caix de hervelois la gracieuse

8/4/2019 Caix de Hervelois La Gracieuse

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LOUIS DE CAIX DHERVELOIS

Les Tableaux galants

Edited and ornamented by Jennifer I. Paull

LA GRACIEUSE

Hautbois damour et basse continue

TG 002


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Louis de Caix dHervelois(circa 1680 1759)

Although Louis de Caix dHervelois was one of the greatest French viol virtuosi

of his day, very little is known of his origins or his personal life. It is widelyaccepted that he studied with the great Marin Marais. He is known chiefly foreight published collections of pieces: five for (one and two) viols and three forflute ( un dessus: for upper wind instrument) with figured bass. Of these, thefive collections Pices de viole (published over a period of some thirty years) arehis most important legacy. Caix did not hold a court appointment unlike othermembers of the Lyon branch of the Caix family to which he may have beenrelated. He remained an independent musician and composer who earned his

living through the patronage of nobles and his own composition, performanceand teaching. Le Blanc (1740) situated him next to Marin Marais (1656 1728) and the elder Forqueray (Antoine Forqueray 1671 1745) in order ofranking in lempire de la viole.

Recent research establishes his birth circa 1680 in Amiens (northern France)and his death, 1759, in Paris at his apartment in the Rue du Jour (opposite theportals of lglise de Saint-Eustache), where he had been living for more thanthirty years. Here, his home was in the same building as that of his great friend,

the prolific composer and flautist (also a musetteplayer of note) Joseph Bodinde Boismortier (1689 1755). He too was an independent musician and thefirst French composer to employ the Italian concerto form. Caix appears to haveremained an adept of the artists quarter of Paris between theRue Saint-Honorand lglise des Halles for all his years in the capital. This district was a hive ofartistic creativity in which dancers, musicians, artists and dealers (in both artand music manuscripts) lived and worked. The two friends obviously influencedeach others work. The virtuoso string player would edit the manuscripts written

by the virtuoso wind player and vice versa.

Caix' graceful melodic music lies well within the French tradition of characterpieces of this period. In his first two books, he still reflects Marais influence and

At this time musette implied themusette de cour (or Baroque musette), a member of the bagpipefamily of instruments. Subsequently the chanter was used alone with a double reed inserted directly(hautbois de Poitou).Around 1830 it started to be known as the oboe musette, subsequently piccolooboe, even piccoloboe. Today it is known, for the most part, as the musette. It is a confusing word;a dance, well-liked at the Courts of both Louis XIV and XV, bore the same name. This musette was agentle Gavotte, pastoral in nature, which imitated a bagpipe above a drone. From ballet, it alsoproliferated in keyboard music.


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predilection for grandeur, a fashion inherited from the previous century. Hereally found his true style when reflecting the new taste for what is known as la petite manire. With the accession of the young Louis XV, a new elegancefounded upon fleeting pleasures and sophistication saw its day in all things

artistic: from music to fashion and art; from interior decoration and furniture todemeanour, everything became more intimate. Music followed suit with shortermovements mirroring the human spirit in descriptive sketches. Fashion wasornate, theatrical, detailed and trompe loeil was at its zenith. Caix was in hiselement. His genius for painting the miniature (even the ironical caricature) inmusic blossomed. Nature in all its beauty and matters pastoral were celebratedand extolled.

Jennifer Paull1997

La Gracieuse

Hautbois damour et basse continue

TG 002

This suite is selected freely from Louis de Caix dHervelois five books of Piecesde viole (collections of viol music with figured bass), for the most part from thesecond and fifth. Caix dHervelois lived for many years at the same address as hisclose friend Joseph Bodin de Boismortier (1689-1755), the celebrated flautistand fruitful composer. Each wrote for the others instruments and noted ontheir scores that yet more could be employed for their interpretation, as was the

custom. Undoubtedly, apart from the letters and verses they penned to eachother (which still exist), the close friends played much chamber music. It isknown that Boismortiers work for viol (dedicated to Marin Marais) was editedby Caix dHervelois. Thus the friends complicity is an established fact.

According to the practice of the time, the performer was free to adapt the Picesde viole to suit other suitable instruments and their inherent possibilities. Fromthe wealth of material available, I have selected a variety of movements ideallysuited to the members of the Bande de hautbois (an instrumental ensemble,including bassoons, that originated at the Court of Louis VIX). My choice to


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repeat one of these movements, with differing ornamentation, is entirely withinthe stylistic tradition. The titles of the movements are original. I have simplychosen one to depict the suite in portraiture, rather in the manner of Jean-Antoine Watteau (1684 1721) who specifically created thefte galante style in

Art. The titleLa Gracieuse means The Graceful Lady, many of whom he andother artists of the period portrayed so magnificently. La Dclaration damour,by Jean-Franois de Troy (1679-1752), another such artist well-known for hisportraits, is the painting represented on the cover of my recording of this work.

The double dot was not yet in existence. The (single) dotted note wascustomarily held longer than today: somewhat similarly to the manner of thepresent double dot - although less precisely mathematical and more open to

personal interpretation. The following semiquavers ( sixteenth notes) ordemisemiquavers (thirty-second notes) were played as an up beat to the next noteof importance. I find our present notations (with the figure 3 to indicate atriplet), therefore, to be incorrect and too precise.

I have chosen to adopt the style of the time to give the feeling of aheld note from which one moves forward rather than notate it in theprecise manner of today (naturally, this also applies to otherproportions of these note values). For todays interpretation of a

single dot, the word ingal(uneven) was often inserted as a directive.The opposite,gal, implied playing the notes evenly (as written).

To quote Michel de l'Affilard (circa 1656-1708) in his book Principes trs faciles pour bien apprendre la musique (a most successful work published in fourteeneditions between 1697 to 1747),

One learns better by example than by any written dissertation.

I trust, therefore, that the nuances of ingalit and ornamentation will be moreeasily followed on my recording than by lengthy technical explanation on thispage.

Naturally, performers are totally at liberty to create their own improvisations.Our interpretation is written out for those who are not specialists in thisdomain. Those who are will be able to improvise their own versions from the bassline and figures. The realisation by Christine Sartoretti was based upon the

composers original figured bass. In 2010 I re-edited my original versions for


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oboe damore and cor anglais, enlarging the possibilities to four instruments ofthis court ensemble. I took this opportunity to develop elements ofornamentation accordingly. Ian K. Harris revised the figured bass to include themodifications necessary for the various transpositions in this new edition. La

Gracieuse is published in three transpositions for four instruments of the Bandede hautbois.

The series of French Baroque music published by Amoris International isentitled Les Tableaux galants.

Jennifer Paull2010

Revised Edition 2010

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.

La Gracieuse is recorded by

Jennifer Paull, Oboe damoreChristine Sartoretti, Harpsichord

Stefano Canuti, Bassoon

The Oboe damore Collection Volume I

( SC VI )

Also published byAmoris International

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

www.amoris.com


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Edited:Jennifer I. PaullRevised 2010Realisation: Christine SartorettiRevised Ian K. Harris 2010 I

Prlude

Copyright Amoris Internationalwww.amoris.com

for Tristan Lorenzo

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LA GRACIEUSE

Louis de Caix d'Hervelois (circa 1680 - 1759)

Edited:Jennifer I. PaullRevised 2010Realisation:

Christine SartorettiRevised Ian K. Harris 2010

I

Prlude


Oboe d'amore

for Tristan Lorenzo


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LA GRACIEUSE

Basso Continuo Louis de Caix d'Hervelois (circa 1680 - 1759)

Realisation: Christine SartorettiRevised Ian K. Harris 2010 Edited:Jennifer I. PaullRevised 2010I

Prlude

II

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for Tristan Lorenzo



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La Gracieuse

caix de hervelois la gracieuse

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