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Program notes for the unaccompanied violin duos of Jacques Aubert (1689-1753) opus 15 and Jean-Marie Leclair L'aîné (1697-1764) opus 3 : French baroque bowing traditions applied to the dance movements /
Abstract
Thesis (D.M.A.)--University of Maryland, College Park, Md., 1998. Thesis research directed by School of Music. Includes bibliographical references (leaves 54-57).
... Contrary to Boyden (1965), however, it is the contention here that performances of music, synthesizing data relating to the dance tradition from which it has evolved, change our perception and evaluation of the music itself. In a study of French bowing traditions, which are derived from dances, as applied to dance movements within the violin duos of Jacques Aubert (1689Aubert ( -1753 and Leclair, Ramirez (1998) concludes that "... applying traditional bowing rules enhances the style of the performance" (Ramirez, 1998). As Castellengo (1995) argues, A knowledge of the characteristics of the various dances not only affects our approach to dance music and ballet, it also leads us to reconsider our interpretation of much of the musical repertory (Castellengo, 1995:28). ...
... Aubert is notable as the first to publish violin concertos in France, and several authors (e.g., La Laurencie, 1906;Paillard, 1955;Brofsky, 1966) have studied his contribution to this genre. Dissertations on styles of bowing during the Baroque era by Seagrave (1958) and by Ramirez (1998) cover this aspect of some of Aubert's works in detail. The remaining references, Meyn-Beckmann (1991), Lescat (1999) and Saint-Arroman (1999), are found as notes within editions containing music by Aubert. ...
... The rule of down bow has been regarded by authors, both ancient and modern, (e.g., Geminiani, 1751;Boyden, 1965;Mather and Karns, 1987;Mellers, 1987;Ramirez, 1998) In contrast to Geminiani's opposition to the rule of down bow, Mellers (1987) advocates its use when musically appropriate. Regarding the application of Muffat's (1698) bowing patterns to later music which continues the French dance tradition, Mellers (1987) observes that: ...
The genre of the earliest French violin sonatas (c.1692 – 1723) has been subjected to deficiency analyses, resulting in its neglect both in the written literature and in recordings. This research challenges the received evaluation of the genre as deficient, and argues that the sources of this neglect can be traced back to early 20th century studies of the genre, which inappropriately analysed the works according to predominantly Italian and German models.
In order to situate and investigate the genre within its cultural context, an alternative analytical approach is developed based on Dryborough’s (1997) methodology, which utilizes musical structures to determine the affect of a
composition. In this case, an analysis of affect in the cantatas (Books 1 & 2) of Louis-Nicolas Clérambault (1676-1749) informs the analysis of the affect of his instrumental works.
The resultant information, together with material synthesized in the Literature Review of rhetoric and the theory of affects, French dance music, and performance practice in French baroque music, has been utilized in the presentation of two recitals of early French violin sonatas. These performances have clearly demonstrated the intrinsic value of the genre.
The process of preparing and performing this repertoire through Performances A and B has been subjected to analysis. Implications both for further research and performance documentation are explored; in addition, the experiences gained are documented for the benefit of future performers of this genre.
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