Digital booklet hotteterre complete music for flute and b c

HOTTETERRE Complete Music for Flute and b.c.

Guillermo Peñalver baroque flute · Tony Millán harpsichord María Alejandra Saturno viola da gamba

Jacques-Martin Hotteterre 1674-1763 Complete Music for Flute and b.c.

Premier Livre de Pieces pour la Flûtetraversiere… avec la Basse Premiere Suitte 1. Prelude.

Lentement-Gay-Lentement 3’15 2. Allemande. La Royalle Gracieusement 2’40 3. Rondeau. Le Duc D’Orleans.

Gay 1’48 4. Sarabande. La d’Armagnac 2’49 5. Gavotte. La Meudon 1’36 6. Menuet. Le Comte de Brione 1’00 7. 2e. Menuet 0’51 8. On reprend le 1er. Menuet 1’05 9. Gigue. La Folichon 1’15 Quatriéme Suitte 10. Prelude. Lentement 3’34 11. Allemande. La Fontainebleau.

Gravement 3’18 12. Sarabande. Le depart.

Doulouresement 3’29 13. Air. Le fleuri. Gayement 1’25 14. Gavotte. La Mitilde.

Tendrement 1’08 15. Branle de Vilage. L’Auteüil 0’41 16. Menuet. Le Beaulieu 0’42 17. 2e. Menuet 0’46 18. On reprend le Menuet precedent 0’49 Troisiéme Suitte 19. [Prélude] (G. Peñalver) 20. Allemande. La cascade de St. Cloud. Piqué 21. Sarabande. La Guimon 22. Courante. L’indiferente 23. Double

1’12 2’53 2’53 1’10 1’13

24. Rondeau. Le plaintif.

Tendrement 2’52 25. Menuet. Le mignon.

Un peu doucement 1’05 26. Gigue. L’Italienne 1’13

43. Prelude en G.Re,Sol 3ce.

Mineure (L’Art de Preluder) 3’25

63. Prelude en D.La,Re 3ce.

Majeure (L’Art de Preluder) 3’23

Cinquiéme Suitte 27. [Prélude] (T. Millán – Hotteterre – F. Couperin) 1’50 28. Allemande. La Chauvet 2’44 29. La Messinoise 1’31 30. Rondeau. Le Lutin 1’12 31. Gigue La Perousine.

1’23

Deuxiéme Livre de Pieces pour la Flûte-traversiere… avec la Basse Premiere Suitte 44. Prelude. Gravement 45. Caprice. Gai 46. Allemande. Piqué 47. Sarabande 48. Ier. Menuet 49. IIe. Menuet 50. On reprend le 1r. Menuet 51. Sicilienne. Un peu lentemet 52. Gavotte. Gracieusement 53. Gigue

1’43 1’44 2’20 2’07 0’47 0’47 0’53 1’48 1’03 1’33

Troisiéme Suitte. Sonate 64. Prelude. Lentement 65. Allemande. Gay 66. Courante 67. Grave 68. Gigue

54. Pourquoy doux Rossignols (J.-B. Drouard de Bousset)

1’51

Deuxiéme Suitte 32. Prelude. Lentement 1’34 33. Allemande. L’Atalante.

Vivement 1’50 34. Sarabande. La Fidelle 3’08 35. Petit Air tendre 0’49 36. Gavotte en Rondeau.

La Maillebois. Gracieusement et louré 0’33 37. 2e. Gavotte. Mineur 0’48 38. On reprend la premiere gavotte 0’36 39. Rondeau. Le Baron 2’11 40. Ecos. Pour la Flûte traversiere seule

3’04

Pieces a deux Flûtes. Avec une Basse adjoûtée 41. Les delices, ou le Fargis Tres lentement – Gay 2’59 42. Rondeau. Le Champétre.

Nommé par le Roy Les Ecos.

Gay 1’58

1’47 2’18 1’30 1’45 1’17

69. Goutons un doux repos (Lambert) 2’48 Quatriéme Suitte. Sonate 70. Prelude. Gay 71. Allemande. Gracieusement 72. Courante. Gay 73. Rondeau. Gay 74. Grave 75. Gigue

Deuxiéme Suitte 55. Prelude. Lentement-VivementLentement 2’57 56. Allemande. Tendrement 3’22 57. Sarabande 2’51 58. Ier. Menuet 0’50 59. 2e. Menuet 0’54 60. Gavotte. Tendrement 1’05 61. Rondeau 2’27 62. Gigue 1’28

Guillermo Peñalver baroque flute (C. Palanca, copy by Martin Wenner, 2010)

Antonio Campillo baroque flute II (tracks 41-42) (C. Palanca, copy by Martin Wenner, 2010)

Tony Millán harpsichord (Pascal Taskin, copy by Andrea Restelli, Milan, 2005)

María Alejandra Saturno viola da gamba (Nicolas Bertrand 1720, copy by José Luis España, 1999)

1’40 2’54 2’04 1’52 1’21 1’33

The Suites for Flute and B.C. by Hotteterre are a landmark in the history of the flute. In fact, his PIECES / POUR LA FLUTE / TRAVERSIERE, / ET AUTRES INSTRUMENTS, / AVEC LA BASSE-CONTINUE, / Par M. HOTTETERRE-leRomain, Flûte de la Chambre du Roy. / DEDIEÉS AU ROY. / LIVRE PREMIER. / OEUVRE SECOND. (Paris, 1708) is the second published work for this ensemble (only preceded by a book of Pièces pour la Flûte Traversière avec la Basse-Continue, […] Œuvre Quatrième by La Barre, in 1702. Aside from the path opened to other composers, we find ourselves, given the quality and extension, before a true monument of Chamber Music.

Jacques-Martin Hotteterre, belonging to a long lineage of wind instrument makers and interpreters from La Couture-Boussey, in Normandy, was born in Paris in 1673, where his grandfather Jean I had emigrated some years before. As it happens with sagas during this time, investigators have had many difficulties in correctly identifying the different family members. Truth lies in that there are several musicians and instrument makers from the early 16th century to the middle of the 18th century in his family. Attributed to the Hotteterre family is the invention of the transverse flute with a conical interior and three parts (four part instruments started to be built in the 20s of the 18th c.). His father Martin as well as his brother Jean l’aisné, were, along with Jacques, at the service of Louis XIV as members of the Grande Écurie. Jacques, more keen on the brilliance of the court than the calmness of the atelier, also obtained the post of Flûte de la Chambre du Roy. Hotteterre expanded flute (as well as oboe and recorder) literature in an extraordinary way with his more than ten publications. The most relevant is his first work, Principes de la flûte traversière, ou flûte d’Allemagne, de la flûte à bec ou flûte douce et du hautbois, divisez par traictez (Paris, 1707), which is the first published method for “Baroque” transverse flute. Its influence along the 18th century is extraordinary with several reeditions in France as well as in England, the Low Countries and Germany.

It seems that the appellation “le Romain” is due to his presence in Rome between 1698 and 1700 (to the service of the Ruspoli Prince), although a certain Corellian

Classicism in the treatment of the thorough-bass on the part of our composer should also be underlined. A balance and firmness that incline it towards the Italian, keeping the lightness and the styling of the top line.

The works in this Album belong to his Op.2 and 5, First and Second Books of pieces for transverse flute and thorough-bass. The Premier Livre, published in 1708, as Hotteterre had already announced in his Principes de la flûte… held 3 suites of pieces, in the keys of D Major, G Major and E minor. Hotteterre published a new edition of this Premier Livre in 1715 dividing the G Major and E minor suites into two. Hence, going from 3 to 5 suites: one in D Major, two in G Major and another two in E minor. In doing so, perhaps because in 1715 the “river suites” in the style of Marais or Robert de Visée were no longer in vogue, Hotteterre offers five shorter suites, two of them, III and V, without preludes. For these two suites we have prepared our own preludes. Guillermo Peñalver has composed a prelude for suite III in G major from Op.2, in the manner of the preludes in L’Art de Préluder. For suite V in E minor, also from Op.2, Tony Millán has prepared a prelude in the manner of the Prelude in the A minor suite by J. Ph. Rameau (Paris, 1706): a non mesuré section (with a melody taken from a prelude in L’Art de Preluder) followed by a mesuré section (Prelude VIII in E minor from L’Art de toucher le Clavecin by F. Couperin, Paris 1717). Both Couperin’s Prelude and the harmonization of Hotteterre’s prelude begin with the same bass line as the Allemande in suite V in E minor.

Every piece in this Premier livre, except for the three preludes, has a specific name in reference to illustrious students or admirers of the author, characters or places and images. It is here that we find Suite III in GM which begins with the Allemande “La Cascade de St. Cloud” that has become a classic of French Baroque music for flute. The Allemande which entitles the suite appears to imitate waterfalls from the fountain in the gardens with the same name through descending arpeggios. We also find in this suite one of the most beautiful pieces of all written by Hotteterre, Le Plaintif, a hommage to the Air de cour; a simple rondeau with subtle, but difficult!, imperceptibly entangling ornamentation.

The Deuxiéme Livre consists of four suites. The first two are rather lengthy, whilst

the third and fourth, entitled Suitte Sonate by Hotteterre though they are suites, are shorter. The first two suites of this book have some particularities that make them exceptional. The Premiere Suitte, in Gm, has the main characteristic of an extremely high pitched bass line. Thus producing a sort of duel between the flute and the bass, where the notion of who accompanies who is sometimes lost. The sonority produced is, at times, ethereal. The Deuxiéme Suitte is written in the key of Cm, which, for the type of flutes available in Paris in 1715, presented quite a technical challenge. It is a dense work that holds one of the best preludes in both collections, in the form of an intense overture and a fugue of great solidity. Suites III and IV, in contrast, almost seem simple when compared, but the two first movements of the Quatriéme Suitte are remarkable for their contrapuntal writing. In this second book, the pieces have no specific subtitle, other than the name of the dance or musical form and tempo or character.

The writing in these suites includes, with great detail, the ornamentation to be played. The author indicated in his ‘Avertissement’ in the Premier Livre, “Pour ce qui regarde le goût et la propreté, j’ay marqué, autant qu’il a été possible de le faire, les agréments aux endroits les plus essentiels, je ne laisseray pas de donner icy quelques avis sur ce sujet, lesquels pourront servir non seulement pour ces Pieces, mais encore pour toutes les autres qui convienent à la Flûte.” He then goes on to speak about the different ornaments and their correct use and even offers a table with their abreviations and interpretation.

Around 1721, Hotteterre publishes a volume entitled Airs et brunettes à deux et trois dessus pour les flutes traversières tirez des meilleurs autheurs, anciens et modernes. Ensemble les airs de Mrs. Lambert, Lully, de Bousset... Les plus convenables à la flûte traversière seule. Ornez d’agremens par M. Hotteterre le romain... It is a collection of pieces for two, three and solo in the style of airs de cour.

We have recorded two of them, based on both airs by Lambert and Bousset, which are the only to which Hotteterre adds a bass line, with the descending tetrachord.

This double Album is completed with the two preludes for flute and basso continuo from L’Art de préluder sur la flûte traversière, ... Oeuvre VIIe (Paris, 1719). It is

in these two extraordinary pieces that Hotteterre sums up and condenses all of his science on the art of the prelude. Both preludes, in D Major and G minor respectively, move along every key corresponding to the different degrees of their corresponding scales. As opposed to the preludes in the suites, which normaly modulate to the dominant and second or sixth degree, here we see how in a few measures we are in far keys such as the seventh degree. And all of this with abundant character changes and a quasi improvised ambiance. Two pieces that seem to contradict the generalized idea about French music of this time as simple, lineal, orderly and smooth music.

In order to complete Op.2, we have also included both pieces for two transverse flutes, which in the 1708 edition were duets and to which Hotteterre added a basso continuo part in the 1715 re-edition. In these pieces, Hotteterre seems to intend to bring out the most of his activity as Flûte du Roy, since in the second he comments on the surname given by the king, “les Ecos”.

We have also added, to complete the Premier Livre, some solo pieces, half prelude half exercise, named Ecos pour la flûte traversiere. Pieces where each small motiv is presented once and then repeated with the dynamic ‘doux’ (piano).

For the tuning, a late 17th c. French temperament has been used, with some adaptations. The basso continuo realization has been developed, mainly, following the indications found in J.H. D’Anglebert (Paris, 1689), D. Delair (Paris, 1690), Saint Lambert (Paris, 1707) and J.-F. Dandrieu (Paris, ca. 1719). © Guillermo Peñalver and Tony Millán Translation: Denise de la Herrán

Guillermo Peñalver began his musical studies at the Conservatory of Seville as a trumpet player. He went on to study recorder and Baroque flute with M. Martín, N. Stern, W. Dickinson, Ph. Suzanne and W. Hazelzet.

He has given concerts in Germany, Bolivia, the Czech Republic, Slovenia, Spain, France, Holland, Israel, Italy, Mexico, Panama, Portugal, Russia and Switzerland. He is a member of the Baroque Orchestra of Seville, La Tempestad, El Concierto Español and Canto Divino and works with Café Zimmermann, La Ritirata, Nereydas, Hippocampus, Forma Antiqua, La Capilla Real de Madrid, Al Ayre Español, Conductus, La Grande Chapelle, La Stravaganza, La Tropa Barroca of Madrid, the Salamanca University Baroque Orchestra, Speculum, Tercia Realidad, Vie sul mare… among others. He is a founding member of the groups Poema Harmónico and Extramundi. He has played in the Zefiro and l’Europa Galante orchestras.

He has been teaching Recorder at the Superior Conservatory of Seville “Manuel Castillo” and the Professional Conservatory “Manuel de Falla” in Cadiz. Since 2014 he has been teaching Traverso at the Royal Superior Conservatory of Madrid.

Tony Millán, harpsichordist and fortepianist, teaches harpsichord, thorough bass and chamber music at the Royal Conservatory of Music in Madrid (Spain). He has recorded several Albums, among which are the Concerto per Clavicembalo by Manuel de Falla, J. S. Bach’s Goldberg Variations, J. Duphly’s Troisième Livre de Pièces de Clavecin and, in Brilliant Classics, J. C. F. Fischer Harpsichord Suites.

Tony Millán has played in Holland, Belgium, United Kingdom, Germany, France, Italy, Portugal and Marocco. Several composers have dedicated works to him such as J. Mª. Sánchez-Verdú and H. Cox. He has edited a collection of sonatas for viola and thorough bass from the Royal Palace of Madrid and has given master classes at the Amsterdam Conservatory (Netherlands) and at the Superior Music School in Lisbon (Portugal).

From left to right: T. Millán, G. Peñalver, M. Saturno

María Alejandra Saturno is a cellist and viola da gamba player of Venezuelan and Italian descent, who has been a member of the “Simón Bolívar Symphony Orchestra” and the “Renaissance Camerata of Caracas”. She specialized in Early Music (Viola da Gamba and Baroque Cello) at the HFK of Bremen, Germany, and later established in Spain from where she participates in several projects in groups such as La Chimera (Italy), Cappella Gabetta (Switzerland), Nao d’Amores, Angelicata Consort and Concierto Poético (Spain), Capriccio Stravagante (France) and the New London Consort (England), among others.

Antonio Campillo was born in Madrid where he did his musical studies at the Arturo Soria Conservatory, Madrid. He later specialized in historic flutes with Wilbert Hazelzet in Utrecht Conservatory, Marc Hantaï in the ESMUC, Barcelona, and Sandra Miller at Juilliard School in NYC. Currently, he collaborates with important orchestras and chamber ensembles of diverse nationalities, playing in Europe, Asia and America.

Recording: September 2016 (tracks 1-39) and March 2017 (tracks 40-75), San Lorenzo de El Escorial, Madrid, Spain Sound, Digital editing and Mastering: Bertram Kornacher Artistic supervisión: Teresa García Sánchez Tuning: A. Restelli and Tony Millán Artists photo: Alfredo Cáliz Cover: Portrait d’un jeune noble c. 1730, by Nicolas de Largilliere (1656-1746) p & © 2018 Brilliant Classics