French Baroque Organ Art: Musique, Organ building, Performance

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Marina Tchebourkina French Baroque Organ Art: Musique, Organ building, Performance Table of Contents Introduction... 5 Chapter I Aesthetic and Stylistic principles of French Baroque Organ Art... 12 1.1 Etymological analysis of principal stylistic terms... 12 1.1.1 Baroque. Jean-Jacques Rousseau s Baroque Music (1750/1766)... 12 1.1.2 Galant style, Rococo, Mannerism, Decadence... 23 1.1.3 French Classicism... 30 1.2 Principles of Rhetoric, Passions and Styles... 46 1.2.1 Rhetoric and Passions in the 17 th century. Accents... 46 1.2.2 Rhetoric and Passions in the 18 th century. Styles... 55 1.2.3 Rhetoric and French Baroque Organ Art... 64 1.2.4 French Baroque Organ Art as a stylistic phenomenon... 66 1.3 Pathetic. Pathetic eloquence... 70 1.4 Concept of Rationalism... 77 1.5 Light and Dark... 88 1.6 Findings... 94 Chapter II French Baroque Organ Music: Theory and Practice... 96 2.1 The Liturgy and the Organ Art... 96 2.1.1 Cæremoniale Episcoporum (1600 1752)... 98 2.1.2 Manuscrit de Troyes (1630)... 104 2.1.3 Cæremoniale parisiense (1662)... 110 2.1.4 Cérémonial Monastique (1669)... 114 2.1.5 Findings... 116 2.2 Organ genres in the context of Liturgy and Concert... 119 2.2.1 Mass... 119 2.2.2 Hymn... 125 2.2.3 Te Deum... 131 2.2.4 Magnificat... 135 2.2.5 Suite... 139 2.2.6 Noël... 148 2.2.7 Precursors of Organ Concerto: Offertory, Symphony, Carillon, pieces for occasion... 153 2.2.8 Concerto... 156 1

2.3 Harmonic systems... 158 2.3.1 The René Descartes Harmonic system (1618/1650/1668)... 160 2.3.1.1 Effect of Resonaiting... 160 2.3.1.2 Accords ( Consonances ). Arithmetic proportion... 164 2.3.1.3 Theory of Degrees... 169 2.3.1.4 Dissonances... 173 2.3.1.5 General systematization of Degrees and Intervals... 175 2.3.1.6 Scale... 177 2.3.1.7 Theory of Modes... 178 2.3.2 The Marin Mersenne s Harmonic system (1629/1636 1637)... 181 2.3.2.1 Arithmetic proportion and Harmonic proportion. Arithmetic Middle, Harmonic Middle, Geometric Middle. Theory of Consonances and Dissonances... 181 2.3.2.2 Chords... 188 2.3.2.3 Theory of Degrees... 194 2.3.2.4 Diatonic Genre, Chromatic Genre, Enharmonic Genre. Equal divisions... 197 2.3.2.5 Theory of Modes... 204 2.3.3 The Guillaume-Gabriel Nivers Harmonic system (1665 1683)... 209 2.3.3.1 Theory of Degrees and Intervals : from harmony of numbers towards harmony of relations... 210 2.3.3.2 Theory of Modes. Final, Mediant, Dominant... 213 2.3.3.3 Theory of Mode s Transposition... 220 2.3.3.4 Modes by Dominant... 223 2.3.4 The Joseph Sauveur s Harmonic system (1700 1713)... 226 2.3.4.1 Fixed Sound. Vibrations. Beatings... 227 2.3.4.2 Fundamental sound. Harmonic sounds... 228 2.3.4.3 Theory of Intervals. Complement to octave. Sub-Intervals... 230 2.3.4.4 Diatonic, Chromatic, Enharmonic systems... 232 2.3.4.5 Tempered system. Merids, Eptamerids, Decamerids... 233 2.3.5 The Saint-Lambert s Harmonic system (1702, 1707)... 234 2.3.5.1 Theory of Intervals. Fundamental sound... 234 2.3.5.2 Tonal Modes. Tonic Note... 236 2.3.5.3 Perfect Chord. Reduction of Numerated Chords to Perfect Chord... 240 2.3.6 The Jean-Philippe Rameau s Harmonic system (1722 1750)... 242 2.3.6.1 Fundamental sound. Mixed principle of Octave. Harmonic sounds... 243 2.3.6.2 Principle of Double comparison Theory of Inversions and Reductions... 246 2.3.6.3 Perfect Diatonic system. Chromatic system... 249 2.3.6.4 Diatonic Genre, Chromatic Genre, Enharmonic Genre. Composed Genres. Geometric proportion. Temperament... 252 2.3.6.5 Theory of Intervals... 258 2.3.6.6 Chords... 261 2.3.6.6.1 Arithmetic proportion and Harmonic proportion. Harmonic Middle. Perfect Major Chord. Perfect Minor Chord... 262 2.3.6.6.2 Chords of seventh... 267 2

2.3.6.6.3 Chord Inversions... 269 2.3.6.7 Theory of Modes. Major and Minor. Tonality... 273 2.3.6.8 Functionality... 276 2.3.7 Conclusion... 280 2.4 Principles of Musical Form... 283 2.4.1 Polyphonic forms... 283 2.4.2 Counterpoint and Harmony... 291 2.4.3 Rhetoric and Musical Form... 293 2.4.4 Metric Extrapolation phenomenon in the French Baroque era... 301 2.4.5 Periodical forms... 307 2.4.5.1 Period. Simple Periodical forms, composed Periodical forms... 309 2.4.5.2 Variations... 312 2.4.5.3 Rondo... 315 2.4.6 Rondo-Sonate. Sonate... 318 2.4.7 Suite. Forms of Organ Liturgical Suite... 323 2.4.8 Pictorial effects. Program forms... 325 2.4.9 Free (improvised) forms. Prelude. To Prelude... 332 2.5 Chronological Table... 338 2.6 Evolution of French Baroque Organ Music. Periodisation... 338 2.7 Findings... 340 Chapter III French Baroque Organ building: Organ Dispositions and Sound aesthetic... 341 3.1 The Renaissance Organ in France: background and establishment of the French Baroque Organ... 342 3.1.1 Organ building in the 14 th and 15 th centuries... 342 3.1.2 The Organ of the church of St. Michel, Bordeaux (1509 1511)... 343 3.1.3 The Organ of the church of St. Vivien, Rouen (1515)... 344 3.1.4 The Organ of the Royal Chapel, Dijon (1560)... 346 3.1.5 The Organ of the Cathedral of Notre-Dame, Reims (1570)... 347 3.1.6 The Organ of the church of St. Sulpice, Fougères (1594)... 349 3.1.7 General principles and evolution of Organ building during the Renaissance era in France... 353 3.1.8 The Organ of the church of St. Gervais and St. Protais, Gisors (1580) as a prototype of the French Baroque Organ... 354 3.1.9 Findings... 358 3.2 The French Baroque Organ: establishment of Organ Disposition-Type and principles of its evolution... 359 3.2.1 Organ building in the first decades of the 17 th century. The Organ of the church of St. Godard, Rouen (1632)... 361 3.2.2 Organ builder Organist Composer... 368 3.2.3 The Marin Mersenne s Organ building theory (1629/1636 1637)... 370 3.2.3.1 Proportions of Lengths and Intervals... 371 3.2.3.2 Diapasons and Temperaments... 372 3.2.3.3 Types of keyboards... 380 3.2.3.4 Organ Dispositions... 384 3.2.4 Organ building in the 1640s and 1650s... 393 3

3.2.5 The Organ of the church of St. Germain-des-Près, Paris (1663)... 399 3.2.6 The Organ of the church of St. Louis-des-Invalides, Paris (1678 1683, 1687)... 404 3.2.7 The Organ of the church of St. Gervais, Paris (1628, 1649, 1684)... 407 3.2.8 The Organ of the Cathedral of Notre-Dame, Rouen (1689)... 410 3.2.9 The Joseph Sauveur s Organ building theory (1700 1702)... 414 3.2.9.1 Fixed Sound in the Organ buiding system of Joseph Sauveur... 414 3.2.9.2 Structure of Organs... 417 3.2.9.3 Organ Dispositions... 420 3.2.10 The Organ of the Basilica of St. Quintin, Saint-Quintin (1697 1703)... 426 3.2.11 The Organ of the Cathedral of Notre-Dame, Saint-Omer (1715)... 429 3.2.12 The Organ of the Cathedral of Notre-Dame, Paris (1730 1733)... 431 3.2.13 The Organs of the Abbey of St. Étienne, Caen (1737 1741 1747) and the Basilica of St. Martin, Tours (1761)... 435 3.2.14 The Organs of the Royal Convent, Saint-Maximin (1772 1774) and the Cathedral of St. Cécile, Albi (1734 1736, 1747, 1778 1779)... 439 3.2.15 The Organs of the Priory of St. Pierre and St. Paul, Souvigny (1783) and the Cathedral of St. Pierre, Poitiers (1787 1791)... 445 3.2.16 The dom François Bedos de Celles Organ building theory (1766 1770 1778)... 450 3.2.16.1 The 1 st, 2 nd and 3 rd Organ Dispositions... 451 3.2.16.2 The 4 th, 5 th and 6 th Organ Dispositions... 459 3.2.16.3 The 7 th, 8 th and 9 th Organ Dispositions... 464 3.2.16.4 The 10 th, 11 th and 12 th Organ Dispositions... 467 3.2.16.5 The Concert and Residence Organs... 470 3.3 The Organs of the Palace of Versailles as type and exception... 477 3.3.1 The Organ of the Third Royal Chapel (1679 1681)... 478 3.3.2 The Organ of the Fifth Royal Chapel (1709 1710)... 481 3.3.3 Restorations of the Organ of the Fifth Royal Chapel in the 18 th century as expression of evolution of the French Baroque Organ building... 492 3.3.4 The problem of contemporary restoration of a French Baroque Organ according to the historical concept... 495 3.4 Evolution of French Baroque Organ building. Periodisation... 498 3.5 Findings... 502 Chapter IV French Baroque Organ Performance: Methods and Fashions... 504 4.1 About specificity of Organ Performance... 505 4.2 Registration. Registrations-Types. Registrations-Genres... 509 4.2.1 Registration in France in the Renaissance era: Instruction pour le jeu de l Orgue (ca. 1510)... 513 4.2.2 Creation of the categories Plein jeu and Grand jeu... 519 4.2.3 Jean Titelouze (1624, 1626)... 522 4.2.4 Marin Mersenne (1629/1636 1637)... 524 4.2.5 Louis Couperin (1650 1659)... 536 4.2.6 Guillaume-Gabriel Nivers (1665)... 537 4.2.7 Nicolas Lebègue (1676)... 540 4.2.8 André Raison (1688)... 544 4.2.9 Jacques Boyvin (1690)... 549 4

4.2.10 François Couperin (1690)... 553 4.2.11 Joseph Sauveur (1702)... 556 4.2.12 Gaspard Corrette (1703)... 562 4.2.13 Michel Corrette (1737)... 566 4.2.14 Louis Claude Daquin (1757)... 570 4.2.15 Dom François Bedos de Celles (1755/1770)... 571 4.2.16 Michel Corrette (1787)... 592 4.2.17 Decomposition of the French Baroque Registration principles... 600 4.2.17.1 Jean-Jacques Rousseau (1750/1766)... 600 4.2.17.2 Encyclopédie méthodique (1791, 1818)... 603 4.2.18 Evolution of French Baroque Registration principles. Periodisation... 605 4.2.19 Findings... 606 4.3 Movement, Tempo, Character, Bar, Beat... 607 4.3.1 René Descartes (1618/1650/1668)... 608 4.3.2 Jean Titelouze (1624)... 609 4.3.3 Marin Mersenne (1629/1636 1637)... 609 4.3.4 Louis Couperin (1650 1659)... 610 4.3.5 Guillaume-Gabriel Nivers (1665)... 611 4.3.6 Nicolas Lebègue (1676)... 612 4.3.7 André Raison (1688)... 613 4.3.8 Étienne Loulié (1696)... 615 4.3.9 Joseph Sauveur (1701)... 616 4.3.10 Sébastien de Brossard (1701)... 616 4.3.11 Saint-Lambert (1702)... 620 4.3.12 Gaspard Corrette (1703)... 638 4.3.13 François Couperin (1716)... 639 4.3.14 Jean-Philippe Rameau (1722)... 640 4.3.15 Michel Corrette (1737)... 646 4.3.16 Jean-Jacques Rousseau (1750/1766)... 646 4.3.17 Dom François Bedos de Celles (1755/1770)... 650 4.3.18 Michel Corrette (1787)... 653 4.4 Toucher, Manner, Technique of Performance, Articulation... 655 4.4.1 About terminology... 655 4.4.2 Guillaume-Gabriel Nivers (1665)... 657 4.4.3 Nicolas Lebègue (1676)... 659 4.4.4 André Raison (1688)... 659 4.4.5 Gaspard Corrette (1703)... 660 4.4.6 François Couperin (1716)... 661 4.4.7 Dom François Bedos de Celles (1770 1778)... 662 4.4.8 Michel Corrette (1787)... 666 4.5 Inequal Notes... 666 4.5.1 About terminology... 667 4.5.2 Accents. Jean Titelouze (1624)... 668 4.5.3 Guillaume-Gabriel Nivers (1665)... 669 4.5.4 André Raison (1688)... 670 4.5.5 Étienne Loulié (1696)... 670 4.5.6 Sébastien de Brossard (1701)... 670 4.5.7 Saint-Lambert (1702)... 671 4.5.8 Gaspard Corrette (1703)... 672 4.5.9 Jacques Martin Hotteterre (1707)... 672 5

4.5.10 François Couperin (1716)... 672 4.5.11 Michel Pignolet de Montéclair (1736)... 673 4.5.12 Jean-Jacques Rousseau (1750/1766)... 674 4.5.13 Dom François Bedos de Celles (1778)... 675 4.6 Ornamentation... 677 4.6.1 Jean Titelouze (1624, 1626)... 677 4.6.2 Marin Mersenne (1629/1636 1637)... 678 4.6.3 Guillaume-Gabriel Nivers (1665)... 679 4.6.4 Nicolas Lebègue (1676)... 681 4.6.5 André Raison (1688)... 682 4.6.6 Jacques Boyvin (1690)... 683 4.6.7 Gaspard Corrette (1703)... 684 4.6.8 Jean-François Dandrieu (before 1738)... 686 4.6.9 Michel Corrette (ca. 1740)... 687 4.6.10 Dom François Bedos de Celles (1778)... 687 4.7 Evolution of French Baroque Organ Performance. Periodisation... 690 4.8 Findings... 692 Chapter V Theory of Proportions in France in the 17 th and 18 th centuries and French Baroque Organ Art... 694 5.1 Organ building... 694 5.2 Performance... 697 5.3 Music... 699 5.4 Theory of Proportions in the context of evolution of French Baroque Organ Art... 701 5.5 Findings... 703 Conclusion... 705 Misical Examples... 709 Tables... 733 Bibliography... 819 Table of Contents... 842 Copyright Natives 2015 6

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