Academic journal article Notes

The Bauyn Manuscript: Harpsichord Music from the Seventeenth Century

Academic journal article Notes

The Bauyn Manuscript: Harpsichord Music from the Seventeenth Century

Article excerpt

Paris, Bibliotheque nationale de France, Res. Vm7 674-675: The Bauyn Manuscript. Edited by Bruce Gustafson. Part I: Works by Jacques Champion de Chambonnieres. (The Art of the Keyboard, 10.) New York: The Broude Trust, 2014. [Contents of parts I-IV, p. vii-xiv; list of illus., p. xv; publisher's pref., p. xvii; acknowledgments, p. xix; editorial policies, p. xxiii-xxvi; sigla, p. xxvii; score, p. 2-161. ISBN 0-8450-7601-9. $150.]

Paris, Bibliotheque nationale de France, Res. Vm7 674-675: The Bauyn Manuscript. Edited by Bruce Gustafson. Part II: Works by Louis Couperin. (The Art of the Keyboard, 10.) New York: The Broude Trust, 2014. [Contents of parts I-IV, p. vii-xiv; list of illus., p. xv; editorial policies, p. xix-xxii; sigla, p. xxiii; score, p. 2-207. ISBN 0-8450-7601-9. $150.]

Paris, Bibliotheque nationale de France, Res. Vm7 674-675: The Bauyn Manuscript. Edited by Bruce Gustafson. Part III: Works by Various Composers. (The Art of the Keyboard, 10.) New York: The Broude Trust, 2014. [Contents of parts I-IV, p. vii-xiv; list of illus., p. xv; editorial policies, p. xix-xxii; sigla, p.xxiii-xxiv; score, p. 2-175. ISBN 0-8450-7601-9. $150.]

Paris, Bibliotheque nationale de France, Res. Vm7 674-675: The Bauyn Manuscript. Edited by Bruce Gustafson. Part IV: Commentary. (The Art of the Keyboard, 10.) New York: The Broude Trust, 2014. [Contents of parts I-IV, p. vii-xiv; list of illus., p. xv; historical introd., p. 3-38; crit. report, p. 40-190; bibliog., p.193-99. ISBN 0-84k50-7601-9. $150.]

The Bauyn manuscript (Paris, Bibliotheque nationale de France, Res. Vm7 674-675) is the largest surviving anthology of French harpsichord music from the seventeenth century. It preserves for us a precious collection of works by Jacques Champion de Chambonnieres, Louis Couperin, and their closest circle, and includes nearly 150 unica. In addition, as the largest French source of keyboard music by Johann Jacob Froberger, it corroborates the rapport between Louis Couperin's unmeasured preludes and Froberger's toccata style. The manuscript was brought to modern attention by Henri Quittard in his pioneering study on Chambonnieres's music ("Un claveciniste francais du XVIIe siecle: Jacques Champion de Chambonnieres," La tribune de Saint-Geruais: Bulletin mensuel de la Schola Cantorum 7 [1901]: 1-11, 33-44, 71-77, 105-10, 141-49), and was quickly recognized as a major source for this repertory. But despite intense scholarly effort for over a century, the manuscript's history and purpose, as Gustafson frankly admits (part IV, p. 3), are largely steeped in mystery. For one thing, the identity of the scribe is still unknown. For another, the dating has been revised several times, but as yet no definitive date has been assigned. Earlier researchers from Quittard to Francois Lesure (introduction to Manuscrit Bauyn: Pieces de clavecin c1660 (Bibliotheque nationale, Paris, Res. Vm.7 6 74-675, facsimile [Geneva: Minkoff Reprint, 1977]) proposed dates between ca. 1660 and 1670, largely based on their examination of the contents and other physical evidence, in particular the three dates (1650, 1656, and 1658) found written into the source. More recent work on the identification of the paper (Bruce Gustafson and David Fuller, Catalogue of French Harpsichord Music 16991780 [Oxford: Clarendon Press, 1990]), watermarks (Davitt Moroney, introduction to Manuscrit Bauyn, ca. 1690: facsimile du manuscrit de la Biblioth'eque nationale de France, Paris, Res. Vm7 674-675 [Geneva: Minkoff, 1998], corrected reprint of the Minkoff 1977 facsimile), and the identification of the arms of Andre Bauyn de Bersan and Suzanne de Ferriere (Damian Vaisse, "Du nouveau sur le manuscrit Bauyn: Une famille parisienne et le clavecin aux XVIIe et XVIIIe siecles," Revuefrancaise d'heraldique et de sigillographie 71-72 [2001-2002]: 39-53) have led Gustafson and others to believe that the majority of the contents were copied into the source twenty or possibly thirty years after their creation (Louis Couperin died in 1661). …

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