Professional Documents
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LA GRACIEUSE
Hautbois damour et basse continue
TG 002
Although Louis de Caix dHervelois was one of the greatest French viol virtuosi
of his day, very little is known of his origins or his personal life. It is widely
accepted that he studied with the great Marin Marais. He is known chiefly for
eight published collections of pieces: five for (one and two) viols and three for
flute ( un dessus: for upper wind instrument) with figured bass. Of these, the
five collections Pices de viole (published over a period of some thirty years) are
his most important legacy. Caix did not hold a court appointment unlike other
members of the Lyon branch of the Caix family to which he may have been
related. He remained an independent musician and composer who earned his
living through the patronage of nobles and his own composition, performance
and teaching. Le Blanc (1740) situated him next to Marin Marais (1656
1728) and the elder Forqueray (Antoine Forqueray 1671 1745) in order of
ranking in lempire de la viole.
Recent research establishes his birth circa 1680 in Amiens (northern France)
and his death, 1759, in Paris at his apartment in the Rue du Jour (opposite the
portals of lglise de Saint-Eustache), where he had been living for more than
thirty years. Here, his home was in the same building as that of his great friend,
the prolific composer and flautist (also a musette player of note) Joseph Bodin
de Boismortier (1689 1755). He too was an independent musician and the
first French composer to employ the Italian concerto form. Caix appears to have
remained an adept of the artists quarter of Paris between the Rue Saint-Honor
and lglise des Halles for all his years in the capital. This district was a hive of
artistic creativity in which dancers, musicians, artists and dealers (in both art
and music manuscripts) lived and worked. The two friends obviously influenced
each others work. The virtuoso string player would edit the manuscripts written
by the virtuoso wind player and vice versa.
Caix' graceful melodic music lies well within the French tradition of character
pieces of this period. In his first two books, he still reflects Marais influence and
At this time musette implied the musette de cour (or Baroque musette), a member of the bagpipe
family of instruments. Subsequently the chanter was used alone with a double reed inserted directly
(hautbois de Poitou). Around 1830 it started to be known as the oboe musette, subsequently piccolo
oboe, even piccoloboe. Today it is known, for the most part, as the musette. It is a confusing word;
a dance, well-liked at the Courts of both Louis XIV and XV, bore the same name. This musette was a
gentle Gavotte, pastoral in nature, which imitated a bagpipe above a drone. From ballet, it also
proliferated in keyboard music.
La Gracieuse
Hautbois damour et basse continue
TG 002
This suite is selected freely from Louis de Caix dHervelois five books of Pieces
de viole (collections of viol music with figured bass), for the most part from the
second and fifth. Caix dHervelois lived for many years at the same address as his
close friend Joseph Bodin de Boismortier (1689-1755), the celebrated flautist
and fruitful composer. Each wrote for the others instruments and noted on
their scores that yet more could be employed for their interpretation, as was the
custom. Undoubtedly, apart from the letters and verses they penned to each
other (which still exist), the close friends played much chamber music. It is
known that Boismortiers work for viol (dedicated to Marin Marais) was edited
by Caix dHervelois. Thus the friends complicity is an established fact.
According to the practice of the time, the performer was free to adapt the Pices
de viole to suit other suitable instruments and their inherent possibilities. From
the wealth of material available, I have selected a variety of movements ideally
suited to the members of the Bande de hautbois (an instrumental ensemble,
including bassoons, that originated at the Court of Louis VIX). My choice to
To quote Michel de l'Affilard (circa 1656-1708) in his book Principes trs faciles
pour bien apprendre la musique (a most successful work published in fourteen
editions between 1697 to 1747),
One learns better by example than by any written dissertation.
I trust, therefore, that the nuances of ingalit and ornamentation will be more
easily followed on my recording than by lengthy technical explanation on this
page.
Naturally, performers are totally at liberty to create their own improvisations.
Our interpretation is written out for those who are not specialists in this
domain. Those who are will be able to improvise their own versions from the bass
line and figures. The realisation by Christine Sartoretti was based upon the
composers original figured bass. In 2010 I re-edited my original versions for
oboe damore and cor anglais, enlarging the possibilities to four instruments of
this court ensemble. I took this opportunity to develop elements of
ornamentation accordingly. Ian K. Harris revised the figured bass to include the
modifications necessary for the various transpositions in this new edition. La
Gracieuse is published in three transpositions for four instruments of the Bande
de hautbois.
The series of French Baroque music published by Amoris International is
entitled Les Tableaux galants.
Jennifer Paull
2010
La Gracieuse is recorded by
Jennifer Paull, Oboe damore
Christine Sartoretti, Harpsichord
Stefano Canuti, Bassoon
The Oboe damore Collection Volume I
(
SC VI )
www.amoris.com
www.amoris.com
LA GRACIEUSE
Louis de Caix d'Hervelois
(circa 1680 - 1759)
Realisation: Christine Sartoretti
Revised 2010
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www.amoris.com
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LA GRACIEUSE
Oboe d'amore
Revised 2010
I
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LA GRACIEUSE
Basso Continuo
Revised 2010
Prlude
Lento, quas recitativo
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