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Abstract
A manuscript entitled La Convalescente. Sonnade. Del S. Couprin was discovered at the Sächsische Landes- und Universitätsbibliothek (Dresden) in 2005. The source contains the six opening movements of François Couperin's trio sonata L'Impériale, which the composer published in 1726 as part of his cycle Les Nations. The essay revolves around a textological analysis of the manuscript, which was copied by the violinist Johann Georg Pisendel during a trip to Paris in 1714, when he accompanied Prince Friedrich August there for celebrations on the occasion of the Treaty of Baden. The resulting, short-lived Catholic Alliance between the Habsburg Monarchy and France explains why Couperin chose the title L'Impériale for the revised version of the sonata. Also discussed are new perspectives, made possible by the dated manuscript, that allow a reappraisal of Couperin's stylistic evolution.
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For George J. Buelow
Beginning in the late 1680s, opposition to the conservative cultural politics of Louis XIV coalesced in an influential court
clique around Louis XIV’s son, Louis (1661–1711). In contrast to the king’s anti-theatrical moralizing and heritage of supporting
classicism, the Dauphin and his cabale embraced aspects of the arts that Louis XIV had rejected: the Comédie-Italienne, Italian music, and the operas of André Campra.
The Dauphin not only supported the Opéra and encouraged Louis XIV to reinstitute the Comédie-Italienne, but his cabale also staged entertainments at court in which commedia dell’arte and Italian music featured. The group’s support for Campra
during the early phase of his operatic career is reflected by three fêtes commissioned from him in 1697–8 by nobles seeking
to cultivate members of the cabale as political patrons. The Dauphin’s importance as a protector of the theatre was publicly acknowledged in the prologue to
Campra’s Le Carnaval de Venise (1699) and in other works of the period. The activities of the cabale and its extended political clientele thus played a significant role in the French fad for Italian music and comedy of the
late 1690s, and demonstrate the influence of courtly politics in the musical life of the era.