Marin_Marais_Les_Folies_D'Espagne.pdf

8/13/2019 Marin_Marais_Les_Folies_D'Espagne.pdf

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MARIN MARAIS

Les Tableaux galants Edited and Ornamented by Jennifer I. Paull

LES FOLIES DESPAGNE

Basson et basse continue

TG 012


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Marin Marais (1656-1728)

Marin Marais can justly be considered the central figure of the French School ofbass viol performer-composers that burgeoned in Paris during the late XVII andearly XVIII centuries. He studied opera with Jean-Baptiste de Lully (1632 1687) and the viola da gamba with Monsieur(Jean) de Sainte-Colombe (ca.1640 - 1700). His virtuosity is said to have surpassed that of his celebratedmaster. In 1701 Marais composed Tombeau pour Monsieur de Sainte-Colombein homage.

Marais lived his entire life in Paris, for the most part in royal service. He was

first appointedOrdinaire de la musique de la chambre du roi in 1685 about thesame time that he became a member of the orchestra of the Acadmie royale de musique. He illumined the court of Louis XIV, continuing in his positionduring the regency of Philippe, duc dOrlans. The new (five-year-old) KingLouis XVs great-uncle retired from the position of Regent onthe 15thofFebruary 1723, the date of Louis thirteenth birthday. Louis XV then assumedformal personal control of government. Marais remained in his court serviceuntil 1725.

We know little about the personal adult life of Marin Marais. He married aParisian, Catherine d'Amicourt, in 1676. They had nineteen children together, several of whom became important figures in French musical life.

Although most of his oeuvre was intended in the first instance for his owninstrument, Marais left four operas and much chamber music. He endeavouredto make his compositions playable by instruments other than his own, includingan oboe. At that time the meaning of oboe routinely implied a selection of

variously pitched double reed instruments not simply the soprano oboe, whichsubsequently became the most familiar.

Jennifer Paull1997

!!!


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Les Folies dEspagne

Basson et basse continue

TG 012

Marais wrote five books of collective works containingover five hundred and fiftycompositions for one, two, and three bass viols with figured bass. He originallypublished all five books himself. These Pices de viole represent an achievementof great compass and originality. Historically, they comprise the blossoming ofan established French musical tradition, the zenith of an art that had roots asfar back as the XVI century.

The second book of Pices de viole was published in 1701. It includes the variations Les Folies dEspagne. In his foreword, Marais wrote:

At the time, the courts Bande de hautbois comprised an array of variouslypitched double reed instruments (including bassoons). When playing a solo work,as in this instance, the musician (according to Marais texts) was at liberty totranspose the themes and thus vary performance (ornamentation) appropriatelyfor the instrument of predilection.

The adaptation of these Variations is entirely my own, as are the directives Ihave chosen to give them. I was inspired by the extensive range of moods and

ambience within the work, each variation bringing atableau to my mind. Iimagined these in the Rococo style of the period asTableaux galants. I chose togive this as a title to the series of French Baroque music published by AmorisInternational.

After the death of Louis XIV (1715), the aristocrats of the French courtabandoned the grandeur of theChteau de Versailles for the more intimatetownhouses of neighbouring Paris. Dressed in the most elegant of apparel theycould entertain and be entertained, flirt and improvise scenes from Italys

Commedia dellarteinside what became known as the Ftes galantes.

These pieces are written in a different way to those of my first volume. I have taken great care to compose them in such a manner that they can be played by all kinds of instruments, amongst them organ, harpsichord, lute,violin and flute. I venture to declare that this plan has succeeded, since I

have played them out on both the latter instruments myself.


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required by the instruments in this new edition. Les Folies dEspagne ispublished by Amoris International in three transpositions for four instrumentsof the Bande de hautbois.

It is within the style of the period to repeat the originalThema after the final variation. I did not mark this inside the score, as it is optional. I recorded thework with this reprise,as I find it adds a beautiful symmetry to its conclusion.

Jennifer Paull2009

!!!

Revised Edition 2009

Marin Marais TG 009 Oboe & b.c.Marin Marais TG 010 Oboe damore & b.c.Marin Marais TG 011 Cor anglais & b.c.Marin Marais TG 012 Bassoon & b.c.

Les Folies dEspagne is recorded by

Jennifer Paull, Oboe damore,Christine Sartoretti, Harpsichord

Stefano Canuti, Bassoon

( SC VI )

Les Tableaux galants published by Amoris International include

La Gracieuse Caix dHervelois TG 001 Oboe & b.c.Caix dHervelois TG 002 Oboe damore & b.c.Caix dHervelois TG 003 Cor anglais & b.c.Caix dHervelois TG 004 Bassoon & b.c.

Les Vendengeuses Caix dHervelois TG 005 Oboe & b.c.Caix dHervelois TG 006 Oboe damore & b.c.Caix dHervelois TG 007 Cor anglais & b.cCaix dHervelois TG 008 Basson & b.c.

www.amoris.com


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www.amoris.com


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Thema

I tempi e le dinamica seguonoil senso dei direttivi.

In loving memory of Paul Peter Paull

LES FOLIES D'ESPAGNEBasso Continuo

Realisation: Christine Sartoretti Revised Ian K. Harris 2009

Marin Marais (1680 - 1760)

Edited: Jennifer I. Paull Revised 2009

Copyright Amoris Internationalwww.amoris.com


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? bbb77

.J R. . .

Mn

? bbb 43 81

en portant un fardeau( carrying a burden)

? bbb 86

r

r

r

? bbb92

r

r

.

2

AI TG 012

III

IV

V


54/62

? bbb 43

97

. .

une danse lgante( an elegant dance)

. n

.n

.m

. .

? bbb~ 103

j n . . . . .

. n .n

? bbb107

.

. . m

.

Mn

? bbb 43113

une danse aves des rvrences( a dance with curtsies)

.j R . .j R

.

? bbb 86118

.

m

.

M

.. .

.

. .

? bbb 43124

. . . . . . .

? bbb 43129

lgante, positive, fire( elegant, positive, proud)

? bbb134

? bbb

139

.

3

AI TG 012

VI

VII

VIII


55/62

? bbb 4

3 8

6 4

3 8

6145

ingal

sduisante, captivante( with winsome coquetry)

n

? bbb 86 43 86 43 86150

n

? bbb 86 43 86 43156

gal

. J

ingal .

? bbb 43161

nostalgique avec mal du pays( nostalgic, homesick)

. j

? bbb166

? bbb172

. . . . . .

? bbb 43 86 43 86177

. .

. .

sur la pointe des pieds avec espiglerie( on tiptoe, cheekily)

. .. . . . . . .

..

. . .

. . . . . .

? bbb 86 43 86 43182

. . . . . . . .. . n . .

. .. . . .

. . . .

? bbb 86 43 86 43187

. . . . . . . . . J. .

J. .

. .

4

AI TG 012

IX

X

XI


56/62

? bbb 4

3193

ingal

dramatique, en suppliant( dramatic, pleading)

n n

? bbb198

n

n n

? bbb 203

.

? bbb 86 209

M

n jn N .n


nM

n j .

nM

n j .

n

m

j .

? bbb 213

m

j . m

j . m

j .

nM

j

j .

n n

j n

? bbb 43 86 43 218

n n . .

? bbb 43 221

j . .

j . . j . . .

Mn

? bbb 86 43 86 43~ 225

n

avec regret( with regret)

j .

? bbb 86 43 86 43 230

. J

m n

? bbb 43~ 236

j .

.

5

AI TG 012

XII

XIII

XIV


57/62

? bbb 4

3 241

. . . . . . . .

gal

les jacasses bavardent en cuchotant( the chattering gossips whisper together)

. . . n . n . . . . . .

. . . . . . . .

? bbb 244

. .. n . . . . b . . .

. . . . . . . . . . . . .

.

.

.

.

. . . . . . . . . . . . .

? bbb 248

..

.

. . . n . n . .

. . .

. .

. .

? bbb 252

. . . .

.

j.

.

.

. .

.

? bbb 43 257

R

avec supplication(with supplication)

R

R

? bbb

~~ 263

R .

M j . .j

. . . . .J r .j .

..

? bbb 268

.

.j R. . .

..j

r .

? bbb 43 273

ingal

positivement( positively)

. n n .

j J

? bbb 279

r

n n . n n

? bbb 284 .

j

.

6

AI TG 012

XV

XVI

XVII


58/62

? bbb

289

avec joie( with happiness)

. n n

. .

? bbb 294

. n n

? bbb 300

. .

.

? bbb 43 305

avec conspiration ( with conspiracy)

n

? bbb 310

n

n n

? bbb 316

.

? bbb 321

avec amour et sensualit ( with love and sensualness)

j n

? bbb 325

J

? bbb 329

j

n

? bbb 333

.

7

AI TG 012

XVIII

XIX

XX


59/62

? bbb 8

6 337

. J

ingal

avec une douce ironie ( with gentle humour)

.n J . J . J .

J

? bbb 342

.

j . j . j .

j .n j . j

? bbb 43 348

.

j . j . j

gal

.

? bbb 43 353

.

avec outrage ( with outrage)

.

? bbb 357

.

.

. . n n

? bbb 361

. .

. . . . .

. . . . . .

? bbb 365

.

.

? bbb 43 86 369

ingal

avec rsignation devant l'inluctable( with resignation and inevitability)

? bbb 86 43 374 .

gal j j n n

? bbb 86 43 379

. J

gal

.

8

AI TG 012

XXI

XXII

XXIII


60/62

? bbb 4

3 385

n n

avec insolence( with insolence)

n

n

? bbb 86 388

. .. .

. .

.

. .

.

. .

? bbb 43 391

.

.

.

.

.

..

. n . . .

. n n

? bbb 86 394

n n

? bbb 86 43 397

. .

. .

. .

.

. .

.

. .

.

. n . .

. . .

? bbb 43 86 401

ingal

avec tendresse et sduction( with tenderness and seduction)

n

? bbb 86 43

405

.

gal

. .

ingal

? bbb 86 409

n

? bbb 8

6 413

.gal . . j

n n .

9

AI TG 012

XXIV

XXV


61/62


62/62

? bbb 8

9 465

.. .

dans les jardins minuit( in the gardens at midnight)

. J .

n n . . . .

.

J

? bbb 469

..

. . . . . . . .. . . . . . .

? bbb 475

.. . .

. . . . . .. . . . . . .

? bbb 43 481

..

.

autour du mange( riding around the mange)

n .n .

..

..

. .

..

? bbb~~~ ~~ 486

.

.

j . . .

. ..

n n .. . . n .

jn . .. .

? bbb~~ 492

. . .

..

. .j . .. . .

? bbb 4

3 497

en se pavanent firement la maison( proudly strutting home)

.

? bbb 86 43501

. J

11

XXIX

XXX

XXXI

Documents

Marin_Marais_Les_Folies_D'Espagne.pdf