A Link between Opera and Cantata in France: Tonal Design in the Music of Andr Campra

Author(s): Greer Garden

Source: Early Music, Vol. 21, No. 3, French Baroque II (Aug., 1993), pp. 397-412
Published by: Oxford University Press
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Greer Garden
A l i nk between
o p era
and c antata i n
F ranc e:
to nal
des i g n
i n th e m u s i c o f A ndre
C am p ra
C am p ra's
c antatas h ave been s h o wn to
di s p l ay
th e i nf l u -
enc e o f th e F renc h
l yri c
th eatre m o re th an th o s e o f
any
o f
h i s
c o l l eag u es . A l th o u g h everyo ne
drew
l i beral l y
o n Lu l -
l y's
danc e
rh yth m s
and evo c ati ve
m o vem ent-typ es ,
no tabl y
th e
s o m m ei l
(s l eep s c ene)
and th e
tem p i te
(s to rm s c ene),
a
m ajo ri ty
o f
c o m p o s ers
f o c u s ed o n
l yri -
c i s m af ter th e m o del o f th e Ital i an
c antata,
wi th i ts
extended da
c ap o
ai rs .
C am p ra
s tands o u t f o r
k eep i ng
h i s
ai rs
rel ati vel y
s h o rt,
and f o r th e
exp res s i ve wei g h t
and
dram ati c
em p h as i s
h e
p l ac ed
o n rec i tati ve.
If
C am p ra's h arm o ny
c o ntai ns Ital i an
trai ts ,
th ei r
p res enc e
i s di s c reet. Wh i l e c h ro m ati c no tes m o re o f ten
th an no t m ak e h i s
h arm o ny
di rec ti o nal ,
th ey
are never
u s ed to exc es s and
al ways
rel ate to th e wo rds .' Wh en o ne
tu rns to h i s
l arg e-s c al e
to nal
des i g ns , u nexp l o red
u nti l
no w,
i t bec o m es
ap p arent
th at
Lu l l y's
i nf l u enc e i s as
p re-
p o nderant
i n
C am p ra's
c antatas as i t h ad been i n h i s
s tag e
m u s i c . We s h al l s ee
th at,
f ar f ro m
bei ng
an abs trac t
f eatu re o f
c o m p o s i ti o n, C am p ra's k ey p l ans
add ano th er
di m ens i o n to th e
'th eatri c al i ty'
o f h i s c antatas .
In h i s
c ri ti qu e
o f Bo no nc i ni 's c antata
s tyl e (l evel l ed
at
p ro m o ters
o f Ital i an m u s i c i n
F ranc e)
Le C erf de l a Vi e-
vi l l e
s i ng l ed
o u t o ne wo rk o n ac c o u nt o f i ts
k ey
s equ enc e:
...
p o u vez-vo u s
vo u s
di s p ens er
de
c o m p rendre
l es c h o s es
p o u r
l 'i ntel l i g enc e des qu el l es
i l
nef au t qu e
l e
s i m p l e
s ens c o m m u n? La
c edl bre
C antate
qu ando
ri di , o u u n am ant s e m eu rt
p o u r
u ne
bel l e bo u c h e?
a qu atre
m o rc eau x,
qu atre
ai rs , de
qu atre
m o des
di f f drens ; c h aqu e
ai r es t enc o re
s em d
de no tes
qu i
s o rtent de s o n
m o de, & l e m o de
p retendu
de c ette
p i ec e,
c el u i en
qu o i
el l e c o m -
m enc e &
el l ef i ni t,
es t c el u i
qu i reg ne
l e
m o i ns :
el l e
p as s e
d'u n ai r
a
l 'au tre i m m e'di atem ent
d'E
s i m i bem o l en E s i m i
natu rel ,
c e
qu i
es t u ne c h o s e i no i i i e . ..
... c an
yo u
exc u s e
yo u rs el ves
f ro m
c o m p reh endi ng
m atters
wh i c h c an be u nders to o d
by p l ai n
c o m m o n s ens e? Th e f am o u s
c antata
Qu ando ri di ,
i n wh i c h a l o ver c l ai m s h e i s
dyi ng
f o r th e
s ak e o f a beau ti f u l m o u th ? F o u r
p i ec es ,
f o u r ai rs i n f o u r di f f er-
ent
k eys ;
eac h
ai r, m o reo ver, i s s trewn wi th no tes th at
g o
o u t o f
th e
k ey,
and th e s o -c al l ed
k ey
o f th e wo rk , th e o ne i n wh i c h i t
beg i ns
and
ends ,
i s th e o ne th at
p revai l s
l eas t; th e wo rk
g o es
di rec tl y
f ro m an ai r i n Eb
m ajo r
to ano th er i n E
[m i no r],
wh i c h
i s u nh eard o f ...
?P~
,. ?j~
~? 3*~ '.1
\ h \ ~h s ~C ~E~: : : C .
: ~: ':
,,
4~`
: p c ;l l l af ;el ~6,
r
.1
G
i ": ? E: i
t~ ~~?.: .
-~~
1,
i ~ IRy
\i
1
A ndre
C am p ra; eng ravi ng
f ro m Ti to n du
Ti l l et,
Le Par-
nas s e
f ranc o i s
(1732)
Le C erf was
ri g h tl y
tak en to tas k f o r h i s s el ec ti ve c ri ti -
c i s m s o f
Bo no nc i ni ,-
bu t th e to nal o ddnes s o f
Qu ando
ri di 4
i s
by
no m eans
exc ep ti o nal
i n Ital i an m u s i c o f th e
p eri o d. Many
Ital i an
c antatas ,
no tabl y
th o s e o f Handel
and o f th e m atu re
Sc arl atti ,
are
p ro di g al
i n th ei r u s e o f
di f f erent
k eys ,'
and to nal
u ni ty
i s no t a c o nc ern o f Ital i an
o p era.
Even Bo no nc i ni
p ro vi des
a f u rth er
exam p l e.
Th e
17
ari as o f h i s s erenata La nem i c a d'am o re
f atta
am ante
(1693)6
are s et i n ni ne di f f erent
k eys
wh i c h o c c u r i n
ap p arentl y
rando m
s u c c es s i o n;
an ari a i n B m i no r
p re-
c edes a du et i n Bb
m ajo r. Keys
i n ari as are reac h ed i n
'l i near' f as h i o n vi a
l o g i c al l y
c o ndu c ted bu t
m eanderi ng
m o du l ati o ns i n th e rec i tati ves .
Vari ety
was th e c o m -
p o s er's
ai m ,
f o r th e i ni ti al
k ey
rec u rs
o nl y
o nc e.7
No F renc h c antatas are as
to nal l y wayward, al th o u g h
th e
k eys
c h o s en f o r th e
p ri nc i p al
m o vem ents i n th e f i rs t
bo o k
(1706)
o f
Jean-Bap ti s te
Stu c k ,
o ne o f th e
p i o neers
o f th e
g enre,
and wh o c l ai m ed i n h i s
p ref ac e s i m p l y
to be
jo i ni ng
F renc h wo rds to Ital i an
m u s i c ,
h i nt at a s i m i l ar
EA RLY MUSIC A UGUST
1993 397
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Tabl e 1
Jean-Bap ti s te
Stu c k ,
C antates
f ranp o i s es
(1706)
C antata
Keys *
Ph i l o m el e (e-G/V)
G
(D-G)
C
(a)-e
L'am ant
i m p ati ent (a-C )
C
(G-d) Bb (C -d; a-F /V)
a
L'am ant rec o nc i l i d (Bb-d) Bb (c -d; D; a-d; F -C ) C ; Bb
C o ntre l 'am bi ti o n
(b)
b
(G)
D
(D)
b
Le c al m e de l a nu i t
(g -d; F ) Bb (g -a)
C
L'A u ro re et
C Up h al e (c )
c
(c -g )
F
(d-a)
c
*Up p er-c as e
l etters i ndi c ate
m ajo r k eys ;
l o wer-c as e, m i no r.
Rec i tati ves and ari o s o s
ap p ear
i n
p arenth es es ;
th es e
beg i n
and
end
i n
th e
k eys s p ec i f i ed.
Sem i c o l o ns del i neate s el f -c o ntai ned
s ec ti o ns o r m o vem ents . Oth er
k eys
c i ted are th o s e o f ai rs .
Tabl e 2 A ndre
C am p ra,
C antates
f ranp o i s es (1708)
C antata
Keys
Hi be
(g ) g (Bb; d-g )
G
(C -G) g
L'h eu reu x
jal o u x (F )
F
(d-a) d; d
(Bb-F )
f
(f ; F )
F
Di do n
(D)
D
(D)
d
(D)
D
(b-f )
b
(b; D)
D
(d)
Dap h ne (A )
A
(D-A )
D
(d)
d
(a; a; a)
A
A ri o n e
(e-G)
e
(a-E/V; E; c ?-E) E (e-b; G-e)
Les
f em m es (A ) A ;
a
(A ) f t;
A
(A )
ap p ro ac h (tabl e i ).
Ins tanc es wh ere th e f i rs t ai r i s no t i n
th e
p ri nc i p al k ey
are
f requ ent
i n Bo no nc i ni and Sc ar-
l atti 8
bu t are
i nf requ ent
i n c antatas
c o m p o s ed by
F renc h m en.
Th e
k ey
s c h em es i n
C am p ra's
f i rs t bo o k
(1708) di s p l ay
a
very
di f f erent aes th eti c
(tabl e 2).
C o ntras ts o f
m ajo r
and m i no r
k eys
wi th th e s am e
ro o t,
f o u nd bu t o nc e i n
Stu c k 's f i rs t
bo o k ,
are c h arac teri s ti c .
Sec o ndary
to ni c s
are l i m i ted al m o s t
enti rel y
to th e rel ati ve and s u bdo m i -
nant.
C am p ra,
wh o s e
exp res s ed
ai m was to c o m bi ne
F renc h m u s i c al
exp res s i o n
wi th Ital i an
l i vel i nes s ,'
was
p erh ap s c o p yi ng
th e
ac k no wl edg ed p i o neer
o f th e
F renc h
c antata,
Jean-Bap ti s te
Mo ri n: f o u r o f th e 12
wo rk s i n Mo ri n's f i rs t two c o l l ec ti o ns
(1706, 1707)
i ntro -
du c e
o nl y
a
c h ang e
o f m o de f ro m ai r to ai r
by way
o f
c o ntras t,
and i n th e o th ers th e
o nl y s ec o ndary k eys
u s ed
i n
p ri nc i p al
m o vem ents are th e
rel ati ve,
IV and V. Bu t as
Mo ri n was an o th erwi s e o bs c u re
f i g u re
i t i s m o re
l i k el y
th at
C am p ra
was
p u rs u i ng
h i s o wn
i deal s ,
th em s el ves
anc h o red i n Lu l l i an tradi ti o n.
It was th e
ec o no m y
o f h i s to nal
des i g ns
th at c o nvi n-
c ed Le C erf o f
Lu l l y's 'f erti l i ty',
as
o p p o s ed
to th e 's teri l -
i ty'
o f Ital i an
c o m p o s ers :
[Les Ital i ens ]
ne
p eu vent f ai re
deu x m es u res de c h ant,
qu 'i l s
ne
c h ang ent
de
to n, &
qu e [Lu l l y] f ai t
c es Sc enes to u tes enti eres s ans
en
c h ang er. Qu and je
vo i c es bel l es Sc enes
d'A rm i de,
o u de Th e-
s ee, ro u l er
to u i jo u rs
a
m ervei l l es ,
& d'u n ai r
p l ei n,
ai s e, s u r l e
m em e
to n,
je
ne
p u i s m 'em p &c h er
de
m '&c ri er:
Y avo i t-i l tant de
bel l es c h o s es dans
c e
to n s eu l ?
Vo i l a
u n
g eni e qu i p ro du i t
m er-
vei l l eu s em ent, i l ti rero i t d'u n s eu l to n de
qu o i f ai re
to u t
l 'Op era.'
Ital i ans c anno t wri te two bars o f
s o ng
wi th o u t
c h ang i ng k ey,
yet Lu l l y
wri tes wh o l e s c enes wi th o u t
do i ng
s o . Wh en I s ee
th o s e beau ti f u l s c enes i n A rm i de o r Th es ee ro l l o n
wo nderf u l l y
wi th an ai r o f f u l l nes s and eas e i n th e s am e
k ey,
I c anno t
h el p
exc l ai m i ng :
h o w c o u l d th at
s i ng l e k ey
c o ntai n s o
m any l o vel y
th i ng s ?
Th ere
g o es
a
g eni u s
wh o wo rk s
m i rac l es ;
f ro m a
s i ng l e
k ey
h e'd extrac t
eno u g h
to wri te th e wh o l e
Op era.
Hi s c l ai m o n
Lu l l y's
beh al f was no t
wh o l l y exag g erated.
If o ne vi ews m o du l ati o ns wi th i n m o vem ents as tran-
s i to ry,
h e di d i ndeed wri te wh o l e s c enes i n o ne
k ey.
A nd,
i f o ne tak es
m ajo r
and m i no r
k eys
wi th th e s am e ro o t to
be du al f ac ets o f a
s i ng l e to nal i ty,
th i s o f ten extends to a
s eri es o f
adjac ent
s c enes . A s Le C erf 's u s e o f th e term s
to n and
m o de
i s s o m ewh at
c o nf u s ed'
th i s was
p erh ap s
exac tl y
wh at h e h ad i n
m i nd;
c ertai nl y
h i s
c o ntem p o rary
Mi c h el de Sai nt Lam bert was
em p l o yi ng
to n i n th e s ens e
Tabl e
3
A ndre
C am p ra,
IHs i o ne
(1700)
A c t Sc ene
Keys
Pro l o g u e
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
EA RLY MUSIC A UGUST
1993
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o f a to ni c
u p o n
wh i c h o ne c o u l d bu i l d a
p i ec e
th at was i n
ei th er th e
m ajo r
o r m i no r m o de."
Le C erf 's rem ark s are
equ al l y
val i d f o r
C am p ra's
th e-
atri c al m u s i c . Th e
f o l l o wi ng s u m m ary
i s bas ed o n a
s tu dy
o f h i s
o ri g i nal
bal l ets "
and
trag edi es
en
m u s i qu e4
wri tten f o r th e A c adem i e
Ro yal e
de
Mu s i qu e
bef o re h e
p ro du c ed any
c antatas .
Th e
k ey p l an
o f
C am p ra's
f i rs t
trag edi e,
Hes i o ne
(1700), exem p l i f i es
h i s o wn
typ i c al l y
ec o no m i c to nal
des i g ns
(tabl e 3).
Eac h ac t o r
entr&e
i s bu i l t
u p o n
f o u r o r
f i ve to nal i ti es at th e
m o s t,
o f ten f ewer.
Keys
c i ted are
th o s e o f th e
p ri nc i p al
m o vem ents
(ai rs , danc es ,
c h o ru s es )
i n eac h s c ene. Rec i tati ves
m erel y
rei nf o rc e th e
p revai l i ng to nal i ty
s i nc e
th ey
al m o s t
al ways beg i n
and
end i n i ts to ni c .
(A
f ew
exc ep ti o ns
exi s t i n
s o l i l o qu i es
o r
i n dram ati c
di al o g u e,
bu t even th es e are c o ns ervati ve: an
u nu s u al
endi ng c o m p ri s es
a c l o s e i n th e rel ati ve o r
do m i nant!)" Pro l o g u es
and di verti s s em ents end i n th e
i ni ti al
k ey,
bu t
o nl y
i n
L'Eu ro p e g al ante,
A reth u s e,
and
Tanc rede do es th e f i nal ac t end i n th e s am e
to nal i ty
as th e
Pro l o g u e.
Gi ven th e c l o s enes s o f th e
k ey rel ati o ns h i p s , c h ang es
o f to ni c are o f ten
s c arc el y p erc ep ti bl e.
F ranc o i s
Rag u e-
net's
des c ri p ti o n
o f th e
way
th e
typ i c al
F renc h ai r m o du -
l ated
(wh i c h s p ark ed
Le C erf 's c o m m ents abo u t
Lu l l y's
to nal
ec o no m y) ap p l i es equ al l y
wel l to
m any
o f th e
l arg e-s c al e
s h i f ts o f to nal c entre i n
C am p ra's o p eras
and
bal l ets :
Les
F ranc o i s ,
dans l es A i rs
qu 'i l s f o nt,
c h erc h ent
p ar-to u t
l e do u x,
l ef ac i l e,
c e
qu i
c o u l e, c e
qu i
s e l i e; to u t
y
es t s u r l e m em e
to n;
o u s i
qu el qu ef o i s
o n en
c h ang e,
o n l e
f ai t
avec des
p rdp arati o ns
& des
ado u c i s s em ens
qu i
rendent l 'A i r au s s i natu rel & au s s i s u i vi
qu e
s i
l 'o n
n'en
c h ang eo i t p o i nt
du
to u t ..
.,6
In th e ai rs
th ey c o m p o s e
th e F renc h
al ways
l o o k f o r wh at i s
s weet,
eas y
and
f l o wi ng ,
and f o r wh at f o l l o ws o n
readi l y; every-
th i ng
i s i n th e s am e
k ey,
o r i f
th ey c h ang e
i t s o m eti m es ,
th ey
do
i t wi th
p rep arati o ns
and
s o f teni ng s
wh i c h render th e ai r as
natu ral and as c o nti nu o u s as i f th ere were no
c h ang e
at al l
...
Su dden s h i f ts f ro m a
m ajo r
to a m i no r
k ey
o r vi c e
vers a,
o n th e o th er
h and,
are
readi l y ap p arent
to th e ear. Th es e
are endem i c wi th i n
C am p ra's
m ai n to nal i ti es
(A , C , D,
G,
and to a l es s er
extent, E;
wi th s h i f ts to IV o r V o f th e
p rec edi ng k ey, m ajo r
and m i no r m o des are i nter-
c h ang eabl e).
In di verti s s em ents , al th o u g h
i t i s
p o s s i bl e
th at
th ey
ref l ec ted th e
s p ec tac l e
i n s o m e
way
wh en danc es were
c h arac teri zed,'7 l arg e-s c al e k ey-c h ang es
s eem to h ave
been
bro u g h t
i n
m ai nl y
f o r th e s ak e o f m u s i c al
vari ety.
In
ac ti o n s c enes , o n th e o th er h and, th ey
s erve a dram ati c
.,.
...: "
..;2,
1T
._.. __. ..
. . . .
.
.
.
.: , - ., ,..
: ,.
.. . _ .. .
.?
"
-., .
2 Th e Su l tan and h i s
s erag l i o ,
a s c ene f ro m
C am p ra's o p era-
bal l et
L'Eu ro p e g al ante (1697); eng ravi ng
i n th e l i bretto
p u rp o s e by h el p i ng
to
em p h as i ze
th e s tart o f a new
ep i -
s o de o r a
c h ang e
i n
dram ati c
p ac e (f o r exam p l e
wh en a
rec i tati ve
g i ves way
to a bri ef
ai r).
A n
i m p o rtant
f u nc ti o n
o f
m ajo r-m i no r
c o ntras ts i n
p arti c u l ar
i s to u nderl i ne
th at es s enti al
p reo c c u p ati o n
o f th e
l yri c
th eatre,
em o -
ti o nal c o nf l i c t-wh eth er th i s i s i nternal
(as
i n th e s o l i -
l o qu y)
o r
tak i ng p l ac e
between two
c h arac ters .'8
A m p l e
p rec edent
c an be f o u nd i n
Lu l l y.'9
Th e F renc h th eo ri s ts '
s u g g es ti o n
th at m i no r m o des
were
ap t
to
exp res s
s adnes s ,
and
m ajo r,
m o re
p o s i ti ve
em o ti o ns 2o i s by no m eans bo rne o u t s i m p l i s ti c al l y. Th i s
i s i nevi tabl e i n
di al o g u e,
wh en di f f erent em o ti o ns are
enc o m p as s ed rap i dl y. F requ entl y
i t i s th e f ac t th at th e
m o de i s
abru p tl y c h ang ed,
no t i ts
m ajo r
o r m i no r
qu al -
EA RLY MUSIC A UGUST
1993 399
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Ex.i
A l c i ne,
A c t
3,
s c ene
5
Vi o l o ns
4-o
[A th l ant]
En c o u - ro n - nant l es vo eu x
d'u n
v6 - ri
- tabl e A
- m ant,
Vo u s
p u
-
ni -
M61ani e
I
r
,.)
I
k
,
h
a I
,,+
L'A -m ant vo - l a - g e! h - l as ! qu i l 'au -ro i t s o u p -g o n - n6
rez l 'A -m ant vo - l a I
g e.
6 6
rez l PA -m ant vo
-
l a
-
g e.
6
6
i ty,
wh i c h u nders c o res th e wo rds . F o r
exam p l e
i n
A l c i ne,
A c t
3,
s c enes
4-5,
as Mel ani e
p i nes
f o r
A s to l p h e,
wh o h as
f al l en vi c ti m to A l c i ne's des i res
(E m i no r),
A l c i ne's
s p u rned
l o ver A th l ant
attem p ts
to c o ns o l e Mel ani e
by
p ro p o s i ng veng eanc e (E m ajo r);
as th e s c ene c o nti nu es
E
m i no r bec o m es
'A th l ant's
k ey'
as h e dec l ares h e l o ves
Mel ani e and
s u g g es ts
th at h er 'f i c k l e l o ver' c an be
p u ni -
s h ed i f s h e wi l l l o ve h i m i n retu rn. A s Mel ani e th i nk s
s adl y
o f h er 'f i c k l e l o ver' th e m u s i c reverts to
E
m ajo r
(ex.1).
Th e m o s t u nu s u al
typ e
o f
k ey c h ang e
wh i c h i s a
reg -
u l ar
i ng redi ent
o f
C am p ra's
to nal arc h i tec tu re i s to be
f o u nd i n o ne c o ntext
o nl y.
Meant to be
s tri k i ng ,
i t i s
res erved to
dep i c t m ag i c
o r th e
s u p ernatu ral ,
bo th
wi th i n th e ac ti o n wh en
m ag i c p o wers
are
exerc i s ed,
and
al s o between ac ts to
h el p
s et s u c h s c enes . Here
C am p ra
m ade a
s p ec i al
f eatu re o f a f o rm u l a
Lu l l y
u s ed o n o c c a-
s i o n: th e
m ag i c /s u p ernatu ral
m u s i c i s al m o s t
al ways
s et
i n th e
k ey
o f VI i n rel ati o n to a
p rec edi ng
m i no r
k ey."1
It
o c c u rs i n
Hi s i o ne,
A c t
2,
s c ene
3,
A c t
3,
s c ene
4,
and A c t
4,
s c ene
3,
as Venu s
rep eatedl y
tri es to
p l ac e
A nc h i s es ,
wi th
wh o m s h e i s
u nrequ i tedl y
i n
l o ve,
u nder h er
s p el l .
It
s erves i n A l c i ne wh en th e s c ene
c h ang es
between A c ts
3
and
4
to
dep i c t
A l c i ne's
m ag i c
c ave
(E
m i no r-C
m ajo r),
and
ag ai n
i n A c t
4,
s c enes
4-5,
as A l c i ne s u m m o ns a
tro u p e
o f wi zards to k i l l Mel ani e
(A
m i no r-F
m ajo r.)22
Ho wever,
i n
A l c i ne,
A c t
5,
s c enes
2-3,
wi th th e
entry
o f
Mel i s s a,
th e deu s ex m ac h i na
wh o s e
m ag i c p o wer
i s
g reater
th an
A l c i na's ,
and wh o res c u es th e l o vers A s to -
p h u s
and Mel ani e i n th e ni c k o f
ti m e,
an
exc ep ti o nal
p ro g res s i o n
i s u s ed-D
m ajo r
to F
m ajo r.
No
s p ec i al
to nal
p ro vi s i o n
i s m ade f o r th e exi t f ro m s c enes s u c h as
th es e.
Ju s t
as th e
Baro qu e c o m p o s er
rel i ed o n th e
o p en-
i ng p h ras e
to es tabl i s h th e af f ec t o f a
g i ven
m o vem ent,
s o
i t i s
o nl y
th e s tart o f th e
m ag i c ep i s o de
th at rec ei ves
s p ec i al
m u s i c al attenti o n.
To nal trans i ti o ns
em p l o yed
i n
C am p ra's
o veral l
k ey
des i g ns
are o f c o u rs e
p as s i ng
h arm o ni es wri t
l arg e.
Majo r-m i no r
c o ntras ts are a f avo u ri te res o u rc e f o r
c o l o u ri ng
i ndi vi du al
wo rds ,
es p ec i al l y
i n rec i tati ve. In th e
m u s i c al di s c o u rs e th e
'm ag i c ' p ro g res s i o n
s erves to
s ym -
bo l i ze
p o rtento u s
m o m ents o f vari o u s k i nds . A t th i s l evel
th e f i rs t o f th e two c h o rds i s o f ten c h o rd V o f a m i no r
k ey,
rath er th an c h o rd I. Th e deno u em ent o f Tanc rnde c o n-
tai ns th ree
exam p l es ,
eac h o f wh i c h
ac c o m p ani es
an al l u -
s i o n to C l o ri nda's f ate. In A c t
5,
s c ene
2,
Tanc red i s
rec o u nti ng
h i s vi c to ri o u s c o m bat wi th a Sarac en
(wh o m
we k no w to h ave been
C l o ri nda).
A t h i s wo rds 'In th e
h o rro r o f th e
ni g h t
a f ears o m e warri o r c am e
f o rth '
th ere
i s a trans i ti o n f ro m a c h o rd o f A to a c h o rd o f
F ,
ac c o m -
p ani ed
i n th e bas s l i ne
by
a c h arac teri s ti c
f l u rry
o f
u p beat
s em i qu avers (ex.2).
Th e s am e
p ro g res s i o n
rec u rs ,
u ndec o rated,
i n A c t
5,
s c ene
4,
as h i s
enem y A rg ant
tel l s
Tanc red th at death h as c l o s ed C l o ri nda's
eyes (D
m i no r-Bb
m ajo r), (ex.3).23
Tanc red's rec i tati ve 'Sh e i s no
m o re!'
(A m ajo r),
wh i c h c o nc l u des th e
o p era, p o rtrays
h i s devas tati o n wi th th e
s i m p l es t
o f m u s i c al m eans . Its
m o s t
p o i g nant
m o m ent i s th e
rep ri s e
o f th e
o p eni ng
l i ne,
'Sh e i s no
m o re!', ef f ec ted,
af ter a m o du l ati o n to th e rel a-
ti ve,
vi a c h o rd V i n
F 4
m i no r to c h o rd I i n A
m ajo r.24
400
EA RLY MUSIC A UGUST
1993
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If i n ac ti o n s c enes th e
s u rp ri s e
o f
k ey c h ang e
o f ten
p l ays
a
g reater
ro l e i n
u nderl i ni ng
th e wo rds th an th e
ac tu al
k eys
c h o s en,
C am p ra
no neth el es s c o nf o rm ed to
Lu l l y's u s ag e-and
th e th eo ri s ts '
rec o m m endati o ns "2
-i n
res ervi ng k eys
wi th m o re th an o ne ac c i dental
(o th er
th an D
m ajo r
and
Bb m ajo r)
f o r m o m ents o f
h ei g h tened
em o ti o n. C m i no r
u s u al l y
s erved to
dep i c t
g ri ef
and
l am enti ng (bu t
nei th er
c o m p o s er
adh ered
s tri c tl y
to th i s
no ti o n).
Mu c h rarer are F m i no r and
es p ec i al l y
Bb m i no r,
deem ed
res p ec ti vel y
to be
'g l o o m y
and
p l ai nti ve'
and
'g l o o m y
and terri bl e'.
C am p ra
u s es
eac h o nc e
o nl y-F
m i no r i n a s c ene
des c ri bi ng
death i n
'La
trag
di e' Les Mu s es
(1703)
and Bb m i no r i n h i s bal l et
A reth u s e
(1701)
to evo k e th e Underwo rl d.
Th ey
are no t
f o u nd i n o th er c o ntexts
exc ep t
i n
p as s i ng
m o du l ati o n.
Perh ap s
u nder Ital i an i nf l u enc e
C am p ra
l ent o th er l i ttl e-
u s ed
k eys s ym bo l i c
as s o c i ati o ns to o :
C h arp enti er's
des c ri p ti o n
o f B m i no r and
E
m ajo r res p ec ti vel y
as
'l o nel y
and m el anc h o l i c ' and
'qu arrel s o m e
and c l am -
o ro u s '26
c o m es
c l o s e to th ei r eth o s i n
C am p ra's
m u s i c .
Wi th
C am p ra
B
m i no r,
s ervi ng o nl y
f o u r ti m es as a m ai n
k ey, al ways ap p ears
i n a
s o l i l o qu y,
and i n th e c o ntext o f
u nh ap p y
l o ve.27 Beg i nni ng
wi th
'La Tu rqu i e'
i n
L'Eu ro p e
g al ante,
i n wh i c h h e s et o u t to
p o rtray
'as f ar as was
p o s s -
i bl e o n th e
s tag e
. .. th e
p as s i o nate
natu re o f
Su l tanas ',8
h e as s o c i ated
E
m ajo r
wi th th e em o ti o n o f
jeal o u s y
o n
f o u r o f th e s i x o c c as i o ns h e
em p l o yed i t."9
A p art
f ro m th e o th erwi s e u nk no wn 'M. de Navarre' wh o
p ro vi ded
th e text o f
Di do n,
th e c antatas i n
C am p ra's
f i rs t
bo o k were wri tten
by
th e bes t
o p era
l i bretti s ts o f th e
day-A nto i ne
Danc h et
(no s . 1-2)
and Pi erre-C h arl es
Ro y (no s . 4-6). A l th o u g h
al l are f o r s o l o vo i c e we are
drawn i nto a
qu as i -th eatri c al exp eri enc e.
Narrati ve
p o r-
ti o ns des c ri be
ac ti o n,
and evo k e vi s u al ef f ec ts rem i -
ni s c ent o f th e th eatre. Di rec t
s p eec h
h as th at
p ers o nal
qu al i ty Jean-Jac qu es
Ro u s s eau l ater
rec o g ni zed
as
bei ng
i ntri ns i c to th e bes t c antatas .3"
Every p i ec e di s p l ays
th e
c l as s i c
p h as es
o f
p rep arati o n,
c ri s i s and
deno u em ent;
th ank s to th e s k i l l o f
C am p ra's p o ets
a f i nal retu rn to th e
o ri g i nal to nal i ty (i f
no t
k ey)
i s
dram ati c al l y p l au s i bl e
as
wel l as
m u s i c al l y s ati s f yi ng .
In th ree wo rk s
(no s . 3, 5, 6)
th ei r s o l u ti o n
l ay
i n
f i ni s h i ng
wi th
rec i tati ve,
rath er th an
wi th th e
c u s to m ary m o ral i zi ng
ai r.
Rem o te o r u nu s u al
k eys
are s ti l l f eatu red
o nl y
at
extrao rdi nary
m o m ents , bu t,
ap art
f ro m B
m i no r,
no t
nec es s ari l y
wi th th e s am e as s o c i ati o ns as bef o re. L'h eu -
reu xjal o u x
h as a
'jeal o u s y'
ai r and
l eng th y
rec i tati ve wi th
m o du l ati o ns
o nl y
to f l at
k eys (m o vem ents 7-8)
i n F
m i no r,
wh i c h trans f o rm s a l o ver's ti f f i nto a m i ni atu re
trag edy. Bei ng
aware o f th e
o p erati c
as s o c i ati o ns o f F
m i no r,
th e
s i ng er
c an dram ati ze th e
ep i s o de ac c o rdi ng l y.
Ex.2
Tanc rede,
A c t
5,
s c ene 2
[Tanc ri de]
[m al -] h eu r, Mai s l 'ar- deu r d'i m
- m o - l er u n Ri - val qu e j'ab
- h o r - re, A s eu l e
A
c e
C o m -
bat ra - ni - m d m a va -
l eu r Dans h o r - reu r de l a nu i t n Gu er - ri er re - do u - ta - bl e,
Ex.3 Tanc r'de,
A c t
5,
s c ene
4
[A rg ant]
Va, g
-
n- reu x Gu er - ri er
jo u
- i r de ta vi c - to i - re, Une - - ter - nel - l e nu i t vi ent de f er - m er s es yeu x
[66]
7 6 7 6
EA RLY MUSIC A UGUST 1993 401
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E C A RNA VA ZI nF VEINIS ',
?
-" ": ': "
'c
----" . ..- -
"
A t
".!r
'el
7-i
F l b
L ?
3
Veneti an
revel l ers ,
a s c ene f ro m
C am p ra's
o p dra-bal l et
Le
c arnaval de Veni s e
(1699); eng ravi ng
i n th e l i bretto
A
no vel ty
i s
F 4 m i no r,
rare
eno u g h
to be abs ent f ro m
every
th eo ri s t's
l i s t,
and wh i c h
C am p ra
h ad u s ed bef o re
o nl y
i n
p as s i ng
m o du l ati o ns . It i s f eatu red i n a beau ti f u l
s o m m ei l i n Les
f em m es .
Wi th th e
p arti al exc ep ti o n
o f Di do n and Les
f em m es ,
wh i c h dwel l o n th e
p ro tag o ni s t's
u ns tabl e em o ti o ns i n
th e m anner o f a th eatri c al
s o l i l o qu y,
i t i s dram ati c
ep i -
s o des rath er th an
s p ec i f i c
m o vem ents th at are s et i n
rel i ef
th ro u g h
wel l ti m ed
k ey c h ang es ,
as i n
C am p ra's
s tag e
ac ti o n s c enes .
Beari ng
th i s i n m i nd c an
h el p
to
bri ng
c antata
p erf o rm anc es
to
l i f e,
f o r i t l i berates o ne
f ro m
s eei ng
a c antata as a m ere s u c c es s i o n o f rec i tati ves
and ai rs .
Qu i te
o f ten th e
c o m p o s er
h i m s el f as s i s ts th e
p ro c es s by s ep arati ng
m o vem ents wi th
s i ng l e,
rath er
th an do u bl e barl i nes .
Pro m p ted
no do u bt
by
Danc h et's
k eep i ng
to a
s i ng l e
m o o d i n eac h
ep i s o de, C am p ra's l arg e-s c al e
to nal c o n-
tras ts are
s h arp es t
i n
Hi bd.
A
narrato r/p ro tag o ni s t
i m p l o res
Wi s do m to be l es s h ars h o n
yo u ng p eo p l e:
i s
no t
'p l u c k i ng
th e
day'
i ts el f wi s do m ?
(m o vem ents 1-4:
Rec i tati f
m es u rd, A i r,
Rec i tati f , Lentem ent).'
Th e m ai n
k ey
i s G
m i no r,
and
anc i l l ary k eys
to u c h ed
u p o n
are
wi th o u t
exc ep ti o n
f l at
k eys .
A di verti s s em ent-l i k e s ec ti o n
f o l l o ws i n wh i c h H6b6 m ak es a c am eo
'ap p earanc e'
to
o f f er advi c e i n an attrac ti ve
ro ndeau ,
'Gi ve th e
Sp ri ng -
ti m e o f
yo u r
l i f e to
p l eas u re
and
l o ve'.
Th e narrato r
res p o nds eag erl y:
'Let u s c ro wn o u r h eads wi th th es e
f l o wers '
(m o vem ents 5-6: A i r,
Rec i tati f -[Rec i tati f
m es -
u rd]).
A l l th e m u s i c i n th i s
p o rti o n
o f th e c antata i s s et i n
G
m ajo r. C o nf i rm i ng
th e m o o d o f
g ai ety, p as s i ng
m o du -
l ati o ns are c o nf i ned to
s h arp k eys .
Th en
s u ddenl y
th e
s c ene vani s h es i n m i d-rec i tati ve
(m o vem ent 6)
as i f
ef f ec ted
by s tag e m ac h i nery:
'Heavens ! Wh at f atal
c h ang e
i s th i s ! In a f l as h al l h as
di s ap p eared',
as th e narra-
to r real i zes i t was
o nl y
a vi s i o n o f h i s
yo u th ,
no w
p as t
(ex.4).
Th e
u p s et
o f th e m o m ent i s
ap tl y
trans l ated i n th e
m u s i c
by
a s u dden s h i f t to A
m i no r,
l eadi ng th ro u g h
vari o u s
k eys
to a f i nal c adenc e o n a G m i no r
c h o rd,
wh i c h i s al s o th e to ni c o f th e f i nal
m o vem ent,
an ari ette
c o ntai ni ng
a m o ral th at
rec ap tu res
th e
no s tal g i a
o f th e
o p eni ng
m o vem ents : 'Lo ve l i k e a beau ti f u l dream f ades
wh en
yo u th
i s
p as t'.
In L'h eu reu x
jal o u x, Dap h ne
and
A ri o n
eac h
ep i s o de
c o ntai ns s everal em o ti o nal nu anc es . Th e bes t o f th e
th ree i s
A ri o n,
c o m p o s ed
f o r
s o p rano ,
f l u te and c o n-
ti nu o .
Ro y
s k etc h es an
i dyl l i c p o rtrai t
o f th e f abl ed
s i ng er's
m u s i c al
p o wers
and
tri u m p h al
retu rn to h i s
nati ve l and i n m o vem ents
1-3 ([A i r]-Rec i tati f -A ri ette),
al l o f wh i c h i s i n
E
m i no r. In m o vem ent
4 (Rec i tati f )
a
c ro s s -p l ay
between c h o rds o f
E
m ajo r
and
E
m i no r f o s -
ters an
atm o s p h ere
o f
u nc ertai nty
as th e narrato r warns
A ri o n
th at evi l
p l ans
are af o o t
(ex.5).
Th e
bu i l d-u p
to th e
c ri s i s ,
c o m p ri s i ng
a
des c ri p ti o n
o f A vari c e
(a
k i nd
o f jeal -
o u s y)
as a
m etap h o ri c al
m o ns ter, A ri o n's ac c ep tanc e
th at h e i s to di e at th e h ands o f s ai l o rs wh o c o vet h i s
ri c h es ,
and h i s
s wans o ng ,
i s i n
E
m ajo r (m o vem ents 5-7:
Vi vem ent-Rec i tati f -A i r).
A s th e s ai l o rs c as t
A ri o n
o ver-
bo ard
th e m u s i c reverts to
E m i no r, ag ai n
m ade
p i qu ant
wi th
m ajo r
c h o rds
u nderl yi ng
em o ti ve wo rds , and th ere
i s a m o du l ati o n to B m i no r. Wh en th e narrato r i nti m ates
th at
h el p
i s at h and, c h o rd I i n B m i no r m u tates i nto 16 i n
G
m ajo r (m o vem ents 8-9: R&c i tati f -Mes u rd
et
Li g bre-
m ent). In c o ndens ed f o rm th i s i s th e
'm ag i c ' p ro g res s i o n
402
EA RLY MUSIC A UGUST
1993
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Ex.4
Hi be.,
m o vem ent
6,
bars 10-21
De c es f l eu rs c o u - ro n - no ns no s t& - tes , Ri - o ns , c h an - to ns , ai - m o ns , Ri - o ns , c h an - to ns , ai -
"I,
I I
.-
6 7 6 6 6 6
m o ns , et
c 6
-
16
-
bro ns , c -
1
- bro ns ,
c 6
-
16
- bro ns c es f & - tes . Hd - to ns
no u s ...
[
]01
6 4
0 [6]
Lentem ent.
Mai s ,
6 C i el !
qu el
f a - tal c h an- g e
- m ent! To u t di s -
p a
- ro i t en u n m o -
.f
4
m ent. Un tri - s te s o u -
ve
-
ni r es t to u t c e
qu i
m e re -
s te;
SI
-
-
I
i
S06
6
t
4
-53 3
3
Ex.5 A ri o n, m o vem ent
4-m o vem ent 5,
bar
3
Mai s , dans u n tem s c al m e et
p ai
- s i - bl e, Qu e
de c o eu rs en s e
-
c ret tro u
-
bl ez!
Qu el
des
-
6
[6]
4
EA RLY MUSIC A UGUST 1993 403
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Ex.6
A ri o n,
m o vem ent
8,
bars
7-18
Mes u rd et
L4g erem ent.
U I .I i I I I I
[f o r-] f ai ts ,
s a vi e et s es do u - l eu rs . No n, A -
ri - o n, es -
p
-
re... ad -
m i -
re, Les Di eu x
p ren
- nent
6 4 6
s o i n de to n s o rt; Un Dau -
p h i n
at - ti - r
p ar
ta Vo i x et ta
Ly
- re, A -
I
.
II
4 7 [6]
"6
1
,
7 1 4
l +
p ro - c h e,
te re
- qo i t,
et c e vi
-
vant Na
- vi -
re Te rend au Po rt.
[61
7 4
o f
C am p ra's s tag e
m u s i c .32 A s th e
Do l p h i n ap p ro ac h es ,
s u m m o ned
by
A ri o n's
s o ng ,
th e
s u s p ens e
i s m ai ntai ned
al m o s t to th e l as t
by
m eans o f
s ec o ndary
do m i nants .
Onl y
i n th e f i nal bar i s th ere ano th er c adenc e o n to an E
m i no r c h o rd
(ex.6).
Di do n,
wri tten f o r
s o p rano ,
f l u te,
two vi o l i ns and c o n-
ti nu o ,
i s th e earl i es t o f f i ve
s etti ng s
o f th e
l eg end
i n th e
F renc h c antata
rep erto ry.33 C o m bi ni ng
narrati ve and
s o l i l o qu y
i n i ts
p o rtrayal
o f a
g enu i nel y trag i c
c h arac ter's
i nner
tu rm o i l ,
Di do n c o m es c l o s es t o f al l
C am p ra's
c an-
tatas to th e em o ti o nal c o re o f F renc h
o p era.
Th e extrem e
ec o no m y
o f i ts o veral l
k ey p l an,
ec h o ed i n th e h ar-
m o ni es ,
s tro ng l y
rei nf o rc es th i s
i m p res s i o n.
Seg m ents
i n D
m ajo r
and B m i no r ac c o rd wi th
ep i -
s o des o f th e dram a as th i s
u nf o l ds ,
bu t two i s o l ated D
m i no r m o vem ents u nders c o re Di do 's
ang u i s h
at
bei ng
betrayed.
Th e narrato r tel l s f i rs t o f th e
u p ro ar
i n C ar-
th ag e
at th e news th at A eneas i s
p rep ari ng
to
dep art,
and
dep l o res
Di do 's
c o m i ng
f ate:
wh y
do es a l o ved o ne s o
s o o n bec o m e f i c k l e
(m o vem ents 1-3: Rec i tati f -A i r-Ri c -
i tati f :
D
m ajo r)?
Di do i s
p res ented, di s trau g h t;
h er
ap p eal s
to A eneas
s wi ng
f ro m tearf u l
rep ro ac h
to
des p ai r,
th en
f u ry:
'Let th e u nc h ai ned
wi nds ,
l et th e
ang ry
waves ,
wh o s e
f u ry
h eral ds
s h i p wrec k ,
do to
yo u r
h eart wh at
m y
l o ve c o u l d no t'
(m o vem ents 4-6: A ,
D
m i no r;
Rec i tati f
'F o rt vi te': D
m ajo r).
B
m i no r,
C am -
p ra's k ey
o f
u nh ap p y
l o ve,
s erves f o r th e
qu as i -di al o g u e
i n wh i c h Di do
beg s
A eneas to
s tay,
h i s rel u c tant
dep ar-
tu re at th e
bi ddi ng
o f th e
g o ds ,
and h er vai n
p l ea
th at h e
retu rn to h er
(m o vem ents 7-9a).
Th e c antata ends wi th
Di do s ti l l
s p eak i ng
i n th e f i rs t
p ers o n.
Sh e
i m p l o res
th e
g o ds
f o r
veng eanc e
i n an extended da
c ap o
ai r,
wi th ni ne
k ey-c h ang es
th e wo rk 's m u s i c al and dram ati c c l i m ax
(m o vem ents 9b-1o : Rec i tati f
A i r: D
m ajo r).
In th e f i nal
m o vem ent
s i m p l e
vi o l i n
ac c o m p ani m ent,
th e m i no r
m o de and
p l ai n
h arm o ni es -o ne
k ey
o th er th an th e
to ni c i s o nc e
f l eeti ng l y
to u c h ed
u p o n-p ro vi de
a
f i tti ng
m u s i c al
p aral l el
to Di do 's end
(Ri c i tati f .
D
m i no r).
Two f eatu res
anc i l l ary
to h i s to nal arc h i tec tu re attes t
C am p ra's abi l i ty
to rec o nc i l e m u s i c al
u ni ty
wi th dra-
404
EA RLY MUSIC A UGUST
1993
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m ati c
p u rp o s e.
F i rs t,
to nal l y
m atc h ed m o vem ents are m o re o f ten
th an no t i nterl i nk ed
by
th ei r
o p en-
i ng
m o ti f s ,
wh i c h are c h o rdal o r
l i near,
f o l l o wi ng
th e natu re o f th e
af f ec t and th e
rh yth m s
o f th e text. Of
th e
49
m o vem ents th at m ak e
u p
th e
c o l l ec ti o n o f 1708, 35
are c o nnec ted
by i nc i p i t
to at l eas t o ne o th er i n th e
s am e
to nal i ty.
C h arac teri s ti c i n
C am p ra's
di verti s s em ents as wel l as
th o s e o f
Lu l l y
bef o re
h i m ,
th ey
l i nk
danc es to ai rs and even c h o ru s es .34
He trans f erred th e
tec h ni qu e
to h i s
p eti ts
m o tets ,35
and th en to h i s c an-
tatas .
Ex.7
s h o ws th at eac h
ep i s o de
o f Di do n i s s et i n rel i ef
by
vi rtu e o f i ts
th em es ,
and th at
C am p ra th o u g h t
o f
th e D m i no r m o vem ents as a
p ai r.
Sec o nd,
i n A ri o n th e th ree m ai n
m o vem ents
(E m i no r-E m i no r-E
m ajo r)
are i nterc o nnec ted
by
m eans
o f s i m i l ar
f i g u rati o n,
as wel l as
by
to nal i ty,
i ns tru m entati o n
(al l
h ave
f l u te
o bbl i g ato s )
and
o p eni ng
m o ti ves . Prec edent f o r th i s i s to be
f o u nd i n
C am p ra's p eti ts
m o tets
rath er th an i n h i s
s tag e
m u s i c . A l l
th ree ai rs i n Ps al m
c xl vi i i ,
Lau date
Do m i nu m de
c ael i s (bo o k 2)
enjo i n
th e f ai th f u l to
p rai s e
Go d. Eac h o ne
i s i n
Bb,
i s i n
tri p l e
m etre m ark ed
'Gay'
and h as
ru nni ng qu avers
i n th e
ac c o m p ani m ent.
Ps al m
xc i i , Do m i -
nu s
reg navi t (bo o k 3:
f o u r m o ve-
m ents i n D
m ajo r)
i s
s i m i l arl y
c o nc ei ved.
Th e m u s i c al c o h erenc e
p ro du c ed
by
th e s am e
tec h ni qu es
i n
A ri o n
i s
rare i n th e
c antata,
f o r i ts
c o m p o s ers
g eneral l y yi el ded
to Ital i an i nf l u enc e
i n
s eek i ng
vi vi d c o ntras ts between
m o vem ents . Wh i l e th e tal e u nf o l ds
th eatri c al l y
as we h ave s een, Ro y
al s o
c o nc ei ved
A ri o n
as a
p aean
to th e
p o wer
o f Mu s i c . Mo vem ent
1
ap o s -
tro p h i zes
Mu s i c :
'Lo vel y
Enc h ant-
res s , C u p i d's dau g h ter,
s weet
Mi s tres s o f o u r
p as ti m es ,
wh at c an
yo u r
ai d no t
ac c o m p l i s h ?'36
Mo ve-
Ex.7 Di do n, i nc i p i ts
Mo vem ent
Qu el
tu - m u l - te!
qu el
bru i t s '6 - 1 - ve
Lentem ent et
p i qu e.
Su f - f i t - i l
d'8-tre
A - m ant ai -
m b,
Po u r de-ve-ni r vo
[l ag e]
Mai s ,
j'a
-
p er
-
o y
Di - do n
qu i
s u i t c et In- c o n - s tant
Gravem ent.
4 f 1
L
I
"
,
C ru - el ,
tu
c ro y - o i s m e tro m
-
p er
+ +
i
=
,
.
I k =
. .
. .
A h ! du m o i ns , s i m es
p l eu rs
ne
p eu
- vent t'6 - m o u - vo i r
F o rt vi te
6 ORF Y
Y
Qu e
l es vents d6 -
c h a^m n
- ez
En -
6e,
A c e ten - dre di s -
c o u rs , s ent ral - l u - m er s a f l a - m e
En c e m o - m ent i l
p art,
i l vo l e
,I, I Ii
; r
I
r"t V '
Di -
do n, a - vec trans -
p o rt,
l e s u i t
ju s
-
qu 'au
ri - va -
g e
9b A
Po u r - s u i C ru -
el , p o u r
- s u i to n f u - ne - s te des - s ei n
Vi te.
10
.
7
+
p
r
HA - tez - vo u s , HA
- tez-vo u s de m e ven -
g er, HA
- tez-vo u s
Mai s , o h i m 'em
-
p o r
- te m a do u - l eu r
EA RLY MUSIC A UGUST 1993 405
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m ent
3 dep i c ts A ri o n's
abi l i ty
to c o m m and Natu re
th ro u g h
h i s
s i ng i ng ,
and m o vem ent
7
p o rtrays
th e ef f ec t
h i s
s wans o ng
h as o n th e el em ents . Of
p arti c u l ar
i nteres t
i s th e
rec u rrenc e,
am i d abs trac t
p atterns ,
o f an af f ec ti ve
o rnam ent k no wn as th e
c h u te,
wh i c h
C am p ra
h ad earl i er
as s o c i ated wi th f l u te ti m bre and
o rnam ented,
F renc h -
s tyl e m el o dy
i n A l c i ne to
dep i c t
enc h antm ent: i t evo k es
th e
s i g h i ng
o f l o vers wh o m th e s o rc eres s h as tu rned i nto
trees
(A c t 2,
s c ene
1)
and th e m u s i c h eard i n A l c i ne's Lab-
yri nth
o f Lo ve
(A c t 3,
s c ene
1).37
A s s h o wn i n exx. 6 and
8,
i n
A ri o n
i t rec u rs l i k e a
ti ny Lei tm o ti f
to
s u g g es t
Natu re
m o ved
by
m u s i c ,
no t
o nl y
i n eac h o f th e th ree m ai n
l yri -
c al
m o vem ents ,
bu t al s o i n th e
c o nc l u di ng
rec i tati ve as
th e
Do l p h i n
arri ves at th e
bi ddi ng
o f
A ri o n's
s o ng .
C l "ram bau l t's c antata La m u s e de
l 'Op era (1716)
i s a
c h arm i ng anth o l o g y
o f s c eni c m o vem ent
typ es . Styl i s ti c
m anneri s m s i m i tated i nc l u de a s h i f t f ro m E m i no r to C
as a s o m m ei l
g i ves way
to a 'Prel u de
i nf ernal e'
and a
c h ang e
o f m o de as a rec i tati ve wi th th e wo rds 'Let u s f ear
no th i ng ,
a
h ap p y c h ang e
c o m es wi th s weet
p o rtent'
s u c -
c eeds a dem o ni c
danc e.38
Ho wever,
i t
m ay
be no ted th at
o vertl y
'th eatri c al '
p i ec es
tend to h ave
k ey
s c h em es to
m atc h f ro m th e earl i es t F renc h c antata c o l l ec ti o ns
o nwards ,
c o p yi ng
no w
s tag e
ac ti o n s c enes i n
h el p i ng
to
dram ati ze th e
text,
no w di verti s s em ents i n
f u nc ti o ni ng
i ndep endentl y
f ro m i t.
Li ttl e c o nc erned to
ado p t
th e to nal i di o m s o f
o p era
f o r
th e s ak e o f dram ati c
exp res s i o n
was Ni c o l as Berni er. He
es c h ewed m o dal c o ntras ts bef o re
Ju p i ter
et
Eu ro p e (bo o k
4, p ri vi l eg e 1703)
and s everal ti m es
em p l o yed
a to ni c -
s u bm edi ant
p ro g res s i o n
between m o vem ents wi th o u t
any
textu al
ju s ti f i c ati o n.
A s th e ti tl e
i m p l i es ,
h i s
h ybri d
C antates
f rang o i s es
en
m ani ere
de
di verti s s em ents ,
des i g ned
to c el ebrate th e Du c h es s e du Mai ne's Nu i ts de
Sc eau x
o f
1714-15,39
bo rro w
h eavi l y
f ro m th e di verti s s e-
m ent i n th ei r f o rm and
s tyl e. A p o l l o n,
l a Nu i t et C o m u s
o p ens
wi th ten m o vem ents wh i c h o s c i l l ate between G
m ajo r
and G m i no r f o r th e s ak e o f m u s i c al
vari ety
al o ne.40
Mo s t l i k e
C am p ra's
are th e
k ey
s c h em es o f El i s abeth -
C l au de
Jac qu et
de l a Gu erre.
A l th o u g h
h er m el o di c
i di o m s ,
wo rd-rep eti ti o n
i n
ai rs ,
and
f requ ent
m o du -
l ati o ns o we m u c h to
Ital y,
h er
p l ai n k ey-s c h em es
res em -
bl e th o s e o f h er
trag edi e
en
m u s i qu e, C c p h al e
et
Pro c ri s ,
wri tten and
p erf o rm ed
wh en
Lu l l y
was s ti l l al i ve
(1685).41
Th e to nal
s tru c tu ri ng
o f h er c antatas
i nvari abl y
enh anc es th e
wo rds .42 C h ang es
o f af f ec t
al ways g o vern
k ey c h ang es ,
and as wi th
C am p ra
th es e al s o ref l ec t dra-
m ati c
ep i s o des .
F o r
exam p l e
i n
Jo nas (bo o k i )-th e
s to ry
o f
Jo nah
and th e wh al e-th e h ero 's di s o bedi enc e to
Go d i s des c ri bed i n A m i no r, and i ts
c o ns equ enc es
are
dep i c ted
i n th ree c o ns ec u ti ve m o vem ents i n A
m ajo r.
Sem i qu aver f i g u rati o n
as wel l as
k ey
l i nk s
to g eth er
f i ve o f
i ts 11 m o vem ents . Th ere i s a
dram ati c al l y ap p ro p ri ate
retu rn to th e i ni ti al
k ey
bef o re th e c o nc l u s i o n o f
Jo nas ,
Jac o b et Rac h el and
A dam , as i n
C am p ra's
Di do n.
Jep th e
(bo o k 2)
i s o ne o f s everal wo rk s wh o s e m o vem ents are
u ni ted
by
th ei r
o p eni ng th em es .43
Bu t i f
Jac qu et
de l a
Gu erre was a m i s tres s o f th e
g rand g es tu re, C am p ra's
f o rte was del i c ate u nders tatem ent. Pro m i nent F renc h -
s tyl e f i g u rati o n
and
u ni ty
o f
m o o d,
as s een i n
A ri o n,
h as
no
p aral l el
i n th e c antatas o f h i s
c o ntem p o rari es .
A
c o m p o s er
wh o to o k af ter
C am p ra
i n
bei ng
abl e to
dram ati ze rec i tati ves wi th o u t
h avi ng
to res o rt to
h i g h l y
c o l o u red
h arm o ny
was Mi c h el
Pi g no l et
de Mo nt6c l ai r.
In th e s ec o nd rec i tati ve o f La m o rt de Di do n
(bo o k i ,
c .1709)
an
u nexp ec ted
F
m ajo r
c h o rd
f o l l o wi ng
a D
m i no r c adenc e and a dram ati c
p au s e
u nderl i ne Di do 's
exc l am ati o n 'Perf i di o u s l o ver!'
adm i rabl y,
and th e
ac c o u nt o f h er f i nal m o m ents i n th e next rec i tati ve i s
s everal ti m es arti c u l ated i n th e s am e s ens i ti ve m anner. In
to nal term s Mo nt6c l ai r's
s etti ng
o f th e
l eg end
i s a m i r-
ro r-i m ag e
o f
C am p ra's ,
f o r i n i t Di do 's
ang er
i s
exp res s ed
i n D m i no r and i n F
m ajo r,
wh i l e h er s adnes s at
bei ng
betrayed
tak es th e f o rm o f an
i m p rec ati o n ag ai ns t
Venu s 's
p o wer
i n D
m ajo r,
rem ark abl e f o r th e i nc reas -
i ng l y
el abo rate o rnam entati o n wri tten i n th e s c o re.44
Stu c k 's f i rs t c o l l ec ti o n m u s t h ave attrac ted s o m e
Ex.8
(a) A l c i ne,
A c t
2,
s c ene
1; (b) A ri o n,
m o vem ent
1,
bars
60-64; (c ) A ri o n,
m o vem ent
3,
bars
38-50; (d) A ri o n,
m o vem ent
7,
bars
43-6, 50-55
(a)
F l u tes
k .
I
- I
,0
Er . I e V
-i p IF o
!V
r
I. .
Vi o l o ns
do u x
c
'
-.
- I I I : 4
B.C . 6
4o 6
EA RLY MUSIC A UGUST
1993
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All use subject to JSTOR Terms and Conditions
(b)
Lentem ent.
S
IU
II
I
Tu s em - bl es re - g l er
l eu rs c o u rs ; Et l es Ro - c h ers
4 7
(c )
Pi qu e.
D'u n
s o u f
-
f l e ti -
m i
-
de, Tro u - bl o i t l eu r re -
p o s , D'u n
s o u f
-
f l e ti -
6
[6]
tt t [6] [6]

6 4
(d) Lentem ent.
F ,,=
;"
.
#
rIi ,
?
] I I
II!I
Ir
Le c o eu r s en - f l m eo S'at
- ten - dri t, S'at - ten - dri t
6 6 5 6
7 7
s es ac -
c ents .
Le-c o eu r
s enf e
I-
di t,
St t
-dri t
a
EA RLY MUSIC A UGUST 1993 407
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Ex.9
La c o k re
d'A c h i l l e, m o vem ent
5,
bars 1-6
Lent,
et Grac i eu s em ent.
F l u tes .
Vi o l o ns . Do u x.
v6 L6 6
i 7
6
I
6
06
6 6 7 6 6
advers e
c ri ti c i s m ,
f o r h i s l ater c o l l ec ti o ns
(1708, 1711,
1714)
tak e m o re ac c o u nt o f th e F renc h
l ang u ag e
and are
m u c h m o re c o ns ervati ve i n th ei r
k ey p l ans .45
A s f o r
Mo ri n,
al th o u g h
m o dal s h i f ts
qu i te ap tl y
u nders c o re
em o ti o ns i n s o m e
p i ec es ,
C i rc e (bo o k 1)
c o ntai ns two
th at are
g ratu i to u s ,
th e vi o l ent
p as s i o ns exp res s ed
i n
Jean-Bap ti s te
Ro u s s eau 's
p o em no twi th s tandi ng .46
He
was
ri g h t
to be
p ro u der
o f h i s di verti s s em ent La c h as s e du
c erf th an
o f
anyth i ng
h e h ad wri tten
p revi o u s l y,47
f o r
h e
was s o m ewh at o u t o f h i s
dep th
wh en i t c am e to
s etti ng
dram ati c texts .
Ido m enee
(1712)
s h o ws th at as ti m e
p as s ed C am p ra
was
m o re
p rep ared
to f eatu re rem o ter
k eys
wh en
exp res s i ng
em o ti o nal tens i o n: i ts
c h i l l i ng
d6no u em ent,
i n wh i c h
Ido m ende bec o m es aware th at h e h as s l ai n h i s o wn
s o n,
i s i n Bb m i no r,
wi th m o du l ati o ns to Db
m ajo r,
Gb
m ajo r
and Eb m i no r.
(Onc e ag ai n
th e d6no u em ent i s i n rec -
i tati ve.)
Th ere i s
no th i ng
as
to nal l y
adventu ro u s i n
C am p ra's
s ec o nd and th i rd bo o k s o f c antatas
(1714,
1728). A p art
f ro m an ai r i n Eb
m ajo r exc l ai m i ng ag ai ns t
th e
tyranny
o f l o ve i n Les
c ap ri c es
de
l 'A m o u r (bo o k
3)-a 'h o rri bl e,
f ri g h tf u l ' k ey
f o r
C h arp enti er,
and
p as s ed
o ver
al to g eth er by
th e o th er th eo ri s ts
i nc l u di ng
Ram eau -th e c h o i c e o f
k eys
i n th es e c o l l ec ti o ns bears a
c l o s e
f am i l y
l i k enes s to th o s e o f bo o k 1.
Mu s i c al
vari ety
s eem s to h ave been
C am p ra's p ri n-
c i p al
ai m i n
nearl y
h al f o f h i s l ater c antatas . F o r
exam p l e
i n Les h eu reu x
?p o u x
and Si l k ne
(bo o k 2),
wh o s e ai rs
were l i f ted f ro m Danc h et and
C am p ra's
c ens o red bal l et
Les am o u rs de
VWnu s (1712),48
th e
c o m p o s er ro u ti nel y
s et
al m o s t al l th e new rec i tati ves Danc h et wro te f o r th em i n
th e m o de
o p p o s i te
to th at o f th e ai r
th ey p rec ede,
al th o u g h
th ere i s no af f ec ti ve c al l f o r th i s .49 A
l i k el y
exp l anati o n
i s
th at,
al th o u g h
i n bo o k 2 h e
ag ai n
c o l l ab-
o rated wi th Danc h et
(no s . 1-4),
and wo rk ed wi th
ano th er em i nent
l i bretti s t,
F u s el i er
(no s . 5-6), th ey p ro -
vi ded h i m wi th
p o em s
wh o s e dram ati c i nteres t i s
u neven. Th i s
ap p l i es
al s o to th o s e o f bo o k
3,
al l o f wh i c h
are
ano nym o u s .
Ho wever,
wh en h e was s ti m u l ated to
exerc i s e
i t,
C am p ra's
dram ati c f l ai r i s s ti l l
very
m u c h i n
evi denc e.
It
m ay
be
arg u ed
th at
C am p ra's rec u rri ng f i g u rati o n
as des c ri bed earl i er i s
es s enti al l y
a dec o rati ve o r
u ni f yi ng
devi c e. Th i s i s
c ertai nl y
tru e o f Le
p ap i l l o n (bo o k 3),
i n
wh i c h
c o nc erto -s tyl e s em i qu avers dep i c ti ng
th e bu tter-
f l y p erm eate
al l th ree ari ettes
(G
m i no r-G
m ajo r-G
m i no r). Ho wever,
i n two c antatas i n bo o k
3
al l u s i ve
f i g u -
rati o n rec u rs i n a m anner th at
i ndu bi tabl y
ai ds th e
dram a. Li k e th e
rep ri s e
o f La Di s c o rde's m u s i c i n th e
f i nal s c ene o f
L'Eu ro p e g al ante
and o th er i nno vati o ns i n
Les Mu s es and Les
f tes
veni ti ennes ,5?
i t deno tes th at C am -
p ra g l i m p s ed
th e dram ati c
p o tenti al
o f th em ati c
rec al l ,
i n advanc e o f h i s ti m e. In h i s th i rd c o l l ec ti o n o f c antatas
i t i s bo u nd
u p
wi th a
h i g h l y p ers o nal
u s e o f i ns tru m ental
ri to rnel l o s i n dram ati c rec i tati ves .
One o f th es e c antatas i s La c o l ere d'A c h i l l e. Th e s c ene
i s s et wi th a 'Bru i t de
g u erre'
and an i ns tru m ental 'A i r de
tri o m p h e' i l l u s trati ng
th e ac c o u nt o f a battl e wh i c h th e
Greek s l o s e bec au s e A c h i l l es wi l l no t
f i g h t, ang ry
at l o s -
i ng
h i s bel o ved
Bri s ei s
at th e h and o f a f el l o w Greek .5
Marti al m o ti ves f ro m th es e m o vem ents rec u r to
dep i c t
A c h i l l es '
u nap p eas ed
wrath .
Ex.9
s h o ws th e
p rel u de
to
an ari o s o i n G m i no r wh i c h
p o rtrays
th e arri val o f th e
s ea-g o ddes s
Th eti s ,
A c h i l l es ' m o th er.
Exh o rti ng
h i m to
f o rg i ve
h i s
p ers o nal wro ng s
f o r th e s ak e o f h i s o wn
g reater g l o ry,
s h e
s i ng s
an ari ette abo u t th e
dang ers
o f
bei ng
i nf l exi bl e. A n A
m ajo r-F m ajo r
c h o rd
p ro g res s i o n
i s h eard as th e rem o rs ef u l A c h i l l es ref l ec ts o n h i s m en
wh o di ed
th ro u g h
h i s f au l t.
Sp u rred by
a
f l eeti ng
bu t
u nm i s tak abl e ec h o o f Th eti s 's
m u s i c ,
i nterp o l ated
i n i ts
o ri g i nal k ey
as i f to rem i nd h i m o f h i s m o th er's
c o u ns el ,
and
by
th e
g ro ani ng
s h ades o f h i s dead
c o u ntrym en,
h e
s ets f o rth to exac t
veng eanc e
f o r th e
Tro jan vi c to ry
(ex.i o ).
Th e o th er c antata i s Le
jal o u x.
Th i s h as th e wh i m s i c al
verve o f Les
f em m es ,
and,
l i k ewi s e wri tten f o r a
bas s ,
equ al l y
des erves to be revi ved i n
p erf o rm anc e.
Th e
c h o i c e o f vo c al
reg i s ter
h ark s
bac k ,
o f
c o u rs e,
to
Lu l l y's
o p eras ,
wh ere bas s es were
as s i g ned
th e ro l es o f 's ec o nd-
408
EA RLY MUSIC A UGUST
1993
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Ex.i o La
c o l k re d'A c h i l l e, m o vem ent
8,
bars
5-21
I k k k L L
F -
'A
r
V
0 V
Ho n - teu x de m a f a-ta - l e f l - - m e, Des p l u s c u i - s ans re - m o rds je m e s ens a -
g i - ter.
6 7
Qu e de Grec s des - c en
-
du s s u r l es Ri - va - g es s o m - bres De l eu r f u - ne - s te s o rt o nt dro i t de m 'ac - c u -
5
6
6 6
6 6
6
4 3 i f b
Lent et
m es u r4.
IVi o l o ns . 1
1
+
i 1 1
i -IJI
I-
o f m I Io 7 II
J %
, , 0,I
I " ai -
,
r
.
f d
A I
I
.
I
.-
I
DI,
-
UX. I -
6
5
6 6 66
6 6
6, 64 36 6 3 6 ,
F o rt. Do u x. F o rt. Do u x.
Om - bres , Trem bl e Hec - to r, c 'es t to n s ang qu i va l es a-p ai - s er.
9
V
1 T I
K.-
7I
,I
I
4
i
6 6 6
6
6 -- 6 46
Ex.i i Le jal o u x, m o vem ent 1, bars 1-8
Grac i eu s em ent. ,+
Sym p h o ni e.
6 6 6 7 7 6 6
/f 3~ tt 5
rank i ng
and
s p u rned
l o vers '.5" Of th e two
c antatas ,
Le
jal o u x
i s
p s yc h o l o g i c al l y
tru er to
l i f e,
f o r i ts 'h ero ' ru ns
th ro u g h
a wi der
g am u t
o f
em o ti o ns ,
s p el t
o u t i n rec -
i tati ves
by u nu s u al l y c o p i o u s tem p o
and c h arac ter di rec -
ti o ns . A
del i g h tf u l
to u c h i s th at i n th e
o p eni ng
m o vem ents th e i ns tru m ental ens em bl e i s c as t as an
i ndep endent p ers o nal i ty.
A
38-bar F renc h -s tyl e Sym p h o -
ni e i n
E
m i no r
(ex. 11)
i s
dram ati c al l y
f o res h o rtened
by
th e
jeal o u s
l o ver's
bru s qu e
c o m m and: 'Be s i l ent!
Vai nl y
di d I
i m ag i ne
th at s u c h s weet h arm o ni es wo u l d c al m
m y
EA RLY MUSIC A UGUST
1993 409
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Ex.12 Le
jal o u x,
m o vem ent
3,
bars
1-9
A i r. Mo derd.
Es t - c e 1 l e
p ri x, Qu e
de
-
vo i t at - ten
-
dre Un c o eu r s i s o u -
m i s ,
,F
IO
I J. I(2 I i I
I I
I='F I I
6 6 6
6--
6 6 6
6-
6
6--
6 6 5
04 04
/
Ex.13
Le
jal o u x,
m o vem ent
3,
bars
16-29
Vi o l o ns
Lent.
Vi f .
+
'I I I" r1 I I I1 1
Pu
-
ni s m a f o i - bl es s e o u m a ra
- g e. C 'es t
de ta m ai n
qu e je
veu x l e
trd
-
p as .
6
0
6
T6
4
0
6
Lent.
Qu e di s -
je!
A
qu el l e
er-reu r vai - ne Me l ai s -
s ay
-
je
a - ban - do n-
I
tIK
6 7 6 6 6
6
4
5
Grac i eu s em ent.
Do u x.
+ + -
,
ner... Re - vi en, Re - vi en, c h ar - m an - te C l i
m -
m -ne, Re - vi en p o u r m e p ar-do n - ner,
6
vi o l ent
g ri ef .'
Ri to rnel l o s f ro m th e
Sym p h o ni e
and th e
s i ng er's
rei terated
ap p eal s
f o r s i l enc e
i m ag i nati vel y
dep i c t
h i s m o o d
(m o vem ent
2:
Rec i tati J).
A
rh yth m i c
m o ti ve f ro m th e
Sym p h o ni e g enerates
th e next m o ve-
m ent,
an ai r s ti l l i n th e to ni c i n wh i c h wo rd-s tres s and
m u s i c al
rh yth m
are
(del i beratel y?)
o u t o f k i l ter
(ex.12).
Th ere f o l l o w a l am ent
(E m i no r), th o u g h ts
o f
reveng e (E
m ajo r), s el f -rep ro ac h (B m i no r),
and f u rth er
attem p ts
at
di s trac ti o n
(E m ajo r).
Th e l o ver's eventu al no ti o n o f
s eek i ng
death at th e h and o f h i s
l ady (m o vem ent 9: E
m i no r)
i s
di s p el l ed by
a f ew bars f o r
'Vi o l o ns '53
and c o n-
ti nu o ,
rem i ni s c ent o f th e
qu i et o p eni ng
m o vem ents ,
bu t
i n a s l o wer
tem p o . Bei ng
abs trac t i n
s tyl e
and wi th o u t
wo rds ,
th i s
p as s ag e
i s
p l eas antl y am bi g u o u s .
Is i t m u s i c
f o r h i s
i m ag i ned
f u neral ,
o r do es i t rem i nd th e
s i ng er
th at
al th o u g h u nh ap p y,
h e i s i n l o ve? It
c ertai nl y p u ts
410
EA RLY MUSIC A UGUST
1993
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h i m i n a di f f erent f ram e o f
m i nd,
f o r o n
h eari ng
i t h e
res o l ves to
beg f o rg i venes s
o f h i s m i s tres s f o r
bei ng jeal -
o u s (ex.13).
C am p ra
bas ed h i s
k ey p l ans
o n th e Lu l l i an m o del even
wh en h e as s u m ed an Ital i an
m anner,
as
m ay
be s een i n
'L'Ital i e',54
'Orf eo
neg l i
Inf erni ',
th e 'Mo tet
'a
l a m ani ere
i tal i enne' and th e
i m m ens el y p o p u l ar
Les
f etes
veni -
ti ennes
(1710).
Hi s
p u rs u i t
o f th e s am e
ap p ro ac h
i n h i s
c antatas aro s e
p erh ap s
f ro m a f i rm c o nvi c ti o n o f wh at
wo u l d s u c c eed i n a
g enre
s o
c l o s el y
al l i ed to
o p era, p er-
h ap s
f ro m i nnate c o ns ervati s m . Wh atever th e tru th
m ay
be,
p l ac ed
at th e s ervi c e o f h i s o wn dram ati c
i m ag i nati o n
and
s u p erb c raf ts m ans h i p
th e to nal i di o m o f th e F renc h
l yri c
th eatre and i ts
s ym bo l i c
as s o c i ati o ns
h el p ed
C am -
p ra
to wri te s o m e o f th e m o s t
eng ag i ng
c antatas i n th e
rep erto ry.
Th i s arti c l e i s bas ed o n res earc h
c o m p l eted
wi th
f i nanc i al
ai d
f ro m
th e Internal Grants
C o m m i tee,
Vi c to ri a Uni ver-
s i ty o f Wel l i ng to n.
Greer
Garden,
a Seni o r Lec tu rer at th e Sc h o o l
o f Mu s i c ,
Vi c to ri a
Uni vers i ty o f Wel l i ng to n,
New
Zeal and,
i s ac ti ve
as a
s i ng er
and
m u s i c o l o g i s t.
F renc h
Baro qu e
c antatas are
h er
s p ec i al
i nteres t. Her
p u bl i c ati o ns
i nc l u de an edi ti o n
o f
th e
c o m p l ete
wo rk s
o f
th e Renai s s anc e
c o m p o s er
F ranc o i s
Ro u s s el .
'Th e
p ri nc i p al s u rveys
o f th e
c o m p o s er's
c antatas and
s tag e
m u s i c
are as f o l l o ws : L. de La Lau renc i e, 'No tes s u r l a
jeu nes s e
d'A ndre C am -
p ra',
SIMG,
x
(1908-9), p p .199-225, 243-58;
La Lau renc i e, 'A ndre C am -
p ra,
m u s i c i an
p ro f ane,'
A nni e
m u s i c al e, i i i (1913),
p p .153-205;
M.
Barth el em y,
A ndre
C am p ra:
s a vi e et s o n o eu vre
(Pari s , 1957);
P. F o r-
tas s i er, 'Mu s i qu e
et
p aro l es
dans l es
o p eras
de
C am p ra'
La
Reg enc e
(Pari s , 1970), p p .31-43;
D.
Tu nl ey,
Th e F renc h c antata
(Lo ndo n, 1974),
p p .104-11; J.R. A nth o ny,
F renc h
Baro qu e
m u s i c
f ro m Beau jo yeu l x
to
Ram eau
(Lo ndo n,
rev. edn
1978), p p .117-46; J. Do ri val , Les c reateu rs de
l a c antate
f rang ai s e (di s s .,
C o ns ervato i re Nati o nal
Su p eri eu r
de Mu s -
i qu e
de
Pari s , 1980), i ,
p p .58-62, 85-7, 90-99;
L.E. Bro wn, 'Dep artu res
f ro m Lu l l i an c o nventi o n i n th e
trag edi e l yri qu e
o f th e
p reram i s te
era,
Rec h erc h es s u r l a
m u s i qu e f rang ai s e c l as s i qu e,
xxi i
(1984), p p -59-78;
R.
F ajo n, L'o p era
i Pari s du Ro i
So l ei l
a Lo u i s l e Bi en-A i m e
(Geneva, 1984);
J.R. A nth o ny,
Intro du c ti o n to f ac s i m i l e edn, Le c arnaval de Veni s e
(New Yo rk , 1989), p p .i x-xi v;
D.
Tu nl ey,
Pref ac e to f ac s i m i l e
edn,
C an-
tatas
by
A ndre
C am p ra,
Bo o k s I-II (New Yo rk , 199o ).
2Le C erf de l a Vi evi l l e,
'Ec l ai rc i s s em ent s u r
Bu o no nc i ni ', p p .31-2
[rec te p p .41-2],
an
i ndep endentl y p ag i nated
i tem i n
C o m p arai s o n
de l a
m u s i qu e
i tal i enne et de l a
m u s i qu ef rang o i s e,
i i i
(Bru s s el s , 1706).
Sai nt-
Lam bert i nc l u ded E m i no r
am o ng
th e
k eys
th at'c o m m o n
u s ag e'
deter-
m i ned were natu ral : No u veau trai te de
l 'ac c o m p ag nem ent
du c l avec i n
(Pari s , 1707/R1974), p p .26-7.
3F rang o i s Rag u enet, Def ens e
du
p aral l el e
des Ital i ens et des
F rang o i s
(Pari s , 1705/R1976), p p .42-3.
See al s o L.
Li ndg ren,
Pref ac e to f ac s i m i l e
edn, C antatas
by
Gi o vanni Bo no nc i ni
(New Yo rk , 1985), n.18.
4Qu ando p arl i
e
qu ando
ri di
(Lu c c a, c .1700).
'Keys
o f ari as i n Sc arl atti 's c antatas are
g i ven by
E.
Hanl ey,
A l es -
s andro Sc arl atti 's c antate da c am era: a
bi bl i o g rap h i c al s tu dy (Ph D di s s .,
Yal e
U., 1963).
6C antatas
by
Gi o vanni Bo no nc i ni ,
p p .131-258.
7F o r
a rati o nal e o f to nal
vari ety
i n th e
o p eras
o f
Leg renzi ,
s ee D.
Swal e,
'Leg renzi 's o p eras :
dram ati c s tru c tu res f o r an au to c rati c
ag e'
Mi s c el l anea
m u s i c o l o g i c a (1988), p p .89-99.
8C f .
C antatas
by
Gi o vanni Bo no nc i ni ,
no s .2, 7, 11, 12, 13, 14;
and C an-
tatas
by
A l es s andro Sc arl atti
(New Yo rk ,
f ac s i m i l e edn
1986), no s .1, 3, 5,
8, 9, 14, 16, 17, 19, 21, 26, 27,
28.
9C antates , i , p ref ac e.
o ?Le
C erf de l a Vi evi l l e,
C o m p arai s o n ..., i i , p .136.
"In th i s h e was no t u nu s u al . C f . W. A tc h ers o n,
'Key
and m o de i n s ev-
enteenth -c entu ry
m u s i c
th eo ry
bo o k s ', Jo u rnal o f
m u s i c
th eo ry,
xvi i /2
(F al l 1973), p p .226-8.
"Sai nt-Lam bert,
No u veau trai t.
.
., p .26.
He
g o es
o n to l i s t i n
p aral -
l el
m ajo r
and m i no r
k eys
wi th th e s am e to ni c
(p p .28-30).
13L'Eu ro p e g al ante
(1698),
Le c arnaval de Veni s e
(1699),
A reth u s e
(1701),
Les Mu s es and i ts new
entree,
A m ari l l i s
(1703).
14Hi s i o ne
(1700), Tanc rMde (1702),
A l c i ne
(1705).
5A n
exc ep ti o n
i s Pl u to 's rec i tati ve
'Tro p p o
da te s i p reg a'
i n 'Orf eo
neg l i Inf eri ',
Le c arnaval de Veni s e, A c t
5,
s c ene 6, wh i c h ends i n D
m i no r and i s s u c c eeded
by
an ari a i n C
m ajo r.
16F rang o i s Rag u enet, Paral dl e
des Ital i ens et des
F ranqo i s (Pari s , 1702/
R1976), p p .30-31.
'7C f .
J.R. A nth o ny,
'So m e u s es o f th e danc e i n th e F renc h
o p era-
bal l et' Rec h erc h es s u r l a
m u s i qu ef ranqai s e c l as s i qu e,
i x
(1969), p p .80-87,
and Bro wn, 'Dep artu res
f ro m Lu l l i an c o nventi o n
...', p p .72-3, 77.
'8See,
f o r
exam p l e, L'Eu ro p e g al ante, entree
5 ('La Tu rqu i e'),
s c enes
3-4;
Le c arnaval de Veni s e, A c t
3,
s c ene
5,
and 'Orf eo
neg l i
Inf eri ,
s c ene
1; Hi s i o ne, A c t
5,
s c enes 1-2; A reth u s e,
A c t
1,
s c ene 6; A c t 2, s c ene
4;
Tan-
c ru de,
A c t 1, s c ene 1;
A c t 2, s c enes 1-2; Les Mu s es , A c t
3 ('La Trag edi e'),
s c ene
1; A l c i ne, A c t 2, s c ene 1; A c t
3,
s c enes
4-5;
A c t
4,
s c ene
3.
19F o r
exam p l es
o f th e af f ec ti ve u s e o f m o dal c o ntras ts s ee A m adi s ,
A c t 1, s c ene 2; A c t
3,
s c enes
1-3;
A c t
4,
s c enes
3-4;
A c t
5,
s c enes 2, 5. Th ey
h ad,
o f c o u rs e, been
exp l o i ted
wi th
g reat m as tery
i n dram ati c m u s i c as
earl y
as Mo nteverdi 's C o m batti m ento di Tanc redi e C l o ri nda
(1624). C f .
al s o H. Sc h nei der, 'Les
m o no l o g u es
dans
l 'o p era
de
Lu l l y', Di x-s ep ti em e
s i ec l e,
c l xi
(1988), p .359.
20C f .
R. Stebl i n,
A
h i s to ry o f k ey
c h arac teri s ti c s i n th e
ei g h teenth
and
earl y
ni neteenth c entu ri es
(A nn A rbo r, MI, 1983), PP-31-41.
2Th i s ee,
A c t
5,
s c enes
5-6 (Medea ap p ears
i n a c h ari o t drawn
by f l y-
i ng drag o ns );
Bel l ero p h o n,
A c t
4,
s c ene
3 (Pal l as enc o u rag es Bel l ero p -
h o n bef o re h e
f i g h ts
th e
m o ns ter);
Ph aeto n,
A c t
3,
s c ene 6, to A c t
4,
s c ene 1
(trans i ti o n
to th e Pal ac e o f th e
Su n),
and A c t
5,
s c ene
3 (Ph aeto n
i n th e Su n's
c h ari o t); A m adi s , A c t
4,
s c ene 6,
to A c t
5,
s c ene 1
(trans i ti o n
to
A p o l l i do n's
enc h anted
p al ac e).
In eac h c as e th e to nal trans i ti o n i s
f ro m A m i no r to F
m ajo r.
22See al s o A m ari l l i s ,
s c ene
3:
A m i no r-F
m ajo r (arri val
o f th e
g o d-
des s
Di ana);
and Tanc rede, A c t
3,
s c enes
2-3:
E m i no r-C
m ajo r
(Tanc red
i n Herm i ni e's enc h anted
p al ac e);
and A c t
4,
s c enes
2-3:
A
m i no r-F
m ajo r (Herm i ni e
s u m m o ns th e
m ag i c i an
Is m eno r to k i l l
Tanc red).
23Danc h et and
C am p ra
twi c e rewo rk ed th i s
endi ng
s o as to i ntro -
du c e a l as t
m eeti ng
between Tanc red and th e
dyi ng
C l o ri nda: F o r-
tas s i er,
'Mu s i qu e
et
p aro l es
dans l es
o p eras
de
C am p ra', p p .36-7.
24See
al s o A reth u s e, A c t
3 ('La Terre'),
s c ene
2:
D m i no r-Bb
m ajo r
(at
th e wo rd
'death ').
A n
exam p l e
i n
Lu l l y
i s th e
p rel u de
to A rm i de's
rec i tati ve,
'Enf i n i l es t en m a
p u i s s anc e',
A rm i de, A c t 2, s c ene
5,
bars
6-7.
25Sys tem s
o f k ey c h arac teri s ti c s were p ro m o ted by Jean Ro u s s eau
(1691), C h arp enti er (c .1692), Mas s o n (1697) and Ram eau (1722): Ste-
bl i n, A h i s to ry o f k ey c h arac teri s ti c s ...,
p p .39-4o .
260Of
th e th ree earl y th eo ri s ts o nl y th e Ital i an-trai ned C h arp enti er
l i s ts Bb m i no r, B m i no r and E
m ajo r. Sai nt-Lam bert was s ti l l des c ri b-
i ng
B m i no r as a k ey i n wh i c h o ne rarel y c o m p o s ed: No u veau trai t.
...
p .27. By Ram eau 's ti m e (1722) th e rem o ter k eys c i ted h ere h ad p as s ed
i nto m o re g eneral u s e, as h i s des c ri p ti o ns s u g g es t:
f o r h i m Bb m i no r
was m erel y 'm o u rnf u l ',
B m i no r was s u i tabl e f o r exp res s i ng s weet and
EA RLY MUSIC A UGUST
1993 411
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tender
em o ti o n,
and E
m ajo r
c o u l d
exp res s g randeu r
and
m ag ni f i c enc e.
27Le c arnaval de Veni s e, A c t 2, s c ene
1 (Ro do l p h e's u nrequ i ted
l o ve
f o r
Is abel l e);
A c t 2, s c ene 2
(Leo no re's rejec ti o n by
Ldandre);
Hes i o ne,
A c t
2, s c ene
3 (A nc h i s es '
f ear o f
l o s i ng
th e l o ve o f
Hes i o ne); Tanc rade,
A c t
4,
s c ene 6
(C l o ri nda's
h es i tati o n between l o ve and
du ty).
28L'Eu ro p e g al ante (F arnbo ro u g h ,
f ac s i m i l e edn
1967), p .68.
29L'Eu ro p e g al ante,
entree
5,
s c ene
3: A reth u s e, A c t 2
('La Mer'),
s c ene
4;
Les Mu s es
('La Pas to ral e'),
s c ene
5; A l c i ne, A c t
3,
s c ene
5.
30Jean-Jac qu es
Ro u s s eau ,
'C antate',
Di c ti o nnai re de
m u s i qu e (Pari s ,
1767).
3Exc ep t
f o r th o s e
g i ven
i n
s qu are
brac k ets , th e
des i g nati o ns
are th e
c o m p o s er's . C am p ra's
c h arac ter i ndi c ati o ns are retai ned f o r ari o s o s
(e.g . Mes u rd
et
Li g erem ent).
32Wh en Li c i das 's bel o ved A m ari l l i s
ap p ears
bef o re h i m as th e s u n
ri s es i n L'h eu reu x
jal o u x C am p ra
u nderl i nes th e m o m ent
by
m eans o f
th e s am e
p ro g res s i o n (m o vem ents 5-6:
A ri ette i n D
m i no r-Rdc i tati f
beg i nni ng
i n Bb
m ajo r).
33G.
Garden, 'Les am o u rs de VWnu s
et l e s ec o nd l i vre de c antates de
C am p ra',
Revu e de
m u s i c o l o g i e,
l xxvi i
(1991),
p .10o 6,
n.41.
34A nth o ny,
'So m e u s es o f th e danc e i n th e F renc h
o p era-bal l et',
p p .79-80.
Th em ati c
l i nk i ng
o f
danc es o c c u rs
i nterm i ttentl y th ro u g h -
o u t th e h i s to ry o f th e danc e s u i te: s ee D. F u l l er,
'Su i te',
New Gro ve.
35It
i s u s ed i n th ree wo rk s i n bo o k 2
(1699),
f o u r i n bo o k
3 (1703),
s even i n bo o k
4 (1706).
On
s ym m etry
i n
C am p ra's p eti ts
m o tets s ee
J.A .K. Bak er, Th e c h u rc h m u s i c
o f A ndre C am p ra (di s s .,
U. o f To ro nto ,
1977), c h ap . 4.
F o r an i ns tanc e i n
L'Eu ro p e g al ante,
s ee
Barth el em y,
A ndre
C am p ra, p p .50-52.
36C f .
th e th i rd
s tro p h e
o f
Ro y's
f i rs t Ode, addres s ed to A ndre-
C ardi nal Des to u c h es :
'A g reabl e Enc h anteres s e,/So u rc e
de Pl ai s i rs
p ar-
f ai ts ,/Mu s i qu e,
tendre Dees s e,/Heu reu x
qu i
s ent tes A ttrai ts .' ('Pl eas -
i ng
enc h antres s , s o u rc e o f
p erf ec t p l eas u res ,
Mu s i c , tender
g o ddes s ,
h ap p y
i s h e wh o f eel s
yo u r l u re.')
P.-C .
Ro y,
Oeu vres di vers es
(Pari s ,
1727), i i ,
p .87.
37C am p ra
h ad
em p l o yed
th e c h u te wi th s i m i l ar i ntent bu t i n a
p l ai ner
m el o di c c o ntext i n 'Ec c e
qu antu m
am as m e', Mo tet a l a
m ani dre i tal -
i enne, bo o k
3 (1703),
bo th i n th e
o p eni ng
ri to rnel l o and to i l l u s trate th e
wo rd l ang u entem .
38Lo u i s -Ni c o l as
C l eram bau l t: two c antatas
f o r s o p rano
and c h am ber
ens em bl e, ed. D.H. F o s ter
(Madi s o n, WI, 1979), p p .75-81.
39Les
Nu i ts de Sc eau x: c o nc erts de c h am bre o u
c antates f ranF o i s es
a
p l u -
s i eu rs vo i x en m ani ere de di verti s s em ents
(Pari s , 1715).
40F o r an
anal ys i s
o f Berni er's
1715 c o l l ec ti o n, s ee
Tu nl ey,
Th e F renc h
c antata,
p p .84-7.
4'C f .
E. Bo rro f f , A n i ntro du c ti o n to El i s abeth -C l au de
Jac qu et
de l a
Gu erre
(New Yo rk , 1966), p .27.
Th e c antatas are di s c u s s ed o n
p p .45-86.
42Her f i rs t c o l l ec ti o n o f bi bl i c al c antatas
ap p eared
i n Dec em ber
1708,
11 m o nth s af ter
C am p ra's .
Th e m o nth s are
s p ec i f i ed
i n th e adver-
ti s em ents Bal l ard
i nc o rp o rated
i nto h i s
Rec u ei l
d'ai rs
s dri eu x
at a bo i re
(1708).
In th e averti s s em ent to h er c o l l ec ti o n o f s ec u l ar c antatas
(1715)
Jac qu et
de l a Gu erre
exp res s ed p ri de
th at h er c are i n
wo rd-s etti ng
was
ac k no wl edg ed.
See A . Ro s e, 'El i s abeth -C l au de
Jac qu et
de l a Gu erre
and th e s ec u l ar c antate
f rang o i s e' Earl y
m u s i c , xi i i
(1985), p p .531-2.
43Jo nas
and Jac o b
et Rac h el
ap p eared
i n bo o k
1;
A dam and
Jep th e
were
p u bl i s h ed
i n h er s ec o nd c o l l ec ti o n
(1711).
F o r th e m u s i c and a to nal and
h arm o ni c
anal ys i s
o f
Jep th e,
s ee Bo rro f f , A n i ntro du c ti o n to El i s abeth -
C l au de
Jac qu et
de l a Gu erre,
p p .58-6o , 67-86.
44Extrac ts f ro m th i s ai r ap p ear
i n
Tu nl ey, Th e F renc h c antata,
p p .153-4.
45C f . M.
Barth 616m y,'Les
c antates de Jean-Bap ti s te Stu c k ',
Rec h erc h es
s u r l a m u s i qu e f rang ai s e c l as s i qu e,
i i
(1961-2), p p .126-37; and Tu nl ey,
Th e F renc h c antata, p p .89-1o 1.
46F o r
an
anal ys i s
o f
C i rc e,
s ee Tu nl ey, Th e F renc h c antata,
p p .64-7.
47Pref ac e to La c h as s e du c erf F i rs t p erf o rm ed at F o ntai nebl eau
bef o re th e k i ng o n 25 A u g u s t 1708, i t was p ri nted i n
1709.
48Garden, 'Les am o u rs de V6nu s .. ',
p p .1o 2-6. Onl y th e f i rs t
rec -
i tati ve o f Les h eu reu x
?p o u x
was tak en f ro m th e bal l et.
49A n exc ep ti o n
i s th e th i rd rec i tati ve i n Les h eu reu x
p o u x.
Th e m u s i c
o f th i s
ap p ears
i n
Barth el em y,
A ndrd
C am p ra, p p .96-7.
50See
J.R. A nth o ny,
'Th em ati c
rep eti ti o n
i n th e
o p era-bal l ets
o f
A ndre
C am p ra'
Mu s i c al
qu arterl y,
l i i
(1966), p p .209-20.
5'Th e s to ry
deri ves f ro m th e ac c o u nt i n th e Il i ad o f A c h i l l es '
ang er
at
th e
p ro s p ec t
o f
l o s i ng
h i s bel o ved Bri s ei s , wh i c h
m o m entari l y
di verts
h i m -wi th near-f atal
c o ns equ enc es -f ro m
h i s m i s s i o n to def eat th e
Tro jans .
52C f . Le C erf de l a
Vi evi l l e, C o m p arai s o n.
. ., i , p .122;
and P. Ho ward,
'Lu l l y's A l c es te' Th e m u s i c al ti m es , c xi v
(1973), p p .21-2.
53Th e
i ns tru m entati o n i s
u ns p ec i f i ed
earl i er.
54L'Eu ro p e g al ante, entr&e 3.
C o ns o nant h arm o ni es are to be f o u nd
everywh ere
bu t
s h o u l d be
em p l o yed
m o s t
f requ entl y
i n m u s i c
exp res -
s i ng g ai ety
and
m ag ni f i c enc e ...
Sweetnes s and tender-
nes s are s o m eti m es wel l
eno u g h exp res s ed by p rep ared
m i no r di s s o nanc es ...
Des p ai r
and al l
p as s i o ns h avi ng
to do wi th
ang er
o r wh i c h h ave
anyth i ng s tri k i ng
abo u t
th em
requ i re u np rep ared
di s s o nanc es o f
every
k i nd
...
Jean-Ph i l i p p e
Ram eau , Trai te
de
l 'h arm o ni e (1722)
*v
al erat
9,,i eo
V
rf
-
1f /
c entaY,
49,
ru e des So l i tai res 75019 PA RIS Tel . 33 1 48 03 10 77
412
EA RLY MUSIC A UGUST
1993
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