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