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Méthode de Luth Baroque. Guide pratique pour le luthiste débutant et avancé

Miguel Serdoura (1973) • Baroque lute • French Tablature

The London Manuscript | Volume 2

Silvius Leopold Weiss (1687-1750) • Baroque lute • French tablature

L'Enchanteresse et autres pièces transposées au luth baroque | 17th and 18th centuries

Marais - Forqueray - Chambonnières - Couperin - D'Anglebert • Baroque lute • French tablature

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LLDE0025

• Author(s): Marais - Forqueray - Chambonnières - Couperin - D'Anglebert - Geoffroy - La Barre - Hardel
• Title: L'Enchanteresse et autres pièces transposées au luth baroque
• Sub-title: Lute transcriptions by Claire Antonini
• Year of edition: 17th and 18th Century

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Description

L’Enchanteress

This collection is a compilation of transcriptions for baroque lute by seventeenth-century French composers, harpsichordists and viol players. Although the repertoire for 11-course baroque lute is abundant, rich and magnificent, it sometimes occurs on our musical pathway that we are particularly drawn to certain works composed for another instrument or, in listening to one of these works, we think: “Ah, this would sound beautiful on the lute!”.

It is my interest in this parallel repertoire to the lute which has inspired this series of transcriptions. In realizing that I would need several lifetimes to play all the music I particularly loved on the original instrument, I decided to adapt them for the lute: Marin Marais’s “Les Voix Humaines”, Louis Couperin’s “Fantaisie pour Violes” and the D minor Chaconne were the first.

Then I had an idea in the back of my head to adapt other pieces in order to create a small repertoire. So I started to note the “pearls” when I worked with my harpsichordist and violist friends. It seemed, that in so doing, that I was following the tradition which effectively existed in the seventeenth century: namely, the many transcriptions of fashionable lute airs and opera extracts found in the Milleran manuscript; the magnificent transcriptions for lute and theorbo by Robert de Visée; François Couperin’s “Les Sylvains”; Jean-Baptiste Lully’s “L’Entrée d’Apollon”...

The musical language of the viol and harpsichord pieces is similar to that of the lute. Each instrument, however, has its own identity so that any adaptation should remain both faithful to the original, as well as take into account the characteristics of the new instrument for which it is intended. Given that the range of the harpsichord is much wider than the lute and the manner of performance more fluent and dense, the lute transcription needs to be more delicate, requiring changes of octave and, at times, simplifications.

But even when adapting a piece to the best of the lute’s potential, it still may appear difficult to perform: witness for instance the pieces by Couperin, Geoffroy and d’Anglebert... Therefore, I would suggest that the player start by examining the De la Barre harpsichord pieces, because their composition is very close to the lute style (style brisée, two voices with a suggested third voice...). Moreover, transcriptions of works by this composer are found in the Vaudry de Saizenay manuscript.

In regard to the viol pieces, it is sometimes impossible to perform on the lute the very rapid ornaments played by a single bow stroke. These have been notated in smaller letters in the tablature and are to be played using left hand slurs and ties.

In order to better understand the subtleties specific to the harpsichord and the viol, I would encourage any reader who does not know these pieces to listen to them in their original version. In this way, the spirit of the music can be best appreciated, as well as the differences of technique peculiar to each instrument. These transcriptions are a personal suggestion and, of course, everyone is free to adapt or to change them, according to their taste and their possibilities.

Content

Marin Marais (1656-1728)
Prélude
Les voix humaines
La rêveuse
Passacaille
Tombeau pour M. de Sainte-Colombe
Sarabande La désolée
Rondeau

Antoine Forqueray (1672-1745)
La Cottin
Le Carillon de Passy
La Du Vaucel

François Couperin (1668-1733)
Le Dodo ou L’amour au berceau, Rondeau
Air tendre
Menuet et Double
L’Enchanteresse

Louis Couperin (1626-1661)
Sarabande
Chaconne
Chaconne
Passacaille
Fantaisie pour violes

Jean-Henry d’Anglebert (1628-1691)
Sarabande
Sarabande
Chaconne en Rondeau

Jacques Champion de Chambonnières (c.1601/2-1672)
Sarabande
Jeunes Zephirs, Sarabande
Sarabande de Mr de Chambonnières

Jean-Nicolas Geoffroy (c.1633-1694)
Chaconne

Pierre De La Barre (1592-1656)
Allemande
Courante
Sarabande
Sarabande

Jacques Hardel (c.1643-1678) | Louis Couperin (1626-1661)
Gavotte d’Ardelle
Double de la Gavotte d’Ardelle par Louis Couperin

Specifications

• Editor(s): Claire Antonini
• Lute transcriptions: Claire Antonini
• Tablature typography: Jean-Daniel Forget
• Music period: Baroque
• Instrument(s): 11c/13c Baroque lute
• Instrumentation: Baroque lute solo
• Notation: French tablature
• Modern edition: Le Luth Doré ®
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2019
• Collection: Lute and Theorbo Music Collection

• Pages: pp. 88
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8837-1

Editors

Claire Antonini

Lutenist

Claire Antonini, lutenist graduate of the Conservatoire Supérieur de Lyon, is considered as one of the specialists of 17th century French lute music – a music to which she has already devoted three records: “Les Luthistes Français au XVIIe siècle” edited by the Société Française de Luth; “Manuscrit Vaudry de Saizenay” edited by AS Production and praised by the critics (Choc Classica and five Diapasons); “Les Accords Nouveaux, Pierre Ballard 1638” CA Production.

Apart from French music, which is her favorite field of activity, she has also recorded the “Œuvres pour Luth” de J.S. Bach with AS Production (4 stars Classica).
She performs regularly as a soloist in France and abroad: La Chabotterie; Le Centre de Musique Baroque de Versailles; La Cité de la Musique; Festival “Musique et Mémoire”; Lute Society…

She also pursues her career as a basso-continuist, having accompanied the greatest singers and performers such as: Philippe Jaroussky with the Ensemble Artaserse; Patricia Petibon with the Ensemble “Amarillis”; Monique Zanetti, Isabelle Poulenard and Marianne Muller with the Ensemble “Spirale” …

She plays often with various baroque orchestras: “Le Concert d’Astrée”, “Le Concert Spirituel”, “La Grande Écurie et la Chambre du Roy”.

In addition, she has studied traditional Persian music with the maestro Dariush Talaï and she performs regularly with a Persian music ensemble. Her skills, both in early music and traditional music have led her to explore other musical spheres with, inter alia, Renaud Garcia-Fons with whom she has recorded several albums and taken part in many concerts.

She has been awarded the Diplôme d’État as Professor of Traditional Music as well as the Certificat d’Aptitude in the post of Professor of Early Music. For many years, she has continued her teaching activities in several conservatories of music.

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Jean-Daniel Forget

Computer Scientist, Lutenist

Passionate about the baroque era, Jean-Daniel Forget is a self-taught lutenist. In order to play the forgotten (lute) works of the 17th and 18th centuries, he has copied (and studied) their manuscripts for almost 20 years.

A long career as a computer scientist, having made him expert in programming, allowed him to utilize the normal logic of writing music, especially that which transcribes tablature for instruments with fretted strings.

In collaboration with Guy Grangereau. he has posted his tablatures on a public internet site that is frequented by many lutenists and guitarists.

Forget was enlisted by Miguel Serdoura to help prepare the musical examples for his fine Method of the Baroque Lute. Further on, he continues to assist Serdoura in the preparation of his (lute) editions.

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Urtext

Le Luth Doré Urtext Editions

The Le Luth Doré Urtext Editions offer musicians and musicologists worldwide reliable and authoritative musical texts. The main features are:

• superb and aesthetically appealing music engraving
• optimized for practical use (page turns, fingerings)
• books originally in Italian tablature are published in both Italian and French tablatures
• high-quality and durable (cover, paper, binding)
• both original and modern prefaces, documentation of the corrections made and explanatory footnotes in English, French, Italian, German …

About Le Luth Doré Urtext Editions

Our editions are urtext: we strive to provide reliable musical texts that are as true as possible to the existing sources and the composer’s intentions. We are aware, of course, that it is impossible to reconstruct the one and only urtext. Often, several manuscript sources exist for the same piece, and there is little reliable guidance for determining which version best represents the composer's intentions.

Although we cannot entirely dissipate historical uncertainty, we can compare texts and correct obvious errors, which sometimes occur even in autograph manuscripts. Sources have been meticulously examined - note by note, mark by mark.

When facing ambiguity inherent to the sources, wise editorial judgment must take the place of textual certainty.

The most important observations and editorial decisions are elucidated in the prefaces, in the critical commentary, in footnotes, or marked as such in the musical text. It therefore comes as no surprise that an editor has to invest a great deal of patience, knowledge and time when piecing together an urtext that is true to the source and, hopefully, to the composers’ intentions as well. Proven specialists with extensive knowledge and experience edit our Le Luth Doré Urtext Editions in close cooperation with our Editorial Department.

Each verified musical text preserves the original fingerings and notation of ornamentation and, in the absence of original manuscript notations, also sets forth helpful suggestions by modern masters regarding useful fingerings and ornaments faithful to historical style, as a stimulus to further thought and a starting point for the student's approach to performance.

We are deeply grateful to all the extraordinary musicologists, music teachers and artists that put their knowledge and experience at our disposal for Le Luth Doré Urtext Editions.

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