Sonates pour flûte et clavecin. op. 91 by J. Bodin de Boismortier; Marc PincherleReview by: Edith BorroffNotes, Second Series, Vol. 28, No. 1 (Sep., 1971), pp. 111-112Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/939342 .

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performer or scholar must complete the transcriber's job each time one of the ornaments is encountered (e.g., dotted- eighth, cross, and sixteenth-note appear consecutively in the staff rather than the two notes with the ornament resolved above the staff, shown in a readily recog- nizable symbol, or notated between the principal notes).

The two volumes provide a survey of international repertoire, drawing from English, French, German, and Dutch sources with regularity, and including a few tunes from, or attributed to, other countries. Fourteen preludes, consistently full-textured, generally nonimitative, and short, open the first volume. Five pieces titled "Fantasye" follow, imitative after the fashion of the Italian fantasia-ricercar. Most of the remainder in the two volumes are chansons and dance pieces of one type or another. Souris' emancipation from the tablature barline brings the courantes to life in a way not evident in the tablature where they are shown in regular three- beat measures. Souris has transcribed them as six-beat measures, with an occasional nine, bringing into perspective the char- acteristic rhythmic shifts of these dances. With some exceptions, the pieces in the collections are built of two or three mel- odic strands, thicker textures being re- served for chordal passages and accented- beat reinforcement.

The series "Corpus des luthistes fran- ;ais" published by the Centre National de la Recherche Scientifique is a signifi- cant addition to our available music and information about French lute literature. Strangely, little note has been taken of the relationship between transcriber and scholar in these volumes. Either conven- ience or editorial policy has dictated that

performer or scholar must complete the transcriber's job each time one of the ornaments is encountered (e.g., dotted- eighth, cross, and sixteenth-note appear consecutively in the staff rather than the two notes with the ornament resolved above the staff, shown in a readily recog- nizable symbol, or notated between the principal notes).

The two volumes provide a survey of international repertoire, drawing from English, French, German, and Dutch sources with regularity, and including a few tunes from, or attributed to, other countries. Fourteen preludes, consistently full-textured, generally nonimitative, and short, open the first volume. Five pieces titled "Fantasye" follow, imitative after the fashion of the Italian fantasia-ricercar. Most of the remainder in the two volumes are chansons and dance pieces of one type or another. Souris' emancipation from the tablature barline brings the courantes to life in a way not evident in the tablature where they are shown in regular three- beat measures. Souris has transcribed them as six-beat measures, with an occasional nine, bringing into perspective the char- acteristic rhythmic shifts of these dances. With some exceptions, the pieces in the collections are built of two or three mel- odic strands, thicker textures being re- served for chordal passages and accented- beat reinforcement.

The series "Corpus des luthistes fran- ;ais" published by the Centre National de la Recherche Scientifique is a signifi- cant addition to our available music and information about French lute literature. Strangely, little note has been taken of the relationship between transcriber and scholar in these volumes. Either conven- ience or editorial policy has dictated that

the two functions be kept separate in most volumes in this series. It can be seen in some earlier volumes where Daniel Heartz, who can deal equally well with transcrip- tion and commentary, is found in the role of commentator. The same division of labor is seen in the volumes transcribed by Souris.

Outside the area of lute music Andre Souris is best known as a composer, con- ductor, and writer who supported the pro- gressive outlook in contemporary music. His interest in medieval and renaissance music may be attributed to the influence of Charles van den Borren, with whom he had been exposed to such music at the Brussels Conservatoire. That his tran- scriptions stop short of critical comment in each volume of the series may be due either to an editorial plan or to his pur- suing as an apparent hobby the arduous task that requires not only the translation of tablature to modern notation, but the historical studies of biography and prove- nance that must accompany the notated material. To Monique Rollin must go credit for the biographical study that brings to light new information about Vallet as a teacher, performer, and man- ager of a group of professional musicians. The study of the editions, concordances, and all the other scholarly apparatus, are also Rollin's work. It is well that such a division of labor has existed. Without it the volumes transcribed by Souris before his death, and now in various stages of readiness for publication, might not ap- pear with the excellent quality to which we have become accustomed. We may look forward to their publication with the Rollin commentary as in the past.

ELWYN A. WIENANDT

Baylor University

the two functions be kept separate in most volumes in this series. It can be seen in some earlier volumes where Daniel Heartz, who can deal equally well with transcrip- tion and commentary, is found in the role of commentator. The same division of labor is seen in the volumes transcribed by Souris.

Outside the area of lute music Andre Souris is best known as a composer, con- ductor, and writer who supported the pro- gressive outlook in contemporary music. His interest in medieval and renaissance music may be attributed to the influence of Charles van den Borren, with whom he had been exposed to such music at the Brussels Conservatoire. That his tran- scriptions stop short of critical comment in each volume of the series may be due either to an editorial plan or to his pur- suing as an apparent hobby the arduous task that requires not only the translation of tablature to modern notation, but the historical studies of biography and prove- nance that must accompany the notated material. To Monique Rollin must go credit for the biographical study that brings to light new information about Vallet as a teacher, performer, and man- ager of a group of professional musicians. The study of the editions, concordances, and all the other scholarly apparatus, are also Rollin's work. It is well that such a division of labor has existed. Without it the volumes transcribed by Souris before his death, and now in various stages of readiness for publication, might not ap- pear with the excellent quality to which we have become accustomed. We may look forward to their publication with the Rollin commentary as in the past.

ELWYN A. WIENANDT

Baylor University

J. Bodin de Boismortier: Sonates pour fluite et clavecin. op. 91. Ed. by Marc Pincherle. (Le Pupitre, collection de musique ancienne publiee sous la direction de Francois Lesure, 20.) [Paris: Heugel, 1970. Score, 81 p., and part, $5.00]

J. Bodin de Boismortier: Sonates pour fluite et clavecin. op. 91. Ed. by Marc Pincherle. (Le Pupitre, collection de musique ancienne publiee sous la direction de Francois Lesure, 20.) [Paris: Heugel, 1970. Score, 81 p., and part, $5.00]

The literature of French works in the tradition of keyboard pieces in concert with other instruments is a small but fascinating one. Beginning with Dieupart and La Guerre in the first decade of the eighteenth century, followed by Mondon- ville (1738 and 1748) and Rameau (1741), and culminating in the later publications

The literature of French works in the tradition of keyboard pieces in concert with other instruments is a small but fascinating one. Beginning with Dieupart and La Guerre in the first decade of the eighteenth century, followed by Mondon- ville (1738 and 1748) and Rameau (1741), and culminating in the later publications

of Schobert, the whole tradition developed in a very few works. It is thus an event of notice to add the Sonates pour un clavecin et une flute traversiere (1742) by Joseph Bodin de Boismortier to their number. The title is of interest, for it may have been the first publication to call these works "sonatas," the earlier ones

of Schobert, the whole tradition developed in a very few works. It is thus an event of notice to add the Sonates pour un clavecin et une flute traversiere (1742) by Joseph Bodin de Boismortier to their number. The title is of interest, for it may have been the first publication to call these works "sonatas," the earlier ones

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all being called pieces or (in Dieupart only) suittes de clavecin . .avec accompani- ment .... It also stands unique as works for harpsichord and flute.

Boismortier, like Telemann, has suffered from a bad press because of his prodigious creativity and his popularity. This work dates from the middle of his career and is Opus 91. Those who approach these six sonatas without prejudice will find them marvelously energetic, forthright, and full of animal spirits.

The sonatas owe more to Mondonville than to Rameau, and lead to questions about the relationship of the two men. Both were energetic and innovative; al- though Mondonville was twenty-two years the younger, he was friendly with his rivals and generous with his talents. I wish that the editor, Marc Pincherle, had illuminated this question in his otherwise informative introduction.

all being called pieces or (in Dieupart only) suittes de clavecin . .avec accompani- ment .... It also stands unique as works for harpsichord and flute.

Boismortier, like Telemann, has suffered from a bad press because of his prodigious creativity and his popularity. This work dates from the middle of his career and is Opus 91. Those who approach these six sonatas without prejudice will find them marvelously energetic, forthright, and full of animal spirits.

The sonatas owe more to Mondonville than to Rameau, and lead to questions about the relationship of the two men. Both were energetic and innovative; al- though Mondonville was twenty-two years the younger, he was friendly with his rivals and generous with his talents. I wish that the editor, Marc Pincherle, had illuminated this question in his otherwise informative introduction.

The edition is exemplary. My only quarrel with Pincherle is that he refers to the keyboard part as "realized," an extremely unfortunate term that tends to perpetuate intimations of a non-existent link between this tradition and the basso continuo. These works were keyboard pieces combined with instrumental sonatas or concertos, and none of them (including the La Guerre pieces of 1707) ever had a figured bass or was written to sound like a realization. Keyboard players of limited technique will soon discover that they are not accompanists but partners.

Although written for harpsichord and flute, these sonatas will achieve better balance in performance with piano when a modern flute is used; thus their poten- tial usefulness has a greater scope than most works of this period.

EDITH BORROFF Eastern Michigan University

The edition is exemplary. My only quarrel with Pincherle is that he refers to the keyboard part as "realized," an extremely unfortunate term that tends to perpetuate intimations of a non-existent link between this tradition and the basso continuo. These works were keyboard pieces combined with instrumental sonatas or concertos, and none of them (including the La Guerre pieces of 1707) ever had a figured bass or was written to sound like a realization. Keyboard players of limited technique will soon discover that they are not accompanists but partners.

Although written for harpsichord and flute, these sonatas will achieve better balance in performance with piano when a modern flute is used; thus their poten- tial usefulness has a greater scope than most works of this period.

EDITH BORROFF Eastern Michigan University

Lambert Chaumont: Pi&ces d'orgue sur les huit tons. Ed. by Jean Farrard.

(Le Pupitre, collection de musique ancienne publiee sous la direction de Francois Lesure, 25.) Paris: Heugel, 1970. [148 p., $6.20]

Lambert Chaumont: Pi&ces d'orgue sur les huit tons. Ed. by Jean Farrard.

(Le Pupitre, collection de musique ancienne publiee sous la direction de Francois Lesure, 25.) Paris: Heugel, 1970. [148 p., $6.20]

This book of short organ pieces orig- inally published in 1695 is an excellent edition. The pieces are not technically demanding (the player must be able to live with French ornaments) and are tune- ful, sprightly, or solemn in the French manner. For scholarly libraries, this is an essential acquisition.

Dictionary references to Chaumont do not abound. A priest in Huy, near Liege, he died in 1712. This is his only musical publication, the only known copy of which "belongs to the library of the Conserva- toire Royal de Liege" (Introduction, p. VIII). A previous edition, issued in 1939, as Series A, Volume I of the Monumenta Leodiensium Musicorum, was reviewed at length by Harold Gleason (Journal of the American Musicological Society 3 [1950]: 271-73).

There are 107 pieces based on d, g, a, e, C, F, D, and G. Each group begins with a Prelude, followed by a miscellany of such things as Duo, Fugue, Basse de tierce, Voix humaine, etc. But Father Chaumont tossed in a few extras, an Allemande en mi, a Chaconne en la, several elaborate

This book of short organ pieces orig- inally published in 1695 is an excellent edition. The pieces are not technically demanding (the player must be able to live with French ornaments) and are tune- ful, sprightly, or solemn in the French manner. For scholarly libraries, this is an essential acquisition.

Dictionary references to Chaumont do not abound. A priest in Huy, near Liege, he died in 1712. This is his only musical publication, the only known copy of which "belongs to the library of the Conserva- toire Royal de Liege" (Introduction, p. VIII). A previous edition, issued in 1939, as Series A, Volume I of the Monumenta Leodiensium Musicorum, was reviewed at length by Harold Gleason (Journal of the American Musicological Society 3 [1950]: 271-73).

There are 107 pieces based on d, g, a, e, C, F, D, and G. Each group begins with a Prelude, followed by a miscellany of such things as Duo, Fugue, Basse de tierce, Voix humaine, etc. But Father Chaumont tossed in a few extras, an Allemande en mi, a Chaconne en la, several elaborate

Echo pieces. Four have a rudimentary pedal part on a third stave.

The edition is exemplary. Facsimiles (cheap but reasonably clear) include the title-page, dedication, table of ornaments, and directions for registration. This last part is, as the editor reports, translated in Fenner Douglass's The Language of the Classical French Organ (New Haven, 1969). (On p. 194 Professor Douglass's version of Chaumont's table of ornaments was un- fortunately garbled by the printer. The first line of Ex. 11 is an erroneous repe- tition of his Ex. 10. The second line is genuine Chaumont.) The introductory essay is in French, English, and German- concise but complete. Scattered through the music are five facsimiles that suggest accurate and intelligent editing when com- pared with the printed versions. At the end are included Chaumont's Little Trea- tise on Accompaniment and his one-page Method for Tuning the Harpsichord (in French, of course). The edition, both scholarly and playable, is paperbound, clearly set out on good paper.

VERNON GOTWALS Smith College

Echo pieces. Four have a rudimentary pedal part on a third stave.

The edition is exemplary. Facsimiles (cheap but reasonably clear) include the title-page, dedication, table of ornaments, and directions for registration. This last part is, as the editor reports, translated in Fenner Douglass's The Language of the Classical French Organ (New Haven, 1969). (On p. 194 Professor Douglass's version of Chaumont's table of ornaments was un- fortunately garbled by the printer. The first line of Ex. 11 is an erroneous repe- tition of his Ex. 10. The second line is genuine Chaumont.) The introductory essay is in French, English, and German- concise but complete. Scattered through the music are five facsimiles that suggest accurate and intelligent editing when com- pared with the printed versions. At the end are included Chaumont's Little Trea- tise on Accompaniment and his one-page Method for Tuning the Harpsichord (in French, of course). The edition, both scholarly and playable, is paperbound, clearly set out on good paper.

VERNON GOTWALS Smith College

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