A Link Between Opera and Cantata in France Tonal Design in the Music of André Campra

8/11/2019 A Link Between Opera and Cantata in France Tonal Design in the Music of Andr Campra

1/17

A Link between Opera and Cantata in France: Tonal Design in the Music of Andr CampraAuthor(s): Greer GardenSource: Early Music, Vol. 21, No. 3, French Baroque II (Aug., 1993), pp. 397-412Published by: Oxford University PressStable URL: http://www.jstor.org/stable/3128291.

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2/17

Greer

Garden

l i n k

e tween

o p e r a

n d

c a n t a t a

i n

F r a n c e

t o n a l

d e s i g n

i n

t h m u s i c

o

n d r e

C a m p r a

Campra's

antatas

have been shown

to

display

he influ-

ence of the French

yric

heatremore than those of

any

of

his

colleagues.Althougheveryone

drew

iberally

on Lul-

ly's

dance

rhythms

and

evocative

movement-types,

notably

the

sommeil

(sleep

scene)

and the

tempite

(storm scene),

a

majority

of

composers

focused on

lyri-

cism after the model of the Italian

cantata,

with

its

extendedda

capo

airs.

Campra

tandsout for

keeping

his

airs

relatively

hort,

and

for the

expressive

weight

and

dramatic

emphasis

he

placed

on recitative.

If

Campra'sharmony

contains Italian

traits,

their

presence

s discreet.While chromaticnotes more often

than

not make his

harmony

directional,

hey

are

never

used to excessand

always

relate o the

words.'When one

turns to his

large-scale

onal

designs,

unexplored

until

now,

it becomes

apparent

hat

Lully's

nfluence s as

pre-

ponderant

in

Campra's

cantatas as it

had

been

in

his

stage

music.

We

shall see

that,

far

from

being

an abstract

featureof

composition, Campra's eyplans

add

another

dimension to the

'theatricality'

f his

cantatas.

In

his

critique

of Bononcini'scantata

tyle

(levelled

at

promotersof Italianmusicin France)Le Cerf de laVie-

ville

singled

out one work on account of

its

key

sequence:

...

pouvez-vous

vous

dispenser

de

comprendre

es choses

pour

l'intelligence esquelles

l

nefaut que

le

simple

enscommun?La

cedlbre

Cantate

quando

ridi,

ou un amant se meurt

pour

une

belle bouche?

a

quatre

morceaux,

quatre

airs,

de

quatre

modes

diffdrens;

haque

air

est encore

semd

de notes

qui

sortentde son

mode,

& le

mode

pretendu

de cette

piece,

celui en

quoi

elle com-

mence&

ellefinit,

estcelui

qui

regne

e

moins:

lle

passe

d'un air

a

l'autre

mme'diatement

'E

i mibemol enEsi mi

naturel,

ce

qui

est une chose

noiiie

.

..

...

can

you

excuse

yourselves rom comprehendingmatters

which anbe

understood

yplain

ommon

ense?

he amous

cantata

Quando

idi,

n

which

lover laims e is

dying

or he

sakeof a beautiful

mouth? our

pieces,

ourairs

n

fourdiffer-

ent

keys;

ach

air,moreover,

s strewnwithnotes hat

go

outof

the

key,

and

he so-called

ey

of the

work,

he one

in

which t

begins

and

ends,

s

the one that

prevails

east;

he work

goes

directly

rom nair

n

Eb

major

o another

n E

[minor],

which

is unheard f...

?P~

,.?j~

~? *~ '.1

\ h\ ~hs~C~E~:: :C.

:~:':

,,

4~`

: pc;lllaf;el ~6,

r

.1

G

i ": ? E: i

t~ ~?.:.-~~

1,

~ IRy

\i

1

Andre

Campra;

ngraving

romTiton

du

Tillet,

Le Par-

nasse

francois

1732)

Le Cerfwas

rightly

aken

to task for his selectivecriti-

cisms of

Bononcini,-

but

the tonal

oddness

of

Quando

ridi4

s

by

no means

exceptional

n

Italianmusic of the

period. Many

Italian

cantatas,

notably

those of Handel

and of

the mature

Scarlatti,

are

prodigal

n

their

use

of

different

keys,'

and tonal

unity

is not a concernof Italian

opera.

Even Bononcini

provides

a

further

example.

The

17

arias of his serenata

La

nemica

d'amore

atta

amante

(1693)6

are set in nine

different

keys

which occur

in

apparently

andom

succession;

an aria

in B

minor

pre-

cedes

a

duet

in

Bb

major. Keys

n

arias are reached

n

'linear' ashionvia logicallyconducted but meandering

modulations

in

the recitatives.

Variety

was

the com-

poser's

aim,

for the initial

key

recurs

only

once.7

No Frenchcantatasare as

tonallywayward,although

the

keys

chosen

for the

principal

movements

n

the

first

book

(1706)

of

Jean-Baptiste

tuck,

one of the

pioneers

of the

genre,

and who

claimed

n

his

preface imply

o be

joining

French

words to

Italian

music,

hint at

a

similar

EARLY MUSIC AUGUST

1993 397

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3/17

Table

1

Jean-Baptiste

Stuck,

Cantates

franpoises

(1706)

Cantata

Keys*

Philomele

(e-G/V)

G

(D-G)

C

(a)-e

L'amant

mpatient

(a-C)

C

(G-d) Bb

(C-d; a-F/V)

a

L'amant

econcilid

(Bb-d)

Bb

(c-d;

D; a-d;

F-C)

C;

Bb

Contre

'ambition

(b)

b

(G)

D

(D)

b

Le

calme

de

la nuit

(g-d;

F)

Bb

(g-a)

C

L'Aurore

t

CUphale

(c)

c

(c-g)

F

(d-a)

c

*Upper-case

etters indicate

major keys;

lower-case,

minor.

Recitativesand

ariosos

appear

n

parentheses;

hese

begin

and

end

in

the

keys

specified.

Semicolons

delineateself-contained

sections

or

movements. Other

keys

cited are those of airs.

Table

2

Andre

Campra,

Cantates

franpoises

(1708)

Cantata

Keys

Hibe

(g)

g

(Bb;

d-g)

G

(C-G)

g

L'heureux

aloux

(F)

F

(d-a)

d;

d

(Bb-F)

f

(f; F)

F

Didon

(D)

D

(D)

d

(D)

D

(b-f

)

b

(b; D)

D

(d)

Daphne

(A)

A

(D-A)

D

(d)

d

(a;

a;

a)

A

Arion

e

(e-G)

e

(a-E/V;

E;

c?-E)

E

(e-b; G-e)

Les

emmes

(A)

A;

a

(A)

ft;

A

(A)

approach

(table i).

Instances where

the first air is not in

the

principal key

are

frequent

in

Bononcini

and

Scar-

latti8

but are

infrequent

in cantatas

composed

by

Frenchmen.

The key schemes in Campra's first book (1708) display

a

very

different

aesthetic

(table 2).

Contrasts of

major

and

minor

keys

with the same

root,

found but once

in

Stuck's

first

book,

are characteristic.

Secondary

tonics

are limited almost

entirely

to the relative and subdomi-

nant.

Campra,

whose

expressed

aim was to

combine

French musical

expression

with

Italian

liveliness,'

was

perhaps

copying

the

acknowledged pioneer

of the

French

cantata,

Jean-Baptiste

Morin: four of the 12

works

in Morin's first two collections

(1706, 1707)

intro-

duce

only

a

change

of mode

from

air

to

air

by way

of

contrast,

and

in

the others

the

only

secondary keys

used

in principal movements are the relative, IV and V. But as

Morin was an

otherwise

obscure

figure

it

is

more

likely

that

Campra

was

pursuing

his own

ideals,

themselves

anchored

in

Lullian tradition.

It was the

economy

of his tonal

designs

that convin-

ced Le

Cerf

of

Lully's

'fertility',

as

opposed

to

the

'steril-

ity'

of Italian

composers:

[LesItaliens]

ne

peuvent

aire

deux

mesures

de

chant,

qu'ils

ne

changent

de

ton,

&

que [Lully] ait

cesScenes

outesentieres ans

en

changer.

Quand

e

voi

ces

bellesScenes

d'Armide,

ou

de

The-

see,

rouler

touijours

merveilles,

&

d'un air

plein,

aise,

sur le

meme

ton,

e

ne

puis

m'emp&cher

e

m'&crier:

avoit-il tant

de

belleschosesdans

ce

ton seul?

Voila

un

genie

qui

produit

mer-

veilleusement,

l tireroitd'un

seul

ton de

quoi

aire

tout

l'Opera.'

Italianscannot write two bars of

song

without

changing key,

yet Lully

writes whole scenes

without

doing

so.

When I

see

those

beautiful cenesin Armide

or

Thesee oll on

wonderfully

with

an air of

fullness and ease in

the

same

key,

I

cannot

help

exclaiming:

how could that

single key

contain

so

many lovely

things?

There

goes

a

genius

who works

miracles;

rom a

single

key

he'd

extract

enough

to

write the whole

Opera.

His

claim

on

Lully's

behalf was not

wholly exaggerated.

If

one views

modulations within movements as

tran-

sitory,

he

did

indeed write whole scenes

in

one

key.

And,

if one

takes

major

and minor

keys

with the same

root

to

be

dual

facets of

a

single tonality,

this often extends

to a

series of

adjacent

scenes.

As

Le

Cerf's use

of the terms

ton and mode is somewhat confused' this was perhaps

exactly

what

he

had in

mind;

certainly

his

contemporary

Michel de Saint Lambert was

employing

ton

in the

sense

Table

3

Andre

Campra,

IHsione

(1700)

Act Scene

Keys

Prologue

1

g-G-g

2

G-g

1 1

g-G-e

2-3

e

4

A-a-A-a-C-a-A-a-A

2 1 d

2

D

3

b-G

4

G-g

5

g-G

6

g

3 1

e

2 E

3 e

4 a-F

5

F

4 1 d

2 D-d-D-d

3

d-Bb

4

Bb

5

1

g

2

G-g-G

3

D-d

4 D

5

D-d

398

EARLY

MUSIC AUGUST

1993



4/17

of a tonic

upon

which one could

build a

piece

that was

n

either the

major

or minor mode."

Le

Cerf's remarksare

equally

valid for

Campra's

he-

atrical

music. The

following

summary

is based on a

study

of

his

original

ballets"

and

tragedies

n

musique4

written for the Academie

Royale

de

Musique

before

he

produced

any

cantatas.

The key plan of Campra'sfirst tragedie,Hesione

(1700),

exemplifies

his own

typically

economic

tonal

designs

(table

3).

Eachact or

entr&e

s built

upon

four

or

five tonalities at the

most,

often fewer.

Keys

cited are

those of the

principal

movements

(airs,

dances,

choruses)

n

each scene. Recitatives

merely

reinforce

he

prevailing

onality

since

they

almost

alwaysbegin

and

end

in its tonic.

(A

few

exceptions

exist

in

soliloquies

or

in

dramatic

dialogue,

but

even these are conservative:

n

unusual

ending

comprises

a close

in the relative or

dominant )"

Prologues

and divertissementsnd

in the

initial

key,

but

only

in

L'Europegalante,

Arethuse,

and

Tancrede oes the

finalact

end

in the same

tonality

as the

Prologue.

Given the closeness

of

the

key

relationships,

hanges

of tonic

are

often

scarcelyperceptible.

Francois

Rague-

net's

description

of the

way

the

typical

Frenchair modu-

lated

(which

sparked

Le Cerf's

comments about

Lully's

tonal

economy) applies equally

well to

many

of the

large-scale

hifts of

tonal

centre

in

Campra's peras

and

ballets:

Les

Francois,

dans esAirs

qu'ils ont,

cherchent

ar-tout

e

doux,

lefacile,

ce

qui

coule,

ce

qui

se

lie;

tout

y

est sur

e meme

on;

ou si

quelquefois

n en

change,

on le

fait

avec des

prdparations

& des

adoucissemens

ui

rendent

'Air

aussinaturel& aussisuivi

que

si

l'on

n'en

changeoit oint

du

tout ..

.,6

In the airs

hey

compose

he French

lways

ook forwhat s

sweet,

asy

and

lowing,

nd orwhat ollows n

readily;

very-

thing

s

in

thesame

key,

r

f

they hange

t

sometimes,

hey

do

it with

preparations

nd

softenings

whichrender he

air as

natural ndas continuous s

f

therewereno

change

t all

...

Sudden

shifts from a

major

o a minor

key

or vice

versa,

on the other

hand,

are

readily

apparent

o

the

ear.

These

are endemic within

Campra's

main tonalities

(A,

C, D,

G, and to a lesserextent, E;with shifts to IV or V of the

preceding key,

major

and minor modes are inter-

changeable).

In

divertissements,

lthough

it is

possible

that

they

reflected

the

spectacle

in

some

way

when

dances

were

characterized,'7

arge-scale key-changes

seem to have

been

brought

n

mainly

or the sakeof musical

variety.

n

action

scenes,

on the other

hand,

they

serve a

dramatic

.,.

...:"

..;2,

1T

._.. __.

..

.

.

.

.

.

.

.:,

- ., ,..

:,.

.. . _ .. .

.?

" -., .

2

TheSultan ndhis

seraglio,

scene rom

Campra's

pera-

ballet

L'Europe alante

(1697);

engraving

n the libretto

purposeby

helping

to

emphasize

he

start

of a new

epi-

sode or a

change

in

dramatic

pace

(for

example

when a

recitative

ives

way

o a brief

air).

An

important

unction

of

major-minor

contrasts

in

particular

s to underline

that

essential

preoccupation

of the

lyric

theatre,

emo-

tional

conflict-whether

this is

internal

(as

in the soli-

loquy) or takingplacebetweentwo characters.'8mple

precedent

can

be found

in

Lully.'9

The French theorists'

suggestion

that

minor modes

were

apt

to

express

sadness,

and

major,

more

positive

emotions2o

is by no means borne out simplistically.This

is inevitable

in

dialogue,

when

different emotions are

encompassed

rapidly.

Frequently

t is the fact that

the

mode

is

abruptly hanged,

not its

major

or minor

qual-

EARLY MUSIC

AUGUST

1993

399



5/17

Ex.i

Alcine,

Act

3,

scene

5

Violons

4-o

[Athlant]

En

cou

-

ron

-

nant

les

voeux

d'un

v6

- ri

-

table

A

- mant,

Vous

pu

-

ni -

M61anie

I

r

,.)

I

k

,

h

I

,,+

L'A-mant vo

-

la - ge h

-

las qui

l'au-roit soup-gon - n6

rez l'A-mant vo

-

la

I

e.

6

6

rez lPA-mant vo

-

la

-

ge.

6

6

ity,

which underscores he words.

For

example

n

Alcine,

Act

3,

scenes

4-5,

as Melanie

pines

for

Astolphe,

who has

fallen victim to Alcine's desires

(E minor),

Alcine's

spurned

lover Athlant

attempts

to console Melanie

by

proposingvengeance

E

major);

as

the

scene

continues

E

minor becomes

'Athlant's

key'

as he declares he loves

Melanie and

suggests

hat

her

'fickle over'

can

be

puni-

shed

if

she will love

him in

return.

As Melanie thinks

sadly

of her

'fickle

over'

the music

reverts o

E

major

(ex.1).

The most unusualtypeof key changewhichis a reg-

ular

ingredient

of

Campra's

onal architecture

s

to be

found

in

one context

only.

Meant to be

striking,

it

is

reserved to

depict

magic

or the

supernatural,

both

within the

action when

magicpowers

are

exercised,

and

also

between

acts to

help

set such

scenes. Here

Campra

made

a

special

feature

of a formula

Lully

used on occa-

sion:

the

magic/supernatural

music

is almost

always

et

in

the

key

of

VI

in

relation

o a

preceding

minor

key."1

t

occurs

n

Hisione,

Act

2,

scene

3,

Act

3,

scene

4,

and

Act

4,

scene

3,

as Venus

repeatedly

ries to

place

Anchises,

with

whom

she is

unrequitedly

n

love,

under

her

spell.

It

serves n Alcinewhen the scene changesbetween Acts3

and

4

to

depict

Alcine's

magic

cave

(E

minor-C

major),

and

again

in

Act

4,

scenes

4-5,

as

Alcine

summons

a

troupe

of wizards

o

kill Melanie

(A

minor-F

major.)22

However,

n

Alcine,

Act

5,

scenes

2-3,

with the

entry

of

Melissa,

the

deus

ex

machina

whose

magic power

is

greater

han

Alcina's,

and who rescues

the

lovers Asto-

phus

and Melanie in the

nick

of

time,

an

exceptional

progression

is used-D

major

to

F

major.

No

special

tonal

provision

s

made

for the exit from scenes

such as

these.

Just

as the

Baroque

composer

relied

on

the

open-

ing

phrase

o

establish

he affect

of

a

given

movement,

so

it

is

only

the

start

of

the

magic episode

that receives

special

musical attention.

Tonal

transitions

employed

in

Campra's

overall

key

designs

are of course

passing

harmonies writ

large.

Major-minor

contrasts

are

a favourite resource

for

colouring

ndividual

words,

especially

n

recitative.

n the

musicaldiscourse he 'magic'progression erves o sym-

bolize

portentous

moments

of

variouskinds.

At this level

the

firstof the two chords

s

often

chordV of a minor

key,

rather

han chord I.

The

denouement

of

Tancrnde

con-

tains three

examples,

ach

of which

accompanies

n allu-

sion to Clorinda's

ate.

In

Act

5,

scene

2,

Tancred

s

recounting

his victoriouscombat

with

a

Saracen

whom

we

know to have been

Clorinda).

At

his

words

'In the

horrorof the

night

a fearsomewarrior

ame

forth'

there

is a

transition

rom

a chord of

A

to

a chord of

F,

accom-

panied

n

the bass

ine

by

a

characteristic

lurry

of

upbeat

semiquavers

(ex.2).

The same

progression

recurs,

undecorated,n Act5, scene4, as his enemyArgant ells

Tancred that death

has

closed

Clorinda's

eyes

(D

minor-Bb

major),

(ex.3).23

ancred's ecitative

She s no

more '

(A

major),

which

concludes

the

opera, portrays

his devastation

with the

simplest

of

musical means.

Its

most

poignant

moment

is the

reprise

of

the

opening

ine,

'She

s no

more ',

ffected,

after

a

modulation

o the

rela-

tive,

via chord

V

in

F4

minor to

chord

I in A

major.24

400

EARLY MUSIC AUGUST

1993



6/17

If in action scenes the

surprise

of

key

change

often

plays

a

greater

role

in

underlining

the words than the

actual

keys

chosen,

Campra

nonetheless conformed

to

Lully's

usage-and

the theorists'

recommendations"2

-in

reserving

keys

with

more than

one accidental

(other

than

D

major

and

Bb

major)

for moments

of

heightened

emotion.

C minor

usually

served to

depict

grief and lamenting (but neither composer adhered

strictly

to this

notion).

Much

rarer are

F minor and

especially

Bb

minor,

deemed

respectively

o

be

'gloomy

and

plaintive'

and

'gloomy

and terrible'.

Campra

uses

eachonce

only-F

minor

in

a scene

describing

death

in

'La

rag

die' LesMuses

1703)

and

Bb

minor

in

his ballet

Arethuse

1701)

o evoke the Underworld.

They

are

not

found

in other contexts

except

in

passing

modulation.

Perhaps

under Italian nfluence

Campra

ent other ittle-

used

keys

symbolic

associations too:

Charpentier's

description

of

B minor and

E

major respectively

as

'lonely

and melancholic'

and

'quarrelsome

and clam-

orous'26

comes

close to their ethos in

Campra's

music.

With

Campra

B

minor,

servingonly

four times as a main

key,

alwaysappears

n a

soliloquy,

and

in

the

context of

unhappy

ove.27

Beginning

with

'La

Turquie'

n

L'Europe

galante,

n which he set out to

portray

as

far as was

poss-

ible

on

the

stage

..

the

passionate

nature

of

Sultanas',8

he associated

E

major

with the emotion

of

jealousy

on

four

of the six

occasions he

employed it."9

Apart

rom the otherwise

unknown M. de

Navarre'who

provided

he text

of

Didon,

he cantatas

n

Campra's

irst

book

were written

by

the best

opera

librettists

of

the

day-Antoine

Danchet

(nos. 1-2)

and

Pierre-Charles

Roy

(nos.

4-6).

Although

all are

for

solo voice we are

drawn nto a quasi-theatricalxperience.Narrativepor-

tions describe

action,

and evoke

visual effects

remi-

niscent

of

the theatre.

Direct

speech

has

that

personal

quality

Jean-Jacques

ousseau ater

recognized

as

being

intrinsic to the best cantatas.3"

very

piece

displays

the

classic

phases

of

preparation,

crisis and

denouement;

thanks o the skill of

Campra's oets

a final return o the

original

tonality

(if

not

key)

is

dramatically

lausible

as

well as

musically

satisfying.

n

three

works

(nos.

3,

5,

6)

their solution

lay

in

finishing

with

recitative,

ather han

with the

customarymoralizing

air.

Remote or

unusual

keys

are

still featured

only

at

extraordinary

moments, but,

apart

from B

minor,

not

necessarily

with the same associationsas before. L'heu-

reuxjaloux

has a

'jealousy'

irand

lengthy

recitative

with

modulations

only

to flat

keys

(movements

7-8)

in

F

minor,

which transformsa

lover'stiff into a miniature

tragedy.Being

aware of

the

operatic

associations of F

minor,

the

singer

can

dramatize he

episode

accordingly.

Ex.2

Tancrede,

Act

5,

scene 2

[Tancride]

[mal-]

heur,

Mais

l'ar-

deur

d'im

-

mo

-

ler

un Ri - val

que

j'ab

- hor -

re,

A seule

A

e

Com-

bat ra - ni - md ma va

-

leur

Dans or

reurde la nuitn Guerrier edou

ta

ble,

Ex.3

Tancr'de,

Act

5,

scene

4

[Argant]

Va,

g

-

n-

reux

Guer

-

rier

jou

-

ir

de

ta vic - toi -

re,

Une

-

ter

nel

-

le

nuit vient

de fer

-

mer ses

yeux

[66]

7

6 7 6

EARLY

MUSIC AUGUST

1993 401



7/17

E CARNAVAZI F VEINIS ',

?

-"

:':"

'c

----"

..-

-

"

At

". r

'el

7-i

Flb

L ?

3

Venetian

evellers,

scene rom

Campra's

pdra-ballet

e

carnaval e Venise

1699);

ngraving

n

the libretto

A

novelty

is

F4

minor,

rare

enough

to

be

absent from

every

theorist's

ist,

and which

Campra

had used before

only

in

passing

modulations.It is featured

n

a beautiful

sommeil

n

Les

emmes.

With

the

partial

exception

of Didon and

Les

emmes,

which dwell on the protagonist'sunstable emotions in

the manner of a theatrical

oliloquy,

t is dramatic

epi-

sodes rather than

specific

movements that are set

in

relief

through

well timed

key

changes,

as in

Campra's

stage

action scenes.

Bearing

this

in

mind can

help

to

bring

cantata

performances

o

life,

for it

liberates

one

from

seeing

a cantataas a mere successionof recitatives

and airs.

Quite

often the

composer

himself

assists the

process

by

separating

movements with

single,

rather

than

double barlines.

Prompted

no doubt

by

Danchet's

keeping

to

a

single

mood

in each

episode, Campra's

arge-scale

onal

con-

trasts

are

sharpest

in

Hibd.

A

narrator/protagonist

implores

Wisdom

to be less harsh

on

young

people:

is

not

'plucking

the

day'

itself wisdom?

(movements

1-4:

Recitatifmesurd,Air, Recitatif,Lentement).'The main

key

is

G

minor,

and

ancillarykeys

touched

upon

are

without

exception

lat

keys.

A

divertissement-likeection

follows

in

which

H6b6 makes

a cameo

'appearance'

o

offer advice

in an

attractive

rondeau,

'Give the

Spring-

time of

your

life to

pleasure

and

love'.

The narrator

responds eagerly:

Let

us crown our heads with these

flowers'

(movements

5-6:

Air,

Recitatif-[Recitatif

mes-

urd]).

All

the

music

in

this

portion

of the cantata

s set

in

G

major.Confirming

he mood of

gaiety,passing

modu-

lations are confined to

sharp keys.

Then

suddenly

the

scene vanishes

in

mid-recitative

(movement 6)

as

if

effected

by stage

machinery:

'Heavens What fatal

change

s this

In

a flashall

has

disappeared',

s the narra-

tor realizes t

was

only

a vision of his

youth,

now

past

(ex.4).

The

upset

of the moment

is

aptly

ranslated

n

the

music

by

a sudden

shift

to

A

minor,

leading through

various

keys

to

a final cadence

on

a G

minor

chord,

which is also

the tonic of the

final

movement,

an ariette

containing

a moral that

recaptures

he

nostalgia

of the

opening

movements: Love

ike a beautifuldream fades

when

youth

is

past'.

In

L'heureux

aloux, Daphne

and

Arion

each

episode

contains several emotional nuances. The best of the

three is

Arion,

composed

for

soprano,

flute

and con-

tinuo.

Roy

sketches an

idyllic

portrait

of the

fabled

singer's

musical

powers

and

triumphal

return

to his

native land

in

movements

1-3

([Air]-Recitatif-Ariette),

all of which is

in

E

minor.

In

movement

4

(Recitatif)

a

cross-play

between

chords of

E

major

and

E

minor fos-

ters an

atmosphere

of

uncertainty

as

the narratorwarns

Arion

that evil

plans

areafoot

(ex.5).

The

build-up

to the

crisis,

comprising

a

description

of Avarice

a

kind

ofjeal-

ousy)

as a

metaphorical

monster,

Arion's

acceptance

that

he is to die at the hands of

sailors who covet

his

riches,and his swansong, s in Emajor(movements5-7:

Vivement-Recitatif-Air).

s the sailors

cast

Arion

over-

board

the

music reverts o

E

minor,

again

made

piquant

with

major

chords

underlying

motive

words,

and there

is a modulation o

B

minor.When the narrator ntimates

that

help

is at

hand,

chord I in B minor mutates nto

16

in

G

major

(movements 8-9:

R&citatif-Mesurd

t

Ligbre-

ment).

In condensed orm this is the

'magic'progression

402

EARLY

MUSIC AUGUST

1993



8/17

Ex.4

Hibe.,

movement

6,

bars

10-21

De ces fleurs cou

-

ron - nons nos t&

-

tes,

Ri -

ons,

chan

-

tons,

ai

-

mons,

Ri

-

ons,

chan -

tons,

ai

-

"I,

II

.-

6 7

6 6 6

6

mons,

et

c6

-

16

brons,

c

-

1

-

brons,

c6

-

16

brons ces

f&

-

tes.

Hd -

tons

nous...

[

]01

6 4

0

[6]

Lentement.

Mais,

6

Ciel

quel

fa

-

tal chan-

ge

-

ment Tout dis

-

pa

-

roit en

un mo -

.f

4

ment. Un

tri

-

ste

sou

-

ve

-

nir

est

tout

ce

qui

me re

-

ste;

SI

-

-

I

i

S06

6

t

4

-53

3

3

Ex.5

Arion,

movement

4-movement

5,

bar

3

Mais,

dans un

tems

calme

et

pai

-

si

-

ble,

Que

de

coeurs

en se

-

cret

trou

-

blez

Quel

des

-

6

[6]

4

EARLY

MUSIC

AUGUST

1993

403



9/17

Ex.6

Arion,

movement

8,

bars

7-18

Mesurd t

L4gerement.

U

.I

i I I I

I

[for-]

faits,

sa vie et

ses dou

-

leurs.

Non,

A

-

ri-

on,

es

-

p

-

re...

ad

-

mi-

re,

Les Dieux

pren

-

nent

6

4

6

soin

de ton

sort;

Un Dau

phin

at

-

ti

-

r

par

ta

Voix

et ta

Ly

-

re,

A

-

I

.

II

4 7 [6]

"6

1

,

7

1

4

l+

pro

-

che,

te

re

-

qoit,

et ce

vi

-

vant

Na

- vi-

re

Te rend au Port.

[61

7

4

of Campra's tagemusic.32As the Dolphin approaches,

summoned

by

Arion's

song,

the

suspense

s maintained

almost to the last

by

means of

secondary

dominants.

Only

in the final bar is there

anothercadence

on

to

an

E

minor

chord

(ex.6).

Didon,

written or

soprano,

lute,

two violins and con-

tinuo,

is the earliestof five

settings

of the

legend

in

the

French cantata

repertory.33

ombining

narrative and

soliloquy

n its

portrayal

f a

genuinely ragic

character's

inner

turmoil,

Didon comes closest of all

Campra's

an-

tatas o the emotionalcore of French

opera.

The extreme

economy

of its overall

key

plan,

echoed

in

the har-

monies, stronglyreinforces his impression.

Segments

n

D

major

and

B

minor accord with

epi-

sodes of the drama as this

unfolds,

but two isolated D

minor movements underscoreDido's

anguish

at

being

betrayed.

The narrator ells first of the

uproar

in

Car-

thage

at the news that Aeneas s

preparing

o

depart,

and

deplores

Dido's

coming

fate:

why

does

a

loved

one so

soon

become

fickle

(movements

1-3:

Recitatif-Air-Ric-

itatif: D major)? Dido is presented, distraught;her

appeals

to Aeneas

swing

from tearful

reproach

to

despair,

then

fury:

'Let

the unchained

winds,

let the

angry

waves,

whose

fury

heralds

shipwreck,

do

to

your

heart what

my

love could not'

(movements 4-6:

A,

D

minor;

Recitatif

'Fort vite': D

major).

B

minor,

Cam-

pra's

key

of

unhappy

ove,

serves

or the

quasi-dialogue

in which

Dido

begs

Aeneas to

stay,

his reluctant

depar-

ture

at

the

bidding

of the

gods,

and her vain

plea

that he

returnto her

(movements7-9a).

The cantata

ends

with

Dido still

speaking

n

the first

person.

She

implores

the

gods

for

vengeance

n

an extendedda

capo

air,

with

nine

key-changesthe work's musical and dramatic climax

(movements

9b-1o:

Recitatif

Air:

D

major).

In the final

movement

simple

violin

accompaniment,

the minor

mode and

plain

harmonies-one

key

other than the

tonic is once

fleetingly

ouched

upon-provide

a

fitting

musical

parallel

o Dido's end

(Ricitatif.

D

minor).

Two features

ancillary

o his tonal architecture

attest

Campra's

ability

to reconcile musical

unity

with dra-

404

EARLY MUSIC

AUGUST

1993



10/17

matic

purpose.

First,

tonally

matchedmovements are

more

often

than not interlinked

by

their

open-

ing

motifs,

which are chordal or

linear,

following

the nature

of

the

affectand the

rhythms

of the

text. Of

the

49

movements that make

up

the

collectionof 1708,35 are connected

by incipit

to at

least one other

in

the

same

tonality.

Characteristic

in

Campra's

divertissements

s

well

as

those of

Lully

before

him,

they

link

dances to airs and

even choruses.34

He

transferred he

technique

to

his

petits

motets,35

nd

then to his can-

tatas.

Ex.7

shows

that

each

episode

of Didon s set in

relief

by

virtue

of its

themes,

and

that

Campra

hought

of

the

D

minor

movements as

a

pair.

Second, in Arionthe three main

movements

(E

minor-E minor-E

major)

are

interconnected

by

means

of similar

figuration,

as well

as

by

tonality,

instrumentation

(all

have

flute

obbligatos)

and

opening

motives.

Precedentfor this is to be

found in

Campra's

petits

motets

rather than in his

stage

music.

All

three airs

in

Psalm

cxlviii,

Laudate

Dominumde

caelis

(book

2)

enjoin

the faithfulto praiseGod. Eachone

is

in

Bb,

is

in

triple

metre

marked

'Gay'

and has

running

quavers

n the

accompaniment.

Psalm

xcii,

Domi-

nus

regnavit

(book

3:

four

move-

ments in

D

major)

is

similarly

conceived.

The

musical coherence

produced

by

the

same

techniques

in

Arion

is

rare

n

the

cantata,

or

its

composers

generally ielded

to

Italian nfluence

in

seeking

vivid

contrasts

between

movements. While the tale unfolds

theatrically

s we have

seen,

Roy

also

conceived

Arion

as a

paean

to the

power

of Music. Movement

1

apos-

trophizes

Music:

'Lovely

Enchant-

ress,

Cupid's

daughter,

sweet

Mistress of our

pastimes,

what can

your

aid not

accomplish?'36

Move-

Ex.7

Didon,

ncipits

Movement

Quel

tu

-

mul

-

te

quel

bruit

s'6

-

1

-

ve

Lentement

t

pique.

Suf- fit - il

d'8-tre

A - mant ai

-

mb,

Pour de-ve-nir vo

[lage]

Mais,

j'a

-

per

-

oy

Di

-

don

qui

suit cet

In-

con

-

stant

Gravement.

4

f1

L

I

"

,

Cru

-

el,

tu

croy

-

ois me trom

-

per

+ +

i

=

,

.

I

=

. .

.

.

Ah

du

moins,

si mes

pleurs

ne

peu

- vent

t'6

- mou -

voir

Fort vite

6

ORFY

Que

les vents d6

-

cha^mn

ez

En

-

6e,

A ce ten

-

dre dis

-

cours,

sent

ral

-

lu

-

mer sa

fla

-

me

En ce mo

-

ment

il

part,

il

vo

le

,I,

I

Ii

; r

I

r"t

V

'

Di

-

don,

a

-

vec

trans

-

port,

le

suit

jus

-

qu'au

ri

-

va

-

ge

9b

A

Pour

-

sui

Cru

-

el,

pour

-

sui ton

fu

-

ne

-

ste des

-

sein

Vite.

10

.

7

+

p

r

HA-

tez

-

vous,

HA

tez-vous de me ven

-

ger, HA

tez-vous

Mais,

ohi

m'em

-

por

-

te ma dou

-

leur

EARLY

MUSIC

AUGUST

1993 405



11/17

ment

3

depicts

Arion's

ability

to

command

Nature

through

his

singing,

and

movement

7

portrays

he effect

his

swansong

has on

the elements.

Of

particular

nterest

is the

recurrence,

mid

abstract

patterns,

of

an

affective

ornamentknown as the

chute,

which

Campra

had

earlier

associatedwith

flute timbre and

ornamented,

French-

style

melody

in

Alcine o

depict

enchantment: t

evokes

thesighingof loverswhom the sorceresshasturned nto

trees

(Act

2,

scene

1)

and the

music

heard

n

Alcine's

Lab-

yrinth

of

Love

(Act

3,

scene

1).37

As

shown

in

exx.

6 and

8,

in

Arion

t

recurs ike

a

tiny

Leitmotif

o

suggest

Nature

moved

by

music,

not

only

in

each of the three

main

lyri-

cal

movements,

but also

in

the

concluding

recitative

as

the

Dolphin

arrives

at the

bidding

of

Arion's

song.

Cl"rambault's

cantata La

muse de

l'Opera

(1716)

is

a

charming

anthology

of scenic

movement

types. Stylistic

mannerisms

mitated nclude a shift

from

E

minor

to C

as a sommeil

gives

way

to a

'Prelude

infernale'

and a

change

of mode as a recitativewith thewords 'Letus fear

nothing,

a

happychange

comes

with sweet

portent'

suc-

ceeds

a demonic

dance.38

However,

t

may

be

noted

that

overtly

'theatrical'

pieces

tend to

have

key

schemes to

match from

the earliest French

cantata collections

onwards,

copying

now

stage

action scenes in

helping

to

dramatize

he

text,

now

divertissements

n

functioning

independently

rom it.

Little

concerned o

adopt

the tonal

idioms of

opera

or

the sake of

dramatic

expression

was

Nicolas Bernier.He

eschewed

modal contrastsbefore

Jupiter

t

Europe

book

4, privilege1703)and several times employeda tonic-

submediant

progression

between

movements

without

any

textual

justification.

As

the title

implies,

his

hybrid

Cantates

frangoises

en

maniere

de

divertissements,

designed

to celebrate he

Duchessedu

Maine'sNuits de

Sceaux

of

1714-15,39

borrow

heavily

from

the divertisse-

ment in

their

form

and

style.

Apollon,

la

Nuit et Comus

opens

with ten

movements which

oscillate between G

major

and G minor for

the sakeof

musical

variety

lone.40

Most

like

Campra's

re

the

key

schemes of

Elisabeth-

Claude

Jacquet

de la Guerre.

Although

her

melodic

idioms,

word-repetition

in

airs,

and

frequent

modu-

lations

owe muchto

Italy,

her

plain

key-schemes

resem-

ble those of her

tragedie

n

musique,

Ccphale

t

Procris,

writtenand

performed

when

Lully

was

still alive

(1685).41

The tonal

structuring

of her

cantatas

invariably

enhancesthe words.42Changesof affectalwaysgovern

key

changes,

and as with

Campra

hese

also

reflect

dra-

matic

episodes.

For

example

in

Jonas

(book i)-the

story

of

Jonah

and the

whale-the hero's

disobedience

o

God is described

n A

minor,

and

its

consequences

are

depicted

in three consecutivemovements

in

A

major.

Semiquaver

iguration

s well

as

key

inks

together

ive

of

its 11 movements.There

is a

dramatically

appropriate

return

to the initial

key

before

the conclusion of

Jonas,

Jacob

et

Rachel

and

Adam,

as in

Campra's

Didon.

Jepthe

(book 2)

is one

of

several

workswhose

movements

are

united

by

their

opening

themes.43

But if

Jacquet

de

la

Guerre

was a mistress

of the

grand

gesture, Campra's

forte

was delicate

understatement.

Prominent

French-

style figuration

and

unity

of

mood,

as seen in

Arion,

has

no

parallel

n the

cantatasof his

contemporaries.

A

composer

who

took after

Campra

n

being

able

to

dramatize

recitativeswithout

having

to

resort to

highly

coloured

harmony

was Michel

Pignolet

de

Mont6clair.

In the

second

recitativeof La

mort de

Didon

(book

i,

c.1709)

an

unexpected

F

major

chord

following

a

D

minor

cadence and

a

dramatic

pause

underlineDido's

exclamation

'Perfidious lover '

admirably,

and

the

account of her final moments in the next recitative s

several

imes

articulated n the same

sensitive

manner.

n

tonal terms Mont6clair's

etting

of the

legend

is a

mir-

ror-image

of

Campra's,

or in

it Dido's

anger

s

expressed

in

D

minor

and in F

major,

while her

sadness at

being

betrayed

takes the

form of an

imprecation

against

Venus's

power

in D

major,

remarkable or the

increas-

ingly

elaborate

ornamentation

written

in

the

score.44

Stuck's

first

collection must have

attracted

some

Ex.8

(a)

Alcine,

Act

2,

scene

1;

b)

Arion,

movement

1,

bars

60-64; (c)

Arion,

movement

3,

bars

38-50; (d)

Arion,

movement

7,

bars

43-6,

50-55

(a)

Flutes

k

.

I

-

I

,0

Er

I

e V

-ipIFo

V

r

I. .

Violons

doux

c

-.

-

I

I I

4

B.C.

6

4o6

EARLY

MUSIC

AUGUST

1993



12/17

(b)

Lentement.

S

U

II

I

Tu

sem

- bles re

-

gler

leurs

cours;

Et les Ro

-

chers

4

7

(c)

Pique.

D'un

souf

-

fle ti

-

mi

-

de,

Trou -

bloit leur re -

pos,

D'un

souf

-

fle ti-

6

[6]

tt

t [6] [6]

6

4

(d)

Lentement.

F,,=

;"

.

#

rIi,

] I

I

II I

Ir

Le

coeur

sen

-

lmeo

S'at

- ten -

drit,

S'at - ten - drit

6 6

5 6

7

7

ses ac

-

cents.

Le-coeur

senfe

I-

dit,

St t

-drit

EARLY MUSIC AUGUST 1993 407



13/17


14/17

Ex.io La

colkre

d'Achille,

movement

8,

bars

5-21

I

k k k

L L

F-

'A

r

V

V

Hon

-

teux de ma fa-ta

-

le

fl-

-

me,

Des

plus

cui- sans re - mords

je

me sens

a -

gi

-

ter.

6 7

Que de Grecs des

-

cen

-

dus sur les

Ri-

va

-

ges som - bres De leur

fu-

ne - ste sort ont droit de

m'ac

-

cu-

5

6

6 6

6 6

6

4 3

fb

Lent et

mesur4.

IViolons.

1

1

+

i

1

1

-IJI

I-

fmI

Io7 II

J %

,

, 0,I

"

ai-

r

.

d

AI

I

.

I

.-

I

DI,

UX.

I -

6

5

6

66

6

6

6,

64

36 6 3 6 ,

Fort. Doux. Fort. Doux.

Om - bres, Tremble Hec

-

tor,

c'est

ton sang qui va les

a-pai

- ser.

9

V

T

K.-

7I

,I

I

4

i

6 6 66 - 6 46

Ex.ii Lejaloux, movement 1, bars 1-8

Gracieusement. ,+

Symphonie.

6 6 6 7 7 6 6

/f3~

ranking

and

spurned

lovers'.5"

f the

two

cantatas,

Le

jaloux

is

psychologically

ruer to

life,

for its

'hero' runs

through

a

wider

gamut

of

emotions,

spelt

out in

rec-

itatives

by

unusually

copious

tempo

and character

irec-

tions.

A

delightful

touch is

that

in

the

opening

movements

the instrumental

ensemble is cast

as

an

independent

personality.

A

38-bar

French-style

Sympho-

nie

in

E

minor

(ex.

11)

is

dramatically

foreshortened

by

the

jealous

lover's

brusque

command: 'Be

silent

Vainly

did

I

imagine

that such sweet

harmonies

would calm

my

EARLY

MUSIC

AUGUST

1993 409



15/17

Ex.12 Le

jaloux,

movement

3,

bars

1-9

Air.

Moderd.

Est

-

ce

1

le

prix,

Que

de

-

voit

at

-

ten

-

dre Un

coeur

si

sou

-

mis,

,F

IO

I J.

I(2

I i

I

I

I

I='F

I

6 6 6

6--

6 6 6 6- 6

6--

6 6 5

04

04

/

Ex.13

Le

jaloux,

movement

3,

bars

16-29

Violons

Lent.

Vif.

+

I

" r1

I I

I1

Pu

-

nis ma foi

blesse ou ma ra

-

ge.

C'est

de ta

main

que

je

veux le

trd

pas.

6

0

6

T6

4

0

6

Lent.

Que

dis

-

je

A

quelle

er-reur vai

-

ne Me lais-

say

-

je

a

-

ban

-

don-

I

tIK

6 7 6

6

6

6

4

5

Gracieusement.

Doux.

+

+

-

,

ner... Re

-

vien,

Re

-

vien,

char

-

man

-

te Cli

m

m-ne,

Re

-

vien

pour

me

par-don -

ner,

6

violent

grief.'

Ritornellos from the

Symphonie

and the

singer's

reiterated

appeals

for silence

imaginatively

depict

his

mood

(movement

2:

RecitatiJ).

A

rhythmic

motive

from

the

Symphonie

generates

the next move-

ment,

an air still

in

the tonic in which

word-stress and

musical

rhythm

are

(deliberately?)

out of kilter

(ex.12).

There follow

a lament

(E minor),

thoughts

of

revenge

(E

major),

self-reproach

(B minor),

and further

attempts

at

distraction (E

major).

The lover's eventual notion of

seeking

death at the hand of

his

lady

(movement

9:

E

minor)

is

dispelled

by

a few bars for

'Violons'53

and con-

tinuo,

reminiscent

of

the

quiet

opening

movements,

but

in

a slower

tempo.

Being

abstract

in

style

and without

words,

this

passage

is

pleasantly ambiguous.

Is

it music

for

his

imagined

funeral,

or does it remind the

singer

that

although

unhappy,

he is in love? It

certainly

puts

410

EARLY

MUSIC

AUGUST

1993



16/17

him in a different

frame of

mind,

for on

hearing

it he

resolves

o

beg forgiveness

of his mistress or

being jeal-

ous

(ex.13).

Campra

ased

his

key

plans

ontheLullianmodel

ven

when

he assumed n Italian

manner,

s

may

be seen n

'L'Italie',54

Orfeo

negli

Inferni',

he 'Motet

'a

a

maniere

italienne'

and the

immensely

popular

Les

etes

veni-

tiennes

1710).

Hispursuitof the sameapproach

n his

cantatas

rose

perhaps

roma firmconviction f

what

wouldsucceed

n

a

genre

o

closely

llied o

opera,per-

haps

rom

nnate onservatism.

hateverhetruth

may

be,

placed

ttheservice

f hisowndramatic

magination

and

superb

raftsmanship

he

tonal diomof the

French

lyric

heatre

nd

ts

symbolic

ssociations

elped

Cam-

pra

to writesome

of

the

most

engaging

antatas

n

the

repertory.

This

article s based

on

research

ompleted

with

financial

aid

from

the

InternalGrants

Commitee,

VictoriaUniver-

sity

of Wellington.

Greer

Garden,

a Senior

Lecturer

t

the School

of

Music,

Victoria

University f Wellington,

New

Zealand,

s active

as

a

singer

and

musicologist.

rench

Baroque

antatasare

her

special

nterest.

Her

publications

ncludean edition

of

the

complete

works

of

the

Renaissance

omposer

Francois

Roussel.

'The

principalsurveys

of the

composer's

cantatasand

stage

music

are as follows:L. de

La

Laurencie,

Notes sur

la

jeunesse

d'AndreCam-

pra',

SIMG,

x

(1908-9),

pp.199-225,

243-58;

La

Laurencie,

AndreCam-

pra,

musician

profane,'

Annie

musicale,

iii

(1913),

pp.153-205;

M.

Barthelemy,

Andre

Campra:

a

vie et son oeuvre

Paris,1957);

P. For-

tassier,

Musique

et

paroles

dans les

operas

de

Campra'

La

Regence

(Paris,

1970),

pp.31-43;

D.

Tunley,

TheFrench

antata

London,

1974),

pp.104-11;

.R.

Anthony,

French

Baroque

music

rom Beaujoyeulx

o

Rameau

London,

rev.

edn

1978),

pp.117-46;

.

Dorival,

Les

createurs

e

la

cantate

rangaise

diss.,

ConservatoireNational

Superieur

de Mus-

ique

de

Paris,

1980),

,

pp.58-62,

85-7,

90-99;

L.E.

Brown,

Departures

from Lullianconvention

in the

tragedie yrique

of

the

preramiste

ra,

Recherchesur la

musique

rangaise

lassique,

xii

(1984),

pp-59-78;

R.

Fajon,L'opera

Parisdu Roi

Soleil

a Louis e

Bien-Aime

Geneva,1984);

J.R.

Anthony,

Introduction to

facsimile

edn,

Le carnavalde Venise

(New

York,

1989),

pp.ix-xiv;

D.

Tunley,

Preface o

facsimile

edn,

Can-

tatas

by

Andre

Campra,

Books

-II

(New

York,

199o).

2Le

Cerf de la

Vieville,

'Eclaircissement

ur

Buononcini',

pp.31-2

[recte

pp.41-2],

an

independentlypaginated

tem in

Comparaison

e la

musique

talienneet de la

musiquefrangoise,

ii

(Brussels,

1706).

Saint-

Lambert ncludedE minoramongthekeys hat'commonusage'deter-

mined were natural:Nouveau

traitede

l'accompagnement

u clavecin

(Paris,

1707/R1974),

p.26-7.

3FrangoisRaguenet,Defense

du

parallele

des Italienset des

Frangois

(Paris,1705/R1976),

p.42-3.

See also L.

Lindgren,

Preface

o

facsimile

edn,

Cantatas

by

GiovanniBononcini

New

York,

1985),

n.18.

4Quando

arli

e

quando

ridi

(Lucca,c.1700).

'Keys

of arias

in

Scarlatti's antatas

are

given by

E.

Hanley,

Ales-

sandroScarlatti's

antate

da

camera:

bibliographicaltudy

PhD

diss.,

Yale

U.,

1963).

6Cantatas

by

Giovanni

Bononcini,

pp.131-258.

7For

rationale f tonal

variety

n

the

operas

f

Legrenzi,

ee D.

Swale,

Legrenzi's

peras:

ramatic

tructures

or an autocratic

ge'

Miscellanea

usicologica

1988),

p.89-99.

8Cf.

Cantatas

y

Giovanni

ononcini,

os.2,

,

11,

2,

3,

4;

ndCan-

tatas

by

Alessandrocarlatti

New

York,

acsimile dn

1986), os.1,

, 5,

8,

9, 14,

16,

17,

19,

21,

26,

27,

28.

9Cantates,

,

preface.

o?Le

erfde

la

Vieville,

Comparaison

.., ii,

p.136.

"In

his

hewasnotunusual.

f.W.

Atcherson,

Key

ndmode

n

sev-

enteenth-century

usic

heory

ooks', ournal

f

music

heory,

vii/2

(Fall

973),

p.226-8.

"Saint-Lambert,

ouveau

rait.

.

.,

p.26.

He

goes

on to

ist n

paral-

lel

major

nd

minor

keys

with he

same onic

(pp.28-30).

13L'Europe

alante

(1698),

Le carnaval de Venise

(1699),

Arethuse

(1701),

esMuses

nd ts new

entree,

marillis

1703).

14Hisione

1700),

TancrMde

1702),

Alcine

1705).

5An

xception

s Pluto's

ecitative

Troppo

ate

si

prega'

n 'Orfeo

negli

Inferi',

e carnaval e

Venise,

ct

5,

scene

6,

whichends

n D

minorand s succeeded

y

an aria

n

C

major.

16Frangois

aguenet, araldle

es talienst des

Franqois

Paris, 702/

R1976),

p.30-31.

'7Cf.

.R.

Anthony,

Someusesof the dance

n

the

French

pera-

ballet'

Recherches

ur a

musiquefranqaise

lassique,

x

(1969),

p.80-87,

and

Brown,

Departures

rom

Lullian onvention

..',

pp.72-3,

7.

'8See,orexample, 'Europealante,ntree ('LaTurquie'),cenes

3-4;

Lecarnavale

Venise,

ct

3,

scene

,

and Orfeo

egli

nferi,

cene

1;

Hisione,

ct

5,

scenes

-2;Arethuse,

ct

1,

cene

;

Act

2,

scene

;

Tan-

crude,

ct

1,

scene

1;

Act

2,

scenes

-2;

Les

Muses,

ct

3

('La

Tragedie'),

scene

1;

Alcine,

Act

2,

scene

1;

Act

3,

scenes

-5;

Act

4,

scene

3.

19For

xamples

f

the

affective se of modal ontrasts

ee

Amadis,

Act

1,

cene

;

Act

3,

scenes

-3;

Act

4,

scenes

-4;

Act

5,

scenes

,

5.

They

had,

of

course,

een

exploited

ith

great

mastery

n dramatic usic

as

early

sMonteverdi'sombattimentoi Tancredi

Clorinda

1624).

f.

alsoH.

Schneider,

Les

monologues

ans

'opera

e

Lully', ix-septieme

siecle,

lxi

(1988), .359.

20Cf.

R.

Steblin,

A

history

f key

haracteristics

n the

eighteenth

nd

early

nineteenth

enturies

Ann

Arbor,MI,

1983),

P-31-41.

2Thisee,

ct

5,

scenes

-6(Medea

ppears

n a chariot rawn

y

fly-

ing dragons);

ellerophon,

ct

4,

scene

3 (Pallas

ncourages

ellerop-

hon beforehe

fights

he

monster); haeton,

ct

3,

scene

6,

to Act

4,

scene

(transition

o thePalace f the

Sun),

nd

Act

5,

scene

(Phaeton

in theSun's

hariot);

madis,

ct

4,

scene

,

to Act

5,

scene

(transition

to

Apollidon's

nchanted

alace).

n eachcase he tonal ransition

s

from

A

minor o

F

major.

22See

lso

Amarillis,

cene

:

A

minor-F

major

arrival

f

the

god-

dess

Diana);

and

Tancrede,

ct

3,

scenes

2-3:

E minor-C

major

(Tancred

n

Herminie'snchanted

alace);

ndAct

4,

scenes

2-3:

A

minor-F

major

Herminie

ummons he

magician

smenor o

kill

Tancred).

23Danchet

nd

Campra

wicereworkedhis

ending

o as to intro-

duce a last

meeting

betweenTancred nd the

dying

Clorinda: or-

tassier,

Musique

t

paroles

ans es

operas

e

Campra',

p.36-7.

24See

lso

Arethuse,

ct

3

('LaTerre'),

cene

2:

D

minor-Bb

major

(at

the word

death').

n

example

n

Lully

s the

prelude

o

Armide's

recitative,

Enfin

l

est en ma

puissance',

rmide,

ct

2,

scene

5,

bars

6-7.

25Systems

f

key

characteristicswere

promoted by

Jean

Rousseau

(1691),

Charpentier

(c.1692),

Masson

(1697)

and Rameau

(1722):

Ste-

blin,

A

history

of

key

characteristics ...,

pp.39-4o.

260Of

he three

early

theorists

only

the Italian-trained

Charpentier

lists

Bb

minor,

B minor and E

major.

Saint-Lambertwas still describ-

ing

B minor as a

key

n which one

rarely

omposed:

Nouveau rait.

...

p.27. By

Rameau's ime

(1722)

the remoter

keys

cited here had

passed

into more

general

use,

as

his

descriptions

uggest:

or him

Bb

minor

was

merely mournful',

B minor was suitable or

expressing

weet and

EARLY

MUSIC AUGUST

1993 411



17/17

tender

emotion,

and E

major

could

express

grandeur

and

magnificence.

27Le

carnaval

de

Venise,

Act

2,

scene

1

(Rodolphe's

unrequited

ove

for

Isabelle);

Act

2,

scene 2

(Leonore's

ejectionby

Ldandre);

Hesione,

Act

2,

scene

3 (Anchises'

earof

losing

the loveof

Hesione);

Tancrade,

Act

4,

scene

6

(Clorinda's

hesitationbetween love and

duty).

28L'Europe

alante(Farnborough,

acsimileedn

1967),

p.68.

29L'Europe

alante,

entree

,

scene

3:

Arethuse,

Act 2

('La

Mer'),

scene

4;

Les

Muses

'La Pastorale'),

cene

5;

Alcine,

Act

3,

scene

5.

30Jean-Jacques

ousseau,

Cantate',

Dictionnaire

de

musique

Paris,

1767).

3Except

or

those

given

in

square

brackets,

he

designations

are the

composer's.

Campra's

haracter ndications are

retained

for

ariosos

(e.g.

Mesurd

t

Ligerement).

32When

Licidas's

beloved Amarillis

appears

before him as the

sun

rises

n

L'heureux

aloux

Campra

underlines he moment

by

means of

the

same

progression

movements

5-6:

Ariette n D

minor-Rdcitatif

beginning

in

Bb

major).

33G.

Garden,

Les

amours

de

VWnus

t

le second livre de cantates

de

Campra',

Revue

de

musicologie,

lxxvii

(1991),

p.10o6,

n.41.

34Anthony,

Some uses

of the

dance

in the

French

opera-ballet',

pp.79-80.

Thematic

inking

of

dances

occurs

intermittently hrough-

out the

history

of the dance suite: see D.

Fuller,

Suite',

New Grove.

35It

s

used

in

three works

in

book

2

(1699),

four in

book

3

(1703),

seven

in

book

4

(1706).

On

symmetry

n

Campra'spetits

motetssee

J.A.K.Baker,ThechurchmusicofAndreCampra diss.,U. of Toronto,

1977),

chap.

4.

For an instance

in

L'Europe

alante,

see

Barthelemy,

Andre

Campra,

pp.50-52.

36Cf.

he

third

strophe

of

Roy's

first

Ode,

addressed to

Andre-

CardinalDestouches:

Agreable

nchanteresse,/Source

e Plaisirs

par-

faits,/Musique,

endre

Deesse,/Heureux

qui

sent

tes

Attraits.'

'Pleas-

ing

enchantress,

source of

perfect pleasures,

Music,

tender

goddess,

happy

is he who feels

your

lure.')

P.-C.

Roy,

Oeuvresdiverses

Paris,

1727),

ii,

p.87.

37Campra

ad

employed

he

chute

with similar ntent but

in a

plainer

melodic

context

in 'Ecce

quantum

amas

me',

Motet

a a

manidre

tal-

ienne,

book

3

(1703),

both in the

opening

ritornelloand to illustrate he

word

languentem.

38Louis-Nicolas

lerambault:

wo cantatas

or soprano

and chamber

ensemble,

d. D.H. Foster

(Madison,

WI,

1979),

pp.75-81.

39Les uitsde Sceaux: oncerts e chambre ucantatesfranFoisesplu-

sieursvoix

en

maniere

de

divertissements

Paris,1715).

40For

an

analysis

of

Bernier's

715

ollection,

see

Tunley,

TheFrench

cantata,

pp.84-7.

4'Cf.

E.

Borroff,

An

introduction

o Elisabeth-Claude

acquet

de la

Guerre

New

York,

966),

p.27.

The cantatasarediscussedon

pp.45-86.

42Her

irstcollection

of biblicalcantatas

ppeared

n December

1708,

11

months

after

Campra's.

The

months are

specified

in

the adver-

tisements Ballard

ncorporated

nto

his

Recueil

d'airs

sdrieux

t

a

boire

(1708).

In

the avertissement

o her collection

of

secularcantatas

1715)

Jacquet

de

la

Guerre

expressedpride

that her

care n

word-setting

was

acknowledged.

See

A.

Rose,

'Elisabeth-Claude

acquet

de

la

Guerre

and the secular cantate

rangoise'Early

music,

xiii

(1985),

pp.531-2.

43Jonas

nd

Jacob

t

Rachel

ppeared

n

book

1;

Adamand

Jepthe

were

published

n her second collection

(1711).

or

he

music and

a

tonal

and

harmonic

analysis

of

Jepthe,

ee

Borroff,

An introduction o

Elisabeth-

ClaudeJacquetde la Guerre, p.58-6o,67-86.

44Extracts

rom this air

appear

in

Tunley,

The

French

cantata,

pp.153-4.

45Cf.M.

Barth616my,'Les

antates

de

Jean-Baptiste

tuck',

Recherches

sur

la

musique frangaise classique,

ii

(1961-2),

pp.126-37;

and

Tunley,

The French

cantata,

pp.89-1o1.

46For

n

analysis

of

Circe,

ee

Tunley,

The

French

cantata,

pp.64-7.

47Prefaceo La chasse du

cerf

First

performed

at Fontainebleau

before the

king

on

25

August

1708,

it was

printed

in

1709.

48Garden,

'Les amours de V6nus

..

',

pp.1o2-6. Only

the

first

rec-

itative

of

Les heureux

?poux

was

taken from the

ballet.

49An

xception

s the

thirdrecitative

n

Lesheureux

poux.

The

music

of this

appears

n

Barthelemy,

Andrd

Campra,

pp.96-7.

50See

J.R.

Anthony,

'Thematic

repetition

in

the

opera-ballets

of

Andre

Campra'

Musical

quarterly,

ii

(1966),

pp.209-20.

5'The

tory

derives

rom

the account

n

the Iliadof Achilles'

anger

at

the

prospect

of

losing

his beloved

Briseis,

which

momentarily

diverts

him-with near-fatal

consequences-from

his

mission to

defeat

the

Trojans.

52Cf.

LeCerfde la

Vieville,

Comparaison.

.,

i,

p.122;

and

P.

Howard,

'Lully's

Alceste'

The musical

imes,

cxiv

(1973),

pp.21-2.

53The

nstrumentation

s

unspecified

earlier.

54L'Europealante,

entr&e

.

Consonant harmonies

are

to

be

found

everywhere

but

should be

employed

most

frequently

in

music

expres-

sing

gaiety

and

magnificence

...

Sweetness

and tender-

ness are

sometimes well

enough expressed by prepared

minor

dissonances

...

Despair

and

all

passions having

to do

with

anger

or which have

anything striking

about

them

require

unprepared

dissonances

of

every

kind

...

Jean-Philippe

Rameau, Traite

de

l'harmonie

1722)

v

e r a t

9,,ieo

V

rf

-

1f/

centaY,

49,

rue des Solitaires75019

PARIS

Tel.33

1

48 03

10

77

412

EARLY

MUSIC AUGUST

1993

Documents

A Link Between Opera and Cantata in France Tonal Design in the Music of André Campra