourdines from Armide (1686) LWV 71/39 (g)] M. 42 lhU1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.183

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Gavotte en rondeau (Gauotte)Phaéton, 1683

US-BEm MS 777 (Menetou), no. 2, fols. 2v–3rLWV 61/27

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.184

p. 2

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.184

p. 3

(a) erroneous a note a third above f removed. See commentary.

(b) mm. 55–8 copied from mm. 41–4.

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–95; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 4, 14, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 2 (fols. 2v–3r, Hand A), Gauotte (C) [Gavotte en rondeau from Phaéton (1683) LWV 61/27 (C)]

M. 47 lhL3 erroneous note a third above f removed. Menetou:

M. 55–8 copied from mm. 41–4. Ending in Menetou:

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.184

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Gavotte (Gauotte)Phaéton, 1683

US-BEm MS 777 (Menetou), no. 3, fol. 3vLWV 61/28

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.185

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–95; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“Le plaisir est necessaire…”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.185

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 3–5, 10–1, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 3 (fol. 3v, Hand A), Gauotte (C) [Gavotte from Phaéton (1683) LWV 61/28 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.185

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.186

MenuetPhaéton, 1683

US-BEm MS 777 (Menetou), no. 6, fol. 5rLWV 61/2

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3–5, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 6 (fol. 5r, Hand A’), [untitled] (C) [Menuet from Phaéton (1683) LWV 61/2 (C)] M. 1 lhL1 tie missing M. 10 rh1 dot missing lhL2 sharp missing M. 11 lh3 sharp missing

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&

?

3

3

œ ˙œ œ œDans ces Lieux

œ œ œQu’il est doux

˙m

œm

˙ œtout rit

œ œ œd’aymer ...

œ .œm

œ œœ œ œ...

œ ˙

˙ œ‰ Jœ ˙#

.œ jœ œ

&

?

..

..

5 œ ˙œ œ œ

œ œ œ

mœ˙ œ

œ œ œ

œm

œ œ œ

œ ˙

.‰ Jœ ˙#

.œ jœ œ

&

?

..

..

9 œ .œm œ œœ# ˙

œ ˙

˙ œ˙ œ

œ œ œ œ

œ mœ# ˙

œ œ œ

˙ œ‰ Jœ# ˙

.œ œ œ œ

&

?

..

..

13 œ œ œ œ œœ œ œ œ œ

œ œ ˙

œ œ œmœ# œ œ#

œ œ œ

œm œ .œm jœœ œ#

œ œ œ

.‰ Jœ ˙

.œ Jœœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Dans ces lieuxPhaéton, 1683

US-BEm MS 777 (Menetou), no. 8, fol. 6rLWV 61/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Editorial Remarks Text between staves (“Dans ces Lieux tout rit …”) omitted in this edition.

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 10, 12–3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 8 (fol. 6r, Hand A’), [untitled] (a) [Dans ces lieux from Phaéton (1683) LWV 61/7 (a)] M. 8 lh barline missing

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.187

&?

#

#

3

3

Œ œ œŒ œ œ

Œ œ œ

œm .œ jœœ ˙

˙ œ

œ .œ jœœ ˙˙ œ

.œ œ œ œœ ˙œ ˙

œ œ œœ ‰ Jœ ‰ Jœ

œ ˙

œ œ œ œ‰ Jœ .œ Jœ

˙ œ

&?

#

#

7 ‰ jœ .œm jœœ ˙

.œ œ œm œ

œ œ .œ jœœ ˙.Œ ˙

œ œ œ œ œ œ

œ ˙

œ œ[ ]# œ œ œ œ

.˙

œ œ œ œ œ œ

.˙

&?

#

#

12 œ œ œ œ œ œ

.˙

œ œ œ œ œ œ

œ ˙

œ œ[ ]# œ œ œ œ

.˙

œ œ œ œ œ œ

.˙

œ œ œ œ œ œ

.˙

&?

#

#

17 œ œ œ œ œ œ

œ ˙Œ œ œ œ œ

œm œ ˙n

Œ œ œ œ œ

œm œ ˙

œ œ .œm jœœ ˙

œ œ œ

œ œ œ œ œ œ

œ ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Chaconne (chaconne)Phaéton, 1683

US-BEm MS 777 (Menetou), no. 9, fols. 6v–9rLWV 61/40

© David Chung, 2014

&?

#

#

22

œ œ œ œ œm œœ œ ˙n

œ œ œ œ œ œœm œ ˙

œ œ .œm jœœ ˙

œ œ œ

œ œ œm œ œm œœ ˙

œ ˙

œ .œ jœ‰ Jœ ‰ Jœ œ.˙

&?

#

#

27 .œ jœ œ‰ Jœ œ œ œ œ#

.˙

.œm jœ œm.œ Jœ

nœ

œ ˙

Œ œm

œ œŒ ‰ Jœ œ

œ œ œ œ œ œ œ ˙

œ .œ jœ‰ Jœ ‰ Jœ œ.˙

.œ jœ œ‰ Jœ œ œ œ#

.˙

&?

#

#

32 .œ jœ œm

œ‰ œ œ Jœn

œ œ

œ ˙

œ .œ jœœ Œ œ

œ ˙œ .œm jœœ œ œ[ ]n œ œ

.˙n

.œ œ œ œ‰ Jœ .œ Jœ#œ .œ Jœ

œ .œm jœœ ˙

œ œ œ

œ œ œm

œ œ œœ œ œ œ œ

œ ˙

&?

#

#

38

œ œ œ œ œ œ˙ œ.˙n

.œ œ œ œœ œ œ œ œ œ

œ .œ Jœ

jœ jœ .œ jœJœ ˙

œ œ œ

œ œ œ œ œ œ

œ ˙

œ œ# œ œ œ œ

œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

&?

#

#

43 œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ œœ œ

œ œ œ

&?

#

#

48 œm

œ .œm jœœ œ ˙

œ œ œ

œ ˙

œ œ œ œ œ œ

..˙ .˙

œ œ œ œ œ œ

.˙ .˙œ œ œ œ œ œ

œ .œ jœ˙ œœ œ œ œ œm œ

&?

#

#

53 œm

œ ˙œ ˙œ œ œ œ œ œ

Œ ˙˙œ œ œ œ œ œ

œ œ œ œ œ˙ œ œ

œ œ œ œ œ œ

œ œ .œm jœœ ˙

œ œ œ œ

œ œ œœ ‰ Jœ ‰ Jœ

œ ˙

&?

#

#

58 œ œ .œ jœ.œ œ œ œœ ˙n

œ œ œ œ‰ Jœ ˙˙ œ

œ ‰ œ œ œœ œ ˙œ ˙

œ œ œœ ‰ Jœ ‰ Jœ

œ ˙

œ œ .œ jœ.œ œ œ œœ œn œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 3

&?

#

#

63 œ œ œ œ œ‰ Jœ .œ Jœ.œ Jœ œ

œ .œm jœJœ Jœ ˙œ ˙

œ œ œ œ œœ

œ ˙

.œ œ œ œ‰ jœ ˙.˙

.œ œ œ œ‰ jœ ˙[ ]#.˙

œ œm œ œ œ

œ ˙

&?

#

#

69 œ .œ jœœ ˙

œ œ œ œ œ œ œ

œ .œn jœ.˙œ œ œ œ œ œ œ

œ .œ jœ.˙œ œ œ œ œ œ œ

œ .œ jœœ ˙œ œ œ œ œ œ œ

œ .œ jœœ ˙œ œ œ œ œ œ œ

&?

#

#

74

œ .œ jœœ ˙

œ œ œ œ œ œ œ

œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ

œ œ œ œm

œ .jœm rœœ ˙

œ œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ

œ œ œn œ œ œ

&?

#

#

79

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ

œ œ ˙n

œ œ œ œ œ œ

œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 4

&?

#

#

84 œ œ .œm jœ˙

œ œ œ œ

œœ œ œœ ‰ Jœ ‰ Jœ

œœ œ

Œ œ œ‰ Jœ ‰ Jœœn œ œ

Œ œ œ‰ Jœ ‰ Jœœ œ œ

Œ œ œ œ œœ œ œ œ.˙

œm œ œœ œ œ

œ œ œ œ œ

&?

#

#

90 Œ œ œŒ œ œœn œ œn œ œ œn

Œ œ œŒ œ œœ œn œ œ œ œ

‰ œ œ œ œ œ‰ œ œ œ œ œ˙ œ

œm œ œ œœ œ œ œœ ˙

œm œ œ œœ œ œ œ

.˙

&?

#

#

95 œ œ œm

œ œœ œ œ œ œ.œ Jœ œ

œ œ œ œ‰ Jœ œm

œ œ œ.˙

œm œ œ œœ ‰ Jœ œ œœ ˙

œ .œ jœ‰ Jœ œ œ œ

.˙

.œ jœ œ œœ œ ˙.œ Jœ œ

œ œ .œ jœœ ˙œ ˙

&?

#

#

101

œ œ œœ ‰ Jœ ‰ Jœ

œ˙

.œ œ œ œ˙ œ œœ ˙n

.œ œ œ œ˙ œ œœm œ ˙

œ œ œ œ.œ œ Jœ.˙œ œ œ œœ œ ‰ Jœ ‰ Jœ

œ ˙.œ œ œ œ˙ œ œ

œm œ œn œn œn

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 5

&?

#

#

107 .œ œ œ œ˙ œ œœ œ œ œ œ

œ œ œ œ.œ œ Jœœ œ œœ .œ jœœ ‰ Jœ œœ ˙

œ .œ jœŒm

‰ Jœ œ

.˙

.œ jœ œ‰ Jœ œ ‰ Jœ

.œ Jœ œ

œ œ .œ œ œœ ˙m

œ ˙

&?

#

#

113 œ .œ jœœ ‰ Jœ œ

œ ˙

œ .œ jœŒ ‰ Jœ œ

œ œ œ œ

.œ jœ œ‰ Jœ œ ‰ Jœ

.œ Jœ œ

.œ jœ œmœ œ .œ Jœ

œ ˙

œ œ œ œ œœ

œ.œ

Jœ

œ œ œ œ œ œœ œ œ œ œ œ

&?

#

#

119 œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ˙ œ œ œ œ

≈ œ œ œ œ œ œ œ

˙ œœ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ

&?

#

#

124 œ œ .œm Jœ

.˙

œ œ œ œ œ

œ ˙

œ œ œ‰ Jœ ‰ Jœ ‰ Jœ.˙

œ œ œ œ œ œ.˙.˙

.œ œ œ œœ œ ˙œ ˙

Œ œ œ œ œŒ œ œ œ œ

.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 6

&?

#

#

130 œ œ œ‰ Jœ ‰ Jœ ‰ Jœ

.˙

œ œ œ œ œ œ.˙

.˙

.œ œ œ œœ œ ˙

.˙

‰ Jœ œ œ œ

œ .œ Jœ

.œ œ œ œ

‰ jœ ˙.˙

&?

#

#

135 œ œ œ œ œ

œ ˙˙ œ œ

œ œ .œm jœœ ˙

œ œ œ

œœ œ œœ ‰ Jœ ‰ Jœ

œ ˙

.œn jœ œ‰ Jœ .œ Jœ

.˙

(a) .œ jœ œ‰ Jœ .œ Jœ

.˙

œ ‰ œ œ œœ œ ˙œ ˙

&?

#

#

141 œ œ œœ ‰ Jœ ‰ Jœ

œ ˙

œn œ œ

œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ œ

‰ jœ œ œŒ ‰ Jœ ‰ Jœœ ˙

œ œ œ œ œ‰ Jœ œ

œ ˙

&?

#

#

146 œ œ œ œ œ œ

œ ˙n

œM œ œ œ œ œ

.˙

œ œ œ œ œ œ

œ œ œ

.œ jœ œ‰ Jœ œ ‰ Jœ

œ ˙

&?

#

#

150 œ œ œ œ œ‰ Jœ ˙œ ˙n

.œ œ œ œ‰ Jœ œ œ œ œœ .œ Jœ

œ œ .œm jœœ œ ˙

œ œ œ

.‰ Jœ ˙Œ ‰ jœ œ.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 7

(a) a second lower: c”

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 8

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 9

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 7–25, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 9 (fols. 6v–9r, Hand A’), chaconne (G) [Chaconne from Phaéton (1683) LWV 61/40 (G)] M. 10 rh2 sharp missing M. 14 rh2 sharp missing M. 34 rhL2 natural missing M. 67 lhU3 sharp missing M. 114 rhL1 rest missing M. 138 rhU2 a second lower: c”

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.188

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ris...se ...

w œ œ

œ œ œ œ

˙ ˙œ œ Œ œ

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&

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&

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14 œ œ .œ Jœ

˙ ˙ ˙

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˙ œ œ.˙ œ

.œ jœœ œ ˙

˙ ˙œ œ Œ ‰ Jœ

..˙ .˙

˙ ˙ ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.189

BourréePhaéton, 1683

US-BEm MS 777 (Menetou), no. 10, fol. 9vLWV 61/16

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“Plaisir venez sans crainte …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 10 (fol. 9v, Hand A’), Bourrée (C) [Bourrée from Phaéton (1683) LWV 61/16 (C)] M. 9 rhL1 note missing

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.189

&?

3

3

œ œ œ œŒ œ œ.˙

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9 œ œ œ œŒ œ œ.˙

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13 œ œM œœ ˙œ œ œ

.œ Jœ œ œ

.œ œ œ

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œ ˙œ Œ œ

.œm œ œ œ.œ˙ œ œŒ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.190

Les Trompettes (Les trompette)Amadis, 1684

US-BEm MS 777 (Menetou), no. 16, fols. 13v–14rLWV 63/24

© David Chung, 2014

&?

17 ..˙ .˙

œ œ œ œ œ œ

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21 œ œ œ œ œ œ

Œ œ œ.˙

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28 m ‰ Jœ

œœ œ œm œ œ

œm œ .œm jœ˙œ ˙œ

Œ œ

.‰ Jœ ˙˙[ ].Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.190

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.190

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1–2, 4–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 16 (fols. 13v–14r, Hand A’), Les trompette (C) [Les Trompettes from Amadis (1684) LWV 63/24 (C)] M. 5 lhL1 dot missing M. 30 lhU1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.190

&?

3

3

.œm Jœ œŒ œ œ.˙

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9 .œMJœ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.191

MenuetAmadis, 1684

US-BEm MS 777 (Menetou), no. 17, fol. 14rLWV 63/57

© David Chung, 2014

&?

17 .œMJœ œ

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21 .œ#m œ œ# œ

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.˙

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jœ jœ .œm jœ˙#

œ Œ œ

.‰ Jœ ˙

.œ jœ œ˙[ ].

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.191

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.191

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 6, 10–1, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. No. 17 (fol. 14r, Hand A’), Menuet (G) [Menuet from Amadis (1684) LWV 63/57 (G)] M. 15 lhL2 rest missing M. 23 lhL1 rest missing M. 24 lhL1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.191

&?

b

b

C

CJœ

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Jœ˙ œ œœ œ œ œœ œ

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&?

b

b

6

[fin]

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b

b

10 .œMJœ

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˙ [ ]. œnœ œ œ œ

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b

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14 .œMJœ œm œ œ

˙ ˙˙ ˙

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m jœ jœŒ œ ˙˙ Jœ Jœ œ

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˙ ˙˙ œ œ œœ œ œ œm œ œ˙ ˙˙ ˙

%.œM

œœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.192

Prelude, Arcabonne (amour que veutu demoy)Amadis, 1684

US-BEm MS 777 (Menetou), no. 18, fol. 14vLWV 63/26

© David Chung, 2014

(a) a third above: e

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks This piece ends on m. 6, as indicated by “fin”, and the player should provide a suitable ending. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.192

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 3, 5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. No. 18 (fol. 14v, Hand A’), amour que veutu demoy (F) [Prelude, Arcabonne from Amadis (1684) LWV 63/26 (F)] M. 6 rhU2 a third above: e M. 10 lhU1 dot missing M. 15 lhL1–2 tie and note missing M. 19 barline missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.192

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.œ Jœ œVous ne deuez

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.193

Vous ne devez plus attendre (vous ne deuez pas attendre)Amadis, 1684

US-BEm MS 777 (Menetou), no. 20, fols. 15v–16rLWV 63/36

© David Chung, 2014

&?

21 œ œ .œm Jœœ ˙œ ˙

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&?

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&?

34 œ œ œ

.˙ œ

.œm Jœ œœ ˙#.˙

œm œ .œm jœœ ˙#œ ˙

˙˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.193

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“Vous ne deuez pas attendre …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.193

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 13–4, 16–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. No. 20 (fols. 15v–16r, Hand A’), vous ne deuez pas attendre (a) [Vous ne devez plus attendre from Amadis (1684) LWV 63/36 (a)] M. 31 lhU3 sharp missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.193

&?

b

b

2

2

.œm

Jœbois es

Œ œ

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œ œ ˙œ œ ˙˙ œ œ

dou ble ...˙ ˙œ œ œn œ

˙ œ œœ œ˙ ˙

œ œ ˙wœ œ œ œ

- - -

&?

b

b

3

3

6

˙ œ œŒ œ œ œ˙

˙ œ œ

˙b ˙Œ œ ˙

œ œ œ œ˙ ˙˙# ˙

.œm jœ œnœ œ œœ œ œ

œM .œnmJœ

œ ˙œ ˙

&?

b

b

2

2

..

..

..

..

11 ˙˙Œ œ

Œ œ˙

.œ#mJœ œ œ

œ œ œ œ˙ ˙˙ œ œœ# œ ˙˙ œ# œ

˙ œ œœ œ# ˙˙ ˙

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&?

b

b

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˙ œ œœ œ ˙.˙ œ

˙ œ œ˙œ œ œ œ

˙ ˙œ ˙.˙ œ

Œ œ œ œ˙ .˙ œ

œ œ .œm jœ

œ œ ˙œ œ ˙˙

Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.194

Bois épais (bois éspais)Amadis, 1684

US-BEm MS 777 (Menetou), no. 21, fol. 16rLWV 63/30

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“bois espais redouble …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.194

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. No. 21 (fol. 16r, Hand A’), bois éspais (F) [Bois épais from Amadis (1684) LWV 63/30 (F)] M. 9 lh time signature missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.194

&

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3

3

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.Œ Œ œ

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œ ˙œ œ œ

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œ œ œ˙ œ

˙ œtour mentœ ˙.˙

- - - - - -

&

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6 M œ... .˙Œ ˙

œ œ œ˙ œ˙ œ

œ œ œ

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œm œ œ

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œ œ Jœ Jœ

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m œœ ˙˙

.˙

.˙Œ ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.195

“Que l’incertitude”Phaéton, 1683

US-BEm MS 777 (Menetou), no. 22, fol. 16vLWV 61/33

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“que lencertitude est un rigoureux tourment …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.195

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (m. 15, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. No. 22 (fol. 16v, Hand A’), [untitled] (C) [Que l’incertitude from Phaéton (1683) LWV 61/33 (C)] [No comments]

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.195

&?

b

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Jœ œ

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Œ ‰ Jœ œ .œbm

Jœ œ

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b

5 .œ jœb œ .œb jœ œ˙ œ ˙ œ.˙nm .œ Jœn œ

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9 .œ jœ œ .œ jœ œ˙ œ .˙

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1. .˙[ ]. œ˙# œ

.œ jœ œ œ

2. .˙[ ]. .œ jœ œ˙# .œ.˙ . œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.196

Gigue (Gigue damadis 1684)Amadis, 1684

US-BEm MS 777 (Menetou), no. 24, fols. 17v–18rLWV 63/5

© David Chung, 2014

&?

b

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17 .˙n .œ jœ œb.w.œ Jœ œ .œbm

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.˙n m .œ Jœ œmœ ˙ .œm jœ œmœ .œ Jœ .œ Jœ œ

.˙œ œ ˙ Œ Œ œ

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œ ˙ .œ jœ œ#œ œ œn .œ# Jœ œ

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&?

b

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26 .œ jœ œ .œ jœ œ˙ œ ˙.œ Jœ œ .œ# Jœ œ

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.œb jœb œ .œm jœ œmœ œ œ ˙ œ

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&?

b

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30 .œ jœ œ .œ jœb œ˙ œ ˙.œ Jœ œ .œ Jœ œ

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.œ jœ œ .œ# jœ œ˙ œ ˙

.œ Jœ œ .œ Jœ œœ .œ jœ .œ jœ œ#‰ Jœ ˙ ˙

.˙œm œ ˙Œ Œ œ

[fin]

.˙ Œ ‰ Jœ œ.˙

.˙ œ ˙

(a)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.196

p. 2

(a) last two notes (d”, c”) for first time only

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.196

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. No. 24 (fols. 17v–18r, Hand A’), Gigue damadis 1684 (g) [Gigue from Amadis (1684) LWV 63/5 (g)] M. 15 rhL1 dot missing M. 16 rhL1 dot missing rh1 ties missing lhU2 rest missing M. 25 rhL1 dot missing M. 34 rh4–5 last two notes (d”, c”) for first time only

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.196

&?

2

2

.œ jœ œ œm œ˙Œ œ˙ .œ Jœ

.œm Jœ œ œ œ œw˙ ˙#

œ œ œ .œbggjœ˙

˙ ˙˙ Œ œ

˙ œ œ œ œb‰ œ œ œ ˙

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&?

5 œ œ œ .œ jœ˙ ‰ Jœ œŒ ‰ jœ ˙w

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w œ œ œ œ

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˙ ˙˙b ˙n

www

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&?

9 Œœ .œ œ œ

w ˙

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.œ jœ .œ Jœ˙

.œm jœ .œm Jœ˙

œb œ œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.197

Ouverture (Ouuerture De Rolande furieux)Roland, 1685

US-BEm MS 777 (Menetou), no. 27, fols. 18v–20rLWV 65/1

© David Chung, 2014

&?

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&?

29 œ œ œ .œ jœ .œm jœ˙b œ œ œ œb

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œ œ œ œ œ œ œ œ œœ

œb œ œ œ .œ œ œ œbœ .˙

œ œ œ# œ œ œ œ œn

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

&?

32 .œm œ œb œ ˙ œ

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&?

35 œ œ œ œ ˙ .œ jœœ œ œ œ wœ œ œ œ œ œ œ œ œ

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&?

38 œ œ .œ jœ m œ œ.˙ .˙#

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œ œ œ œ œ# œ œ œ# œ

œ .œ jœ œ .œ jœ.˙ .˙

œ œ œ œ œb œ œ œb

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 3

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 4

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 5

(a) a third higher: g

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In both “2” and “3” time, eighth notes in conjunct motion (mm. 1–8, 24, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 27 (fols. 18v–204, Hand A’), Ouuerture De Rolande furieux (d) [Ouverture from Roland (1685) LWV 65/1 (d)] M. 6 lhL1 tie missing M. 7 rhL3 flat missing M. 15 rhL2 flat missing lhL1 rest missing M. 24 lh time signature missing lh2 dot missing M. 29 lhL1 rest missing M. 33 rhL2 dot missing M. 34 rhL4 rest missing M. 44 rhL3 rest missing M. 45 rhL1 rest missing M. 48 rhU1 dot missing

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 8

M. 49 rhL1 rest missing M. 57 rhL1 tie missing M. 60 lh3 sharp missing M. 61 rhM1–3 tie, note, tie missing rhL1 tie missing lhL4 rest missing M. 64 lhU4 a third higher: g M. 66 lh time signature missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.197

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˙

˙Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.198

C’est l’amour (Gauotte)Roland, 1685

US-BEm MS 777 (Menetou), no. 28, fol. 20vLWV 65/13

(a) a second lower: b

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“C’est lamour qui nous menace …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 8–13, 15–6, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 28 (fol. 20v, Hand A’), Gauotte (d) [C’est l’amour from Roland (1685) LWV 65/13 (d)] 18 lhL4 a second lower: b

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.198

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.199

Gavotte (Gauotte)Roland, 1685

US-BEm MS 777 (Menetou), no. 29, fol. 21rLWV 65/12

(a) eighth note

© David Chung, 2014

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.199

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 2–4, 12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 29 (fol. 21r, Hand A’), Gauotte (d) [Gavotte from Roland (1685) LWV 65/12 (d)] M. 1 lh time signature missing

M. 3 lhL4 eighth note: M. 7 lhL1 rest missing M. 10 lhL2 rest missing M. 22 lhL1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.199

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‰ Jœ[ ]I ˙Œ ‰ jœ œ ˙.˙ ˙ œ

.œ#mJœ œ .œb jœ œb.œ Jœ œ

˙ œ .˙ .˙

.˙ .˙ .œ Jœb œ

.˙.œ Jœb œ .œ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.200

GigueRoland, 1685

US-BEm MS 777 (Menetou), no. 30, fols. 21v–22rLWV 65/11

© David Chung, 2014

&?

14 .œ Jœ œ .œm Jœ œ.˙ ˙ œ˙ œ ˙ œ œ

%.M .œ jœ œn

.˙ .œ jœ œ.œ Jœ œb .˙

premiere reprise

.M .œ Jœ œ

.˙ ..˙.œ Jœœ .œ# Jœ œ

&?

17 .m .œ Jœ œ.˙ [ ] ˙[ ].˙ œ .œ Jœ œ

.˙ .œ Jœ œ

˙ .˙.œ Jœœ .œ# Jœ# œ

˙# ‰ Jœ œœ .œ Jœ œ

˙ œ œ .œm Jœ œŒ ‰ Jœ œ

2[eme] reprise

&

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20 .œb Jœ œ œ .œm Jœ œ

Œ ˙.œ Jœ œ ˙# œ

.œ#m Jœ œ .œ Jœ œ#

.˙ œ ˙.œ Jœ œ# ˙ œ

.œ Jœ œ .œm Jœ œ#

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231.

%.˙ .œ jœ œ‰ Jœ ˙

.œ Jœ œ Œ ‰ jœ œ˙

premiere reprise 2.

‰ Jœ œœ .œ Jœ œ

˙ œ œ .œM[ ] Jœ œŒ ‰ Jœ œ

2[eme] reprise 3. .˙ .œ‰ Jœ ˙ .œ

.˙ .œŒ ‰ Jœ œ .œ(a)

(b)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.200

p. 2

(a) dotted half note (b) half note

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.200

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 30 (fols. 21v–22r, Hand A’), Gigue (d) [Gigue from Roland (1685) LWV 65/11 (d)] M. 11 rhL2 sharp missing M. 17 rhU1–2 dots missing M. 22 lhL1 dot missing M. 23 lhU1 tie missing lhU4 dot missing M. 25 lhU1 tie missing lhU2 dotted half note lhL4 note missing lhL5 half note

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.200

&

?

2

2

œ œ

œ œœ œ#

œM œ œm œ œm œ œ

˙ œ# œŒ œ œ œ œ

œm œ œ œ œm

.˙ œœ œ œ œ œ œ

.œMJœ .œm Jœ

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&

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..

..

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5 ˙#m

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œ œ

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œ œ ˙œ œ œ œ œ

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10 œm œ œm œ œ

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.œ# jœ .œ Jœ

œ œ œ# ˙#œ œ œ œ

.œm Jœ .œm jœ˙ ˙#œ œ ˙

˙˙Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.201

Entrée, gavotte (Gauotte)Roland, 1685

US-BEm MS 777 (Menetou), no. 31, fol. 22rLWV 65/40

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.201

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 2–3, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 31 (fol. 22r, Hand A’), Gauotte (a) [Entrée, gavotte from Roland (1685) LWV 65/40 (a)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.201

&

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3

3

.œ Jœ œquand on vient.Œ œ œ

œ œ œdans ce - boc -.œ œ œ

˙ œ œcage...

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Œ œ œ œ˙ œ

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6 .‰ Jœ ˙

.Œ ‰ Jœ œ

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&

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11 œ .œm jœ˙#œ ˙œ Œ œ

‰ Jœ ˙.Œ ‰ Jœ œ

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16 .œ Jœ œm

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.‰ Jœ ˙

.œ œ œm œ

.œm Jœ œ

œ ˙œ œ œ

œ œ œ

˙ [ ].œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.202

Marche en rondeau (Marche | rondeau)Roland, 1685

US-BEm MS 777 (Menetou), no. 32, fols. 22v–23rLWV 65/65

© David Chung, 2014

&

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21 ˙ œ œ‰ Jœ ˙.Œ ‰ Jœ œ

.œ Jœ œm

Œ œ œ œ˙ œ

.œm jœœ œ ˙œ ˙œ Œ œ

.‰ Jœ ˙

.Œ ‰ Jœ œ

&

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25 .œm Jœ œ œŒ œ œ.œ Jœb œ

œm œ œ œœ .œ jœœb ˙

˙# œ#‰ Jœ ˙˙ œ œŒ ‰ Jœ œ

.œ Jœ œm

œ œ œ œ œb

&

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29 .œm jœœb ˙#

œb ˙œ Œ œ

.‰ Jœ ˙

˙ œ œŒ ‰ Jœ œ

.œ jœ œŒ œ œ œ˙ œ

œ .œ Jœœ œ œ œ œœ ˙

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33 .œm jœ œœ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ .œm jœ˙

œŒ œ˙

.‰ Jœ ˙

.Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.202

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“quand on vient dans ce boccage …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.202

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3–4, 9–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 32 (fols. 22v–23r, Hand A’), Marche | rondeau (C) [Marche en rondeau from Roland (1685) LWV 65/65 (C)] M. 3 rhU1 tie missing (cf. m. 21) M. 20 lhU1 dot missing

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.202

&

?

3

3

œ œ œ œ œ

˙ œ˙ œ

œ œ œm œ œ

œ œ œœ œ œ

œ œ œ œ œ

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œm œ œ œ œm

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..

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6 .‰ Jœ ˙.Œ ‰ Jœ œ

œ œ œ œ œŒ œ œ.˙

œm œ œ œ œ

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œ œ œ˙ œ

&

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10 œ œ œ œ œ

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.Œ Œ œ

œ œ .œm Jœœ ˙œ ˙

.‰ Jœ ˙

.Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.203

Menuet en trio (Menuet pour les hautbois)Roland, 1685

US-BEm MS 777 (Menetou), no. 33, fol. 23rLWV 65/63

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.203

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1, 3–4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 33 (fol. 23r, Hand A’), Menuet pour les hautbois (C) [Menuet pour les hautbois from Roland (1685) LWV 65/63 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.203

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b

b

3

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œ œ œŒ œ œ˙ œ

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b

7 .œ Jœ œŒ œ œ˙ œ

œ œ œ˙ œŒ œ œ

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13

.œm jœ œ

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17 œm œ œ

˙ œŒ œ œn

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.˙ [ ]Œ ‰ Jœ œ

œ œ .œ Jœ

œ ˙œ Œ œ

˙[ ].‰ Jœ ˙

˙ [ ].Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.204

Menuet (menuet)Roland, 1685

US-BEm MS 777 (Menetou), no. 35, fols. 23v–24rLWV 65/5

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks The repeat of the opening strain (mm. 1–6) is written out in full (mm. 7–12) in Menetou, hence the omission of the repeat sign in the first strain. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.204

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (m. 19, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 35 (fols. 23v–24r, Hand A’), menuet (F) [Menuet from Roland (1685) LWV 65/5 (F)] M. 6 double barline M. 18 lhU1 dot missing M. 20 rhU1 dot missing lhU1 dot missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.204

&?

b

b

3

3

œ œ œ..˙ .˙

œ .œm œ œ.Œ ˙

˙ œ

.Œ œ œ

œ m

œ œ œœ ˙

˙ œŒ ˙˙

&?

b

b

..

..

6 œ œ œ.˙

Œ Œ œ

œ .œm œ œ.Œ ˙

˙ œ

.Œ œ œ

œ m

œ œ œœ ˙

.‰ Jœ ˙.˙[ ]Œ ‰ Jœ œ

&?

b

b

..

..

11 .œ Jœ œ.˙ [ ]Œ œ œ

œ ˙

˙ œœ ˙

˙ œ

œ ˙œ œ œ

œm œ œ œœ ˙œ œ œ

.œ Jœ œ

.Œ ˙

&?

b

b

16 .œm Jœ œ.Œ œ œ

œ ˙

œ œ œ

œ œ œ œ œm

˙ œ

.œm jœœ œ ˙.œ ˙

.‰ Jœ ˙.˙ [ ]Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.205

Menuet (menuet)Roland, 1685

US-BEm MS 777 (Menetou), no. 36, fol. 24rLWV 65/4

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.205

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 14, 18–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 36 (fol. 24r, Hand A’), menuet (F) [Menuet from Roland (1685) LWV 65/4 (F)] M. 10 lhU1 dot missing M. 11 lhU1 dot missing M. 20 lhU1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.205

&?

3

3

.œ jœ œ

.Œ œ œ

œ m

˙ œœ ˙

M œm œ œ

˙ œŒ œ œ

œ œ œ œ œ

œ œ œ œ œ œ(a)

.œ jœ œ

.Œ œ œ

&?

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..

..

..

6 œ m

˙ œœ ˙

˙ œ œ œ

˙ œŒ œ œ

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.Œ ‰ Jœ œ

.œ Jœ œ

Œ œ œ.˙

œ m

˙ œœ ˙

&?

11 m œm œ œ

œœ œ œ œ œ

œ œ œ

.œ jœ œœ œ œ

œ m

.˙Œ œ œ œ œ

.œm jœ œ‰ Jœ ˙

.Œ ‰ Jœ œ

.œm Jœ œ

Œ œ œ.˙[ ]

&?

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..

16 œ m

˙ œœ ˙

m œm œ œ

œœ œ œ œ œ

œ œ œ

.œ jœ œœ œ œ

.œ jœœ œ ˙œ ˙œ œ Œ œ

.‰ Jœ ˙

.Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.206

Menuet (menuet)Roland, 1685

US-BEm MS 777 (Menetou), no. 37, fol. 24vLWV 65/66

(a) see commentary

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.206

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 11, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 37 (fol. 24v, Hand A’), menuet (C) [Menuet from Roland (1685) LWV 65/66 (C)]

M. 4 lhL4–6 last 3 notes uncertain. Menetou: M. 15 lhL1 dot missing M. 19 lhL3 rest missing M. 20 lh barline missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.206

&?

2

2

Œ œ œ œœ œ œ.˙ œ

œ œ ˙œ œ ˙#œ# œ ˙

œ œ ˙œ#œ ˙

œ œ ˙

œ œ .œ jœœ œ# ˙

œ œ ˙

&?

..

..

..

..

..

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5

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1.

ww#

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2.

˙ œ œ˙# œ œ

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&?

10 ˙ œ œ˙ œ œ

˙ œ œ œ

˙ œ œ˙ œ œ

.œ Jœ œ œ œ

.œ jœ .œ jœ.œ Jœ .œ Jœ

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&?

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1.

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˙ œ œ

2.

˙

˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Trio (trio)Roland, 1685

US-BEm MS 777 (Menetou), no. 38, fol. 25rLWV 65/41

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.207

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 9–11, 14, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 38 (fol. 25r, Hand A’), trio (a) [Trio from Roland (1685) LWV 65/41 (a)] M. 8 rhL1 note missing M. 12 lh1 note missing M. 18 rh2–3 notes supplied from m. 8 M. 19 lh empty staff

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.207

&?

b

b

3

3

.œ jœb œ.œ Jœ œ

.œ Jœ œ

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&?

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10 m œ˙ œ

œ œb œm œ œ

œb mœ ˙

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œ œ œœ œ œ

˙ œ

œ œ œœ œ œb

œ œ œb

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Vous ne devez plus attendre (vous nedeuez plus atandre)Amadis, 1684

US-BEm MS 777 (Menetou), no. 39, fols. 25v–26rLWV 63/36

© David Chung, 2014

&?

b

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20 .œ jœ œ.œ Jœ œ

œ œ œ

œ œ .œm jœœ œ .œ Jœ

œb œ œ

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25 œ .œ jœœ .œ Jœ

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œb œ œ

.œ jœ œ.œ# Jœ œ

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œ œ œŒ œ

˙Œ œ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.208

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.208

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3, 9–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 39 (fols. 25v–26r, Hand A’), vous nedeuez plus atandre (g) [Vous ne devez plus attendre from Amadis (1684) LWV 63/36 (g)] M. 3 lh4 sharp missing M. 36 lhU2 tie missing lhU3 note missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.208

&

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2

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Œ œ œ œpre pa rons

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˙ ˙Œ ˙ œ

m œ œle ...

œ .˙#w

m œ œ

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wŒ œ œ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.209

Preparons nous (premier air du tample delapaix)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 40, fol. 26vLWV 69/2

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“preparons hous pour la feste nouuelle …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.209

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 40 (fol. 26v, Hand A’), premier air du tample delapaix (a) [“Preparons nous” from Temple de la Paix (1685) LWV 69/2 (a)] M. 2 lhL3 rest missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.209

&

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œ œ Jœm Jœ#

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.210

La Goire luy suffitLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 42, fol. 27vLWV 69/–

© David Chung, 2014

&

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16 œM œ[ ]I .œ# Jœœ ˙#.˙

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˙ œ

˙ œ œŒ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.210

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“la gloire luy suffit …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.210

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 42 (fol. 27v, Hand A’), [untitled] (a) [“La Gloire luy suffit” from Temple de la Paix (1685) LWV 69/– (a)] M. 3 rhU4 rest missing M. 6 rhU2 rest missing M. 16 rh2 sharp missing M. 23 rh2 copied from m. 11 lhL3–4 copied from m. 11

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.210

&?

3

3

.œ Jœ œŒ œ œ˙ œ#

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9 .œ Jœ œ˙ œŒ ˙

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.œ ˙

.‰ Jœ ˙Œ ‰ jœ œ˙[ ].

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.211

Menuet (menuet)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 43, fol. 28rLWV 69/14

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.211

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 43 (fol. 28r, Hand A’), menuet (a) [Menuet from Temple de la Paix (1685) LWV 69/14 (a)] M. 4 lhU1 dot missing M. 8 lhU1 dot missing M. 15 rhL2 sharp missing M. 16 lhL1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.211

&?

86

86

.Jœ Rœ Jœ .Jœ Rœ Jœ .Jœ Rœjœ .œ .Jœ Rœ Jœ

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.œ .Jœ Rœ# Jœ .Jœ Rœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.212

GigueLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 44, fols. 28v–29rLWV 69/13

(a) see commentary

© David Chung, 2014

(b) eighth note(c) quarter note

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.212

p. 2

(d) a second lower: e”, f”-sharp

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.212

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 44 (fols. 28v–29r, Hand A’), Gigue (a) [Gigue from Temple de la Paix (1685) LWV 69/13 (a)]

M. 11 rh1–4 M. 12 rhL3 quarter note

lhU1 dot missing lhL3 eighth note

M. 21 rhL2–3 a second lower: e”, f-sharp” rhL5 dot missing

lhL1 dot missing lhL2 sharp missing M. 26 lhL4 dot missing M. 27 rhU1 dot missing lhL4 dot missing M. 29 lhU1 dot missing lhU4 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.212

&?

2

2

˙ œ œ œ˙ ˙#

‰ œ œ œ ˙˙

(a) .œ jœ œ œ‰ Jœ œ œ# œ

.œ jœ œ œ

.œ jœ jœ jœ jœ jœ.œ# Jœ Jœ Jœ Jœ Jœ

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&?

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&?

..

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œ œ œ .œ jœ˙˙ œ œ œ.œ Jœ ˙

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13 2.

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œ œ œm œ œ.˙ œ#˙ ˙

.œMJœ œ œ

wœ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Entrée de bergers et bergères (Entree des bergers Et bergerres)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 45, fol. 29vLWV 69/6

(a) see commentary

© David Chung, 2014

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17 .œ#m Jœ œ œ# œœ .˙#.˙ œ#

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20 œ œ# œ œ# œM œT œ˙ ˙.œ Jœ ˙#

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œ œ œ œ œ œ#M œ

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&?

23 ˙# œ# œ# œŒ œ .œ Jœ

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&?

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26 1.

w‰ Jœ ˙Œ ‰ jœ œ œ œ œw

2.

wŒ ‰ Jœ ˙# ˙Œ ‰ jœ ˙w

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.213

p. 2

(b) a second higher: f

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.213

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1, 5–12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 45 (fol. 29v, Hand A’), Entree des bergers Et bergerres (a) [Entrée de bergers et bergères from Temple de la Paix (1685) LWV 69/6 (a)]

M. 1 rhU1 horizontal stroke through the stem: M. 18 lhU4 sharp missing M. 23 lhU3 a second higher: f M. 27 rhL1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.213

&

?

3

3

œ .œm Jœla paix re

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˙œ Œ œ˙

œ œ œdans cet a

˙ œ#œ œ œ

˙ œzille ...

‰ Jœ ˙

˙ œ œŒ ‰ Jœ œ

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&

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Jœ Jœ .œ jœ˙

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.‰ Jœ ˙

˙ [ ].Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.214

La Paix revientLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 46, fol. 30rLWV 69/33

© David Chung, 2014

&

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17 œ .œm jœœ .œ Jœ

˙ œ

.˙ .˙

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œ œ œœ œ œ˙ œ

˙ œ˙ œ

œ œ œ œ œ œ

&

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21 œ .œm jœœ .œ Jœ

œ œ œ

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29 .œ jœ œ.œ Jœ# œ

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.œm œ œ œ œ.œ Jœ œ

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œ œ ˙

.˙

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.214

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“la paix reuient dans cet azille …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.214

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 11, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 46 (fol. 30r, Hand A’), [untitled] (C) [La Paix revient from Temple de la Paix (1685) LWV 69/33 (C)] M. 8 lhL1 dot missing M. 15 rh1 note missing M. 16 lhU1 dot missing M. 32 barline missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.214

&

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3

3

œ œ œon con te

.œ œ œœ

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˙ œœ œ œ

œm œ Jœ Jœtost ...

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œ œ œ

˙# œ œ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.215

On conteroit plus tostLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 47, fols. 30v–31rLWV 69/18

© David Chung, 2014

&

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17 .˙

œ œ œ œ œ œ

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24 œ œ œ

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27 œ œm œ

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.˙˙Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.215

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“on conteroit plus tost …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.215

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3–7, 9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 47 (fols. 30v–31r, Hand A’), [untitled] (C) [On conteroit plus tost from Temple de la Paix (1685) LWV 69/18 (C)] M. 23 rhU3 tie missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.215

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86

86

.Jœ Rœ Jœ‰ jœ jœ.œ

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9 .Jœ Rœ Jœ.Jœ Rœ Jœ

jœ jœ jœ œ jœœ Jœ Jœ Jœ Jœ

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Jœn

œ jœ .œœ Jœ Jœ Jœ Jœ

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jœ .Jœ Rœ Jœœ[ ].

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13 .Jœ Rœ Jœ .Jœ Rœ Jœ

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.œ≈ Rœ œ

.œ‰ ≈ Rœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.216

Canarie (canaris)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 48, fol. 31rLWV 69/26

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks The music was barred incorrectly in 3/8 until measure 5. Superfluous barlines are broken through staves in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.216

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

The Editor considers that the convention of inequality does not apply to this piece. Further advice on performance practice issues can be found in the “Introduction”. Critical Notes No. 48 (fol. 31r, Hand A’), canaris (C) [Canarie from Temple de la Paix (1685) LWV 69/26 (C)] M. 7 lhU1 dot missing M. 12 rhU1 dot missing lhL1 dot missing M. 13 lhU1 dot missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.216

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.217

Passepied (passepied)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 49, fol. 31vLWV 69/31

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.217

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3/8” time, sixteenth notes in conjunct motion (mm. 3, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 49 (fol. 31v, Hand A’), passepied (C) [Passepied from Temple de la Paix (1685) LWV 69/31 (C)] [No comments]

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.217

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.218

MenuetLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 50, fol. 32rLWV 69/32

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.218

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.218

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 11, 20, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 50 (fol. 32r, Hand A’), Menuet (C) [Menuet from Temple de la Paix (1685) LWV 69/32 (C)] M. 6 lhL1 dot missing M. 9 lhU1 dot missing M. 12 lhU1 dot missing M. 13 redundant “ ” removed

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.218

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.219

Suivons l’aimable paixLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 51, fol. 32vLWV 69/25

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“Suiuons laimable paix …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.219

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “4/8” time, sixteenth notes in conjunct motion (mm. 14–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 51 (fol. 32v, Hand A’), [untitled] (C) [Suivons l’aimable paix from Temple de la Paix (1685) LWV 69/25 (C)] [No comments]

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.219

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.220

Suivons l’aimable paix (trio)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 52, fol. 33rLWV 69/25

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“nous fuyons la beaute …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.220

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “4/8” time, sixteenth notes in conjunct motion (mm. 14–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 52 (fol. 33r, Hand A’), trio (C) [Suivons l’aimable paix from Temple de la Paix (1685) LWV 69/25 (C)] M. 13 rhL1 sharp missing

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.220

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.221

Chantons bergers (lidil de seaux)Idylle sur la Paix, 1685

US-BEm MS 777 (Menetou), no. 53, fol. 33vLWV 68/10

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“chantons bergers Et nous resjoüissons …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.221

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 2, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 53 (fol. 33v, Hand A’), lidil de seaux (d) [Chantons bergers from Idylle sur la paix (1685) LWV 68/10 (d)] M. 5 lhU1 dot missing M. 10 rhU3 flat missing

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.221

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.222

Sans crainteLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 54, fol. 34rLWV 69/5

© David Chung, 2014

(a) copied from m. 13

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“sans crainte dans nos prairies …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.222

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 54 (fol. 34r, Hand A’), [untitled] (a) [Sans crainte from Temple de la Paix (1685) LWV 69/5 (a)] M. 19 rhL2 sharp missing M. 21 rh2 supplied from m. 13

2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.222

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.223

Charmant reposLe Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 55, fol. 34vLWV 69/8

© David Chung, 2014

(a) for last time only (after m. 31)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Editorial Remarks Text between staves (“charmant repos d’une vie innocente …”) omitted in this edition. Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.223

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 9–10, 21–2, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 55 (fol. 34v, Hand A’), [untitled] (a) [Charmants repos from Temple de la Paix (1685) LWV 69/8 (a)] M. 1 lhL1 Editorial a for last time only

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.223

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.224

Ouverture (Ouuertue Du Tample dala paix)Le Temple de la Paix, 1685

US-BEm MS 777 (Menetou), no. 56, fols. 35r–36rLWV 69/1

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.224

p. 2

(a) two sixteenth notes

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.224

p. 3

(b) a second lower: c”

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1–2, 4–6, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 56 (fols. 35r–36r, Hand A’), Ouuertue Du Temple dela paix (a) [Ouverture from Temple de la Paix (1685) LWV 69/1 (a)] M. 10 lhU1–2 erroneous tie (between d’ and e’) removed M. 22 rh4–5 two sixteenth notes M. 43 rhL3 tie missing M. 48 rhL2 a second lower: c”

lhL4 rest missing M. 50 time signatures missing notes uncertain

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.224

&?

2

2

.œgjœ .œM

jœ˙

œ œ œ œ œ œ œm œ

.œ jœ ..œœjœœ˙ .œ Jœ

œ œ œ œ œ œ œ œ

.œm jœ œ œ.œ Jœ œ œ

œ jœ Jœ œm œ

.œ œ œ˙ .œm Jœ‰ jœ œ œ œ˙ œ œ

&?

5 .œ5 jœ œ œœ#g‰ Jœ ˙ œ

.œ Jœ œ œm

..œœ jœ œ œ.œ

œ jœ Jœ œ œ

.œ jœ‰ Jœ œ œ œ œ# œ

.œ jœ œ œ œ œ

.œ#mJœ .œ Jœ

œ œ œ œ œ œ

&?

..

..

..

..

9

.œ jœ .œ jœœ œ ˙#

œ œ œ Œ œ

1. pre[mi re] fois

w‰ Jœ ˙Œ ‰ jœ˙ œ œ œ œ

2. 2[ me] fois

˙ .jœ rœ .Jœ Rœ‰ Jœ œŒ ‰ jœ ˙˙ Œ œ

œ#m .Jœ Rœ .Jœm Rœ œ

˙ .Jœ Rœ .Jœ Rœ œ œb œ

&?

13 œ .jœ rœ.Jœb Rœ .Jœ Rœ œ# œ

˙.Jœ Rœ .Jœ Rœ Œ œ

.œm Jœ .œ œ.œ# .œ œ

˙ œ .œm œ˙

.œ œ .œ œ œ œ œ .œ œ

.œ œ .œ œ œ œ œ œ œ

.œ œ .œ œ .œ Jœ

.œ œ .œ œ .œ œ .œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.225

Entrée (Entree)Armide, 1686

US-BEm MS 777 (Menetou), no. 58, fol. 37vLWV 71/12

© David Chung, 2014

&?

17 œ œb œ œb œ .œ œ .œm œ.˙ œ˙ ˙˙

.œ œ .œ œ .œm œ .œ œ

˙ ˙˙# œ œn

˙ œ .œ œw

.œ œ .œ œ .œ œ .œ œ

&?

..

..

20 œ .œ œ .œ œ .œm

[ ] œœ œ .œ œ œ˙œm .œ œ œ œ œ

1.

˙ .jœ rœ .Jœ Rœ˙œ .œ œ Œ œ

2.

w‰ Jœ ˙wŒ ‰ Jœ ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.225

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.225

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1–2, 7–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 58 (fol. 37v, Hand A’), Entree (C) [Entrée from Armide (1686) LWV 71/12 (C)] M. 13 lhL5 rest missing M. 20 rhU6 dot missing M. 21 rh2–5 copied from m. 11 lhU4 copied from m. 11 lhL1–2 copied from m. 11

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.225

&?

3

3

œm œ œ œ.˙

Œ Œ œ

œ œ œœ ˙œ œ œ

œ œ œ œ œ

.˙ .˙

œ œ œ œ

˙ [ ].Œ Œ œ

œ œ œœ ˙œ œ œ

&?

..

..

..

..

6 .‰ Jœ ˙˙[ ].Œ ‰ Jœ œ

.œ Jœ œ

œ œm œ œ

˙œm .œ Jœ

œ œ œ œ œ œ

œm œ œœ œ œ

.˙

.m

.˙œ œm œ

(a)

&?

11 .œ Jœ œ

œ œm œ œ

œ œ œ

.˙ œ

œ œ œ

œ œ œœ œ œ

.œm Jœ œ

.˙ .˙

.œ Jœ œ

œ œ œ œ

œ ˙ .œ Jœ

œ œ œ œ œ œ

&?

..

..

17 œ œ œ.˙.˙

.m

.˙œ œm œ

.œm jœ œ˙[ ].

œ œ œ œ

œ .œMJœ

˙ œœ œ œ

œ œ .œ jœ˙œ ˙œ Œ œ

.‰ Jœ ˙

.Œ ‰ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.226

Menuet (menuet)Armide, 1686

US-BEm MS 777 (Menetou), no. 59, fol. 38rLWV 71/14

© David Chung, 2014

(a) redundant upwards stem removed

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.226

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1, 3–4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 59 (fol. 38r, Hand A’), menuet (C) [Menuet from Armide (1686) LWV 71/14 (C)] M. 4 lhU1 dot missing M. 6 lhU1 dot missing

M. 10 lh1 redundant upwards stem removed. Menetou: M. 19 rhL1 dot missing M. 22 lhL1-2 rests missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.226

&

?

2

2%

.œ jœ‰ Jœ œ˙

.œ jœ .œ jœwœ œ .œm Jœ œ

˙ .œ jœœ œ œm ˙˙ œ œ œ œ

œ œ œ .œ jœŒ œ ˙#œ# œ ˙œ œ Œ œ

&

?

5

fin

˙ .œ Jœ˙

œ œ Œ œ

.œ Jœ œ œ œŒ œ ˙˙ ˙#

œ œ œ œ .œ Jœ

w œ œ œ œ

œ œm .œ Jœ

œ ˙ œœ œ œ œ œ œ

&

?

9 œ# œ# œ œ .œ jœœ‰ Jœ˙ ˙˙

(a)

.œ jœ .œ jœwœ œ .œ Jœ œ

˙ .œ jœœ œ œm ˙˙ œ œ œ œ

œ œm œ .œ jœŒ œ ˙#œ# œ ˙œ œ ˙

&

?

13

˙ .œ Jœ#‰ Jœ œŒ ‰ jœ

Œ œ˙ ˙

.œ Jœ .œ# Jœ

œ œ# œ œ œ œ œ œ

œ#m œ[ ]I œm œ œ œm œ#

.œ Jœ œ œ œ œ

œ œ œ .œ#m Jœ

˙ ˙Œ œ Œ œ%

œ# œ œ

œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.227

Gavotte en rondeau (Gauotte rondeau)Armide, 1686

US-BEm MS 777 (Menetou), no. 60, fol. 38vLWV 71/9

(a) redundant downwards stem removed

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Editorial Remarks

This piece ends on m. 5, as indicated by “fin”, and the player should provide a suitable ending.

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 3–4, 6–12, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 60 (fol. 38v, Hand A’), Gauotte rondeau (a) [Gavotte en rondeau from Armide (1686) LWV 71/9 (a)] M. 4 rhL1 rest missing

M. 9 rh5 redundant downwards stem removed. Menetou: M. 11 rhL4 rest missing M. 12 rhL1 rest missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

M. 15 rh2 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.227

&

?

b

b

3

3

Œ jœ jœ œles plai

Œ ˙Œ

˙Œ Œ œ

[solo voice] œ œ œsirs ont choi

.˙[ ].œ œ œ

œM .œm Jœsy pour

˙ œ.˙b ˙

˙#m œ#azille ...

œ œ œM œ œ œ.˙- -

&

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b

b

5 Œ Jœm Jœ œœm œ Œ œ˙

œ œ œ

˙ œ.˙

œbM œ œœ œ œ.˙b

M œ

œ# œ œb œ œ œ œ

Œ œ œ

œŒ œ˙

œnm œm œœ œ œnœ œb œ

&

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b

b

11 œb œn œ#mm

œ œ œœ œ œ

œ .œ#m Jœ

œ ˙œ Œ œ

œ

œœ

.œ jœ˙

‰ œ œ œ&flutte[s]

œ .œ jœœ œ œ œ œn œ

.œ œb œ œ

œ .œ jœœ .œ Jœ

.œb œ œb œ

&

&

b

b

17 œ œ œ œ .œm œœ œ œ# œ œ#

œ ˙

œ .œ jœœ ˙

.œ œ œ œ

œ .œ jœœ œ œ œ œ œ

.œ œb œ œ

œ .œ jœœ .œ Jœ

.œb œ œb œ

œ œ œ œ .œm œœ œ œ# œ œ#

œ ˙ ?

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.228

Les Plaisirs ont choisy pour azileArmide, 1686

US-BEm MS 777 (Menetou), no. 62, fols. 39v–40rLWV 71/62

© David Chung, 2014

&

?

b

b

22 œM .œMJœ

œœ .œ Jœviolons

œM .œm Jœœ œ œb.˙

œ ˙

˙ .œ œ œ œ

œ œ œ œ œ œ#

.Œ ˙

œ .œm jœœ ˙œ œ œ œ œ

&

?

b

b

27 œM .œ Jœ

œ ˙.œ œ œ œ

œ ˙

œ ˙.œ œ œ œ

.œm jœœ œ ˙#

œ ˙œ ˙

œM

ces

œ œ œ

œ ˙œ ˙

[solo voice] œ .œ Jœblamour ....˙ œ

Jœ œb œ Jœ œœ œ œ œ œ

&

?

b

b

33

˙m

œ

œ ˙#.˙

Œ œ œb

œ œ œ œœ ˙

œb œm œ

œ .œ jœ.˙

œ .œm Jœ

œ œ œ.˙[ ]i

œ œ œ

œ# œ œ#.˙

&

?

b

b

38 œM œ œ

œ ˙œ ˙

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.228

p. 2

&

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.228

p. 3

&

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[solo voice]

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&

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.228

p. 4

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Editorial Remarks Text between staves (“les plaisirs ont choisy pour azile …”) omitted in this edition.

A multi-section piece originally scored for voice, two flutes, violin with keyboard accompaniment. The characteristic ornaments and idiomatic keyboard textures provide grounds for the possibility of playing this piece on the harpsichord alone.

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways,

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2 The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 62 (fols. 39v–40r, Hand A’), [untitled] (a) [Les Plaisirs ont choisy pour azile from Armide (1686) LWV 71/62 (g)] M. 2 lhL1 dot missing M. 36 lhL1 flat missing M. 64 lhL1 dot missing

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

M. 74 lhL1 rest missing M. 78 lhL1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.228

&?

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‰ jœ .œ jœœ œ# œ ˙

2.w# ‰ Jœ œ ˙

wŒ ‰ Jœ œ2 fois

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.229

Ouverture (Ouuerture Des festes debaccus et de lamour)Le Bourgeois Gentilhomme, 1670

US-BEm MS 777 (Menetou), no. 83, fols. 1Ar–2ArLWV 43/1

(a) redundant quarter rest removed

© David Chung, 2014

&?

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&

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19 œ œ œ .œm Jœ œb

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œ œ œ œ œ ..˙ .˙..˙ .˙# œ œ œ œ

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25 œ œ œ œ œ œ.˙ œ œ œœ œ œ .œ Jœ œ

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w [ ]. ˙ ˙

.˙ ˙ œww# œ œ#Œ œ œ œ œ œm œ.w

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.229

p. 2

&?

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28

œ œ œ œ œ œœ# œ œœ œ œ .˙.˙ .˙

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&?

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31 .œ jœ œ œ œ .œm jœœ œ œ# œ ˙#

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&?

b

b

34 .˙n .˙.˙ .˙œ œ œ œb œ œb œ œb œ œ

œ .œm œ œ ..˙b .˙..˙ œ œ œ œ.˙n

œ œ œb œ œ œ.˙ œ ˙œ œ œ œb œ œb œ œb œ œ

&?

b

b

37 œn mœ .œb jœ .œ jœ˙ ˙n˙

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.˙ œ .œm jœ.˙

œ œ œ œ œb œ œb œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.229

p. 3

&?

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40 .œ jœ œ .œm Jœ œb.˙..˙œ œ[ ]b œ œ œ .˙

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&?

b

b

43 œ .œ jœ ˙ œ œ˙ ‰ Jœ ˙.˙ .˙.˙ .˙n

(b)

.œb jœ .œ jœb .œm jœ‰ Jœ œ ‰ Jœ# œ œ œ

˙ œ .˙b

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&?

b

b

46 .˙ œ .œm œ œ.˙..˙œM œ œ œ œ .˙#

..˙ œ œ œ.˙ .˙

Œ œ œ œ œ œ œ œb œ

œ œ œ .œ#m Jœ œm œ# œœ ˙

œb œ œb œ œ .˙

&?

b

b

..

..

49 œ ˙ .œ œ œ œ#˙# .œ œ# œ œ

œ œ œ œ œM œ œ œ œ

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.œ jœ œ œŒ œ˙

fin

.wŒ œ wn

Œ œ ˙.w

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.229

p. 4

(b) a second higher: a’

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In both “2” and “6/4” time, eighth notes in conjunct motion (mm. 1, 16–7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 83 (fols. 1Ar–2Ar, Hand A’), Ouuerture Des festes debaccus et de lamour (g) [Ouverture from Le Bourgeois Gentilhomme (1670) LWV 43/1 (g)] M. 1 lhL1 stem missing

M. 3 lh1 redundant quarter rest removed. Menetou: M. 4 lhU2 dot missing M. 14 rhU5 sharp missing M. 26 lhU1 dot missing M. 27 rhU1 tie missing M. 38 rhU1 flat missing M. 40 lh2 flat missing M. 43 rhL5 a second higher: a’ M. 45 rhL1 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

M. 45 rhL2 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.229

&?

b

b

2

2

jœ jœbJœ Jœ

Jœ Jœ

œ œ œ œbœ œ .œ Jœ

œ œ .œb Jœ

œ œ ‰ jœ jœ jœœ œ ‰ Jœ Jœ Jœ

œ œ ‰ Jœ Jœ Jœ

(a) ˙ œ œ˙ .œ Jœm .œm Jœ

&?

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b

5 .˙ jœ jœ.˙ Jœ Jœn

.˙ Jœ Jœ

jœb jœ œ œ jœb jœœ œ œ œn

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œb œ ‰ œ œ œœ œ ‰ Jœn Jœ Jœ

œ œ ‰ jœ jœ jœ

˙ œ œ˙ œ œ

˙ œ# œ

&?

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b

9 .œ# jœ œ œ.œ Jœ œ œ

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œ .œ œ œ œœ .œ œ œ œ

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.˙ jœ jœ.˙ Jœ Jœ

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&?

b

b

13 œ œ œ œ œœ# œ œ œ œ

œ œ .œm Jœ

œ œ .œm jœœ œ .œ# Jœ

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œ Jœ œ œ

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ.˙ Jœ Jœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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JupiterIsis, 1677

US-BEm MS 777 (Menetou), no. 84, fols. 2Av–3ArLWV 54/24

© David Chung, 2014

(a) a second lower: c”

&?

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17 .œ jœ œ œ œ œ.œ Jœ œ œ œ œœ œ œ œ œ œ œ œb

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&?

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20 œb œ .œ jœœ œ .œ Jœ

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&?

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b

23 .˙b œ œ.œ Jœ œ œ œ œ

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.œ# jœ œ œ œ œ.œ Jœ .œ Jœœ œb œ œ œ œ œ œ

&?

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b

26 ˙ jœ jœ˙ .œ Jœ

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Jœ

œ œ .œ jœ

œ œ .œ jœœ# œ .œm

Jœœ

œ œ œ œ

w

wfin

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

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p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.230

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1, 3, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 84 (fols. 2Av–3Ar, Hand A’), Jupiter (g) [Jupiter from Isis (1677) LWV 54/24 (g)] M. 3 rhU4 a second lower: c”

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.230

&

?

b

b

2

2

..œœ Jœ .œ Jœ.œ .œ

Œ œ .œ Jœ

m .œ Jœ˙˙

˙ .œ Jœ

.œ Jœ œ œ œœ˙ ˙˙ .œ# Jœ

(a)

.œ jœ .œm Jœœ œ œ .œ˙ ‰ jœ œ.œ Jœ .œn Jœ

&

?

b

b

5 .œb jœ .œ Jœ‰ Jœ œ .œ‰ jœ œ.œ Jœ .œ Jœ

.œ jœ .œ Jœ‰ œ œ œ .œ‰ jœ œ.œ Jœ .œ# Jœ

.œ jœ .œm jœ‰ Jœ œ ˙‰ jœ œ.œ Jœ .œ Jœ

.œ jœ .œM jœ

‰ Jœ œ ‰ œ œ œ

.œ Jœ .œ Jœ

&

?

b

b

9 .œm jœ .œb jœ˙ ˙

‰ jœ œ.œb Jœ .œ Jœ(b)

.œ jœ .œb jœ.œ Jœ œ œ œ

w .œ Jœ[ ]

.˙ ‰ Jœ‰ Jœ ˙

.œ .œ Jœœ œm

.œ jœ .œ jœ‰ Jœ œ ˙#

‰ jœ œ.œ Jœ .œ Jœ

&

?

b

b

..

..

13 .œm Jœ .œ jœ‰ Jœb œœ œ œ .œ jœ.œb Jœ

.œ#m jœ .œm œ# œ‰ Jœ œ

.œ Jœ ˙

1.w‰ Jœ# .˙[ ]

Œ ‰ jœ œ œ œ# œ˙ ˙

2.w‰ Jœ# .˙ [ ]

Œ ‰ jœ ˙w

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.231

Ouverture (Ouuerture de lopera Disis)Isis, 1677

US-BEm MS 777 (Menetou), no. 85, fols. 3Ar–4ArLWV 54/1

© David Chung, 2014

(a) e’ a second higher: f ’ (b) g’ a second higher a’

&

?

b

b

3

3

17

Repris

Œ œ œ∑ œ œ œ# œŒ œ œ œ#

mœ œ œ œ#œ œ œ œ œ œ .œm jœœ .œ Jœ

œb .œm jœ˙ œ

&

&

&

b

b

22 .œm

Jœœœ

˙ [ ].Œ œ œ

œ .œm Jœ

.œ œ œ

œ .œ Jœ

œ ˙œ œ œ?

œ .œm Jœ

.˙b [ ]œ œ œ

˙#m œ œ

.˙[ ]

Œ œ œ

&

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b

b

27 œ .œm œ# œ

..˙[ ][ ]œ œ œ

.˙

œ ˙œ# œ œ

œ .œ Jœ

.œ œ œ

œ .œm Jœ

.œ œ œ

œ œ œ œ[ ]b œ.œ œ œ

˙b œ œ.œ œ œ

&

?

b

b

33 œ .œm œ[ ]b œ.œ œ œ

.œ œ œb œŒ œ œ œ œœb œ œ(c)

.œm jœ œ.˙ [ ]

œ œ œœ œ œ œ œb œ.˙œ œ œb

œ .œ jœœ ˙.˙

Œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.231

p. 2

(c) a second lower: c”

&

?

b

b

38 .œ œ œ œ

.œ œ œ

.œm Jœœ

.œ œ œ.˙ [ ]

œ .œ Jœ

œœ œ œ.˙

œ .œm Jœœ ˙œ œ œ

(d)

.œM œ œ œ

.œ œ œ

&

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b

43 .œm jœ œ œ.˙œ œ œ

.œm jœ œ œ˙ Œœ œ œ

œ .œm jœ.˙[ ]

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˙ œ œ˙Œ Œ œœ œ œ

œ .œm œ œ

.œ œ œ

&

?

b

b

48 ˙ œ œ

.œ œ œ

œ œ œ œ œ œ

œ œ œ

.œ#m œ œ œ

œ œ œ

.œm Jœœ

œ ˙Œ Œ œ

œ œ .œm jœ˙#

.Œ œ œ

&

?

b

b

53 œ .œ Jœ

..˙œ œn œ

.œm Jœœ

œ ˙œ œ# œ

˙#m œ

.œ œ œ

œ .œm Jœ

.˙[ ]œb œn œ

˙ œ œ.˙[ ]œ œ# œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.231

p. 3

(d) flat removed from e’

&

?

b

b

58 M œ œ

.œ œ œ

(e) .œm œ œ œ[ ]b

.œ œ œ

.œm Jœ œœ ˙œ œn œ

œ .œ Jœ

œ ˙œ œ# œ

œ .œ#m Jœœ# ˙œ œ œ

&

?

b

b

63 œ .œm œ# œ.œb œn œ

œ .œm jœ˙

œ# œ œ

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mœ[ ]b œ œ

œ .œ#m Jœ

.˙ [ ]Œ œ œ

&

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b

68 ˙ œ œ

.˙[ ]œb œn œ

œm œ œ œ œ œm œ˙ Œœ œ# œ

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œb œ œ[ ]b œ œ

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&

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b

..

..

72 .œM Jœ[ ]b œ œ

.œ œ œ

œb .œm jœœ œ

œ œ œ

œ œ œ˙# œ

.œ jœ œ

œ œ .œ jœœ œ .œ#

œ ˙Œ œ

fin

.˙[ ]‰ Jœ ˙Œ ‰ jœ œ.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.231

p. 4

(e) e’ a second lower: a”

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In both “2” and “3” time, eighth notes in conjunct motion (mm. 4, 18–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 85 (fols. 3Ar–4Ar, Hand A’), Ouuerture de lopera Disis (g) [Ouverture from Isis (1677) LWV 54/1 (g)] M. 3 lhM1 a second higher: f’ M. 9 rhL2 a second higher: a’ M. 10 lhL1 rest missing M. 15 rhL1 rest missing rhL3 dot missing lhU1–2 rests missing M. 16 rhL3 dot missing lhU1–2 rests missing M. 22 rhU1 dot missing M. 24 lhL1 stem missing M. 25–7 lhU1 dots missing M. 31 rh4 flat missing

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

M. 33 rh3 flat missing M. 34 rhL3 a second lower: c” M. 35 rhL1 dot missing M. 39 lhM1 dot missing M. 41 lhU1 flat removed from e’ M. 44 rhL2 rest missing M. 45 rhL1 dot missing M. 46 lhU1–2 rests missing M. 53 lhU1 dots missing M. 56–7 lhU1 dots missing M. 58 rh2–3 a second lower: a” M. 59 rh4 flat missing M. 66 lh1–2 flats missing M. 67 lhU1 dot missing M. 68 lhU1 dot missing M. 69 lhU2 rest missing M. 72 rhU2 flat missing M. 76 rhU1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.231

&

?

C

C

.œ jœ œ œM œ.˙ggg .˙

˙ .œ Jœ

.œ jœ .œm Jœ‰ Jœ œ‰ jœ œ˙ ˙

.œm jœ .œ jœ˙œ œ œ œ ˙˙ œ œ œ œ

œ œ .œm

œ .œm jœ˙ ˙

˙ ˙.œ Jœ .œ Jœ

&

?

5m .œ œ .œ œw

œ œ œ œ œ œ œm œ

.œ jœ .œMJœ˙gg

.œ

‰ jœ .˙.˙# œ#

˙ ‰ œ œ œ‰ Jœ œ˙ ˙.œ Jœ ˙

.œ jœ œ ≈ œ œ œ‰ œ œ œ ‰ Jœ œ˙ ˙#

m.œ Jœ

&

?

9 .œ jœ œ œ œM œ‰ Jœ œ

˙ ˙m

˙m

œ œ œ œ˙

.œ œ .œ œ .œM Jœ

.œ jœ .œ#m œ œ#‰ Jœ ˙w ˙

.œ jœ œ œ œ œ.œ Jœ œ œ œ œœ œ .˙w

&

?

..

..

..

..

13 .œ jœ .œm

Jœ‰ Jœ ˙#m‰ jœ œ ˙˙ Œ œ

1.mœ œ œm œ‰ Jœ ˙

Œ ‰ jœ .œ œ .œ œ˙

2.

˙ ‰ œ œm œ˙

˙ Repris

œ œ œm

œ œ œ œ œm

œ‰ œ œm

œ œ œ œ œm

œ

∑ &

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

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Ouverture (Entree de Bellerophon)Bellerophon, 1679

US-BEm MS 777 (Menetou), no. 87, fols. 5Ar–6ArLWV 57/1

© David Chung, 2014

&

&

17 .œjœ œ œ œ œ.œ Jœ .œ Jœ

‰ œ œm

œ œ œ œm

œ

œ œ œ œ œ œ œ œ.œ Jœ œ œ œ œ

œ œ œm

œ œ œ œ

œ œ œ œ œ œ œ œ.œ Jœ# .œ Jœ

œ œ œm

œ œ œ œm?

&

?

20 .œmjœ œ œ œ œ˙ ˙b

œ œ œbm œ œb œ œm œ

œ# œ œ œ .œ œ .œm

œ˙ .œ œb œœ#

œ œ œm œ œb œ œ œ

œ œ# .œ œ .œ jœ.Jœ# Rœ .œ œ œb œ œ œb

œ œ œ œ œb œ œm œ

&

?

23 .œ jœ .œbJœŒ . Jœ .œ

œ#m œ œm œ œ œ œnm œ

œ œ œ œ œ#m

œ œ œb˙ œ œb œ œ

œb œ œm œ œ œ œ œb

œ œ .œ œ .œ jœœb œb œ ˙nœ# ˙

œb œ œ œ œ œ œm œn.œ

m jœ œ œ œ œm

œ.œ Jœ Jœ

œ œ œm œ œ œ œm œ

&

?

27 .œm jœ# œ œ œm

œ˙ .œ Jœ#œ œ œm œ œ œ œm œ

œ œ œ œ œ œ œ œœ œ œ .œ Jœ

œ œ œm œ œ œ œm œ

œ# œ œ œ œ œ .œm œJœ œ# Jœ œ œœ#

œ œ œ œ œ œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.232

p. 2

&

?

30

œœ œ œ œ œ œb œœ# œ ˙

œ œ œ œ ˙#m

œbg œb œ œgg œ œ œ œ˙ ˙˙ ˙œ œ œ œ m

(a)

œ œ œ .œjœ

œ œ .œ Jœœ œ .œ

œ œ œm œ œ œ œm œ

&

?

33 œ œ .œ œ œm

œ‰ œ ˙

.œ Jœ m

œ œ œ œ œ œ œ œ˙ ˙bœ œ œb œ œb œ œm œ

œ œ œ œ œm

œ œ œ˙ ˙œ œ œm œ œ œ œm œ

œ œ œ œ œ œ œ œ˙ œ œ

œ œ œ œ œ œ œ œ

&

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37 œ œ .œ œ œ œ œ œœ œ œ Œ œ

˙ œ œ .œb œ‰ Jœ œ

œ œ œ œ œ œ œ œ˙b ‰ .œ

œb œ œm œ œ œ œm œ

œm

œ œ œ œ œ œ œ˙ ˙

œ œ œm œ œ œ œm œ

&

?

..

..

40 œ œ œ œ œ œ .œm

œœ œ œ œ œ

œ œœ œ œ œ ‰ Jœ œ

1.

˙ ‰ œ œm œ˙

wŒ ˙ [ ].

2.

www

wŒ ˙ [ ].

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.232

p. 3

(a) sixteenth note

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 1, 3–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 87 (fols. 5Ar–6Ar, Hand A’), Entree de Bellerophon (C) [Ouverture from Bellerophon (1679) LWV 57/1 (C)] M. 3 lhL1 tie missing M. 10 lh2 eighth note (beam missing) M. 15 rh+lh notes missing M. 23 rhL1 rest missing

M. 31 rhU6 sixteenth note: M. 33 rhL1 rest missing M. 37 rhL4 rest missing M. 38 rhL2 rest missing M. 40 lhU1-2 tie, note missing M. 41 lhL2 dot missing M. 42 lhL1 rest missing

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

M. 42 lhL2 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.232

&?

3

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% œ œ œœ œ œœ œ œ

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&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.233

Trompettes (trompette de bellerophon | rondeau)Bellerophon, 1679

US-BEm MS 777 (Menetou), no. 89, fol. 10AvLWV 57/64

© David Chung, 2014

(a) erroneous note a third below (c”) removed

&?

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mœ˙ œ

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.233

p. 2

(b) a second lower: c”

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.233

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 2–4, 6–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 89 (fol. 10Av, Hand A’), trompette de bellerophon | rondeau, (C) [Trompettes from Bellerophon (1679) LWV 57/64 (C)]

M. 3 rh1 erroneous note a third below (c”) removed. Menetou: M. 9 lhL1 rest missing M. 20 lhU2 sharp missing M. 31 lhU1 a second lower: c”

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.233

&?

3

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&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.234

Trompettes (trompette debellerrophon | rondeau)Bellerophon, 1679

US-BEm MS 777 (Menetou), no. 90, fol. 11ArLWV 57/19

© David Chung, 2014

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.234

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.234

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3–4, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 90 (fol. 11Ar, Hand A’), trompette debellerrophon | rondeau (C) [Trompettes from Bellerophon (1679) LWV 57/19 (C)] M. 1 lhL3 rest missing M. 5 lhL3 rest missing M. 24 lhL3 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.234

&?

2

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˙

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.235

Gavotte (Gauotte)Bellerophon, 1679

US-BEm MS 777 (Menetou), no. 91, fol. 11AvLWV 57/42

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.235

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1, 7–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 91 (fol. 11Av, Hand A’), Gauotte (G) [Gavotte from Bellerophon (1679) LWV 57/42 (G)] M. 15 lhL3 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.235

&

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œ œ œœ# œ œ ˙œ

Œ œ œ œ# œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.236

Ouverture (entree Deproserpine)Proserpine, 1680

US-BEm MS 777 (Menetou), no. 92, fols. 12Ar–13ArLWV 58/1

© David Chung, 2014

(a) measure supplied by the Editor

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26 .˙ ˙ œ˙# œ .˙˙wŒ œ œ# œ# œ œ

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.˙ œ œ œ

œœ œ# œ œ œ œœ#wŒ œ œ œ# œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.236

p. 2

&

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(d)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.236

p. 3

(c) ornament between c” and a”(d) dotted quarter note(b) a second lower: c”

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&

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Œ œ œb œ œ.œ Jœ œ ‰ Jœ

w‰ Jœ ˙

Œ ‰ jœ ˙wfin

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.236

p. 4

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In both “ ” and “6/4” time, eighth notes in conjunct motion (mm. 1–4, 16, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 92 (fols. 12Ar–13Ar, Hand A’), entree Deprosperine (d) [Ouverture from Proserpine (1680) LWV 58/1 (d)] M. 9 rhL4 sharp missing M. 12 measure missing M. 30 lhU2 a second lower: c” M. 34 lh2 flat missing M. 36 rhL7 ornament between c” and a”

rhL8 flat missing lh4 flat missing M. 37 rhL6 sharp missing M. 39 lh9 dotted quarter note M. 40 rhL11 sharp missing lhL1 rest missing M. 47 barline missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.236

&?

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&?

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%˙Œ œ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.237

Gavotte (bellefleur charmante onbrage gauotte | en trio)Proserpine, 1680

US-BEm MS 777 (Menetou), no. 93, fol. 13AvLWV 58/46

© David Chung, 2014

(a) redundant quarter rest removed

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.237

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.237

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 10, 19, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 93 (fol. 13Av, Hand A’), bellefleur charmante onbrage gauotte | entrio (a) [Gavotte (Second Air) from Proserpine (1680) LWV 58/46 (a)] M. 5 lhL1 rest missing

M. 18 lhL2 redundant quarter rest removed:

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.237

&?

b

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˙ œ# œ œ œ

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10 .œ jœ .œm jœ˙‰ Jœ ˙

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m .œ jœ˙ œ œ œ œœ

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œ œ.œm Jœ œ .œ jœ œœn.œ jœ œ.œ Jœ œ .œ Jœ œ

œm œ œ .œ Jœ œ.˙.˙ .œ jœ œ

(a)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.238

Ouverture (Ouuerture delopera dutrionphe delamour)Le Triomphe de l’Amour, 1681

US-BEm MS 777 (Menetou), no. 94, fols. 14Ar–15ArLWV 59/1

© David Chung, 2014

(a) F-Pn Vm2 59 (Paris: Christophe Ballard, 1681): dotted quarter g”, eighth f”

&?

b

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19 ˙ œ .œ jœ œ˙ .œ Jœ œ˙

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˙ œ .œm Jœ œ.˙.œ Jœ œ .œ Jœ œ

˙ œ# .œm jœ œ˙# ˙.œ Jœ œ .œ Jœ œ

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23 .œm Jœ œ .œm Jœ œ

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27 ˙ œ ..œœ jœb œ˙ .œ Jœ œ

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.œ jœ œ ˙ œ˙

.œ Jœ œ .œ Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.238

p. 2

&?

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.238

p. 3

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2. www

ww

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.238

p. 4

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1–5, 7, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 94 (fols. 14Ar–15Ar, Hand A’), Ouuerture delopera dutrionphe delamour (F) [Ouverture from Le Triomphe de l’Amour (1681) LWV 59/1 (F)] M. 4 rhM3 sharp missing M. 5 lh4 natural missing M. 7 lhL1 tie missing M. 10 rhL2 tie missing M. 18 rhL2–3 F-Pn Vm2 59 (Paris: Christophe Ballard, 1681): dotted quarter g”, eighth f” M. 23 lh2 natural missing M. 33 rhL2 natural missing M. 45 rhL2 rest missing M. 51 lh7 natural missing M. 54 lh1 tie missing M. 58 rhL4–6 notes missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

lh time signature missing M. 59 barline missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.238

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.239

Passacaille (passacaille de persee)Persée, 1682

US-BEm MS 777 (Menetou), no. 96, fols. 16Av–18ArLWV 60/82

© David Chung, 2014

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.239

p. 2

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.239

p. 3

(a) bass clef shifted from beginning of the following measure

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.239

p. 4

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.239

p. 5

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 6

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

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Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 7

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 2, 4, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 96 (fols. 16Av–18Ar, Hand A’), passacaille de persee (a) [Passacaille from Persée (1682) LWV 60/82 (a)] M. 11 rhL1 dot missing M. 12 rhL2 sharp missing M. 15 rhL1 dot missing lh1 dot missing M. 19 lhL1 dot missing M. 46 lh2 bass clef shifted from beginning of m. 47 sharp missing (before g) M. 48 lhL1 note missing M. 56 rhL1 rest missing M. 58 lhL1 rest missing M. 98 rhL2 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.239

&

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.œm œ œ .œM Jœ

œ œ ˙.˙n œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.240

Entrée d’Apollon (entree dappollon)Le Triomphe de l’Amour, 1681

US-BEm MS 777 (Menetou), no. 100, fols. 21Av–21ArLWV 59/58

© David Chung, 2014

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Œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.240

p. 2

(a) petite reprise in mm. 31–7 copied from mm. 23–9

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.240

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “ ” time, eighth notes in conjunct motion (mm. 2, 6–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 100 (fols. 21Av–21Ar, Hand A’), entree dappollon (g) [Entrée d’Apollon from Le Triomphe de l’Amour (1681) LWV 59/58 (g)] M. 6 rh2 natural missing M. 25 rhU2 tie missing M. 26 rh1 note missing M. 30 rh1 note missing Lh1–2 notes missing M. 31–7 petite reprise copied from mm. 23–9

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.240

&?

b

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3

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œm

œ œ˙[ ].œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.241

Tranquil Cœur (tranquil coeur)Le Triomphe de l’Amour, 1681

US-BEm MS 777 (Menetou), no. 103, fol. 23AvLWV 59/3

© David Chung, 2014

&?

b

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b

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25 œM .œm jœœ ˙œ œ œ

œ .œm jœœ ˙œ œ Œ œ

..˙ .˙

.Œ œ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.241

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.241

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 2–3, 6–9, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 103 (fol. 23Av, Hand A’), tranquil coeur (F) [Tranquil Cœur from Le Triomphe de l’Amour (1681) LWV 59/3 (F)] M. 13 rhL1 natural missing M. 16 lhU1 dot missing M. 18 lhU2 sharp missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.241

&?

b

b

3

3

.œm

Jœ œ.œ œ œ

.œ Jœb œœ œ œ

œm œ œm

œ œ œ

œ œ œ œ œ.Œ œ œ

.œm

Jœ œ.œ œ œ

.œM Jœb œœ œ œ

&?

b

b

..

..

..

..

7 œ œ œm

œ œ œ.m

.Œ œ œ

.œm JœœM

.œ œ œ

.œm Jœ œM

.œ œ œ

œM .œm Jœœ œn œœ œ œ

m œ˙n œ.Œ œ œ

&?

b

b

13 ˙nm

œ˙ œŒ ˙˙ œ

.œMJœ œM

œ œ œn˙ œ

œ .œm jœœ ˙[ ]n

œ ˙œ Œ œ

.‰ Jœ ˙

.Œ ‰ Jœ œ

.œm Jœ œ

œ œ œ

m œœ œ œ œ œ

&?

b

b

..

..

19 .œm Jœ œŒ œ œ.˙#

M œ.Œ œ œ

.œm jœ œ

.Œ œ œ

.œ Jœ œ

œ œ œ

œ œ .œ jœ˙

œ Œ œ

.‰ Jœ ˙Œ ‰ jœ œ.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.242

Deuxième Menuet (menuet du tronphe delamour)Le Triomphe de l’Amour, 1681

US-BEm MS 777 (Menetou), no. 104, fol. 24ArLWV 59/7

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.242

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 4, 18, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 104 (fol. 24Ar, Hand A’), menuet du tronphe delamour (F) [Deuxième Menuet from Le Triomphe de l’Amour (1681) LWV 59/7 (F)] M. 15 rhL2 natural missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.242

&?

b

b

2

2

.œ Jœœœœ œ œ œ

œ#m œ œ .œ Jœ

.˙ œŒ œ œ œn œ

œ œ .œ Jœ

‰ jœ œ œ# œ.œ Jœ œ œ

œ œm œ .œm jœ˙#

˙ ‰ jœ# œœ# œ ˙œ

&?

b

b

..

..

..

..

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œ œ œ# œ

2.˙#

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˙œn œ œ Œ œ

&?

b

b

9 m œ œ

˙ ‰ jœ[ ]i œ œœ œ œ œb ˙

œb œ œb .œm œ œ

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&?

b

b

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œ œ#m .œM Jœ

œ œ œ œn œb œ

œ œ œ .œ# Jœ

œ œ œb œ Œ œ

˙

Œ œ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.243

Gavotte pour Orithie et ses nymphes (gauotte)Le Triomphe de l’Amour, 1681

US-BEm MS 777 (Menetou), no. 112, fol. 28AvLWV 59/26

© David Chung, 2014

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 2

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.243

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “2” time, eighth notes in conjunct motion (mm. 1–2, 4–5, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 112 (fol. 28Av, Hand A’), gauotte (g) [Gavotte pour Orithie et ses nymphes from Le Triomphe de l’Amour (1681) LWV 59/26 (g)] M. 9 lhU3 flat missing M. 11 lh1–2 rests missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.243

&?

C

C

.˙ ≈ œ œ œ..˙

‰ œ œ œ ˙w

.œ Jœ .œm Jœ

˙ ˙ww

.m ‰ Jœ

..˙ .˙ ≈ œ œ œ

.œm jœ .œ jœ˙˙ .œ Jœ œ ≈ œ œ œ

&?

5 .œ œ œ .œ jœ.œ ˙˙#m

.œ Jœ œ ≈ œ œ œ

.œm jœ œm. œ œ œ.œ

˙# ˙.œ Jœ .œ Jœ

.œ œ œ .œ Jœ

˙ ˙˙ .œ Jœ

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..

3

3

9 .œ#m jœ.œ Jœ ˙

..˙ .˙ ≈ œ œ œ#

.œ jœœ#m œ# œ ˙.œ Jœ œ ≈ œ œ œ

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1.www#

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2. www#

w

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14 Œ ‰ Jœ œ .œm Jœ œreprise

.˙ .˙.˙ .˙

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Œ ‰ Jœ œ .œ Jœ œ

.œ Jœ œ .œm Jœ œŒ ‰ jœ œ.˙ .œ# Jœ œ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.244

Ouverture (Ouuerture d Alceste)Alceste, 1674

US-BEm MS 777 (Menetou), no. 113, fols. 29Ar–30ArLWV 50/1

© David Chung, 2014

&?

17

.œ œ œ œ .œ Jœ œ

.œ jœ œ ˙

m

.˙ Œ ‰ Jœ œ

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..˙ ˙ œ.œ Jœ œ .˙

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.œm œ#.œ Jœ œ .œ#mJœ œ

&?

20 ˙M

œ ˙ œ œŒ ˙ Œ ˙˙ ˙

œœ œ œ œ .œm Jœ œ

œ[ ]. œ œ# œ .œ Jœ œ œ

˙#œ œ œ œ .œ Jœ œ#

˙#m œ .œ Jœ œ

.˙# ˙.œ Jœ œ .œ Jœ# œ

&?

23 .œm Jœ œ# .œ Jœ œ#

..˙# .˙.˙# .œ Jœ œn

.œm œ# œ œ# .œ#m Jœ œ

˙ œ œ œ œ# œ.œ Jœ œ .˙

œ#M .œm Jœ .˙ .˙œœ œ œ œ .œ#m

Jœ# œ

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26 ˙ œ .œ œ œ œ.˙# ˙ œ œn

œœ œ œ œ .œ Jœ œ

m œ .œ œ œ œ.˙ ˙ œ œ

œœ œ œ œ .œm Jœ œ

.œ jœ œ œ .œm Jœ.œ Jœ œ# œ

œ .œ jœ.œm Jœ œ .œ Jœnœ

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.244

p. 2

&?

29 .m .œ œ œ œ

.˙#m ..˙.œ Jœ œ .œ Jœ œ

.œm Jœ œ .œ Jœ œ

..œœ Jœ œn.˙#m .œ

˙ œ œ .œm Jœ œ˙.œm Jœ œ .œ Jœ œ

&?

32 ..œœ jœ œ œ œm œ˙ œ

.œm jœ œ œ ˙.œ Jœ œ˙

œ .œ jœ œ .œm jœ˙ ˙

.œ jœ œ .œ jœ œ

œ .œ jœ œ œ mœ ˙

.œ jœ œ .œmjœ œ

&?

35 ˙ .œ Jœ˙# ˙2

˙ ˙˙ .œ Jœ2

œ ≈ œ œ œ .œ Jœœ

˙#m ˙˙ .œ Jœ

œ ≈ œ œ œ .œm œ œœm ˙˙ .œ Jœ

.œm jœ .œm jœ.œ Jœ ˙

˙˙

&?

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39 ˙ ‰ œ œ# œ˙‰ œ œ œ ˙

Mw

˙#m ‰ œ œ œ

Œ œm ˙#˙ ˙#

.œ# œ# œ .œm œ œœ œ ˙#w

.œMJœ .œm jœ

˙ ˙#mœ œ ˙œ œ

wwwww

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.244

p. 3

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In both “ ” and “3” time, eighth notes in conjunct motion (mm. 1, 17–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 113 (fols. 29Ar–30Ar, Hand A’), Ouuerture d Alceste (a) [Ouveture from Alceste (1674) LWV 50/1 (a)] M. 1 rh1 dots missing

lh time signature missing M. 11 rhU4 sharp missing M. 14 lh time signature missing M. 20 rhL3 rest missing M. 21 rh1 dot missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.244

&

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b

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.˙#

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œ œ œœ ˙œ œœ œ œ

&

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b

b

5 œb œm œœ ˙

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˙ œM œ˙

œ œ œ œœœ.˙ œ

œ œ œ œbm œ‰ jœ œœ œœ˙ œn

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&

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b

b

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9 œ œb .œm jœ˙

œ ˙.˙b

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œ ˙˙ œn˙

œb .œm Jœb

œ œ œ œ.˙ ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.245

Les Songes agréables (Les Songes agreables d’atis)Atys, 1676

US-BEm MS 777 (Menetou), no. 114, fols. 30Av–31ArLWV 53/58

© David Chung, 2014

&

?

b

b

17 .œ œ œb œ œb

‰ jœ œ œœ œ œb

.œ Jœ œm œb œ

œ œ œ.˙

œ œ .œm œ œ

œ Œ œbœb ˙œ ˙

œ .œ Jœ

œ œ œ œœœ.˙ œ

&

?

b

b

21 œm œ œ œb œ

Œ œ œœ.˙n

œb .œnm œ œ

œ œ ˙˙ œ œ

œ œ .œ#m œ œ#

œ ˙œ œ œ

.œ Jœ œ

œ œ œM œ#˙ œ

&

?

b

b

25 œ .œ# mœ œ#˙

œ ˙œ Œ œ

œ œ œ œ œ œ

.Œ œ œ

œm œ œ œ œbm œ

˙ œœ ˙n.˙

œb œ œnm œ œ œ

œ ˙˙ œ œ

&

?

b

b

..

..

29 œ œ œ# œ œm œ#

œ ˙œ œ œ

.œ JœT œ

œ œ œ œ#˙ œ

œ œ œ œ œ .œ#m

œ œ#˙œ ˙œ Œ œ

.‰ Jœ ˙n

.Œ ‰ Jœ œ(a)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.245

p. 2

(a) half note

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.245

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3, 6–10, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 114 (fols. 30Av–31Ar, Hand B), Les Songes agreables d’atis (g) [Les Songes agréables from Atys (1676) LWV 53/58 (g)] M. 1 lh time signature missing M. 32 lhL1 rest missing lhL4 half note

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.245

&?

#

#

3

3

œM œ œ œm

œŒ œ œ.˙[ ]

.œM Jœ œŒ œ œ.˙[ ]

(a)

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m.˙[ ]

.œm Jœ œ

œ œ ˙.œ œ œ œ(b)

&?

#

#

5 œm œ œ œm œœ Œ œœ ˙

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Œ œ œ.˙

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œ œ œ

&?

#

#

9 œœ .œm JœœŒ œ œ.˙

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Œ œ œ.˙

&?

#

#

13

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Œ œ œ.˙

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.œ œ œm

œ‰ Jœ œŒ ‰ jœ œ.˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.246

Chaconne (Pleurs d’atis)Ballet des Muses, 1666

US-BEm MS 777 (Menetou), no. 116, fols. 32Ar–32AvLWV 32/–

© David Chung, 2014

(a) a second higher: b (b) a second higher: e

&?

#

#

17

.œ#m jœ œ#Œ ˙˙ œ œ

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&?

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&?

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1.

œ%

˙

œ œ œ œ œ œ1e fois

2.

..˙ .˙Œ œ œ.˙2e fois

fin

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.246

p. 2

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.246

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 1–7, 9–11, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”.

Critical Notes

No. 116 (fols. 32Ar–32Av, Hand B), Pleurs d’atis (G) [Chaconne from Ballet des Muses (1666) LWV 32/– (B)] M. 1–3 lhL1 dots missing M. 2 lhU2 a second higher: b M. 4 lhL4 a second higher: e M. 21 lhL2 rest missing M. 22 lhL2 rest missing M. 27 lhU1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.246

&

?

b

b

3

3

..

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.œ jœ# œ œ œ œw ˙

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.˙ œ Œ œ˙# œ œ ˙[ ]n ˙

.m œ œ œb œm .œ œ..˙.˙.œ œ œm œ œ œ œœ ˙

(a)

&

?

b

b

5 .œb Jœ œ œ .œm jœ˙œ œ œ œ ˙˙ œ œ# Œ œ

.œm jœ .œ Jœ .œM Jœ˙#

˙ .˙ œŒ œ œ œ ˙

(b)

.œ Jœ œ# T œ .œm œn œ

Œ œ ˙ ˙˙ œ œ œ œ ˙

&

?

b

b

..

..

8 .˙ ‰ jœ œ œ œnm œ...˙

.œ œ œ œ œŒ œ

w ˙# ˙

.œnm Jœ œ#m .œ œ .œm œ œ˙#œ œ œ œœ ˙˙ ˙

Œ œ

1.œ ˙ ˙ ‰ Jœ˙# ˙

˙ œ œ œ œm œ%

‰ Jœ ˙1er fois

&

?

b

b

..

..

11 2.œ ˙ ˙ ‰ Jœ˙# ˙

˙ œ ˙ [ ].‰ Jœ ˙ ˙ [ ].2e fois

(c)

.œ Jœ .œm œ œ .œm Jœ

˙# œ œ œ œ˙ œ œ œ œ œŒ œ

.œ Jœb œ œb .œm Jœ˙ ˙ ˙œ œ œ œ œ œ œ œ

(d)

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.247

Courante de Lulli (Courante de Mr de Lully)

US-BEm MS 777 (Menetou), no. 117, fols. 33Ar–33AvLWV 75/24

© David Chung, 2014

(a) eighth note(b) dotted quarter note

(c) eighth note(d) two eighth notes

&

?

b

b

14

.œm jœ .œ Jœ .œm Jœ

˙# .˙ œœ œ œ œ œn ˙b

.˙ .˙b˙# œ .˙

œ œb œ œ œnm œ œ œ

mb œ

(e)

.œ# mJœ .œ Jœ .œm œ œ.œ

˙ ˙ ˙œ œ œ œ œ ˙#

&

?

b

b

..

..

17 œ .œ œ œ œ# .œ#m

œ œ#.œ ˙

.˙ ˙.œ Jœ œ œ Œ œ

œ ˙ ˙ ‰ Jœœn œ ˙œ œ œœb ˙

.˙ .˙‰ Jœ ˙ .˙[fin]

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.247

p. 2

(e) eighth note

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source

US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689).

Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8).

Performance Notes

In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92.2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: AnInterdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 4

The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In “3” time, eighth notes in conjunct motion (mm. 3–4, 7–8, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 117 (fols. 33Ar–33Av, Hand B), Courante de Mr de lully (g) [Courante de Lully, after D’Anglebert/Lully (1689) LWV 75/24(g)] M. 3 lhU3 rest missing M. 3 lhL4 natural missing M. 4 rhL4 eighth note (beam missing) M. 6 lhU2 dotted quarter note M. 8 lhU6 rest missing M.11 rhL4 a second lower: g”

lhU2 eighth note lhU3 dot missing

lhL4 dot missing M. 12 lhU1 rest missing M. 13 lhL7–8 two eighth notes M. 15 lh9 eighth note

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 5

M. 18 lhL1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.247

&

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b

b

C

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.œm jœ .œ jœ˙

œ œ# ˙.œ œ œ .œ# œ œ

.œ jœ .œ jœŒ œ ˙˙ .œ œ œ .œ œ œ

&

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b

b

5 .œ jœ .œm jœœ œ ˙ Œ œœ œ ˙Œ œ ˙

.œ œ œ .œ œ œ˙ ˙

˙ Œ œ˙ ˙

.œ œ œ œ œ œ˙

œ œ œ œw

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9 œ œ œ œ .œm jœœ œ ˙#

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3

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&

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b

15 .œ œ œ œœ œ œ œ œ[ ]i œ œ œœ œ œ œm œ œœb œ œ œ# .œm

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Œ œ œ

œ .œm jœ[ ]iœ ˙

œœ œ

.œ jœ[ ]i œ˙ œ˙

œ œ œ œ œ[ ]i

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 _____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.248

Ouverture (La grotte de Versaille)La Grotte de Versailles, 1668

US-BEm MS 777 (Menetou), no. 118, fols. 34Ar–35ArLWV 39/1

© David Chung, 2014

&

?

b

b

21 œm

œ œœ œ œ

.œ Jœb œ

œ œ œœ œ œ

.œb Jœ œ

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œ ˙œ ˙.œ œ œ œ œ

(a)

&

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b

27 Œ .œ jœ˙.Œ œ œ

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33 .œ jœb œœ œ œœ œ œb

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&

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39 œm

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˙ ˙˙# ˙

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www

w ˙

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014_____________________________________________________________________________________________________

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org)Monuments of Seventeenth-Century Music Vol. 1.248

p. 2

(a) a second higher: d”

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

p. 3

Source US-BEm: Berkeley, University of California, Jean Gray Hargrove Music Library, MS 777 (Paris, post ca. 1689). Eighty-seven arrangements entered by two or three unidentified French hands (Hand A, A’, and B). Hands A and A’ (which could be same as Hand A) are competent. Hand B is the same as Hand I of Parville, Hand A of LaBarre-6, and Hand A of LaBarre-11.

Menetou is not only the largest source of keyboard arrangements of Lully, but is also unique in that the pieces are by and large ordered in chronological sequence. The manuscript’s connection with Françoise-Charlotte de Senneterre de Mennetoud, daughter of Henry-François, Duc de La Ferté (1657–1703) and Marie-Gabrielle-Angélique de La Motte (1654–1726), through the six “airs sérieux de mademoiselle de menetou” (fols. 48v–52r) suggests that the Lully pieces might have originated as a suitable repertory for the growing number of aristocratic female harpsichordists, of which Menetou is a fine example. Alongside the Lully transcriptions are original harpsichord pieces by Lebègue and D’Anglebert, vocal extracts from Lully’s operas, and airs by Michel Lambert and Mademoiselle de Menetou.

Literature: Alan Curtis, “Musique française classique à Berkeley,” Revue de musicologie 56:2 (1970), 123–64; Gustafson 1979, 1:114–5, 3:137–73; Gustafson-Fuller 1990, 394–5; David Fuller, “Les arrangements pour clavier des œuvres de Lully,” in Jean-Baptiste Lully: Actes du colloque Saint-Germain-en-Laye, Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider (Laaber: Laaber-Verlag, 1990), 472–3; Harris 2009, 2:160–1.

Editions: Harris 2009, two pieces (nos. 114, 117); Chung 2004, fourteen pieces (nos. 1, 4, 5, 13, 14–5, 57, 61, 97, 98, 99, 101, 107, 115); WLSCM, sixty-five pieces (nos. 2–3, 6, 8–10, 16–8, 20–2, 24, 27–33, 35–40, 42–56, 58–60, 62, 83–5, 87, 89, 90–4, 96, 100, 103–4, 112–4, 116–8). Performance Notes In the seventeenth century, the notation is under-prescriptive by modern standard and some elements of the performance may only be partially indicated or not indicated at all. Generally speaking, the performer has the discretion to supply in performance much that is not indicated in the source, such as by adding ornaments as well as melodic and rhythmic fillers, by spreading chords in a variety of ways, by embellishing the cadences, and sometimes even by enriching the texture with points of imitation. The modern performer can take lessons from D’Anglebert, who re-edited a selection of his autograph pieces for publication in 1689.1 The performance attitude and elusive nature of the seventeenth-century French repertory has been exhaustively discussed by David Fuller, Ronald Broude, Bruce Gustafson, and others.2

1. See Chung, “Lully, D’Anglebert and the Transmission of 17th-Century French Harpsichord Music,” 586–92. 2. For example, see Ronald Broude. “Composition, Performance, and Text in Solo Music of the French Baroque,” Text: An Interdisciplinary Annual of Textual Studies 15 (2002): 25.

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.248

Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 ____________________________________________________________________________________________________

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The player can refer to the table below for guidance on the interpretation of ornament symbols commonly found in manuscript sources.

In both “ ” and “3” time, eighth notes in conjunct motion (mm. 7, 9–10, 13, etc.) should be rendered long and short successively as if notated in dotted values. Further advice on the rhythmic convention of notes inégales and other performance practice issues can be found in the “Introduction”. Critical Notes No. 118 (fols. 34Ar–35Ar, Hand B), La grotte de Versaille (g) [Ouverture from La Grotte de Versailles (1668) LWV 39/1 (g)] M. 5 lhL1 rest missing M. 8 lhL3 natural missing M. 11 measure missing M. 15 rhL5 flat missing M. 19 rhU3 flat missing M. 20 rhU2 flat missing lhL5 flat missing M. 26 rhM1 a second higher: d” M. 39 rhL1 rest missing

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1.248