DIEUPART...and the manic-depressive recorder

Through the vortex of intense self-consciousness...

While it can be ventured that the early music revival begin as early as the early musicological concerts organized in the 1830s...of which Fernando Sor and Franz Liszt were to take part...and that further these historical leanings were to become more common when virtuosi like  the Brothers Rubinstein began giving long piano recitals of the then freshly rediscovered works of John Bull,Jean Rameau,and others from the previous centuries during the 1860s and isn't until Wanda Landowska decides at the Tolstoy estate at the encouragement of Leo and other intellectual colleagues in the early years of the last century to eschew the piano in favor of the harpsichord and  when Arnold Dolmetsch committs himself to the exclusive playing and manufacturing of early instruments such as lutes and recorders....that the early music movement begins to roll in earnest.However it is really in the 1960s that the explosion begins in earnest.Since that explosion almost 50 years ago,some composers for the flute and recorder have been quick to find their champions.Composers such as Blavet and Leclair for example.Some however,have been left out in the cold without a champion...and it is only in the last decade that appropriate attention has once again after long centuries...  begun to be refocused on their work.
                                                                            *François Dieupart is a perfect example of this late reassessment,and it is only recently that we now have several albums devoted to his flute works.François is spiritually engimatic...BUT expresses that enigma unequivocably clearly and without vagueness.Whimsical on the face of it...(as was characteristic of the early Ffrench Galant tendencies of his time)...he nonetheless has the English melancholy  and the style of it a chief attribute of his state of mind.While today the English for some time have been known as even-tempered,self-governing,stoically cheerful,and gifted with a certain elegance of dry wit....this certainly wasn't true of the classical English gentleman at the time the François was working there at Drury Lane in the 1st decade of the 18th this time the quintessential qualities that one might have,(and still in retrospect might) regard as essential and characteristic of the English gentleman were...moroseness,ribaldry,savage sarcasm,worldliness,righteous indignation,and a certain chivalry.Most of these qualities François does not possess.But The moroseness he does most certainly possess...and it comes directly into a clash with the natural facade of politely cheerful and sweet French manners of the time...that he also possesses.I think that in no one composer's music other than Robert Schumann's in history has this specie and intensity of this contrast...indeed conflict be felt with such intensity.(Today he would be labeled and sent home with a boatload of psychotropics-to correct his basic nature)...AND at the same time....François is not outwardly ambitious in his state of mind artistically.He goes beyond a certain French naturalism and is simplicity and directness of simplicity personified.
                                  But even that fabulously salient contrast is not the preminent quality in his state of mind...rather it is the most incredibly intensely overweening sense of self-consciousness that I think that I've never quite heard musically in this way.It is so intense that I can only liken it to certain embarrasing moments in my earlier awakening one day to the fact that there was hair all over my legs.I felt so self-conscious that it had to be  an incredibly hot day in North Carolina for me to be seen wearing a pair of short pants.It reminds of being a new kid at school and coming from a different cultural background...and that aching knee-jerk reaction of wanting to find some way to become permanently invisible without actually killing ourselves..Most of us live with this intense self-consciousness by going about in a state of surreally abstract denial through much as possible.But not François...His torturous self-consciousness is right there front and center.You can't escape it...and it would seem that François is parading and flaunting it...but that it is clear that François is no parader or flaunter....rather this self-consciousness is simply there....because it is so intrinsic to his psychology at that time in his soul's history...and because absolute sincerity is also so fundamental to his personality.
                   Obviously there are different ways to portray François's music...and Hugo Reyne who performs and leads this trio of recorder,lute and viola da gamba is obviously somewhat of an religous absolutist in his approach to François's music.In Hugo's eyes....everything has to be absolutely beautiful all the time.And although I think it would have not been easy to find someone to play François's music with this kind of absolutist 20th century classical music attitude philosophy in those days...still it must have existed we haven't invented personality or that particular state of mind in the last century.Hugo's choice to play much of this music with the lute and gamba as was the inclination of the fabulous Michel De La Barre at the time....lends this music an even more intense sensation of self-consciousness.Franç Hugo's hand is Watteau who has decided to come out the closet and admit..."Yes everybody...I'm depressed as smile...and  NOW....let's eat some cake!


   *...Musicology is having a war over whether Dieupart's name is Charles...or ...Francois.Personally I do not care about such issues.The music is so sensitive that ....Dieupart was probably more likely...Juliette Marie....

   **...No portrait of him is known today...

Ouverture in E Minor... Suite IV

Charles (ou François) Dieupart est un musicien (claveciniste et violoniste) d'origine française, né probablement à Paris, vers 1667 et mort à Londres vers 1740.::

Charles (ou François) Dieupart est un musicien (claveciniste et violoniste) d'origine française, né probablement à Paris, vers 1667 et mort à Londres vers 1740.

On ne connaît pas les détails de la jeunesse et de la formation de Dieupart, ni la raison de son émigration en Angleterre où il est présent en 1704. Connaisseur de la musique italienne et admirateur de Corelli, il a été en Angleterre un musicien apprécié de la haute société, notamment comme violoniste, et a participé au développement et à la diffusion de la musique et de l'opéra italien dans ce pays. Il a connu, à la fin de sa vie, l'indigence et une certaine déchéance sociale.

Il a publié vers 1701 un remarquable recueil de six suites pour le clavecin joignant l'esthétique italienne à la tradition française. Ces suites sont de structure très homogène, comprennent chacune 7 pièces, dans le même ordre et débutent, non par un prélude, mais par une ouverture solennelle « à la française », c'est-à-dire dans le style de Lully, à deux ou trois mouvements, lent pointé-fugato-reprise. Ces suites peuvent aussi être jouées par un petit ensemble instrumental, et les deux versions parurent à la même époque.

Ce recueil, largement diffusé en Europe a probablement inspiré Nicolas Siret dont le premier livre adopte l'ouverture comme pièce initiale - disposition exceptionnelle chez les français - et surtout Johann Sebastian Bach dans ses Suites anglaises : on y retrouve en effet des thèmes musicaux très proches, une structure formelle comparable (et différente de celle adoptée dans ses Suites françaises) ; le titre lui-même pourrait provenir du séjour anglais de Dieupart.

Courante in E Minor... Suite IV

Charles (o François) Dieupart fue un músico (clavecinista y violinista) de origen francés, nacido probablemente en Paris hacia 1667 y muerto en Londres hacia 1740...

Charles (o François) Dieupart fue un músico (clavecinista y violinista) de origen francés, nacido probablemente en Paris hacia 1667 y muerto en Londres hacia 1740.

No se conocen los detalles de la juventud y la formación de Dieupart, ni la razón de su traslado a Inglaterra, donde se sabe de su presencia en 1704 y donde permanecerá hasta su muerte. Conocedor de la música italiana y admirador de Corelli, fue un músico apreciado en Inglaterra por la alta sociedad, particularmente como violinista, y participó en el desarrollo y la difusión de la música y de la ópera italiana en aquel país. Al final de su vida conoció la indigencia y cierta decadencia social.

Hacia 1701 publicó una remarcable colección de seis suites para el clavecín uniendo la estética italiana a la tradición francesa. Estas suites son de estructura muy homogénea, comprendiendo cada una 7 piezas con el mismo orden y comienzo, no por el habitual preludio en las suites (u ordres) en Francia, sino por una obertura solemne, «Obertura a la francesa», es decir, en el estilo de Lully, con dos o tres secciones: lento, con ritmo de puntillos / fugato / recapitulación del lento inicial. Estas suites también pueden ser ejecutadas por un pequeño grupo instrumental. Ambas versiones aparecieron en la misma época.

Esta selección, ampliamente difundida por Europa inspiró probablemente a Nicolas Siret, el cual adopta del primer libro la obertura como pieza inicial —disposición excepcional en los franceses— y, sobre todo, a Johann Sebastian Bach en sus Suites Inglesas (BWV 806-811), de quien se sabe que al menos copió dos de las seis suites de Dieupart (práctica habitual en Bach, que estudió a sus compositores contemporáneos y predecesores copiando sus partituras o trasncribiéndolas a diferentes disposiciones instrumentales). Efectivamente, entre las Suites Inglesas de Bach y las Suites para clavecín de Dieupart, podemos encontrar mucha cercanía en los temas musicales —existe, por ejemplo, un enorme parecido entre el Preludio de la Suite Inglesa n° 1 en La Mayor de Bach y la Giga de la Suite n° 1, en esta misma tonalidad, de Dieupart—, así como una estructura formal similar (y diferente de aquella adoptada por Bach en sus Suites Francesas (BWV 812-817). De hecho el título "Inglesas" (que no es del propio Bach, sino que fue añadido posteriormente) se cree que procede de la residencia de Dieupart en Inglaterra.

Sarabande in E Minor... Suite IV

Charles Dieupart (François) (* um 1667; † um 1740 in London) war ein französischer Violinist, Cembalist und Komponist...

Charles Dieupart (François) (* um 1667; † um 1740 in London) war ein französischer Violinist, Cembalist und Komponist.

Leben [Bearbeiten] Wer Dieuparts Lehrer waren ist nicht bekannt; sein Name taucht erstmals in einer Steuerliste von 1695 auf, in der er als Musiker geführt wurde. Spätestens ab 1704 lebte Dieupart in London, vermutlich reiste er im Gefolge der Gräfin Elisabeth of Sandwich nach England, die sich aus gesundheitlichen Gründen länger in Frankreich aufgehalten hatte. Ihr widmete er 1701 seine 6 Suiten für Cembalo, die bei Estienne Roger in Amsterdam gedruckt wurden. Aus diesem Grunde ist es wahrscheinlich, dass sie seine Schülerin war. 1704 komponierte er in London die Musik für das Schauspiel „Britain’s Happiness“ von Peter Motteux, welches im „Drury Lane Theater“ aufgeführt wurde. Ein Jahr lang komponierte er gemeinsam mit Thomas Clayton (1673-1725/30) und Nicola Francesco Haym an einer italienischen Oper, an deren Aufführung auch der aus Berlin stammende Johann Christoph Pepusch sowie der Flötist und Oboist Jean-Baptiste Loeillet de Gant mitwirkten. Es folgen mehrere Aufführungen von Opern der italienischen Komponisten Giovanni Battista Bononcini und Alessandro Scarlatti. 1711 geriet das „Drury Lane Theater“ in Konkurs, nicht zuletzt durch die Erfolge, die Georg Friedrich Händels Oper „Rinaldo“ verzeichnen konnte. In den Jahren 1711 und 1712 organisierte Dieupart Konzerte, die einen gewissen Erfolg hatten, er spielte Violine in Händels Orchester und lebte vor allem von Klavierunterricht, der ihm zeitweise Zugang zu den einflussreichsten Familien des Landes verschaffte. In den letzten Lebensjahren war er krank und verarmt. Der Musikhistoriker John Hawkins berichtete, dass Dieupart in Bierhäusern auf gekonnte und elegante Art Violinsoli von Arcangelo Corelli gespielt habe. Ab 1740 verliert sich seine Spur.

Werke [Bearbeiten] 6 Cembalo Suiten (Amsterdam, etwa 1701). Der Herausgeber hat zwei verschiedene Versionen veröffentlicht, die ursprüngliche Version für Cembalo und eine zweite Ausgabe für Melodieinstrument und Cello (eine zu dieser Zeit übliche Praxis). 6 Sonaten für Blockflöte und B.c (London, 1717) Etwa 30 „Airs“ zwischen 1729 und 1731, in „The Musical Miscellany“ erschienen. „Select Lessons for Harpsichord or Spinett“ (Walsh, London) Concerto à 5 für Violine, Streicher und B.c. Concerto à 5 für Flöte, Streicher und B.c. 2 Concerto grosso Concerto a due cori (Doppelchöriges Streicherkonzert)

Gavotte in E Minor... Suite IV

François [Charles] Dieupart (ca. 1670 - ca. 1740) French violinist, harpsichordist and composer. ..

François [Charles] Dieupart (ca. 1670 - ca. 1740) French violinist, harpsichordist and composer.

Although he is known as Charles in most English accounts, other evidence indicates his name was François. He is first noted in a professional capacity in a tax statement of 1695, which lists him amongst the "organists and harpsichord teachers." He subsequently moved to England, possibly stemming from his having met Elizabeth Countess of Sandwich, who had travelled to the continent for health reasons. She was the daughter of John Wilmot, Count of Rochester, as well as the daughter-in-law of Admiral Sir Edward Montagu, a relative of Samuel Pepys. Dieupart dedicated to her the six suites published in Amsterdam (see infra).

He was active in London from the early 1700s; in 1704 he composed the incidental music to Peter Motteux's play Britain's Happiness, staged at the Drury Lane Theatre. He worked with the Italian 'cellist Nicola Haym and the violinist Thomas Clayton on Arsinoe(1705), the first London venture in Italian-style opera, also produced at the Drury Lane Theater; in the orchestra, with Dieupart playing harpsichord, was his friend the musician and composer John Christopher Pepusch, and the flutist and oboist John Loeillet, originally from Ghent. The collaboration continued with Dieupart acting as organizer and harpsichordist for Bononcini's Trionfo di Camilla (1706) and Alessandro Scarlatti's Pirro e Demetrio in 1708.

He also collaborated with Motteux on the latter's play Love's Triumph. In 1711, the Drury Lane enterprise went bankrupt, unable to compete with Handel's newly formed company when Rinaldo met with enormous success. He had reached a stage where, according to a French observer, he "was on the point of leaving for the Indies in the wake of a surgeon who proposed to use music as an anaesthetic for lithotomies." Hawkins states that from this point on Dieupart was obliged for his subsistence to organize concerts (somewhat successfully in 1711 and 1712), to play in Handel's orchestra, and to teach harpsichord. However, notwithstanding that "in the capacity of a master of that instrument Dieupart had admission into some of the best families in the Kingdom," he spent his remaining years in poverty. Hawkins reports that, before his death "he grew negligent, and frequented concerts performed in ale-houses, in obscure parts of the town, and distinguished himself not [less] there, than he would have done in an assembly of the best judges, by his neat and elegant manner of playing the solos of Corelli." His print Six suittes(Amsterdam, 1701) was issued in versions both for keyboard and for 'cello and treble instrument; Bach and Walther copied out certain of his compositions. His other works include sonatas and songs.

The Sighing and  Doleful Ouverture in F Major... Suite V

Minuet & Rondeau in F Major... Suite V

Sarabande "La Bi-Polarette" in F Major... Suite V

Courante "La Petite Manie" in F Minor... Suite VI

Sarabande "The Blue Abyss" in F Minor... Suite VI

Ottavio Dantone plays the Courante from the 6th Suite in F minor

Il Giardino Armonico perform the Ouverture from the 6th suite in Fminor

Dancing to Dieupart