Folia Da Espanha

8/13/2019 Folia Da Espanha

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MARIN MARAIS

Les Tableaux galants

Edited and Ornamented by Jennifer I. Paull

LES FOLIES DESPAGNE

Hautbois damour et basse continue

TG 010


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Marin Marais

(1656-1728)

Marin Marais can justly be considered the central figure of the French School ofbass viol performer-composers that burgeoned in Paris during the late XVII andearly XVIII centuries. He studied opera with Jean-Baptiste de Lully (1632 1687) and the viola da gamba with Monsieur (Jean) de Sainte-Colombe (ca.1640 - 1700). His virtuosity is said to have surpassed that of his celebratedmaster. In 1701 Marais composed Tombeau pour Monsieur de Sainte-Colombein homage.

Marais lived his entire life in Paris, for the most part in royal service. He wasfirst appointed Ordinaire de la musique de la chambre du roi in 1685 about thesame time that he became a member of the orchestra of the Acadmie royale demusique. He illumined the court of Louis XIV, continuing in his positionduring the regency of Philippe, duc dOrlans. The new (five-year-old) KingLouis XVs great-uncle retired from the position of Regent on the 15thofFebruary 1723, the date of Louis thirteenth birthday. Louis XV then assumedformal personal control of government. Marais remained in his court serviceuntil 1725.

We know little about the personal adult life of Marin Marais. He married aParisian, Catherine d'Amicourt, in 1676. They had nineteen children together,several of whom became important figures in French musical life.

Although most of his oeuvre was intended in the first instance for his owninstrument, Marais left four operas and much chamber music. He endeavouredto make his compositions playable by instruments other than his own, includingan oboe. At that time the meaning of oboe routinely implied a selection ofvariously pitched double reed instruments not simply the soprano oboe, whichsubsequently became the most familiar.

Jennifer Paull1997

!!!


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Les Folies dEspagne

Hautbois damour et basse continue

TG 010

Marais wrote five books of collective works containing over five hundred and fiftycompositions for one, two, and three bass viols with figured bass. He originallypublished all five books himself. These Pices de violerepresent an achievementof great compass and originality. Historically, they comprise the blossoming ofan established French musical tradition, the zenith of an art that had roots asfar back as the XVI century.

The second book of Pices de viole was published in 1701. It includes thevariations Les Folies dEspagne. In his foreword, Marais wrote:

At the time, the courts Bande de hautbois comprised an array of variouslypitched double reed instruments (including bassoons). When playing a solo work,as in this instance, the musician (according to Marais texts) was at liberty totranspose the themes and thus vary performance (ornamentation) appropriatelyfor the instrument of predilection.

The adaptation of these Variations is entirely my own, as are the directives Ihave chosen to give them. I was inspired by the extensive range of moods and

ambience within the work, each variation bringing a tableau to my mind. Iimagined these in the Rococo style of the period as Tableaux galants.I chose togive this as a title to the series of French Baroque music published by AmorisInternational.

After the death of Louis XIV (1715), the aristocrats of the French courtabandoned the grandeur of the Chteau de Versailles for the more intimatetownhouses of neighbouring Paris. Dressed in the most elegant of apparel theycould entertain and be entertained, flirt and improvise scenes from Italys

Commedia dellarte inside what became known as theFtes galantes.

These pieces are written in a different way to those of my first volume. Ihave taken great care to compose them in such a manner that they can beplayed by all kinds of instruments, amongst them organ, harpsichord, lute,violin and flute. I venture to declare that this plan has succeeded, since I

have played them out on both the latter instruments myself.


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"

!

Jean-Antoine Watteau (1684 1721) was perhaps the definitive painter of theRococo Age. He specifically created the fte galante style in art: an importantcomponent of this period, although the lush outdoor settings of fte galantepaintings were often inspired by earlier works; in particular, those from Venice

(Italian paintings of the XVI century) and the Netherlands (Dutch paintings ofthe XVII century). The focus of European Arts thus moved away from thehierarchical, regimented grandeur of the royal court towards an appreciation ofpersonal pleasures.

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 (circa1656-1708) in his book Principes trs facilespour 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 nuancesof ingalitand ornamentation will be moreeasily followed on my recording than by lengthy technical explanation on thispage.

In 2009 I re-edited my original versions for oboe damore and cor anglaisexpanding to four instruments of the Bande de hautbois (an instrumentalensemble originating at the Court of LouisVIX). I took this opportunity todevelop elements of ornamentation accordingly. The realisation by Christine

Sartoretti was based upon the composers original figured bass. Ian K. Harrishas revised this to include the modifications necessary for the key changes


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required by the instruments in this new edition. Les Folies dEspagne ispublished byAmoris Internationalin three transpositions for four instrumentsof theBande de hautbois.

It is within the style of the period to repeat the original Themaafter the finalvariation. I did not mark this inside the score, as it is optional. I recorded thework with thisreprise, as I find it adds a beautiful symmetry to its conclusion.

Jennifer Paull2009

!!!

Revised Edition 2009

Marin Marais TG 009Oboe & b.c.Marin Marais TG 010Oboe damore & b.c.Marin Marais TG 011 Cor anglais & b.c.Marin Marais TG 012Bassoon & b.c.

Les Folies dEspagneis recorded by

Jennifer Paull, Oboe damore,Christine Sartoretti, Harpsichord

Stefano Canuti, Bassoon

( SC VI )

Les Tableaux galants published by Amoris International include

La Gracieuse Caix dHervelois TG 001Oboe & b.c.

Caix dHervelois TG 002Oboe damore & b.c.Caix dHervelois TG 003Cor anglais & b.c.Caix dHervelois TG 004Bassoon & b.c.

Les VendengeusesCaix dHervelois TG 005Oboe & b.c.Caix dHervelois TG 006Oboe damore & b.c.Caix dHervelois TG 007Cor anglais & b.cCaix dHervelois TG 008Basson & b.c.

www.amoris.com


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www.amoris.com


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In loving memory of Paul Peter Paull

LES FOLIES D'ESPAGNE

Marin Marais (1680 - 1760)

Realisation: Christine Sartoretti

Revised Ian K. Harris 2009

Edited: Jennifer I. Paull

Revised 2009

Thema

I tempi e le dinamica seguono il senso dei direttivi

Copyright Amoris International www.amoris.com

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12

AI TG 010

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XXVIII

XXIX


51/62


52/62

? # 43

noble, gracieuse (noble, graceful)

? #6

? #12

y .

? # 8617

..

belle mais triste

(beautiful but sad) .. .

.

? #22

.

J .

. ..

..

? #28

. . ..

J J .

? # 4333

ingal

doucement provocatrice(gently provocative)

y

? #41

y .

AI TG 010

1

I

II

Thema

I tempi e le dinamica seguonoil senso dei direttivi.

In loving memory of Paul Peter Paull

LES FOLIES D'ESPAGNE

Basso Continuo

Realisation: Christine Sartoretti

Revised Ian K. Harris 2009

Marin Marais (1680 - 1760)

Edited: Jennifer I. Paull

Revised 2009

Copyright Amoris Internationalwww.amoris.com


53/62

? #

4

349

.

avec chagrin( with grief)

#

.

J .

? #55

. J . . #

? #60 .

J .

.j

.

J

.

? # 4365

. .

en soupirant(sighing )

. . . .

? #69 . . .

. .J

R

. . .

? #73

. .

. . . .

? #77

.

J

R. .

.MI

? # 4381

en portant un fardeau(carrying a burden )

? #86

r

r R

? #92

r

r .

2

AI TG 010

III

IV

V


54/62

? # 4397

. .

une danse lgante(an elegant dance )

. # .#

.m . .

? #~103

j #

. .

. . . . # .#

? #107

.

. .

m

y .

MI

? # 43113

une danse aves des rvrences(a dance with curtsies )

.j

R . .

J R

.

? # 86118

.m

.

M

.

. . . . .

? # 43124

. . . . . . y .

? # 43129

lgante, positive, fire(elegant, positive, proud )

y

? #134

y

y

y

? #139

y

.

3

AI TG 010

VI

VII

VIII


55/62

? #

4

3

8

6

4

3

8

6145

ingal

sduisante, captivante( with winsome coquetry )

#

? # 86 43 86 43 86150

#

? # 86 43 86 43156

gal .

Jingal

.

? # 43161

nostalgique avec mal du pays(nostalgic, homesick )

.

j

? #166

? #172

. . . . .

y .

? # 43 86 43 86177

. . . .

sur la pointe des pieds avec espiglerie(on tiptoe, cheekily )

. .

. . . .y

. . . . . . .

.. . . . . .

? # 86 43 86 43182

..

. . . . . .

. . #.

.

. . . . . .

. . . .y

? # 86 43 86 43

187

. . . . . .

. . . J. .

J. .

.

.

4

AI TG 010

IX

X

XI


56/62

? #

4

3193

ingal

dramatique, en suppliant(dramatic, pleading)

# #

? #198

# y

# #

? #203

.

? # 86209

M

# j# a .

#

avec intrigue(with intrigue)

#M

# j

.#

M

# j

.#

m

j

.

? #213

m j

.m

j

.

m

j

. #M

j

j.

# #

j #

? # 43 86 43218

# # . .

? # 43221

j

. .

j. .

j

. . y .

M#

? # 86 43 86 43~

225

#

avec regret( with regret )

j .

? # 86 43 86 43230

.J

m #

? # 43~

236

j .

.

5

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XII

XIII

XIV


57/62

? #

4

3241

. . . . . . . .

gal

les jacasses bavardent en cuchotant( the chattering gossips whisper together )

J. j

. . #.

#.. . . . .

y

. . . . . . . .

? #244

J. j

.. #

.... n...

........

..

..

......

... .........

? #248

...... #. #

.. .

. .

. .

y

. .

? #252

. .

. .

. J

. .

.

. .

y .

? # 43257

R

avec supplication(with supplication)

R

R

? #~263

R

.

M j . .

j

. . . . .J r

.

J

. ..

? #268

.

.j

R. . .

.j

R .

? # 43273

ingal

positivement(positively )

. # # .

j J

? #279

r

# # . # #

? #284 .

j

.

6

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XV

XVI

XVII


58/62

? #289

avec joie( with happiness )

.

# #

.

.

? #294

. # #

? #300

. .

.

? # 43305

avec conspiration( with conspiracy )

#

? #310

# #

#

? #316

y

.

? #

321

avec amour et sensualit( with love and sensualness )

j

y j

#

? #325

J

? #329

j

j

y j

#

? #333

y .

7

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XVIII

XIX

XX


59/62

? #

8

6337

.

J

ingal

avec une douce ironie( with gentle humour )

.# J . J

. J .

J

? #342

. J

. J

.

jy . J

.# j

. J

? # 43348

. J

. j

.

J

gal

y .

? # 43353

.

avec outrage( with outrage )

.

? #357 .

. . . # #

? #361

. .

. . .. . . .

. . . .

? #365

.

y .

? # 43 86369

ingal

avec rsignation devant l'inluctable( with resignation and inevitability )

? # 86 43374 .

gal

J j # #

? #379

. J

gal

.

8

AI TG 010

XXI

XXII

XXIII


60/62

? #

4

3385

# #

avec insolence( with insolence )

# #

? # 86388

.

. .

. .

.

.

. . .

. .

? # 43391

.

. .

.

.

. .

.

#. . . .

y # #

? # 86394

# #

? # 86 43397 .

. .

. .

.

.

. . .

. . .

.

#.

. ..

.

? # 43 86401

ingal

avec tendresse et sduction( with tenderness and seduction )

#

? # 86 43

405

.gal

.

.

ingal

? # 86409

#

? #

8

6413 .

gal

. . j

# # .

9

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XXIV

XXV


61/62


62/62

? #

8

9465

.

. .

dans les jardins minuit( in the gardens at midnight )

.

J .# #

. . . . .

J

? #469 .

.. .

. . ..

. .

. . . . . ..y

? #475

.. . .

. . . . . ..

. . .

. . .

? # 43481

. .

.autour du mange(riding around the mange ) #.

#. .

..

..

..

.

? #~~ ~~

486

..

j .

.

.

. ..

# # . . . .

#. j# . . . .

? #~~

492

..

..

..

.

j . .

. . .

? # 43497

en se pavanent firement la maison(proudly strutting home )

.

? # 86 43501

. J

y

11

XXIX

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XXXI

Folia Da Espanha

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