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37? NeU ao. ni~>
\ V
A SUITE FOR DOUBLE BASS TRANSCRIBED FROM PIECES A UNE
ET A DEUX VIOLES, BY MARIN MARAIS; A LECTURE RECITAL
TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF
J. S. BACH, KARL DITTERS VON DITTERSDORF,
W. A. MOZART AND OTHERS
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Daniel Swaim, B. M. , M. M. E,
Denton, Texas
December, 1982
Swaim, S. Daniel, A Suite for Double Bass Transcribed
from Pieces a une et k deux Violes, by Marin Marais; A Lecture
Recital Together with Three Recitals of Selected Works of
J. Bach, Karl Ditters von Dittersdorf, W. A. Mozart and
Others, Doctor of Musical Arts, December, 1982, 53 pp., 17
illustrations, bibliography, 29 titles.
The music of Marin Marais, a major figure among the
French Baroque bass viol composer-performers, is seldom
played today. His compositions which are artistically and
historically significant, should be available to instru-
mentalists of this century.
Marais published five volumes of bass viol compositions.
Seven movements were transcribed from the Second Suite of
Marais' first volume.
The first chapter is an introduction to Marais; the
second chapter pertains to the bass viol and its styles of
performance, and the final chapter illustrates the editing
required for the transcription.
The problems encountered were those of adapting the
melodic, harmonic, and contrapuntal styles of the seven-
stringed bass viol to the double bass which is normally
monophonous. Melodic elements were unchanged, chords were
simplified, and contrapuntal lines were retained by giving
the second voice to the continuo bass.
Tape recordings of all performances submitted as dissertation
requirements are on deposit in the North Texas State Univer-
sity Library.
111
TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS . . , . , V
Chapter
I. INTRODUCTION . . . . . . 1
II. THE INSTRUMENT OF THE FRENCH BAROQUE PERIOD AND ITS STYLE OF PERFORMANCE 7
III. THE DOUBLE BASS TRANSCRIPTION AND CONCLUDING REMARKS 15
The Fantaisie The Allemande The Courante The Sarabande The Gigue The Menuets The Gavotte Concluding Remarks
BIBLIOGRAPHY 37
APPENDIX 40
IV
NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC
presents
Daniel Swaim in a
Graduate Double Bass Recital assisted by
PHIL JONES, Harpsichord and Piano
Monday, December 4, 1972 4:00 P.M. Recital Hall
Viola da Gamba Sonata No. 2 in D Major J. S. Bach Adagio Allegro Andante Allegro
Trauermusik Paul Hindemith Langsam Ruhig bewegt Lebhaft Sehr langsam
Concerto in A Major Domenico Dragonetti Allegro moderato Andante Allegro giusto
Arioso and Etude Halsey Stevens Andante non troppo Allegro pomposo
Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.
V
NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC
presents
Daniel Swaim in a
Graduate Double Bass Recital assisted by
Sharon Haslund, Piano
Wednesday, June 13, 1973 8:15 P.M. Recital Hall
Sonata in G Minor Henry Eccles Largo Allegro con spirito Adagio Vivace
Concerto No. 2 Karl Ditters von Dittersdorf Allegro moderato Adagio Allegro
For Double Bass Alone William Sydeman
Elegy for Double Bass and Piano Gaetano Bottesini
Chanson Triste Serge Koussevitzky
Valse Miniature Serge Koussevitzky
Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts
V I
North Texas State University School of Music
presents
DANIEL SWAIM in a
Graduate Double Bass Recital with
Berthe Odnoposoff, Pianist
assisted by
Kenneth Jones, Horn Deborah Mashbtirn, Xylophone
Richard Pliler, Viola
Monday, August 1,1977 6:30 p.m. Recital Hall
Bassoon Concerto in B flat major-K.191.......... W.A. Mozart Allegro Andante ma Adagio Rondo
Kol Nidrei, opus 47 Max Bruch
Divertimento in D major Michael Haydn Allegro moderato Menuet and Trio Adagio Menuet and Trio Allegro
Five Bagatelles for Viola and Contrabass Leopold Matthias Walzel
Allegro moderato Moderato Allegro Scherzando Andante ma non troppo Allegro Sereno
Duo for Xylophone and Double Bass William Sydeman
Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.
V l l
NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC
presents
DANIEL SWAIM in a
Graduate Double Bass Lecture Recital
assisted by
Dale Peters, Harpsichord and
Fred Welker, Double Bass
A SUITE FOR DOUBLE BASS TRANSCRIBED FROM PIECES A UNE ET A DEUX VIOLES
By Marin Marais
Monday, November 8, 1982 6:30 P.M. Concert Hall
Suite in A Major Marin Marais
Fantaisie Allemande Courante Sarabande Gigue Mcnuct I Menuct II Gavotte
Presented in partialfulfillment of the requirements for the degree Doctor of Musical Arts
V l l i
LIST OF ILLUSTRATIONS
Figure Page
1. Fantaisie (measures 32-34) 9
2. Menuet (measures 5-8) 10
3. Allemande (measures 17-18) 11
4. Sarabande (measures 15-18) 16
5. Fantaisie (measure 1) 18
6. Fantaisie (measure 6) 19
7. Fantaisie (measure 27) 20
8. Allemande (measure 8) 22
9. Allemande (measures 1-2) 24
10. Allemande (measure 24) 24
11. Allemande (measure 3) 26
12. Allemande (measures 17-18) 28
13. Courante (measures 1-2) 29
14. Courante (measures 5-6) 30
15. Courante (measures 13) 31
16. Sarabande (measures 11-15) 33
17. Gavotte (measures 1-2) 36
IX
CHAPTER I
INTRODUCTION
The viol family of stringed instruments was very popular
during the fifteenth, sixteenth and seventeenth centuries in
all cultural centers of Europe. While the emergence of the
violin family in the seventeenth century led to the demise of
the treble and tenor viols, the bass viol remained a favored
instrument until the middle of the eighteenth century. The
extended period of popularity enjoyed by the bass viol was
due to the efforts of a particular group of composer-per-
formers in Paris. From the early seventeenth century until
the early eighteenth century, solo viol performances and com-
position in France were developed by Andre Maugers, Nicholas
1 2 Hotman, Jean Rousseau, Le Sieur Danoville, Sainte-Colombe,
3 4 Le Sieur de Machy, Du Buisson, Antoine Forqueray, and Marin
. 5 Maraxs.
"*"Jean Rousseau, Traite de la viole (Paris, 1687) , p. 23.
2 Clyde H. Thompson, "Marin Marais, 1656-1728," (Ph.D.
dissertation, University of Michigan, 1957), I, p. 72.
^Ibid., p. 76. ^Ibid., p. 83.
^Bonney McDowell, "Marais and Forqueray: A Historical and Analytical Study of Their Music for Solo Basse de Viole," (Ph.D. dissertation, Columbia University, 1974), p.~T6.
Marin Marais, 1656-1728, studied the bass viol with
Sainte-Colombe. According to Titon du Tillet, Sainte-Colombe
was so impressed with Marais' talent that he said that no one
would surpass him.^
Very little else is known about Marais' early life or
musical training beyond the fact that he was a student in
7 the choir school of the church of Saint-Germain-1'Auxerrois.
At the age of twenty-three years, Marais accepted a position g
as Ordinaire de la chambre du Roy pour la viole. During
his service as a court musician, Marais played in the Acad-
emie Royale de Musique. This ensemble was directed by Jean-. . 9
Baptiste Lully with whom Marais also studied composition. Lully's influence on Marais is evident in the four
' r r
operas, Alcide, Ariane et Bacchus, Alcione, and Semele
written by Marais between 1693 and 1709. All are five act
tragedies in the pattern established by Lully. Recitatives
tailored to French verse, five-part string scoring, extended
instrumental sections, and the inclusion of dances are all
g Evrard Titon du Tillet, Le Parnasse frangois (Paris
1732), p. 625.
^Ibid., p. 625.
8 ^ Francois Lesure, "Marin Marais: sa carriere...sa
famille, Revue Beige de Musicologie 7 (1953) : 132. g . Titon du Tillet, Le Parnasse frangois, p. 625.
indicative of Lully's style. These operas were popular with
patrons of the time."^
In addition to the operas, Marais' extant works include
Pieces en trio for two treble instruments and basso continuo;
La Gamme, a group of three works for violin and basso con-
tinuo; and the monumental five volumes of Pieces de violes,
published from 1686 to 1725.
The five collections for bass viols (viole da gamba)
established Marais' reputation as the most able and produc-
tive composer for the viol in France. The collections
contained 596 pieces organized within thirty-seven suites.
While they are written for one or two viols plus continuo,
the majority of the works are for viol and continuo."*""'"
As a result of his compositions for viol and of his
performances for the court of King Louis XIV, Marais was
known and respected in France and in the bordering countries.
The demand for his bass viol compositions was acknowledged by
the reprinted editions of the first three volumes by Rogers
12
of Amsterdam. Four years after Marais' death, Titon du
Tillet wrote in his praise:
1QIbid., p. 625-626.
^Bonney McDowell, "Marais and Forqueray," p. 24.
12Ibid., p. 15.
One can say that Marais has carried the viol to its highest degree of perfection, and that he was the first to reveal all of its compass and beauty by the great number of excellent pieces that he has composed for that instrument, and by the admirable manner in which he performed t h e m . 1 3
Herbert LeBlanc, who championed the viols as they were being
challenged by the emerging violin family, wrote:
Marais, the father, was so expert in his style, had a manner of composition so clear, and a performance skill so purified...reduced to rules that never contradicted themselves... that in special concerts he withstood, like an Ajax of music from this side of the mountains, the assaults that were beginning to be made upon the French by the Romans, the Florentines, and the Neapolitans.14
Further evidence of Marais' international reputation may be
found in Sir John Hawkins1 history of music published in
1 s
London in 1776, and also in Johann Gottfried Walther's
Lexicon published in Leipzig in 1732.
As the bass viol's popularity yielded to that of the
cello, Marais' music was all but forgotten. Although Marais 13 Titon du Tillet, Le Parnasse fran^ois, p. 624, cited
in Thompson, "Marin Marais, 1656-1728," I, p. 119. 14 t Hubert LeBlanc, Defense de la basse de viole contre
les Entreprises du violon et les pretentions du violoncel (Amsterdam, 1740), p. 2, cited in Thompson, "Marin Marais, 1656-1728," I, pp. 119-120.
15 Sir John Hawkins, A General History of the Science and
Practice of Music (London, 1776) V, 46; reprint (London, 1875) II, 779, cited in Thompson, "Marin Marais, 1656-1728," I, p. 120.
X 6 Johann Gottfried Walther, Musicalisches Lexico
(Leipzig, 1732), p. 382, cited in Thompson, "Marin Marais, 1656-1728," I, p. 120.
was highly regarded as a composer-performer during his life-
time and for a few decades thereafter, his music is not
widely known today.
Marais1 chamber works should not be forgotten for two
reasons. Principally, they are musically rewarding to study
and to perform. Secondly, they are historically significant
as works which represent the culmination of an important era
in French chamber music. It is interesting to note that his
chamber works, while concluding one era of performance,
spawned another. Marais' Pieces en trio of 1692 is recog-
nized as the first collection of trio sonatas to be published
• ™ 1 7
m France.
The historical importance of Marais1 compositions makes
the transcription of a bass viol suite for the double bassist
of this century most appropriate. Although Marais' instru-
ment, the bass viol, is more closely related to the cello
than to the double bass, the sound of the double bass is
similar to the bass viol. The double bassist, with careful
editing, should be able to perform the works of Marais.
The concept of transcribing his works was endorsed by
Marais. In the prefaces to his second and third books of
Pieces de violes, Marais stated that he had written the music
in such a way that it might be played on many instruments
such as the organ, harpsichord, theorbo, lute, violin, and
"^Thompson, "Marin Marais, 1656-1728," p. 102.
the flute. Marais also suggested that the compositions of
the second book might be edited as necessary. He stated:
I have endeavored to make it easy to extract the melodies from my pieces. On the other hand, when one encounters empty spaces in a few pieces, such as preludes, allemandes, and gigues, where one should have many intervals as it is proper for the viol, it will inevitably be necessary to refer back to the figured basses in order to fill up these with the most graceful and suitable line possible...which will always be very good.
While Marais gave no such license to edit the first book of
Pieces de violes, it is assumed that he made no such sugges-
tions simply because the figured basses were not available
until 1689, three years after the publication of the solo
viol part-book. According to the preface of his second
book, Marais encouraged changes in his music only after
the performer had studied the continuo part-book.19
18Ibid., pp. 133-134.
19Ibid., p. 134.
CHAPTER II
THE INSTRUMENT OF THE FRENCH BAROQUE PERIOD
AND ITS STYLES OF PERFORMANCE
The instrument used by the French bass violists during
the latter half of the seventeenth century was presumably a
seven-stringed viola da gamba tuned A' D G c e a d'. Accord-
ing to Rousseau, the seventh string, A', was the innovation
of Sainte—Colombe. Bass viols in other countries had six
strings and did not include the lowest string of the French
instrument. It may be of significance to note that Marais
owned both six-stringed viols of English origin and sevens
2
strxnged French viols. Bonney McDowell has suggested that
the seven-stringed viol tended to be physically cumbersome
and "acoustically tubby".3
McDowell also speculates that Marais preferred playing
as a soloist on the English viols. She supports her point
of view by noting that only one-fifth of Marais' pieces
Jean Rousseau, Traite de la viole (Paris, 1687), p. 24.
2_ Francois Lesure, "Marin Marais: sa carriere..,sa
famille," Revue Beige de Musicoloqie 7 (1953), 134-136.
3 Bonney McDowell, "Marais and Forqueray: A Historical
^na-l;Ytical Study of Their Music for Solo Basse de Viole," (Ph.D. dissertation, Columbia University, 1974), p.-8(K
require the lower seventh string.4 Only two of the seven
pieces selected for this double bass transcription require
the lowest string. While it is entirely possible that the
high percentage of works for the six—stringed viol indicates
Marais1 preference for it, there also remains the possibility
that Marais wanted to write pieces which would be bought
readily by players of both species of the instrument.
The French viol players apparently had a characteristic
bowed sound which may be compared to the plucking sounds of
the lute and guitar. As early as 1636, Marin Mersenne stated
that the viols had a percussive, resonant sound.5
As late as 174 0, Hubert LeBlanc compared the sound of
Marais bow stroke with the sound of a harpischord jack
as it plucked a string. LeBlanc contrasted this sound of
Marais and the French violists with the more legato sound
of the Italian cello.^
The three-part bow stroke, (as described by John Hsu)^
has an attack similar to a plucking effect, a prolongation
4 Ibid., pp. 80, 81.
Marin Mersenne, Harmonie universelle (Paris, 1636) , p. 107, cited in John Hsu, A Handbook of French Baroque v in l Technique (New York, 1981) , - p T T : ~
Hubert LeBlanc, Defense de la basse de viole contre les entreprises du violon et les pretentions du violoncel, pp. 23-24, cited by John Hsu, A Handbook, p. 2. ~~~
7 John Hsu, A Handbook, p. 2.
of sound, and a release from the string, which appears to be
similar to the modern martele bow stroke. As with modern
bowing techniques, variations of the bowing attack, prolon-
gation, and release provided the French Baroque bass viol
artist-performer many colors or gradations of sound.
The style of the bass viol compositions naturally
emerged from the physical characteristics of the instrument.
With either six or seven strings, motives in one hand posi-
tion could assume an expanded range without shifting. When
shifts were necessary, open strings blended well with notes
stopped by frets. The majority of pieces by Marais are in
the key of D major which is the most strategic for the utili-
zation of open strings. Open strings also allowed the
composer-performers to combine bass and melodic elements
within the same part. [See Example No. 1.]
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his treatise, Jean Rousseau discussed five styles of
playing the bass viol during the middle of the seventeenth
century. According to Rousseau, the viol functioned as a
melodic instrument, as a harmonic instrument, as an accom-
panying instrument which supported a singer, as a member of
an ensemble, or as an improvisational instrument.8
For the purpose of transcribing Marais' bass viol music
for the double bass, an understanding of the melodic and har-
monic styles of bass viol composition is mandatory. Rousseau
referred to these two types of writing for the solo bass viol
as "l€5 jeu de melodie" and "le jeu d' harmonie. " The me-
lodic style of writing imitated the human voice, with the
addition of bimple chords at cadences. [See Example No. 2.]
Sole V»"o/ Y pf 8aaso m
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9Ibid., pp. 55-71.
11
The harmonic style was derived from lute compositions which
combined chords and implications of polyphonic writing with
the melody. [See Example No. 3.]
ExiUmpifi Wo. 3
While Rousseau acknowledged both approaches to solo
bass viol performance, he considered the melodic style supe-
rior to the harmonic style. His objections to the latter
mode of performance were based on concerns that the realiz-
ation of many chords would interrupt the flow of the melody.
Conversely, Le Sieur de Machy, a contemporary of Rousseau,
believed that playing pieces without chords on the bass viol
would be similar to playing a keyboard instrument with only
one hand. In actual practice, the difference between
melodic and harmonic style writing is often indistinguishable.
10Frangois Lesure, "Une Querelle sur le jeu de la viole en 1688: J . Rousseau contre De Machy," Revue de musicolocrie 46 (1960):182. -
12
Due to the harmonic limitations of a bowed stringed instru-
ment, chordal writing was not consistent. The technical
considerations dictate omission of chord-tones which other-
wise might seem to be required structurally. On the other
hand, melodically conceived pieces were occasionally em-
bellished with chords in places other than at cadences.
According to Clyde Thompson, Marais wrote the majority
of his viol compositions in the melodic style.11 Marais
normally composed his Sarabandes, Gavottes, Menuets, and
some character pieces in the melodic idiom. His Preludes,
A1lemandes, Courantes, Chaconnes, and more extended pieces
generally were written in the harmonic style. In the first
book of Marais Pieces de violes, there are more elaborately
embellished compositions than there are simple melodies;
however in subsequent books this proportion was reversed.
The suites of Marais were conceived as Royal chamber
entertainment and not as ballroom fare. Since the function
of the compositions was for listening enjoyment rather than
for dancing, freely composed works such as Preludes, Fantai-
sies, Caprices, and character pieces were added to the
prevailing dance movements. The dance movements themselves
were also changed somewhat from their original form. The
i:LThompson, "Marin Marais, 1656-1728," (Ph.D. disser-tation, University of Michigan, 1957), I, p. 153.
13
Allemande, for example, developed in the more rhythmically
free style of the Prelude."*"2
Marais included as few as seven and as many as thirty-
two movements in his suites. Usually the pieces of each type
of dance or non-dance movement were grouped together. For
example, the first four movements of his Suite No. I in his
first book are all preludes. Since there is no documentary
evidence as to how these suites were actually performed, one
must make assumptions regarding the number and order of the
movements to be played. All of the movements of a given
suite by Marais were in a common tonality which was a uni-
fying factor during this period. Marais also included the
core of dance movements (Allemande, Courante, Sarabande, and
Gigue) normally found in earlier French Baroque suites. Con-
trasts were achieved apparently by arranging the movements
in an order of contrasting tempos and meters.
Marias' Second Suite in D Major includes a Prelude, a
Fantaisie, a second Pr4lude, two Allemandes, a Double (a
variation of the previous movement), two Courantes and a
Double, two Sarabandes, two Gigues, a Paysanne, a Rondeau,
a Gavotte, three Menuets, and a very long Chaconne. Since
the movements of the same type have varying degrees of com-
plexity, it appears that Marais wrote the works not only for
his own use but for other players of varying skill. A player
12 McDowell, "Marais and Forqueray," p. 53.
14
could, therefore select his own suite from Maraisf collection
by choosing a group of the standard dance movements which
would preceded by an introductory piece and which would
be concluded with one or more optional movements such as a
Rondeaut Menuet/ Gavotte, or Chaconne. In like manner, a
Fantaisie, an Allemande, a Courante, a Sarabande, a Gigue,
two Menuets, and a Gavotte were carefully selected for the
double bass transcription from Marais' Second Suite for the
Bass Viol.
CHAPTER III
THE DOUBLE BASS TRANSCRIPTION
After the movements were chosen for the transcription,
the choice of accompanying instruments became the next major
decision. According to Marais1 preface, the chordal instru-
ments that could be used were either the harpsichord or the
theorbo. The timbre of the piano would neither be authentic
nor would it blend well with the double bass. Since the
theorbo, a member of the lute family, is now a rare instru-
ment, the chordal realization has been designated for the
harpischord.
It is assumed that Marais and his contemporaries rein-
forced the harpischord or the theorbo with another bass viol.
Marais' figured bass part to his first book contains no men-
tion of a sustaining bass instrument. In the Preface to his
second book however, he stated that the figured basses are
sufficiently singable, and that he has emphasized the figured
basses rather than add pieces for two solo viols. In the
first book from which this transcription is taken, Marais
does occasionally use the words "pour la viole" in his score
"Marin Marais, Basse-continues des Pieces a une et a ^f,ux. v l o l e? (Paris, 1689), p. 2, cited in Clyde H. Thompson, Marin Marais, 1656-1728," (Ph.D. dissertation, University of Michigan, 1957), I, p. 101.
15
16
for lines which are not the bass or melodic lines. [See
Example No. 4.] it must be concluded that the use of an
accompanying viol was assumed by Marais.
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While Marais apparently did little else to stipulate the
accompanying instruments/ other bass viol composer—performers
were more specific. Jean-Baptiste-Antoine Forqueray, the son
of one of Marais contemporariesp wrote in the preface to a
collection of his viol pieces: the work is written "to
entertain three people at once, and to form an ensemble of
two viols and a harpischord."
In keeping with this practice, a double bass has been
chosen for the sustaining instrument of the transcription's
basso continuo. Other modern instruments such as the cello
bassoon could not be used with a solo double bass since
range limitations would create unwanted harmonic inversions.
Bonney McDowell, "Marais and Forqueray: A Historical and Analytical Study of Their Music for Solo Basse de Viole," (Ph.D. dissertation, Colombia University, 1974) , p.~9"CK '
17
Even with the problem of harmonic inversions solved,
scoring for two double basses could produce overly thick
sonorities if intervals were not carefully spaced. Aside
from being generally unclear, such sonorities would in no
way resemble the thinner, more delicate sounds of the bass
viols. To achieve a more authentic character, the pieces
have been transposed to the highest practical key within the
range of the solo double bass. Just as Marais apparently
favored the key of D major because of harmonically strategic
open strings, solo double bassists favor the key of G major
which similarly provides tonic, supertonic, and dominant
open strings and their very useful natural harmonics. The
solo bass part of this transcription has been notated in the
key of G major; however, the common practice of using a scor-
datura tuning of one whole step above the normally tuned
orchestral bass has been adopted. The commercially available
strings for this tuning provides a lighter sonority and
greater clarity if not a totally authentic sound.
The Fantaisie
Marais composed three types of pieces--the caprice,
the fantaisie, and the prelude to be used as introductions
to his suites. All three are pseudo—improvisatory pieces
which serve as a warm-up for the performers. The fantaisie
which is similar to a division style writing, consists of
18
broken-chord patterns and scale passages in continous
eighth-note movement.
Of all the movements in Marais1 Second Suite, the
Fantaisie is the most adaptable to the double bass. To
obtain a more open sonority, the melody of the transcription
has been spaced an octave higher from the original continuo
line. [See Example No. 5.]
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Generally, this spacing was achieved when the parts were
transposed from Marais' key of D major to the double bass
key of concert A major. The solo part has been raised a
perfect fifth and the continuo bass has been lowered a
fourth. Occasional modifications at the octave were nec-
essary in both parts due to range and spacing problems. For
example, the solo bass part has been raised an octave in
measures 27-31, and also in measures 33-38.
19
License has been taken with two notes in the double
bass version. In measure 6, Marais scored his open, seventh
and lowest string. To avoid rewriting the phrase an octave
higher, the low note has been changed to another chord tone.
[See Example No. 6.]
Example Uc.lo rr\eas,u*-<e.j^
Solo \Jic)
6ass» Qrth'nua
Rimtuste
0 W 7 " | -J 4 9 ~ -
# ? _ , M
Original — _j.
•
TrOJ^sarhpHv n
n : » . -
The remaining liberty was taken in the interest of musical
symmetry. The pattern established in measure 13 is repeated
in measures 15, 19, 21, and 23. In measure 27, Marais devi-
ated from the pattern in only the first half of the measure
by adding a chord tone a minor third higher to the pattern.
In the transcription, the melodic note has been retained as
the top voice and the Marais' chordal sound has also been
retained by adding the root of the chord a major third below
the pattern. [See Example No. 7.]
Due to the division style of continuous eighth notes
there are only five embellishments in the Fantaisie. There
are two mordents indicated by an x before the note, and three
20
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.'•'. [ [ f t f I f f : ^>lo Viol 3 S e W Origindj "TrtUnSOri prion
Qcxs&> Co rrHhuo
T#" 32= i r f 32
trills with an appoggiatura, indicated by a comma after the
note to be embellished. In the transcription these are
notated to avoid confusion. [See measure 7, 10, and 32 in
the Appendix.]
The bowing articulation for the Fantaisie should be
detached as the current practice of the martele bowing.
Each note should resemble the plucking sound described in
Chapter II.
The Allemande
The Allemandes of Marais' Pieces de Violes are of two
types. The first type is of the ttaditional stately dance.
The second is lighter in character and faster than the former
design. In the third, fourth and fifth collections, Marais
used markings of "Legerement" and "Gay" in contrast with the
more complex Allemandes of his first and second publications
for viols. The absence of character markings and the heav-
iness of the ornamented lines suggest that the Allemande of
the transcription should be played in the traditional manner.
21
In contrast to the Fantaisie, the Allemande required the
most editing of all the chosen movements. Since the Alle-
mandes were usually written in "le jeu d'harmonie," chords
often written in conjunction with trills and mordents de-
manded editing. For example, in measure 8 (which is shown
in Example No. 8), the fourth beat includes a double stop
of a perfect fifth with the upper note embellished by a trill
of a minor second. A double stop of a fifth is idiomatic to
the double bass, but the expansion of the interval (to a
minor sixth) if trilled is not possible in the lower middle
register of the double bass. Much doubling at the unison or
octave occurs in Marais' writing for the two viols as found
in measure 8, fourth beat. Since the lower note of the
double stop of the solo bass has been duplicated in the con-
tinuo, the solo part has been edited to retain the trill
rather than the lower chord tone. [See Example No. 8.]
Marais indicated trills by placing a comma after the note
to be embellished.
Since ornamentation is an integral element of Marais'
style, the decision was made to notate all embellishments
which were retained in the transcription. Those included
are the Tremblement, a trill; the Batement, an inferior
mordent; and the Port de voix, a grace note.
3 N \ Marin Marais, Pieces a une et a deux Violes, 1686,
Preface, cited in Thompson, "Marin Marais," I, p. 3 66.
22
Vi'o/
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CnlgiinaJ
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The interpretation of the trill requires the most study
9-H the ornaments. Questions must be solved regarding
the beginning pitch and the rhythm of the trill. For
decades, many teachers and performers have insisted that
Baroque trills start with the upper auxiliary note. Recent
research, especially that of Frederick Neumann, has shown
that this is not always the case/
The trills found in the Allemande of this transcription
are of three general types—the short trill, the dotted note
4 Frederick Neumann, Ornamentation in Baroque and Post—
Baroque Music (New Jersey, 1978), p. 25T7 ~
23
'twill/ and the longer cadential trill. Marais1 shorter
trills were usually started on the main note according to 5
Gordon J. Kinney, Jean Rousseau also referred to such a c
trill as the cadence simple.
In dotted note trills, the moment of the dot is the
stopping point of the trill which may be followed by an
7
anticipation or a turn. Example 9 illustrates a dotted
note trill with the upper auxiliary anticipated during the
preceding beat. Short trills as described above are also shown in the second measure of the same example.
The longer cadential trills require the most careful
analysis. Whether the trill begins on the auxiliary or
the main note must be determined after studying the figured
bass part as in Example No. 10. According to Frederick
Neumann, the figure 4 in Marais1 works stood for the figures 5 . 6
4 an<:* n°t In this example, the main note of the cadential
trill, which is a fifth above the bass, should sound a disso-
nance with the fourth indicated above the bass. The effect
Gordon J. Kinney, editor, Recent Researches in the M u s i c 9l the Baroque Era, Vol. XXI, (Madison, 1976J7 p7~xvi.
^Jean Rousseau, Traite de la Viole (Paris, 1687), p. 83 cited in Frederick Neumann, "Misconceptions about the French'
1 7 t h a n d 1 8 t h Centuries," The Musical Quarterly L, 2 (April, 1964), 190-191. —
xvi.
7 Gordon J. Kinney, editor, Recent Researches, XXI, p.
24
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would be diminished greatly if the trill were started on
the upper auxiliary, a sixth above the bass.
Marais symbol for the Batement or mordent is a slanted
cross (x) placed to the left of the embellished note. While
Marais gave no explanation for the symbol, he used it simi—
larly to Jean Rousseau's Le Martellement. Rousseau stated:
Le Martellement is made when the finger touching a note
first beats two or three little strokes which are close to-
gether and more hurried than the trill, and then remains on
the fingerboard." This description indicates a double or
triple mordent as the normal design; however, notes reguring
the mordent in Marais1 works are usually not of long dur-
ation, thereby rendering the longer ornaments inappropriate.
Example 9 illustrates the mordent as notated in the tran-
scription.
The port de voix, one of the few ornaments described by
Marais, was said to be a single small note which does not
enter into the measure and which is called a lost note.
Frederick Neumann defines the port de voix as a one-note
grace note which ascends, usually by step, to its parent 9
note. Marais uses the term, the port de voix, to designate
both ascending and descending motion. In the Allemande,
Marais included only one such ornament (See Example No. 8).
8-r . '
~ Rousseau, Traite de la Viole, p. 87, cited in Frederick Neumann, Ornamentation^ p~. 422.
9 Frederick Neumann, Ornamentation, p. 49.
26
which descends between two notes a third apart. Neumann
states that the majority of French composers and theorists
of the seventeenth and eighteenth centuries referred to this
ornament as a coule.10
Example No. 11 illustrates the French performance
practice of playing notes inegales as described by Clyde
Thompson.11 The performance of pairs of notes of equal
duration in unequal lengths, usually long-short, was a
routine performance practice of the French during Marais'
AUcmCLir\d-& Example No. 11 3 l So/e Via/
CorWvnwj
r i im Qrvtyr&l
j* JTj
J* p
(# 4 ^
(» b
10 Ibid., p. 50.
11
298-300 Clyde Thompson, "Marin Marais 1656-1728," 1, pp.
27
life. This practice applied to division of the beat, but
not to subdivisions. The ratio of the long to short sounds
depended on the tempo and style of the music. In Example /
H , the notes ineqales have been notated as dotted eighth
and sixteenth notes. Since this practice applied only to
notes in conjunct motion, the pattern has not been continued
after the melodic leap of a fifth.
Within the harmonic style of French bass viol composi-
tion, one finds not only chordal harmonizations to support
the melody, but also pseudo-contrapuntal passages. In
measures 17-21 in the Allemande, Marais included a contra-
puntal line between the melody and the bass. While this
counterpoint may be played comfortably on the bass viol, it
is impossible on the double bass which has fewer notes in
one hand position than do smaller string instruments.
Although these notes can be provided by the harpsichord, the
effect would not be as Marais had intended. In this tran-
scription, the continuo bass has been given the contrapuntal
line in order to give more equality to the two important *
notes. [See Example No. 12.]
The Courante
Marais wrote two types of the courante in his suites.
The Courante of the double bass transcription is a slow,
dignified dance. Its time signature is although all
cadences and some measures within phrases contain hemiola
28
Example to* J 2. rr cLsunfs J"7~/0 licrn#-ndc
Vioi
OriginaJ
K- I *N S I K 1 J if C
lmn6oWpribri
1
• i 1 =
1/ J - - V
f t t i f f - f -J -r { • j L-S—1-
1
-i-L-
f = • U LJ U
a >
—/—y ^ J J--1
5olo V/b<
N/l*ol
•Ha>-pa-Chord
t f i
figures as found in 4 patterns. The other type of courante
is a faster dance similar to the Italian corrente.
The style of the slow courante is much the same as the
allemande. Both are highly embellished melodically, both
have many chords/ and both have elements of contrapuntal
writing in the solo voice. Generally, the highly ornamental
and chordal passages of this Courante have been transcribed
in a similar manner to those of the Allemande.
29
In the second measure as shown in Example No. 13, Marais
wrote a combination of a trill, a double stop of a major
third, and an anticipation. Since a decision to retain
either the trill and anticipation figure or the double stops
was necessary for the transcription, the melodic embellish-
ments have been sacrificed to preserve the chordal effect.
The group of double stops of a third, a second, and a fifth
provides a very pleasing texture for the solo double bass.
£X0Lmple Nc-l3 ry.casc-rrs '.~Z C£)\jorc-x~mt
0 . 4 ^—+ 0 j . fU 1 b m i a J
TVonScHcHncr)
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30
In the fifth measure, Marais intensified the hemiola
pattern by placing double stops embellished with trills on
the accents. In the sixth measure, the note on the first
beat has a similar rhythmic pattern which contains an
accented trill without the chordal effect. As shown in
Example No. 14, the chords have been retained without the
trills, and a chord tone has been added to the downbeat of
measure 6 for the sake of continuity.
Example No. J4- rneaZAjnfs G'Ce i
Sole Via / ||(P*jr 3 | f f i p J ;
flingjhnai X '
F T .J J N
1 1,1 u r
• . # 1 6 P
' f ~ t 1 ** * \ f j—=
4. *
ivtvnacjnpfrBr*
CcrrhrwO
While the trills and mordents of the Allemande and the
Courante are very similar, the port de voix is written some-
what differently. In the former movement, the port de voix
31
is solely a one-note grace; in the latter work, it is com-
bined with a mordent. The melodic embellishment formed by
this union was frequently used by the French gamba composer-
performers. Rousseau implied that the port de voix should
always terminate with the mordent.12 A typical pattern of
this compound ornament is shown in Example No. 15.
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M f »M / » 2 . If f ffrrW- 1 -d 5k b
The Sarabande
According to Robert Donington, three styles of the
sarabande existed in Europe during the seventeenth century,
The tempo of the English saraband is very rapid, that of
the Italian sarabanda is moderate, and that of the French
12 T , Jean Rousseau, Traite de la viole, p. 87.
32
13
sarabande is slow- The sarabandes of Marais airs charac-
terized by tender and highly ornamented melodies which are
excellent examples of le jeu de melodie.14
Marais1 ornamentation consists of single mordents,
moderately long and short trills, the port de voix used in conjunction with the mordent as found in the Courante, and
t
the coule found in the Allemande. Although nothing new
is illustrated, Example No. 16 shows the density of embel-
lishments which Marais deemed essential to the Sarabande.
A rather unusual feature of the Sarabande has previously
been mentioned. Example No. 4 illustrates two bass parts in
measures 16 and 17. The continuo bass viol has a line which
moves in sixths with the solo viol while the harpsichord has
a sustained tone. To avoid confusion, Marais marked the
moving line "pour la viole".
The Sarabande closes with a formal device which is
called the petite reprise. The binary dance form with a
pstite reprise closes with a repetition of the last few bars
of the second section. Bonney McDowell has stated that
seventeen percent of the pieces in Marais1 first book have
this closing device."^
13 Robert Donnington, A Performer's Guide to Baroaue
Music (Great Britain, 1973) , pp. 247-248^ —
14 Clyde Thompson, "Marin Marais, 1656-1728," 1.
pp. 313-314.
15 Bonney McDowell, "Marais and Forqueray," pp. 158
159. '
33
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LernhnwS
The Gigue
Marais wrote gigues in meters of g, g, 1^, and J.
Some are written in equal note patterns after English and
Italian models, while others have typically French dotted
notes.
The Gigue of this transcription, heavily dotted and • 6 m 4 meter, resembles another dance, the loure. Johann
34
Walther defined the loure as a dance usually set in J , to
be taken slowly. He also said that the first note of each
16
half measure was dotted. One should not assume, however,
that the tempo of the dotted note gigues should be as slow
as that of the loure. Jean D'Alembert, in the middle of
the eighteenth century, wrote that the gigue is "no more
than a quick loure in which the rhythm is greatly accel-4. * "17
erated.
Very little editing was required to transcribe the
Gigue. Since the tempo is faster than the previous two
movements, Marais wrote chords only at the cadences and
melodic embellishments were limited to mordents, short
trills, and one compound port de voix-mordent pattern.
The Menuets
Two Menuets are included in the transcription to be
played in an A B A format. Marais often presented the
menuets in pairs. Either he intended a return to the first
menuet after the conclusion of the second, as was the es*~
tablished practice later in the eighteenth century, or he
merely meant to provide an alternate movement. The former
option has been adopted for this transcription.
16 ,tJ .Johf""„?ot^frd:e(? Walther, Musicalisches Lexicon (Lxepzig, 1732) cited in Robert Donnington, The Xnterpre-tation of Early Music (London, 1963), p. 332^ "—"
17 ' Jean^Lerond D'Alembert, Elements de musique (Paris,
1752), p. 170, cited by Clyde Thompson, ^arin Marais 1656-1728," I, p. 315.
35
Marais wrote menuets and allemandes more frequently
than any other type of dance movement. They are very short,
gracefully contoured melodies, with simple embellishments in
contrast to the more complex allemandes.
The editing process for the transcription, with only a
few exceptions, has been one of simple transposition.
Trills, mordents, and grace notes have been notated as in
the other movements, and notes inegales have been added to
the score of the second menuet.
The Gavotte
Although the Gavotte was heavily ornamented by Marais,
it, like the Menuets, was easily adapted to the double bass.
Chords are limited to cadences, and melodic motion is pri-
marily conjunct.
The notation of the ornaments appears to be more complex
than that of the other movements. This is largely due to the
fact that the mordents and trills have been further embel-
lished by the notation of the dotted notes inegales. Example
No. 17 shows both short trills and mordents combined with the
practice of the notes inegales.
Concluding Remarks
The music of Marin Marais is considered the finest of
the French school of bass viol composer—performers. It is
most unfortunate that his works have been unknown to the
majority of the performers of this century. His music
36
Vi o\
EsttXrmple Mo. 17 ryy^sun?sl-2.
&
Qnginai
Basse •Ify jr _ ^^gzgg=«r¥r
2* m W j
Vici
8ci S35 C?rrf)nufl
Q c n c 3 ^ ,
<# 7 w
•iiy u - = " | ^ ^
i </ 7
deserves a place in the repertoire of double bass players,
and to that end, this transcription of seven movements for
the double bass is offered.
BIBLIOGRAPHY
Books
Bol, Hans, La Basse de viole du temps de Marin Marais et d Antoine Forqueray, Bilthoven, A. B. Creyghton, 1973.
Dolmetsch, Arnold, The Interpretation of the Music of the Seventeenth and Eighteenth Centuries, London, NovelTo & Col, Ltd., 1915 Reprint, University of Wisconsin Press, 1977.
Dolmetsch, Natalie, The Viola Da Gamba, Its Origin and His-tory , Its Technique and Musical Resources, London Hmrichsen Edition Ltd., 1962.
Donmgton, Robert, The Interpretation of Early Music, London, Faber & Faber, 1963 Revised Edition, London, Faber & Faber, 1974.
/ h Performer's Guide to Baroque Music, New York. C1 ^ ix- -I I _ ^ Charles Scribner's Sons, 1973
Hsu, John, A Handbook of French Baroque Viol Technicrue. New York, Broude Brothers Limited, 1981"
/^Marin MaraisThe Instrumental Works, Vol. 1, Pieces une et a deux violes (1686-89), New York Broude Brothers, 1980.
Kinney, Gordon, J.^ Volume XXI of Recent Researches in the Music of the Baroque Era, Madison, Wisconsin, A-R Editions, Inc., 1976.
LeBlanc, Hubert, Defense de la basse de viole contre les Entreprises du violon et les pretentions du violoncel, Amsterdam, 1740, Reprint, Geneva, Minkoff~1975".
Marais, Marin, Pieces de violes, 5 Vol., Paris, Marais, 1686, 1701, 1711, 1717, 1725.
Neumann, Frederick, Ornamentation in Baroque and Post-Baroque Music, Princeton, N.J., Princeton University Press, 1978.
Rousseau, Jean, Traite de la viole, Paris, Christophe Ballard, 1687, Reprint, Amsterdam, Antigua, 1965.
37
38
Sadie, Julie Anne, The Bass Viol in French Baroque Chamber Music, Ann Arbor, UMI Research Press, 1978, 1980.
Titon du Tillet, Evrard, Le Parnasse Francois, Paris, J. B. Coignard, Reprint, Geneva, Minkoff, 1971.
Articles
Cohen, Albert, "An 18th-century Treatise on the Viol by Etienne Loulie," Journal of the Viola da Gamba Society of America, 3 (1966), 17.
Farrell,_Peter, "The Viol in France," Journal of the Viola da Gamba Society of America, 2 (1964), 21.
Green, Robert A., "Jean Rousseau and Ornamentation in French Viol Music," Journal of the Viola da Gamba Society of America, 14 (1977), 4. — —
Hsu, John, "The Use of the Bow in French Solo Viol Playing in the 17th and 18th Centuries," Early Music, 6 (1978). 52 6. — '
Newton, Richard, "Hommage a Marin Marais," The Consort No. 9 (June, 1952), 12-21. '
, "More about Marais," The Consort, No. 10 (1953), 10-17
Lesure, Frangois, "Marin Marais, Sa carriere—sa famille," Revue Beige de Musicologie, 46 (1960), 181.
_, "Une Querelle sur le jeu de la viole en 1688, J. Rousseau contre De Machy," Revue de Musicoloaie. 4 6 (1960), 182. — ~ — '
Neumann, Frederick, "Misconceptions about the French Trill in the 17th and 18th Centuries," The Musical Quarterlv L, 2 (April, 1964), 188-206.
Pond, Celia, "Ornamental Style and the Virtuoso, Solo Bass T ^ D ?
U S ^ i n F r a n c e ca* 1860-1740," Early Music, 6 (Xy / oj f JJL « ———————
Sadie, Julie Anne Vertrees, "Marin Marais and His Contempor-aries, The Musical Times, 117 (1978), 672.
Thompson, Clyde, H., "Marin Marais1 Pieces de Violes " The Music Quarterlv, 46 (1960), 482. '
39
\ "Instrumental Style in Marin Marais' Pieces de Violes," Recherches sur la Musique frangaise Classique, 3 (1963) , 73. ~~~
Dissertations
McDowell, Bonney, "Marais and Forqueray: A Historical and Analytical Study of Their Music for Solo Basse de Viole," Ph.D. dissertation, Columbia University, 1974; University Microfilm Number 54-01006.
Thompson, Clyde H., "The Music of Marin Marais," Ph.D. dissertation, University of Michigan, 1957; University Microfilm Number BAK 75-09292.
40
APPENDIX
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