Survey
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SurveyofFrenchHarpsichordMusic ThefirstimportantcomposerinFrancefortheharpsichordwasJacquesChampion Chambonnières.Nearly150ofhispiecessurvive,someofwhichappearedinhis1670 publication.OnestylistictraitoftheFrenchcomposersthatisfoundfromthebeginningisstile brisé,or“brokenstyle”.Thisarpeggiatedtexturewasborrowedfromcontemporarylutemusic. ChambonnièrespromotedthecareerofLouisCouperin,who,apparentlyoutofloyaltytohis mentor,refusedtheofferofhispostasjouerd’espinette(“royalharpsichordist”).Couperin appearstohavebeenthefirstharpsichordcomposertowritepréludesnonmesuré (“unmeasuredpreludes”),ofwhichhewrotesixteen,inrhythmicallyunmeasurednotation whichlacksmeter,barlines,andrhythm(thoughsomelatercomposersdidaddsomerhythmic values).Couperin(whodidnotpublishanypiecesduringhisshortlifetime)andJean-Henri D’Anglebert(foursuitespublishedin1689)arethemostimportantofthissecondgenerationof harpsichordcomposers,withElisabethJacquetdelaGuerre(1665-1729;harpsichordist, composer),theprecociouschildprodigywhogrewuptopublishtwobooksofharpsichord pieces(1687and1707)attheirheels.NicolasLebèguealsoproducedtwoengravedbooks (1677and1687),but,accordingtoFuller,“Thepovertyofhisinventiondisappointsus;thereis asamenessabouthispieces...”1JamesAnthonydescribesthesecomposers: Althoughallsharedinthecreationofacommonlanguage,someindividualdifferencesare worthnoting.LouisCouperinwascertainlythemostadventurousharmonically; Chambonnières,thegreatestmelodist;Lebègue,themostacademicandpredictable; D’Anglebert,themostdifficult;...andJacquetdeLaGuerre,themosteloquent.2 1 Fuller, “French Harpsichord Music,” 27. James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, revised and expanded edition (Portland: Amadeus Press, 1997), 299. 2 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 1 MentionshouldbemadeofthetwomostimportantsourcesforFrenchharpsichordmusic intheseventeenthcentury,theBauynandParvillemanuscripts.Gustafsonsummarizes: TheBauynMShaslongbeenrecognizedasthecornerstoneoftherepertory.Itisthe largestsinglesourceofseventeenth-centuryFrenchharpsichordmusic,containing345 piecesthatprovidereadingsofmorethanathirdofalltheextantseventeenth-century Frenchworkswrittenoriginallyfortheharpsichord.ItistheonlysourceforhalfofLouis Couperin’sharpsichordmusicandathirdofChambonnières’soutput.Itsmusicwaslargely composednolaterthanthe1650’s(Chambonnièreswasalreadywellknowninthe1630’s andCouperindiedin1661),butthedateofthemanuscriptitselfhasbeenverydifficultto determine....Recentresearchshowsthatthemanufacturerofitspaperdidnotbeginhis businessuntil1676.Asecondimportantmanuscript[,]...theParvilleMS,iscloselyrelated toBauyninitsreadingsofthe79piecesthatthesourceshaveincommon....Parville containstranscriptionsofworksfrom16ofLully’sdramaticworks,thelatestbeingAciset Galathée(1686).Thisprovidesaterminuspostquemof1686forthemanuscript.3 Fullertellsusthat“thewholebodyofharpsichordmusicsurvivingfromseventeenthcenturyFrance,excludingthatpublishedinthenextcentury,amountstosomethinginthe neighborhoodof500pieces.”4“Thesuitewas[essentially]theonlygenreofclassicFrench harpsichordmusic,...”5notesGustafson,and“thesuitesinthepiècesdeclavecinpublished between1670and1700rangefrom4to21movementsinlength;themajoritycomprise7or8 pieces.Ofthese26suites,morethanhalf(14)beginwithunmeasuredpreludes...andallbut2 haveanallemandeasthefirstdance.”6“Theindividualdancesareoverwhelminglybinaryin form.”7 CarolHenryBatesdescribesthenextphaseinharpsichordpublications: Theveryfirstdecadeoftheeighteenthcenturyopenedwithaflourish.Tencollectionsof harpsichordpieceswerepublishedwithinthosetenyears.Thisremarkablyproductive 3 Gustafson, “France,” 121-122. Fuller, “French Harpsichord Music,” 2. 5 Gustafson, “France,” 126. 6 Ibid. 7 Ibid., 127. 4 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 2 periodbridgesthegapbetweenthe1689collectionofD’Anglebertandtheappearanceof FrançoisCouperin’sfirstbookin1713.8 CharlesDieupart(?after1667-c.1740;harpsichordist,violinist,composer),whowasactive mainlyinLondon,publishedSixsuittesinc.1701.Theyarethefirsttoactuallybecalled“suites,” andhis“treatmentofthesuiteasaform,withafixednumberofmovementsinafixedorder, waswithoutprecedentinFrenchharpsichordmusic,aswastheprefixingofanoverturetoeach suite.”9LouisMarchand(twobookspublishedin1699and1702)wasafamouskeyboard virtuoso.NicolasClérambault(1676-1749;organist,composer)(1704)andJean-François Dandrieu(1682-1738;composer,organist)(threebooksinc.1704/1705,withthreemoreto comelater)werefollowedbyGaspardLeRoux(1705),Jean-PhilippeRameau(1706),and ElisabethJacquetdeLaGuerre(secondbook,1707).AninterestingfeatureofLeRoux’s publicationistheinclusionformostofthepiecesofanalternativeperformanceoption,thatof twotrebleinstrumentsandcontinuo.DavidFullersaysaboutDandrieu,“AfterCouperinand Rameau,hewasthemostcelebratedFrenchharpsichordcomposerofthe18thcentury.”10This openingspurtofharpsichordpublicationsstartedtheeighteenthcenturyonitswaytothe morethan180titlesofprintedsoloharpsichordmusic(withorwithouttheaccompanimentof violin)from1699to1780,asidentifiedbyGustafsonandFullerintheirACatalogueofFrench HarpsichordMusic. Jean-PhilippeRameauwouldlaterpublishtwomorebooks,in1724and1729or1730. AccordingtoMarkKroll,“The1724collectionfeaturessomeofthemostvirtuosicand 8 Carol Henry Bates, “French Harpsichord Music in the First Decade of the 18th Century,” Journal of the American Musicological Society 17, no. 1 (Spring, 1964): 184. 9 David Fuller, “Dieupart,” Grove Music Online ed. L. Macy (Accessed 9 June 2008), http://www.grovemusic.com. 10 David Fuller, “Dandrieu,” Grove Music Online ed. L. Macy (Accessed 10 June 2008), http://www.grovemusic.com. SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 3 progressivekeyboardwritinginthehistoryofFrenchharpsichordmusic.”11Cuthbert Girdlestone,Rameau’sbiographer,elaborates: “Two-thirdsofthe1724bookaregenrepieces,therestdances;theyaregroupedbykeys butdonotformsuites.Thewritinglooksbothforwardandbackward.Somepiecesare almostlute-like,withtheharmoniesspreadoutinarpeggios....Onthewholethewriting isbasedonarpeggioformationratherthanonscalicmotion.”12 RegardingRameau’sthirdbook,Girdlestonenotesthatit“containssomeofhismost ambitiouswriting.”13AllthreeharpsichordbookscameoutwellbeforeRameauwrotehisfirst operain1733,thoughin1741hedidpublish“19piecesgroupedinfivesuites,or‘concerts,’for harpsichord,violinorflute,andtenorviolorsecondviolin”,14calledPiècesdeclavecinen concerts.“Theirremoteforebearswereharpsichordsuitestowhichwasaddedanoptional violinpart;theirmoreimmediateoneswerethesixsonatasop.3byMondonville(1734),”15for soloharpsichordorharpsichordwithviolinaccompaniment. Rameau’soldercontemporary,FrançoisCouperin,isconsideredbymanytobethe pinnacleoftheFrenchclavecinschool.Hisfourbooks,publishedin1713,1716-1717,1722,and 1730respectively,containtwenty-eightordres.JamesAnthonyremarks: TheeffectofFrançoisCouperin’sfirstpublication,Piècesdeclavecin1713,waselectrifying. ...TheimpactofCouperin’sfourharpsichordbookscatapultedthegenrepiecetoa positionofprominence....Significantly,therewasanappreciabledropinthenumberof collectionspublishedbetweentheyearofCouperin’sBook1(1713)andhisBook4 (1730).16 11 Mark Kroll, “French Masters,” in Eighteenth-Century Keyboard Music, second edition, ed. by Robert L. Marshall (New York: Routledge, 2003), 142. 12 Cuthbert Girdlestone, “Rameau,” Grove Music Online ed. L. Macy (Accessed 10 June 2008), http://www.grovemusic.com. 13 Ibid. 14 Ibid. 15 Ibid. 16 Anthony, French Baroque Music, 316. SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 4 Intheinterveningseventeenyearsonlythreeothercomposersseemedtodarepublishworks: NicolasSiret(1663-1754;organist,composer)(1719);Rameau(1724,c.1729-30);Jean-François Dandrieu(1724,1728).Conversely,inthenextdecadeafterthepublicationofCouperin’s fourthbook,nofewerthanthirteencomposerscameoutwithnewpublicationsofsolo harpsichordmusic. MarkKrollattemptstosummarizethemusicofCouperin: FrançoisCouperinrepresentstheultimateexpressionoftheartoftheFrenchharpsichord tradition.Hismusicencompassesalltheelementsofthenationalstyleraisedtoan unequaledlevelofrefinement.Couperin’sachievementtowersoverthoseofhis predecessorsandsuccessors.Acknowledgedas“leGrand”inhisownlifetime,heenjoyed themostesteemedreputationamonghiscontemporariesasaperformerandcomposer. Couperinoccupiesacentralpositionbothchronologicallyandstylistically.Hiscareer unfoldedatthemiddleofthe200-yeartraditionofclavecinistes.Hewaswitnesstothelast twentyyearsofthereignofLouisXIVandtothebeginningofthegradualdissolutionofthe Frenchabsolutemonarchy.Couperin’smusicwasnotonlyasynthesisofallthathadcome before,itprofoundlyinfluencedallthatwouldfollow.CouperindrewupontheFrench operaasepitomizedbyLully,uponItalianchambermusicandthesonatasof[Arcangelo] Corelli[1653-1713;Italiancomposer,violinist],onthecommediadell’arteandthe tragédieslyriques,Frenchfolksongs,andthepaintingsof[Jean-Antoine]Watteau[16841721].AllthesetraditionslefttheirimprintonCouperin’sharpsichordmusic,wherethey wereimbuedwithdelicacy,passion,humanity,andbongoût.17 BesidesthepublicationsofCouperin,Dandrieu,andMondonvillealreadymentioned, otherworksthatwehavetodaywhichappearedinthe1730’s,thedecadeofBernarddeBury’s compositions,include:LouisAntoineDornel(c.1680-soonafter1756;organist,composer) (1731);FrançoisDagincourt(1684-1758;composer,organist,harpsichordist)(1733);Durocher (fl1733;organist,composer)(1733);PierreFevrier(1696-between1762and1779;organist, composer)(1734);MichelCorrette(1709-1795;organist,teacher,composer-arranger,author) (1734);Louis-ClaudeDaquin(1694-1772;organist,harpsichordist,composer)(1735);Charles 17 Kroll, “French Masters,” 137-138. SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 5 Demars(1702-1774;organist,composer)(1735);JosephBodindeBoismortier(1689-1755; composer)(1736);BernarddeBury(c.1736);Charles-AlexandreJollage(d1761;organist, composer)(1738);JeanAdamGuilain(fl1702-1739;organist,harpsichordist,composer)(1739). Fromthe1740’sandonintothe1780’s,publicationsofFrenchharpsichordmusic continuedunabated.From1740-1770overadozenofthesewereforharpsichordaccompanied byviolin.Thistrendwasespeciallypronouncedinthe1770’sand1780’swhenoversixtysuch volumeswereprinted.Inaddition,manyofthetitlepagesduringthesedecadesindicatepourle clavecin,oufortepiano,reflectingtheincreaseinproductionandpopularityofthepiano. AsMarkKrollsummarizes,“Themostsignificantcomposersoftheperiod[aroundmidcentury]...wereJacquesDuphly[1715-1789;harpsichordist,composer],Claude[Bénigne] Balbastre[1727-1799;organist,composer],andJosephNicolasPancraceRoyer[c.1705-1755; composer,harpsichordist,organist,administrator].”18Duphly“publishedfourbooksof harpsichordpieces(1744,1748,1758,1768)....Thevastmajorityofpiecesaredescriptiveor dedicatory.”19Anthonyadds,“FrenchandItalianstyles,asexemplifiedbydancesand descriptivepiecesontheonehandandsonatasontheother,co-existharmoniouslyinthefirst twobooksbyDuphly....Thefirstbook...includesfifteenpieceswithsomemusical‘portraits’ andsometraditionaldances.”20AmongthestudentsofBalbastrewere“Marie-Antoinetteand ThomasJefferson....HepublishedhisfirstbookofPiècesdeclavecinin1759.”21Theseworks provideusoften“withgreatelegance[and]keyboardportraitsofminorpersonages...”22 18 Ibid., 146. Ibid. 20 Anthony, French Baroque Music, 323. 21 Kroll, “French Masters,” 147. 22 Anthony, French Baroque Music, 323. 19 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 6 Balbastrewrotewhatisbelievedtobethelastunmeasuredprelude,decadeslaterthanany others.Royerpublishedonevolumeofharpsichordworksin1746,which“areamongthemost attractiveintheliterature...”23They“derivefromtheelaborateandvirtuosicdescriptive piecesfoundinearliercollectionsofDandrieu,Daquin,andCorretteandexhibitlittleItalian influence.”24 DescribingFrenchharpsichordmusicoftheeighteenthcentury,JamesAnthonynotes: Earlyeighteenth-centuryharpsichordcomposersgraduallymodifiedthestylebriséwith morecontinuouspartwriting....Therondeaubecameincreasinglypopular....Sixtyout ofover240compositionsbyCouperinareinthisform.Harmonically,Frencheighteenthcenturyharpsichordmusicremainedessentiallyconservative.25 Furthermore,“Theuseofmelodicsequenceasameansofexpandingmotivicmaterialbecame muchmorecommonintheeighteenthcentury,reachingsuchproportionsintheRameauA minorcourante[c.1729-30]...thattheentirepieceisbuiltoninterlockingsequences.”26David Fullerinforms: Theshiftofemphasisfromdancetonon-dancepiecesintheeighteenthcenturycollections constitutesperhapsthechiefpointofcontrastbetweentheseventeenthandeighteenthcenturies.Thelargestcategoryofnon-dancepiecesisthatofthepieceswithtitles.Agreat manydancepiecesalsohavetitles,tobesure,butthemajorityoftitledpiecescannotbe identifiedasdances.27 ThisshiftagainreflectstheincredibleinfluenceofFrançoisCouperin:“[Beforethepublication ofCouperin’sfirstbookin1713]...mostcollectionsshowamarkedpreferenceforanucleusof allemande,courante,andsarabande,precededbyapreludeorovertureandfollowedata 23 Kroll, “French Masters,” 147. Anthony, French Baroque Music, 323. 25 Ibid., 307. 26 Ibid., 308. 27 Fuller, “French Harpsichord Music,” 289. 24 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 7 greaterorlesserdistancebyagigue.”28Fullercontinues: Afewtitledcharacterpiecesarealsofound[beforeCouperin]...but...characterpieces arerareinthisperiod.Notmorethanahalf-dozenoutofperhapsahundredpiecesbelong tothiscategory.TheimpactofCouperin’sfirstbooksverynearlyeffectedamathematical reversaloftheproportionwithinthespaceofafewyears.29 AsJamesAnthonywritesinFrenchBaroqueMusic,“Inevitably,Frenchharpsichordmusic cametotermswiththeItalianinfluencesthatfloodedParisattheturnofthecenturyinthe formofcantatasandsonatas...”30DavidTunleyexplainsthat“beforethe[seventeenth] centurywasoutthetwocentres[ParisandVersailles],thoughonlyseventeenmilesfromeach other,seemedworldsapart;onethebastionofconservatism,theotherforward-lookingand cosmopolitan.Thus,itwasinParisthatItalianmusic...wasfostered.”31Moreover,“giventhe Frenchpenchantforheateddebateitwasinevitablethatthemeritsandshortcomingsof FrenchandItalianmusicwereendlesslyarguedintractandpamphlet.”32Someofthe characteristicsofItalianmusicenumeratedbyDavidTunleyarethat: Wovenintothemelodyare...thoseubiquitousmusicalfibres–scalesandbroken-chords orarpeggios–whichprovidemuchofthe“filling”inbaroque(and,later,classical)music.. . ...ThepatternsofmanyanItalianmelodyareinextricablylinkedwiththeharmonic progressionsoutlinedbythebassline... ...OnesuchharmonicprogressionfoundinabundanceinItalianbaroquemusicisthe “cycleoffifths.”33 InsummarizingFrenchmusic,Tunleynotesthat“theveryconservativenatureoftheclassical FrenchstylelinksitmoretoRenaissancepracticeinwhichitisthemelodythatdirectsthe 28 Ibid., 237. Ibid., 238. 30 Anthony, French Baroque Music, 307. 31 David Tunley, François Couperin and ‘The Perfection of Music’ (Burlington, VT: Ashgate Publishing Company, 2004), 41. 32 Ibid., 43. 33 Ibid., 44. 29 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 8 harmony,takingitintoprogressionsthatdonotnecessarilygeneratethekindoftonality associatedwithItalianbaroquemusic.”34 FrançoisCouperinmakesanumberofcommentsabouttheItalianstyle.Forexample,he writesintheprefacetoLesGoûtsréunisandNouveauxconcerts(1724): ItalianandFrenchstyleshaveforalongtime(inFrance)sharedtheRepublicofMusic;for mypart,Ihavealwaysesteemedthosethingswhichhavemerit,withoutdistinctionof authorornation;andthefirstItaliansonataswhichappearedinParismorethanthirty yearsago...didnodisservicetomymind,eithertotheworksofLullyortothoseofmy forebears,whowillalwaysbeasadmirableastheyareinimitable.35 Infact,hisstatementthat“...thebringingtogetherofFrenchandItalianstylesmustcreate musicalperfection,”36(L’Apothéosecomposéàlamémoiredel’incomparableMonsieurdeLully, 1725)servedastheinspirationforthetitleofTunley’sbook,FrançoisCouperinand‘The PerfectionofMusic.’CouperinalsogivescluesastocharacteristicsofItalianmusicinhis1716 L’artdetoucherleclavecin:“Regardingbrokenchordsorarpeggios...whoseorigincomes fromthe(Italian)Sonatas,myopinionwouldbethatthenumberofthemplayedonthe harpsichordshouldbealittlerestricted.Thisinstrumenthasitsownpropertiesastheviolin [favoredinstrumentinItaly]hasitsown.”37HethusassociatesarpeggioswithviolinisticItalian figures. DiscussionofmorecharacteristicsofFrenchandItalianmusiccanbefoundin:the1702 essayofAbbéFrançoisRaguenet(c.1660-1722;priest,physician,historian),anonymously translatedas“AComparisonbetweentheFrenchandItalianMusicandOperas”;the1704 34 Ibid., 46. François Couperin, Goûts Réunis, reprint of original edition published 1724 and 1725, Paris: Chez l’auteur (Geneva: Minkoff Reprint, 1979) as quoted in Tunley, Perfection, 143. 36 Ibid., ii. 37 Couperin, L’art de toucher, 46. 35 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 9 responsebyJeanLaurentLeCerfdelaViéville(1674-1707;LordofFreneuseandKeeperofthe SealsfortheparliamentofNormandy)translatedbyMargaretMurataas“Comparisonbetween ItalianandFrenchMusic”;the1752treatisebyJohannJoachimQuantztranslatedbyEdward ReillyasOnPlayingtheFlute.LeCerf,speakingofFrancesays,“Herewehaveonlycommon harmonies.Sobeit.Providedthattheseharmoniesarenotatalldefectiveanddonotdisfigure thebeautyoftheexpression,thelistenercouldwantnomore.”38Thisisincontrasttothe Italians,ofwhomRaguenetsays: ...venturetheboldestcadences,andthemostirregulardissonances...[Thepassages have]suchirregulartonesasshallinstillaterroraswellassurprize[sic]intothelistener, whowillimmediatelyconclude,thatthewholeconcertisdegeneratingintoadreadful dissonance....TheItaliansventureatev’ry[sic]thingthatisharsh...”39 Raguenetalsonotes,“Ifyouwouldhittheirpalate,youmustregaleitwithvariety,andbe continuallypassingfromonekeytoanother...”40 QuantzdevotesconsiderationspaceinhistreatisetothecharacteristicsofItalianand Frenchmusicandtoacomparisonofthetwostyles.SpeakingoftheFrenchhewrites,“The instrumentalists,especiallythekeyboardplayers,donotordinarilydevotethemselvestothe performanceofdifficultfeats...”41Helaterconfirms,“They[theItalians]writemoreforthe connoisseurthanfortheamateur...They[theFrench]writemorefortheamateurthanfor theconnoisseur.42Speakingofvocalmusic,heexplains,“TheFrenchmannerofsingingisnot 38 Jean Laurent Le Cerf de la Viéville, “Comparison between Italian and French Music,” from a trans. by Margaret Murata, in Strunk’s Source Readings in Music History, revised edition, originally ed. by Oliver Strunk, revised edition ed. by Leo Treitler (New York: W.W. Norton and Company, Inc., 1998), 681. 39 François Raguenet, anonymous translation, “A Comparison between the French and Italian Music and Operas,” in Strunk’s Source Readings in Music History, revised edition, originally ed. by Oliver Strunk, revised edition ed. by Leo Treitler (New York: W.W Norton and Company, Inc., 1998), 675. 40 Ibid., 676. 41 Quantz, Flute, 328. 42 Ibid., 334. SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 10 designed,liketheItalian,totraingreatvirtuosos.”43“Inaword,”heconcludes,“Italianmusicis arbitrary,andFrenchiscircumscribed.Ifitistohaveagoodeffect,theFrenchdependsmore uponthecompositionthantheperformance,whiletheItaliandependsupontheperformance almostasmuchasuponthecomposition,andinsomecasesalmostmore.”44Quantzalso addressestheharmonicpracticesoftheItaliancomposers:“Theytaketoomuchlibertyin harmonicprogression.”45Incontrast,“[TheFrench]preferdiatonicratherthanchromatic progressions.”46Healsoalludestothemultitudeofrunningsixteenth-notepassagesthatcanbe foundinmanyanItalianscore,“IntheAllegrotheyconsiderthesawingoutofamultitudeof notesinasinglebow-stroketobesomespecialachievement.”47Speakingofvocalmusic,he comments,“Thosesingers...oughttodevotetheirtime...[to]singingtastefullyand expressively,insteadofmartyringthemselveswithpassageworkinordertobefashionable.”48 Thus,ItalianmusiccharacteristicsviedwithFrenchtraits.Tosummarize(includingsome personalobservationsnotyetmentioned),theFrench:esteemthecomposermorethanthe performer;useamorecontrolled,disciplinedstyle;prefertheharpsichord(alongwiththeflute, violadagamba,andoboe);writemelodiesbasedonshortmotivicunits;usethecommon diatonicharmoniclanguage;eschewfancypassagework;usemanysymbolizedornamentsigns; writefrequentchangesinthenumbersofvoicesleadingtochangingtextures;makeuseof notesinégales.TheItalians:esteemtheperformermorethanthecomposer;prefertheviolin; writemelodiesbasedonharmonicprogressionsandthususemanyarpeggiatedviolinistic 43 Ibid., 328. Ibid., 335. 45 Ibid., 326. 46 Ibid., 329. 47 Ibid., 326. 48 Ibid., 331. 44 SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 11 figures;writeboldandharshdissonances,frequentmodulations,andusecircleoffifths progressions;includeimitationnoticeablyoften;writemanysixteenth-notepassagesections; expectperformerstoadddivisions;havemoreconsistenttexture;donotusenotesinégales. SurveyofFrenchHarpsichordMusic©RutaBloomfield,D.M.A.,2016 12